Waltharius215 - Revision history

Ana Enriquez: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-15T21:22:11Z

‎Walther returns from battle and encounters Hildegund (215–255)

Jan Ziolkowski at 03:01, 15 December 2009

2009-12-15T03:01:00Z

Julian Yolles: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-13T01:24:44Z

‎Walther returns from battle and encounters Hildegund (215–255)

Ana Enriquez: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-12T02:04:44Z

‎Walther returns from battle and encounters Hildegund (215–255)

Ana Enriquez: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-12T01:25:47Z

‎Walther returns from battle and encounters Hildegund (215–255)

Ana Enriquez: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-12T01:02:38Z

‎Walther returns from battle and encounters Hildegund (215–255)

Ana Enriquez: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-12T01:01:06Z

‎Walther returns from battle and encounters Hildegund (215–255)

Ana Enriquez: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-12T01:00:26Z

‎Walther returns from battle and encounters Hildegund (215–255)

Ana Enriquez: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-12T00:53:15Z

‎Walther returns from battle and encounters Hildegund (215–255)

Ana Enriquez: /* Walther returns from battle and encounters Hildegund (215–255) */

2009-12-12T00:47:14Z

‎Walther returns from battle and encounters Hildegund (215–255)

@@ Line 156: / Line 156: @@
 |{{Comment|The theme of exile is also common to both Classical and Germanic poems.  In Anglo-Saxon, the elegies The Wanderer, The Seafarer, and The Wife’s Lament each recount sad stories of exile.  In the Aeneid, the phrase exsilium pati appears, describing what Aeneas’s father will not do (l. 2.638).  Ovid also wrote exile poems.  Additionally, as Walther and Hildegund go into exile for the sake of their earthly fathers, and Hagen does so for the sake of his earthly lord, religious figures of their period underwent exile or wandering for the sake of God.  [AE]
-You may also want to mention that exile is central to the Old Testament (e.g. Ezekiel, Esther). [JJTY]}}
+You may also want to mention that exile is central to the Old Testament (e.g. Ezekiel, Esther). [JJTY]
 |-
 |[[Non]] [[ignorantes]], [[quid5|quid]] [[nostri1|nostri]] [[forte]] [[parentes]]

