Waltharius436 - Revision history

Jan Ziolkowski at 14:08, 17 December 2009

2009-12-17T14:08:02Z

Andrew Parchman at 04:29, 16 December 2009

2009-12-16T04:29:16Z

Michelle De Groot: /* Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488) */

2009-12-15T17:48:32Z

‎Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488)

Michelle De Groot: /* Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488) */

2009-12-15T17:29:35Z

‎Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488)

Michelle De Groot: /* Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488) */

2009-12-15T17:24:09Z

‎Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488)

Michelle De Groot: /* Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488) */

2009-12-15T17:23:28Z

‎Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488)

Jan Ziolkowski at 06:21, 15 December 2009

2009-12-15T06:21:53Z

Michelle De Groot: /* Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488) */

2009-12-12T22:30:55Z

‎Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488)

Michelle De Groot: /* Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488) */

2009-12-12T20:39:06Z

‎Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488)

Michelle De Groot: /* Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488) */

2009-12-12T20:37:04Z

‎Gunther, King of the Franks, learns of Walther’s presence on his territory and, despite Hagen’s warnings, decides to pursue him for his treasure (436–488)

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-| {{Comment|These lines carry powerful rhetorical affect. The reader (or hearer) knows nothing as yet about Gunther’s personality, and may be looking forward to a reunion between the companions Hagan and Walter. The revelation that Gunther, far from promoting good will and solidarity against the Huns, will pose a threat when Walter expects friendship comes as a shock! Moreover, it becomes immediately clear that Hagan will have to choose between his best friend and his lord, two highly sacred relationships in Germanic culture. MCD}}
+| {{Comment|These lines carry powerful rhetorical affect. The reader (or hearer) knows nothing as yet about Gunther’s personality, and may be looking forward to a reunion between the companions Hagan and Walter. The revelation comes as a shock that Gunther, far from promoting good will and solidarity against the Huns, will pose a threat when Walter expects friendship! Moreover, it becomes immediately clear that Hagan will have to choose between his best friend and his lord, two highly sacred relationships in Germanic culture. MCD}}
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 |[[Gazam]], [[quam2|quam]] [[Gibicho]] [[regi1|regi]] [[transmisit]] [[eoo]],
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-| {{Comment|Gunther is unquestionably greedy and unrighteously avaricious, in the mind of the Waltharius- poet, but it is important to understand that he does not simply desire money that in no way belongs to him. Gunther is not exactly a thug, though he might behave like one. Gunther feels himself entitled to the Hunnish treasure that Walter bears because he resents the treasure his own father gave to the Huns to establish a treaty. He apparently regards all Hunnish riches as, in some sense, stolen from the Franks and from him.
+| {{Comment|Despite being unquestionably greedy and unrighteously avaricious, Gunther does not simply desire money that in no way belongs to him. He is not exactly a thug, though he might behave like one. Gunther feels himself entitled to the Hunnish treasure because he resents the tribute his own father gave to the Huns to establish a treaty. He apparently regards all Hunnish riches as, in some sense, stolen from the Franks and from him.
-"cunctipotens": all-powerful one, presumably God. The singular invocation suggests that Gunther might be Christian, although in general throughout the poem he represents the older, Germanic warrior ethos in all its problematic glory. MCD}}
+"cunctipotens": all-powerful one, presumably God. The singular invocation suggests that Gunther might be Christian, although in general throughout the poem he represents the older, Germanic warrior ethos in all its problematic glory. MCD [Good point: so far as I can remember, the adjective is used solely of the Christian God. The epithet might be useful in dating the poem: check the Thesaurus Linguae Latinae and the Mittellateinisches Worterbuch sub voce. JZ]}}
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 |[[haec4|Haec]] [[ait]] [[et]] [[mensam]] [[pede]] [[perculit]] [[exiliensque]]
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-|{{Parallel|''Aeineid'' 10.858: ''equum duci iubet.'' ‘He bids his horse be brought.’
+|{{Parallel|''Aeneid'' 10.858: ''equum duci iubet.'' ‘He bids his horse be brought.’
 }}
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-|{{Comment|Gunther has placed Hagan in an almost unbearable position in which he will be forced to betray one of his vows unless he can dissuade the king. Ward argues that Hagan in punished for breaking his vow with the loss of his eye and his teeth (Roman Epic, ed. Boyle, 1993). It is difficult to see, however, what Hagan could have done differently. The Waltharius-poet may be attempting to show the limitations of the Germanic warrior-ethos, which in his eyes limits ethical behavior. MCD}}
+|{{Comment|Gunther has placed Hagan in an almost unbearable position in which he will be forced to betray one of his vows unless he can dissuade the king. Ward argues that for breaking his vow Hagan in punished with the loss of his eye and his teeth (Roman Epic, ed. Boyle, 1993). It is difficult to see, however, what Hagan could have done differently. The Waltharius-poet may be attempting to show the limitations of the Germanic warrior-ethos, which in his view limits ethical behavior. MCD}}
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-|{{Parallel|: ''Aeineid'' 1.101; 8.539; 12.328: ''fortia corpora. . .'' ‘Bodies of the brave. . .’
+|{{Parallel|: ''Aeneid'' 1.101; 8.539; 12.328: ''fortia corpora. . .'' ‘Bodies of the brave. . .’
 }}
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-|{{Parallel|: ''Aeineid'' 1.101; 8.539; 12.328: ''fortia corpora. . .'' ‘Bodies of the brave. . .’