@@ Line 87: / Line 87: @@
 |{{Commentary|''Tallum'': “cup, goblet” – a Germanism.
 }}
-|{{Parallel|''Aeineid'' 1.729: ''implevitque mero pateram''. ‘She filled the cup with wine.’ ''Liber II Macchabeorum'' 14.4: ''. . .offerens ei. . .tallos qui templi esse videbantur.'' ‘. . .Offering to him. . .boughs which seemed to belong to the temple.’
+|{{Parallel|''Aeneid'' 1.729: ''implevitque mero pateram''. ‘She filled the cup with wine.’ ''Liber II Macchabeorum'' 14.4: ''. . .offerens ei. . .tallos qui templi esse videbantur.'' ‘. . .Offering to him. . .boughs which seemed to belong to the temple.’
 }}
 |{{Pictures|<gallery widths="180px" heights="120px" perrow="2">
@@ Line 94: / Line 94: @@
 </gallery>}}
 |{{Meter|scansion=DSSSDS}}
-|{{Comment|The trope of a woman offering drink or other reward for military service to the hero is common to both Classical and Germanic traditions.  In Aeneid 1.729, Dido offers Aeneas wine.  The word used there is implevit, which is echoed in the Waltharius by complevit.  This theme is also present in the Anglo-Saxon epic Beowulf.  After killing Grendel, Beowulf receives a necklace and a byrnie from Wealtheow, Hrothgar’s wife (l. 1215-1220).  Before the contest with Grendel, Wealtheow offers Beowulf drink (l. 623-625), on his homecoming, Queen Hygd, the wife of Hygelac, also distributes mead (l. 1980-1983), and Beowulf also talks of Freawaru, Hrothgar’s daughter, distributing mead.  Coincidently, Freawaru marries Ingeld, of whom Alcuin wrote to a bishop named Speratus, scolding him for listening to songs and stories of pagan heros, writing “What has Ingeld to do with Christ?” [AE]}}
+|{{Comment|The trope of a woman offering drink or other reward for military service to the hero is common to both Classical and Germanic traditions.  In Aeneid 1.729, Dido offers Aeneas wine.  The word used there is implevit, echoed in the Waltharius by complevit.  This theme is also present in the Anglo-Saxon epic Beowulf.  After killing Grendel, Beowulf receives a necklace and a byrnie from Wealtheow, Hrothgar’s wife (l. 1215-1220).  Before the contest with Grendel, Wealtheow offers Beowulf drink (l. 623-625), on his homecoming, Queen Hygd, the wife of Hygelac, also distributes mead (l. 1980-1983), and Beowulf also talks of Freawaru, Hrothgar’s daughter, distributing mead.  Coincidently, Freawaru marries Ingeld, of whom Alcuin wrote to a bishop named Speratus, scolding him for listening to songs and stories of pagan heros, writing “What has Ingeld to do with Christ?” [AE]}}
 |-
 |[[Porrexitque]] [[viro]], [[qui3|qui]] [[signans]] [[accipiebat]]
@@ Line 100: / Line 100: @@
 |{{Commentary|''Signans'': “making the sign of the Cross” before partaking of the drink.
 }}
-|{{Parallel|''Aeineid'' 8.274: ''pocula porgite dextris.'' ‘Stretch forth the cup in your hands.’
+|{{Parallel|Lucan 9.503: ''porrexitque duci.'' ''Aeneid'' 8.274: ''pocula porgite dextris.'' ‘Stretch forth the cup in your hands.’
 }}
+|
@@ Line 134: / Line 134: @@
+|
+|
+|{{Parallel|Juvencus 1.2143: ''sponsalia pacta."}}
+|
 |{{Meter|scansion=DSSSDS|elision=ambo etenim}}
@@ Line 204: / Line 204: @@
+|
+|
-|{{Parallel|''Aeineid'' 6.55: ''pectore ab imo.'' . . ‘From his inmost heart. . .’ 11.840: ''imo pectore.''
+|{{Parallel|''Aeneid'' 1.371: ''imoque trahens a pectore.'' 6.55: ''pectore ab imo.'' . . ‘From his inmost heart. . .’ 11.840: ''imo pectore.''
 }}
+|
@@ Line 237: / Line 237: @@
 |[[absit]] [[quod]] [[memoras]]! [[dextrorsum]] [[porrige1|porrige]] [[sensum]]!
+|
-|{{Commentary|''Porrige'' equiv. to ''dirige''<br />''Dextrosrum'': i.e., to what is favorable/correct.
+|{{Commentary|''Porrige'' equiv. to ''dirige''<br />''Dextrorsum'': i.e., to what is favorable/correct.
 }}
 |{{Parallel|''Aeneid'' 4.109: ''quod memoras''. . . ‘What you say. . .’
@@ Line 306: / Line 306: @@
 |{{Commentary|''Domne equiv. to Domine''
 }}
-|{{Parallel|''Aeineid'' 4.114: ''perge, sequar.'' ‘Go on; I will follow.’ ''Eclogue ''3.49:'' veniam quocumque vocaris.'' ‘Wherever you challenge me, I’ll be there.’ ''Aeneid'' 5.22-23.: ''sequamur,/ quoque vocat, vertamus iter.'' ‘Let us follow, and turn our course whither she calls.’
+|{{Parallel|''Aeneid'' 4.114: ''perge, sequar.'' ‘Go on; I will follow.’ ''Eclogue ''3.49:'' veniam quocumque vocaris.'' ‘Wherever you challenge me, I’ll be there.’ ''Aeneid'' 5.22-23.: ''sequamur,/ quoque vocat, vertamus iter.'' ‘Let us follow, and turn our course whither she calls.’
 }}
+|