+|{{Parallel|: ''Aeneid'' 1.101; 8.539; 12.328: ''fortia corpora. . .'' ‘Bodies of the brave. . .’
 <br />Prudentius, ''Hamartigenia'' 423: ''. . .squamosum thoraca gerens de pelle colubri. '' ‘. . .Wearing a scaly breast-plate of snakeskin.’
 }}
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-|{{Comment|"Squamosus": literally, scaly. It is a powerful image which captures the appearance of closely-woven Germanic corslets, but it also brings interesting reptilian associations to Hagan and his men. Dragons, traditional symbols of greed, are often described in terms of their impenetrable scales (as in Beowulf, ll. 2574-2680). By putting on scales, Gunther and his men become less than men, half-beasts transformed by greed. Indeed, in medieval literature dragons are occasionally imagined as demonic versions of men. In the late medieval English romance Bevis of Hampton, two greedy and warring lords are transformed by the Devil into dragons and terrorize Germany and Italy.}}
+|{{Comment|"Squamosus": literally, "scaly." This image not only captures the appearance of closely-woven Germanic corslets but also brings interesting reptilian associations to Hagan and his men. Dragons, traditional symbols of greed, are often described in terms of their impenetrable scales (as in Beowulf, ll. 2574-2680). By putting on scales, Gunther and his men become less than men, half-beasts transformed by greed. Indeed, in medieval literature dragons are occasionally imagined as demonic versions of men. In the late medieval English romance Bevis of Hampton, two greedy and warring lords are transformed by the Devil into dragons and terrorize Germany and Italy.}}
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 |[[hic2|Hic]] [[tantum1|tantum]] [[gazae]] [[Francis]] [[deducat]] [[ab|ab ]][[oris]]?'
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-|{{Comment|"imbellum": literally, "unwarlike one." Despite the ferryman's undeniably bellicose description, Gunther and his men imagine Walther will be easy to overcome. I suspect this is not meant to sound at all logical, in order to emphasize further Gunther's overweening pride and greed. This is an instance of dramatic irony on the part of the Waltharius-poet (see Green, Irony in the Medieval Romance, 1979). MCD}}
+|{{Comment|"imbellum": literally, "unwarlike." Despite the ferryman's description of the bellicose passenger, Gunther and his men imagine that Walther will be easy to overcome. The disjunction emphasizes further Gunther's overweening pride and greed. This is an instance of dramatic irony on the part of the Waltharius-poet (see Green, Irony in the Medieval Romance, 1979). MCD}}
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 |[[sed1|Sed]] [[tamen1|tamen]] [[omnimodis]] [[Hagano]] [[prohibere]] [[studebat]],
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-|{{Comment|Kratz translates "infelix" as "ill-starred," a somewhat figurative rendering. Literally, the word denotes infertility, as in Virgil's Georgics, 2.237-239 ("intereunt segetes, subit aspera silva, / lappaeque tribolique, interque nitentia culta /infelix lolium et steriles dominantur avena.") It also comes to carry the meaning of unhappiness, even denoting someone who causes unhappiness. This last definition might best describe the troublemaker Gunther, though the word's connotations of infertility also ominously foreshadow Gunther's fate. MCD}}
+|{{Comment|Kratz translates "infelix" as "ill-starred," a somewhat figurative rendering. Literally, the word can denote infertility, as in Virgil's Georgics, 2.237-239 ("intereunt segetes, subit aspera silva, / lappaeque tribolique, interque nitentia culta /infelix lolium et steriles dominantur avena.") It also comes to carry the meaning of unhappiness, even denoting someone who causes unhappiness. This last definition might best describe the troublemaker Gunther, though the word's connotations of infertility also ominously foreshadow Gunther's fate. MCD}}
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-|{{Comment|The "portitor" (ferry-man) is the only non-noble character mentioned in the whole of the poem. There is no clear explanation for why he would bring his fee to the Gunther's court. One possibility is that he is paid directly by the king rather than through his labor. Another is that the fish, as an unfamiliar species, would constitute a "wonder" which the king would want to see. (For further insight into the motif of marvels in medieval literature, see Ziolkowki, Fairy Tales Before Fairy Tales (2007), pp. 184-186.) Either way, the outcome of the ferry-man's conscientiousness is weighty for Walther. His epic battle depends on his choice of ferryman, his choice of fee, and the coincidence that he should have brought a fish previously unknown among the Franks. The poet seems untroubled that his narrative should hang upon such a flimsy plot device. MCD}}
+|{{Comment|The "portitor" (ferry-man) is the only non-noble character mentioned in the whole of the poem. There is no clear explanation for why he would bring his fee to the Gunther's court. One possibility is that he is paid directly by the king rather than through his labor. Another is that the fish, as an unfamiliar species, would constitute a "wonder" which the king would want to see. (For further insight into the motif of marvels in medieval literature, see Ziolkowki, Fairy Tales Before Fairy Tales (2007), pp. 184-186.) Either way, the outcome of the ferry-man's conscientiousness is weighty for Walther. His epic battle depends on his choice of ferryman, his choice of fee, and the coincidence that he should have brought a fish previously unknown among the Franks. The poet seems untroubled that his narrative should hang upon such a flimsy plot device. MCD <br /> Filmmaker Alfred Hitchcock was famous for his introduction of the term 'MacGuffin,' essentially an arbitrary vehicle through which to set off the action of his films. Perhaps who the ferryman is or why he heads to Gunther's court is less important than the fact that Walther and his treasure is drawn to Gunther's attention. [AP].}}
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 |[[Regalique]] [[coco]], [[reliquorum]] [[quippe]] [[magistro]],

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-|{{Comment|The "portitor" (ferry-man) is the only non-noble character mentioned in the whole of the poem. There is no clear explanation for why he would bring his fee to the Gunther's court, unless he is paid directly by the king rather than through his labor. The outcome of his conscientiousness, however, is weighty for Walther. His epic battle depends on his choice of ferryman, his choice of fee, and the coincidence that he should have brought a fish previously unknown among the Franks. The poet seems untroubled that his narrative should hang upon such a flimsy plot device. MCD [This is an interesting tack. A possible explanation is that subjects were expected to bring marvels of nature to their rulers. This concept is evident in the twelfth-century Rapularius, with which I deal in _Fairy Tales from Before Fairy Tales_: an impoverished knight-turned-farmer happens to grow a gigantic turnip, which he presents to the king. JZ]}}
+|{{Comment|The "portitor" (ferry-man) is the only non-noble character mentioned in the whole of the poem. There is no clear explanation for why he would bring his fee to the Gunther's court. One possibility is that he is paid directly by the king rather than through his labor. Another is that the fish, as an unfamiliar species, would constitute a "wonder" which the king would want to see. (For further insight into the motif of marvels in medieval literature, see Ziolkowki, Fairy Tales Before Fairy Tales (2007), pp. 184-186.) Either way, the outcome of the ferry-man's conscientiousness is weighty for Walther. His epic battle depends on his choice of ferryman, his choice of fee, and the coincidence that he should have brought a fish previously unknown among the Franks. The poet seems untroubled that his narrative should hang upon such a flimsy plot device. MCD}}
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 |[[Regalique]] [[coco]], [[reliquorum]] [[quippe]] [[magistro]],