@@ Line 154: / Line 154: @@
+|
 |{{Meter|scansion=DDDSDS}}
-|{{Comment|The theme of exile is also common to both Classical and Germanic poems.  In Anglo-Saxon, the elegies The Wanderer, The Seafarer, and The Wife’s Lament each recount sad stories of exile.  In the Aeneid, the phrase exsilium pati appears, describing what Aeneas’s father will not do (l. 2.638).  Ovid also wrote exile poems.  Additionally, as Walther and Hildegund go into exile for the sake of their earthly fathers, and Hagen does so for the sake of his earthly lord, religious figures of their period underwent exile or wandering for the sake of God.  [AE]}}
+|{{Comment|The theme of exile is also common to both Classical and Germanic poems.  In Anglo-Saxon, the elegies The Wanderer, The Seafarer, and The Wife’s Lament each recount sad stories of exile.  In the Aeneid, the phrase exsilium pati appears, describing what Aeneas’s father will not do (l. 2.638).  Ovid also wrote exile poems.  Additionally, as Walther and Hildegund go into exile for the sake of their earthly fathers, and Hagen does so for the sake of his earthly lord, religious figures of their period underwent exile or wandering for the sake of God.  [AE]
 |-
 |[[Non]] [[ignorantes]], [[quid5|quid]] [[nostri1|nostri]] [[forte]] [[parentes]]