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-||{{Comment|A somewhat problematic line to translate. Kratz writes that Hildegund "matched him stride for stride." This is a good but loose rendering. Literally, the line reads "the girl bruises heel with heel." This translation suggests Hildegund's loyalty and closeness to Walther. Another possibility: "the girl wipes out footprint with footprint." MCD [It would be a good idea to look at a commentary on Aeneid 5 to see how line 324 is construed. JZ]}}
+||{{Comment|A somewhat problematic line to translate. Kratz writes that Hildegund "matched him stride for stride." This is a good but loose rendering. Literally, the line reads "the girl bruises heel with heel." This translation suggests Hildegund's loyalty and closeness to Walther. Another possibility: "the girl wipes out footprint with footprint."  The phrasing imitates Virgil's Aeneid (V.324). R. Deryk Williams (Aeneid I-VI, 2006) acknowledges the difficulty of the phrase there too, suggesting that it based on Homer's formulation in the Iliad (23.763, in which Odysseus "is treading in Ajax's footsteps before the dust had settled" (420). MCD}}
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 |[[Ipsaque]] [[robustum]] [[rexit]] [[per]] [[lora]] [[caballum]]

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-||{{Comment|sonipes: like cornipes, another word for the horse, Lion. This time the word emphasizes the noise its hooves make. These euphemisms for the horse echo a feature of Germanic and Norse poetic language, the kenning, which describes a well-known noun circuitously. Thus, an Old English word for "ocean" is "hronrad," or "whale-road." Likewise, in Old Norse, gold is called "Otter's Ransom" and "Freya's Tears," among numerous other titles. "Sonipes" could be translated as "sounding-foot" and "cornipes" as "horn-foot." (The words also work metonymically, substituting the part of a horse (the hoof) to signify the whole.) Likewise, the description at line 1059 of a wound as a necklace ("torquem") suggests that the poet is remembering the style of German kennings. MCD}}
+||{{Comment|sonipes: like cornipes, another word for the horse, Lion. This time the word emphasizes the noise its hooves make. These euphemisms for the horse echo a feature of Germanic and Norse poetic language, the kenning, which describes a well-known noun circuitously. Thus, an Old English word for "ocean" is "hronrad," or "whale-road." Likewise, in Old Norse, gold is called "Otter's Ransom" and "Freya's Tears," among numerous other titles. "Sonipes" could be translated as "sounding-foot" and "cornipes" as "horn-foot." (The words also work metonymically, substituting the part of a horse --- the hoof --- to signify the whole.) Likewise, the description at line 1059 of a wound as a necklace ("torquem") suggests that the poet is remembering the style of German kennings. MCD}}
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 |[[Atque]] [[superba]] [[cupit]] [[glomerare]] [[volumina]] [[crurum]],

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-|{{Parallel|''Aeineid'' 7.148-149.: ''cum prima lustrabat lampade terras/ orta dies. . . '' ‘When the risen day was lighting the earth with her earliest torch. . .’'' ''12.113-114.: ''Postera vix summos spargebat lumine montis/ orta dies. '' ‘The next dawn was just beginning to sprinkle the mountain tops with light.’ ''Georgics ''3.357:'' Sol pallentis haud umquam discutit umbras.'' ‘Never does the Sun scatter the pale mists.’ 12.669: ''ut primum discussae umbrae. . .'' ‘As soon as the shadows scattered. . .’
+|{{Parallel|''Aeneid'' 7.148-149.: ''cum prima lustrabat lampade terras/ orta dies. . . '' ‘When the risen day was lighting the earth with her earliest torch. . .’'' ''12.113-114.: ''Postera vix summos spargebat lumine montis/ orta dies. '' ‘The next dawn was just beginning to sprinkle the mountain tops with light.’ ''Georgics ''3.357:'' Sol pallentis haud umquam discutit umbras.'' ‘Never does the Sun scatter the pale mists.’ 12.669: ''ut primum discussae umbrae. . .'' ‘As soon as the shadows scattered. . .’
 }}
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-|{{Comment|The "portitor" (ferry-man) is the only non-noble character mentioned in the whole of the poem. There is no clear explanation for why he would bring his fee to the Gunther's court, unless he is paid directly by the king rather than through his labor. The outcome of his conscientiousness, however, is weighty for Walther. His epic battle depends on his choice of ferryman, his choice of fee, and the coincidence that he should have brought a fish previously unknown among the Franks. The poet seems untroubled that his narrative should hang upon such a flimsy plot device. MCD}}
+|{{Comment|The "portitor" (ferry-man) is the only non-noble character mentioned in the whole of the poem. There is no clear explanation for why he would bring his fee to the Gunther's court, unless he is paid directly by the king rather than through his labor. The outcome of his conscientiousness, however, is weighty for Walther. His epic battle depends on his choice of ferryman, his choice of fee, and the coincidence that he should have brought a fish previously unknown among the Franks. The poet seems untroubled that his narrative should hang upon such a flimsy plot device. MCD [This is an interesting tack. A possible explanation is that subjects were expected to bring marvels of nature to their rulers. This concept is evident in the twelfth-century Rapularius, with which I deal in _Fairy Tales from Before Fairy Tales_: an impoverished knight-turned-farmer happens to grow a gigantic turnip, which he presents to the king. JZ]}}
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 |[[Regalique]] [[coco]], [[reliquorum]] [[quippe]] [[magistro]],
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 |{{Commentary|''Ab alto'': sc. ''solio'' vel sim.
 }}
-|{{Parallel|''Aeineid'' 8.115: ''tum pater Aeneas puppi sic fatur ab alta.'' ‘Then father Aeneas speaks thus from the high stern.’ Statius, ''Thebaid'' 12.641: ''curru sic fatur ab alto. '' ‘He speaks thus from his lofty chariot.’
+|{{Parallel|''Aeneid'' 8.115: ''tum pater Aeneas puppi sic fatur ab alta.'' ‘Then father Aeneas speaks thus from the high stern.’ Statius, ''Thebaid'' 12.641: ''curru sic fatur ab alto. '' ‘He speaks thus from his lofty chariot.’
 }}
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-| {{Comment|This is the same Gunther mentioned earlier in the poem (ll. 13-33), who was too young to leave his mother and who later grew up to dissolve all ties with the Huns. We know little of his character at this point, other than the fact that he does not feel bound to honor the treaties his father made with the Huns. It is difficult to interpret Gunther's breach of promise. On on hand, faithfulness to oaths held society together, and the failures of Walther and Hagan to keep their childhood oaths are arguably punished at the end of the Waltharius. On the other hand, subjection was considered shameful, so Gunther's attempt to reinstate his kingly dignity might have been read as praiseworthy. The natural narrative shape of the poem has also led us to think of him as "less than" Hagan, since he was a little boy when Hagan was old enough to be sent as a hostage and become a great warrior.
+| {{Comment|This is the same Gunther mentioned earlier in the poem (ll. 13-33), who was too young to leave his mother and who later grew up to dissolve all ties with the Huns. We know little of his character at this point, other than the fact that he does not feel bound to honor the treaties his father made with the Huns. It is difficult to interpret Gunther's breach of promise. On the one hand, faithfulness to oaths held society together, and the failures of Walther and Hagan to keep their childhood oaths are arguably punished at the end of the Waltharius. On the other hand, subjection was considered shameful, so Gunther's attempt to reinstate his kingly dignity might have been read as praiseworthy. The natural narrative shape of the poem has also led us to think of him as "less than" Hagan, since he was a little boy when Hagan was old enough to be sent as a hostage and become a great warrior.
 Ab alto: presumably from his throne, or perhaps more figuratively, with authority as a king MCD}}
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-|{{Parallel|''Aeineid'' 5.852: ''talia dicta dabat''. ‘He said such words.’ 3.179: ''remque ordine pando.'' ‘I reveal all in order.’
+|{{Parallel|''Aeneid'' 5.852: ''talia dicta dabat''. ‘He said such words.’ 3.179: ''remque ordine pando.'' ‘I reveal all in order.’
 }}
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-|{{Comment|The poet's choice of words resembles Virgil's description of Aeneas, when he first receives Apollo's prophecy that he should found a new land in Italy. On waking, he tells Dido, he springs up and carefully retells his prophetic dream to his father ("remque ordine pando"). It is possible that by echoing Aeneas' account in the ferryman's, the poet intends an ironic parallel between Aeneas' and Anchises' joy at the future and Hagan and Gunther's reactions to the news of Walther's presence near Worms. Since Walther needs to return home to found his own successful dynasty, the comparison is apt. MCD}}
+|{{Comment|The poet's choice of words resembles Virgil's description of Aeneas, when he first receives Apollo's prophecy that he should found a new land in Italy. On waking, he tells Dido, he springs up and carefully retells his prophetic dream to his father ("remque ordine pando"). It is possible that by echoing Aeneas' account in the ferryman's, the poet intends an ironic parallel between Aeneas' and Anchises' joy at the future and Hagan's and Gunther's reactions to the news of Walther's presence near Worms. Since Walther needs to return home to found his own successful dynasty, the comparison is apt. MCD}}
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 |[[Vespere]] [[praeterito]] [[residebam]] [[litore]] [[Rheni]]
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 |{{Commentary|''Pugnae certum'': “sure he would have a fight”
 }}
-|{{Parallel|''Aeineid'' 4.554: ''iam certus eundi. . .'' ‘Now that he was resolved on going. . .’
+|{{Parallel|''Aeneid'' 4.554: ''iam certus eundi. . .'' ‘Now that he was resolved on going. . .’
 }}
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-|{{Parallel|''Aeineid'' 12.431: ''hastamque coruscat. '' ‘He is brandishing his spear.’
+|{{Parallel|''Aeneid'' 12.431: ''hastamque coruscat. '' ‘He is brandishing his spear.’
 }}
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-| {{Comment|"corsucat": The poet is fond of words that denote shining, sparkling, or flashing. In this case, the sparkle is literally applied to the reflection of the brandished spear. In other cases, however, it denotes fame, beauty, or worth. Thus, Worms is described as "nitentem" (l. 433) and Walther as "coruscus" (l. 525). MCD}}
+| {{Comment|"coruscat": The poet is fond of words that denote shining, sparkling, or flashing. In this case, the sparkle is literally applied to the reflection of the brandished spear. In other cases, however, it denotes fame, beauty, or worth. Thus, Worms is described as "nitentem" (l. 433) and Walther as "coruscus" (l. 525). MCD}}
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 |[[Namque]] [[viro]] [[forti1|forti]] [[similis]] [[fuit]], [[et]] [[licet]] [[ingens]]
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-|{{Parallel|''Aeineid'' 1.589: ''os umerosque deo similis. . . '' ‘Godlike in face and shoulders. . .’
+|{{Parallel|''Aeneid'' 1.589: ''os umerosque deo similis. . . '' ‘Godlike in face and shoulders. . .’
 }}
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-|{{Comment|The poet alters a Virgilian formula in which Aeneas is similar to a god to render Walther similar "to a strong man." What this lacks in rhetorical force it makes up in historical interest. The poet apparently is trying to create a hero who preserves the classic heroic features while divorcing him from a divine background and placing him firmly in the Christian universe subordinate to the monotheistic God. MCD}}
+|{{Comment|To render Walther similar "to a strong man," the poet alters a Virgilian formula in which Aeneas resembles a god  What this allusion lacks in rhetorical force, it makes up in historical interest. The poet apparently is trying to create a hero who preserves the classic heroic features while divorcing him from a divine background and placing him firmly in the Christian universe subordinate to the monotheistic God. MCD}}
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 |[[Asportaret]] [[onus]], [[gressum]] [[tamen]] [[extulit]] [[acrem1|acrem]].
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 |{{Comment|"Nitore": See note above.
-This description of Hildegund echoes the poet's original depiction of her in her father's home. There, she was "stemmata formae"; here, "decorata formae." The use of the word "formae" implies symmetry and perfection above mere attraction. Hildegund is the ideal woman, and as such, it is appropriate to "crown" her prematurely in the poem. MCD}}
+This description of Hildegund echoes the poet's original depiction of her in her father's home. There, she was "stemmate formae"; here, "decorata formae." The use of the word "formae" implies symmetry and perfection above mere attraction. Hildegund is the ideal woman, and as such, it is appropriate to "crown" her prematurely in the poem. MCD}}
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 |[[Assequitur]] [[calce]]mque [[terit]] [[iam]] [[calce]] [[puella1|puella]].
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-||{{Comment|A somewhat problematic line to translate. Kratz writes that Hildegund "matched him stride for stride." This is a good but loose rendering. Literally, the line reads "the girl bruises heel with heel." This translation suggests Hildegund's loyalty and closeness to Walther. Another possibility: "the girl wipes out footprint with footprint." MCD}}
+||{{Comment|A somewhat problematic line to translate. Kratz writes that Hildegund "matched him stride for stride." This is a good but loose rendering. Literally, the line reads "the girl bruises heel with heel." This translation suggests Hildegund's loyalty and closeness to Walther. Another possibility: "the girl wipes out footprint with footprint." MCD [It would be a good idea to look at a commentary on Aeneid 5 to see how line 324 is construed. JZ]}}
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 |[[Ipsaque]] [[robustum]] [[rexit]] [[per]] [[lora]] [[caballum]]
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-||{{Comment|sonipes: like cornipes, another word for the horse, Lion. This time the word emphasizes the noise its hooves make. These euphemisms for the horse echo a feature of Germanic and Norse poetic language, the kenning, which describes a well-known noun circuitously. Thus, an Old English word for "ocean" is "hronrad," or "whale-road." Likewise, in Old Norse, gold is called "Otter's Ransom" and "Freya's Tears," among numerous other titles. MCD}}
+||{{Comment|sonipes: like cornipes, another word for the horse, Lion. This time the word emphasizes the noise its hooves make. These euphemisms for the horse echo a feature of Germanic and Norse poetic language, the kenning, which describes a well-known noun circuitously. Thus, an Old English word for "ocean" is "hronrad," or "whale-road." Likewise, in Old Norse, gold is called "Otter's Ransom" and "Freya's Tears," among numerous other titles. MCD [The description of a slit neck as being like a necklace seems to me closer to a kenning than these two words, which come closer to metonymy or synecdoche. JZ]}}
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 |[[Atque]] [[superba]] [[cupit]] [[glomerare]] [[volumina]] [[crurum]],

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 |{{Comment|The cook forms a vital part of the court, and this one clearly has accrued great prestige to be called "magister." Germanic society depended heavily on the custom of feasting, sharing food and drink. Beowulf, for example, features several feasts in which past triumphs and defeats are remembered, new alliances are forged, and followers are rewarded. In the context of eating, Germans created and confirmed their cultural identity and cohesion. MCD}}
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 |[[Detulerat]] [[pisces]], [[quos]] [[vir]] [[dedit]] [[ille]] [[viator]].
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-|{{"Squamosus": literally, scaly. It is a powerful image which captures the appearance of closely-woven Germanic corslets, but it also brings interesting reptilian associations to Hagan and his men. Dragons, traditional symbols of greed, are often described in terms of their impenetrable scales (as in Beowulf, ll. 2574-2680). By putting on scales, Gunther and his men become less than men, half-beasts transformed by greed. Indeed, in medieval literature dragons are occasionally imagined as demonic versions of men. In the late medieval English romance Bevis of Hampton, two greedy and warring lords are transformed by the Devil into dragons and terrorize Germany and Italy.}}
+|{{Comment|"Squamosus": literally, scaly. It is a powerful image which captures the appearance of closely-woven Germanic corslets, but it also brings interesting reptilian associations to Hagan and his men. Dragons, traditional symbols of greed, are often described in terms of their impenetrable scales (as in Beowulf, ll. 2574-2680). By putting on scales, Gunther and his men become less than men, half-beasts transformed by greed. Indeed, in medieval literature dragons are occasionally imagined as demonic versions of men. In the late medieval English romance Bevis of Hampton, two greedy and warring lords are transformed by the Devil into dragons and terrorize Germany and Italy.}}
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 |[[hic2|Hic]] [[tantum1|tantum]] [[gazae]] [[Francis]] [[deducat]] [[ab|ab ]][[oris]]?'