@@ Line 94: / Line 94: @@
 </gallery>}}
 |{{Meter|scansion=DSSSDS}}
-|{{Comment|The trope of a woman offering drink or other reward for military service to the hero is common to both Classical and Germanic traditions.  In Aeneid 1.729, Dido offers Aeneas wine.  The word used there is implevit, which is echoed in the Waltharius by complevit.  This theme is also present in the Anglo-Saxon epic Beowulf.  After killing Grendel, Beowulf receives a necklace and a byrnie from Wealtheow, Hrothgar’s wife (l. 1215-1220).  Before the contest with Grendel, Wealtheow offers Beowulf drink (l. 623-625), on his homecoming, Queen Hygd, the wife of Hygelac, also distributes mead (l. 1980-1983), and Beowulf also talks of Freawaru, Hrothgar’s daughter, distributing mead.  Coincidently, Freawaru marries Ingeld, of whom Alcuin wrote to a bishop named Speratus, scolding him for listening to songs and stories of pagan heros, writing “What has Ingeld to do with Christ?” -AE}}
+|{{Comment|The trope of a woman offering drink or other reward for military service to the hero is common to both Classical and Germanic traditions.  In Aeneid 1.729, Dido offers Aeneas wine.  The word used there is implevit, which is echoed in the Waltharius by complevit.  This theme is also present in the Anglo-Saxon epic Beowulf.  After killing Grendel, Beowulf receives a necklace and a byrnie from Wealtheow, Hrothgar’s wife (l. 1215-1220).  Before the contest with Grendel, Wealtheow offers Beowulf drink (l. 623-625), on his homecoming, Queen Hygd, the wife of Hygelac, also distributes mead (l. 1980-1983), and Beowulf also talks of Freawaru, Hrothgar’s daughter, distributing mead.  Coincidently, Freawaru marries Ingeld, of whom Alcuin wrote to a bishop named Speratus, scolding him for listening to songs and stories of pagan heros, writing “What has Ingeld to do with Christ?” [AE]}}
 |-
 |[[Porrexitque]] [[viro]], [[qui3|qui]] [[signans]] [[accipiebat]]
@@ Line 104: / Line 104: @@
+|
 |{{Meter|scansion=SDSSDS}}
-|{{Comment|It seems that signans must be translated as Kratz does: “…gave it to the man, who, as he took it, crossed / himself, and pressed the maiden’s hand with his….”  This translation is overtly Christian, but it is difficult to make sense of the passage otherwise.  One way this could look would be that Hildegund offered Walther the filled cup, and he held it and her hand, while blessing the cup with his other hand.  Du Cange’s Glossarium mediae et infimae latinitatis gives the Christian definition as the most common one and traces its use back to Tertullian, so it would likely have carried that connotation to a ninth- or tenth- century author or audience, especially if that audience were monastic. -AE}}
+|{{Comment|It seems that "signans" must be translated as Kratz does: “…gave it to the man, who, as he took it, crossed / himself, and pressed the maiden’s hand with his….”  This translation is overtly Christian, but it is difficult to make sense of the passage otherwise.  One way this could look would be that Hildegund offered Walther the filled cup, and he held it and her hand, while blessing the cup with his other hand.  Du Cange’s Glossarium mediae et infimae latinitatis gives the Christian definition as the most common one and traces its use back to Tertullian, so it would likely have carried that connotation to a ninth- or tenth- century author or audience, especially if that audience were monastic. [AE]}}
 |-
 |[[Virgineamque]] [[manum]] [[propria1|propria]] [[constrinxit]]. [[at]] [[illa2|illa]]
@@ Line 112: / Line 112: @@
+|
 |{{Meter|scansion=DDDSDS}}
-|{{Comment|It would be interesting if the last two words of this line (at illa) were intended as a pun on Attila’s name.  It seems unlikely for several reasons.  If the line were translated with Attila instead of at illa, it would leave Attila to “stand there, silent, staring at [his] master’s face,” which does not make sense, even in a joking way.  The phrase also appears later in the poem once Attila is gone (l. [[Waltharius640|673]]). -AE}}
+|{{Comment|It would be interesting if the last two words of this line ("at illa") were intended as a pun on Attila’s name.  However, this seems unlikely for several reasons.  If the line were translated with "Attila" instead of "at illa," it would leave Attila to “stand there, silent, staring at [his] master’s face,” which does not make sense, even in a joking way.  The phrase also appears later in the poem once Attila is gone (l. [[Waltharius640|673]]). [AE]}}
 |-
 |[[Astitit]] [[et]] [[vultum]] r[[et]]icens [[intendit]] [[herilem]],
@@ Line 137: / Line 137: @@
+|
 |{{Meter|scansion=DSSSDS|elision=ambo etenim}}
-|{{Comment|This is one of the few hints given to the chronology of the first part of the poem.  We know that when the hostages were taken, Gunther was too young to leave his mother, and we know that the three children are essentially adults by the time they leave (Hildegund is old enough to serve as quartermistress, and the boys have become warriors), and here we learn that Hildegund and Walther were both old enough when they were taken that they remember they are betrothed.  Of course, it is also possible that Hagen or another captive knew of the betrothal and told them. -AE}}
+|{{Comment|This is one of the few hints given to the chronology of the first part of the poem.  We know that when the hostages were taken, Gunther was too young to leave his mother, and we know that the three children are essentially adults by the time they leave (Hildegund is old enough to serve as quartermistress, and the boys have become warriors), and here we learn that Hildegund and Walther were both old enough when they were taken that they remember they are betrothed.  Of course, it is also possible that Hagen or another captive knew of the betrothal and told them. [AE]}}
 |-
 |[[Provocat]] [[et]] [[tali1|tali]] [[caram]] [[sermone]] [[puellam]]:
@@ Line 154: / Line 154: @@
+|
 |{{Meter|scansion=DDDSDS}}
-|{{Comment|The theme of exile is also common to both Classical and Germanic poems.  In Anglo-Saxon, the elegies The Wanderer, The Seafarer, and The Wife’s Lament each recount sad stories of exile.  In the Aeneid, the phrase exsilium pati appears, describing what Aeneas’s father will not do (l. 2.638).  Additionally, as Walther and Hildegund go into exile for the sake of their earthly fathers, and Hagen does so for the sake of his earthly lord, religious figures of their period underwent exile or wandering for the sake of God. -AE}}
+|{{Comment|The theme of exile is also common to both Classical and Germanic poems.  In Anglo-Saxon, the elegies The Wanderer, The Seafarer, and The Wife’s Lament each recount sad stories of exile.  In the Aeneid, the phrase exsilium pati appears, describing what Aeneas’s father will not do (l. 2.638).  Ovid also wrote exile poems.  Additionally, as Walther and Hildegund go into exile for the sake of their earthly fathers, and Hagen does so for the sake of his earthly lord, religious figures of their period underwent exile or wandering for the sake of God.  [AE]}}
 |-
 |[[Non]] [[ignorantes]], [[quid5|quid]] [[nostri1|nostri]] [[forte]] [[parentes]]
@@ Line 188: / Line 188: @@
+|
 |{{Meter|scansion=DDDSDS}}
-|{{Comment|This passage, particularly the word hyroniam in line 235, forms the heart of many scholars’ arguments about irony in the poem.  It is clear from this passage that the poet understands the phenomenon of irony, and that he uses it for humorous effect, at least in this instance.  However, it is not clear from this passage whether the poet meant anything more than entertainment, let alone the Christian conversion message which Parkes argues the irony encodes (“Irony in Waltharius”).  This passage is funny because the betrothed misunderstand each other, not because the poet somehow subverts pagan values.  Indeed, Walther is not even being ironic.  Hildegund only thinks he is.  MORE HERE.  SPELLING IDENTICAL IN CHRONICON.  IS THIS NOT MISUNDERSTANDING BUT RATHER JOKING TOGETHER?  THOMSEN CHAPTER IN BECOMING MALE IN THE MIDDLE AGES.  ISIDORE.  LITERALLY SAYING THE OPPOSITE OF WHAT YOU MEAN.  DILWYN KNOX BOOK ON IRONY.  SERVIUS ON THE AENEID, DOES HE MENTION IRONY, AND ESPECIALLY DOES HE WRT DIDO?  YES.  LOOK THERE. -AE}}
+|{{Comment|This passage, particularly the word hyroniam in line 235, forms the heart of many scholars’ arguments about irony in the poem.  It is clear from this passage that the poet understands the phenomenon of irony, and that he uses it for humorous effect, at least in this instance.  However, it is not clear from this passage whether the poet meant anything more than entertainment, let alone the Christian conversion message which Parkes argues that the irony encodes (“Irony in Waltharius”).  This passage is ironic because Walther says the opposite of what Hildegund expects, and it might be funny because the betrothed misunderstand each other, but in this key example, the poet does not attack pagan values.  Indeed, Walther himself is not even being ironic.  Hildegund only thinks he is.  Another interpretation is that Walther is joking with Hildegund, and she plays along.  However, their relationship does not involve this kind of joking elsewhere in the poem.  For further investigation of irony in the Waltharius, see Dennis Green, Ford B. Parkes, Alain Renoir, and David Townsend. [AE]}}
 |-
 |[[Paulum]] [[conticuit]], [[sed1|sed]] [[postea]] [[talia2|talia]] [[reddit]]:

@@ Line 250: / Line 250: @@
+|
 |{{Meter|scansion=SDDSDS}}
+|{{Comment|This line closely parallels line 4.105 of the Aeneid ("sensit enim simulata mente locutam"), but in the Aeneid, Venus has actually been fraudulent, whereas Walther here pleads that he was not. [AE]}}
 |-
 |[[Nec]] [[quicquam]] [[nebulae]] [[vel]] [[falsi]] [[interfore]] [[crede]].

@@ Line 6: / Line 6: @@
 |{{Commentary|''Palatini'': “palace servants”
 }}
-|{{Parallel|Prudentius, ''Apotheosis'' 481: ''ecce Palatinus. . .minister. . . '' ‘See the servant of the palace. . .’ ''Aeineid'' 2.41: ''Laocoon ardens summa decurrit ab arce''. ‘Laocoon in hot haste runs down from the citadel’s height.’ 11.490: ''fulgebatque alta decurrens aureus arce.'' ‘He shone with gold as he ran down from the fortress height.’
+|{{Parallel|Prudentius, ''Apotheosis'' 481: ''ecce Palatinus. . .minister. . . '' ‘See the servant of the palace. . .’ ''Aeneid'' 2.41: ''Laocoon ardens summa decurrit ab arce''. ‘Laocoon in hot haste runs down from the citadel’s height.’ 11.490: ''fulgebatque alta decurrens aureus arce.'' ‘He shone with gold as he ran down from the fortress height.’
 }}
+|
@@ Line 137: / Line 137: @@
+|
 |{{Meter|scansion=DSSSDS|elision=ambo etenim}}
-|{{Comment|This is one of the few hints given to the chronology of the first part of the poem.  We know that when the hostages were taken, Gunther was too young to leave his mother, and we know that the three children are essentially adults by the time they leave (Hildegund is old enough to serve as quartermistress, and the boys have become warriors), and here we learn that Hildegund and Walther were both old enough when they were taken that they remember they are betrothed. -AE}}
+|{{Comment|This is one of the few hints given to the chronology of the first part of the poem.  We know that when the hostages were taken, Gunther was too young to leave his mother, and we know that the three children are essentially adults by the time they leave (Hildegund is old enough to serve as quartermistress, and the boys have become warriors), and here we learn that Hildegund and Walther were both old enough when they were taken that they remember they are betrothed.  Of course, it is also possible that Hagen or another captive knew of the betrothal and told them. -AE}}
 |-
 |[[Provocat]] [[et]] [[tali1|tali]] [[caram]] [[sermone]] [[puellam]]: