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(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|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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||{{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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Revision as of 17:23, 15 December 2009

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)

Orta dies postquam tenebras discusserat atras,  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. . .’

 

 DSDSDS   "Atras": Coal-black, gloomy, dark. The adjective is associated in classical Latin with words of burning (for example, Aetna) and is never used positively. It usually indicates misfortune, suffering, or at the very least confusion. The fact that Walther spent a "nox atra" should worry a reader: unfortunate times lie ahead for him.

Note the regular DSDSDS scansion, again mimicking the regular marching of the travelers and perhaps also the structured tale retold "ex ordine." MCD 

Portitor exurgens praefatam venit in urbem  Praefatam (found only in later and juridical Latin) equiv. to supra dictam

 

 DSSSDS   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] 
Regalique coco, reliquorum quippe magistro,  SDDSDS   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 
Detulerat pisces, quos vir dedit ille viator.  Vir…ille viator: i.e., Waltharius

 

 DSSDDS 
Hos dum pigmentis condisset et apposuisset 440  Pigmentis: “spices”

 

 SSSDDS   The fish is spiced, "pigmentis." The word can also mean painted, which clearly does not apply in this context. However, at line 301, the poet uses the adjective "pigmentatus," which could reasonably be applied to mean "spiced wine" or "painted cups." The use of the word here perhaps suggests that he means spices in the earlier context as well. MCD 
Regi Gunthario, miratus fatur ab alto:  Ab alto: sc. solio vel sim.

 

 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.’

 

 SDSSDS   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 

Istius ergo modi pisces mihi Francia numquam  Istius ergo modi pisces: Althof characteristically speculates at length about what fish this could be (visually identifiable, edible, found in the Danube region but not in the Rhine) and decides that it must be the huchen. Fishing as recreation was popular among the nobility of the poet’s time. Ergo is here merely a weak intensifier.

 

 
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 DDSDDS 
Ostendit: reor externis a finibus illos.  SDSSDS 
Dic mihi quantocius: cuias homo detulit illos?'  Quantocius: “the quicker the better”
Cuias homo: “A man of what country?”

 

 DDSDDS   Gunther's urgent need to know who brought the fish is difficult to account for apart from the poet's need to bring the king and Walther into collision. MCD 
Ipseque respondens narrat, quod nauta dedisset. 445  Ipse: the cook
Nauta: the ferryman (portitor, line 437)

 

 DSSSDS 
Accersire hominem princeps praecepit eundem;  SDSSDS
Elision: accersire hominem
 
Et, cum venisset, de re quaesitus eadem  SSSSDS 
Talia dicta dedit causamque ex ordine pandit:  Aeneid 5.852: talia dicta dabat. ‘He said such words.’ 3.179: remque ordine pando. ‘I reveal all in order.’

 

 DDSSDS
Elision: causamque ex
 
 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 
Vespere praeterito residebam litore Rheni  Statius, Silvae 2.5.28: litore Rheni. . . ‘From the banks of the Rhine. . .’

 

 
Rhine River
 
 DDDSDS   The ferryman's account takes on the qualities of a vision, especially since his description primarily creates an image rather than a narrative of Walther and Hildegund. The poet is creating the poetic equivalent of a film flashback. MCD 
Conspexique viatorem propere venientem 450  SDSDDS 
Et veluti pugnae certum per membra paratum:  Pugnae certum: “sure he would have a fight”

 

 Aeneid 4.554: iam certus eundi. . . ‘Now that he was resolved on going. . .’

 

 DSSSDS   The poet emphasizes again Walther's formidable appearance in his armor. In the lines that follow, he enumerates again the items of armor Walther has worn from Pannonia, though this has already been described at ll. 333-340. The reiteration emphasizes Walther's identity as a warrior and the impressive appearance he makes to all who see him. He is the type of a classical or Germanic hero, physically recognizable as greater than other men, and his identity is fused with his warrior spirit. On a more naturalistic level, the reiteration of his armor prepares the reader for Walther's fatigue when he and Hildegund arrive in the Vosges, since he has enacted the warrior role for the entirety of their forty-day journey. MCD 
Aere etenim penitus fuerat, rex inclite, cinctus  DDDSDS
Elision: aere etenim
 
Gesserat et scutum gradiens hastamque coruscam.  Aeneid 12.431: hastamque coruscat. ‘He is brandishing his spear.’

 

 DSDSDS   "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 
Namque viro forti similis fuit, et licet ingens  Aeneid 1.589: os umerosque deo similis. . . ‘Godlike in face and shoulders. . .’

 

 DSDDDS   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 
Asportaret onus, gressum tamen extulit acrem. 455  Aeneid 10.553: loricam clipeique ingens onus impedit. ‘He pins the corslet and the shield’s huge burden together.’ 2.753: qua gressum extuleram. ‘. . .By which I had left the city.’

 

 SDSDDS 
Hunc incredibili formae decorata nitore  Liber Hester 2.15: erat enim formonsa valde et incredibili pulchritudine. ‘For she was exceeding fair, and with incredible beauty.’ `

 

 SDSDDS   "Nitore": See note above.

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 

Assequitur calcemque terit iam calce puella.  Assequitur equiv. to simply sequitur

 

 Aeneid 5.324: calcemque terit iam calce. ‘He grazes foot with foot.’

 

 DSDSDS   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] 
Ipsaque robustum rexit per lora caballum  Caballum: the Vulgar Latin word for equus, rare in Classical authors, but the progenitor of French cheval, Spanish caballo, Italian cavallo, etc.

 

 DSSSDS 
Scrinia bina quidem dorso non parva ferentem,  DDSSDS 
Quae, dum cervicem sonipes discusserit altam 460  SSDSDS   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 
Atque superba cupit glomerare volumina crurum,  Glomerare volumina crurum: i.e., to flex its long legs.

 

 Georgics 3.117: insultare solo gressus glomerare superbos. ‘. . .To gallop over the earth and round his proud paces.’ 3.192: sinuetque alterna volumina crurum. ‘Let him bend his legs in alternating curves.’

 

 DDDDDS   The picture of the perfect hero with the perfect woman is completed by the perfect, sprited horse. The poet creates a strong image. MCD 
Dant sonitum, ceu quis gemmis illiserit aurum.  Aeineid 12.524: dant sonitum spumosi amnes. ‘Foaming rivers roar.’ Statius, Thebaid 5.564: dat sonitum tellus. ‘The earth re-echoes.’

 

 DSSSDS   "gemmis": When she is first introduced, Hildegund is described as the "gemma parentum," the jewel of her parents (l. 74). Ward suggests that Hildegund is the true treasure in this scenario, although the vivid and tempting picture the ferryman paints here makes it easy to understand why Gunther misses this moral. MCD 
Hic mihi praesentes dederat pro munere pisces.'  DSDSDS 
His Hagano auditis -- ad mensam quippe resedit --  DSSSDS
Elision: Hagano auditis
 
 "quippe": emphasizes that Hagan is one of Gunther's closest allies and associates. Wherever the king sits, Hagan sits also. This will increase the gravity of Hagan's dilemma later in the poem. MCD 
Laetior in medium prompsit de pectore verbum: 465  DDSSDS 
Congaudete mihi quaeso, quia talia novi:  SDSDDS 
Waltharius collega meus remeavit ab Hunis.'  
Europe500.png
 
 DSDDDS   Hagan recognizes his childhood friend immediately by his description. MCD 
Guntharius princeps ex hac ratione superbus  DSSDDS 
Vociferatur, et omnis ei mox aula reclamat:  DDDSDS 
Congaudete mihi iubeo, quia talia vixi! 470  Iubeo: tellingly replaces Hagen’s humbler quaeso (line 166).

 

 SDDDDS   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 
Gazam, quam Gibicho regi transmisit eoo,  Eoo equiv. to orientis, i.e., Hunnorum.

 

 SDSSDS 
Nunc mihi cunctipotens huc in mea regna remisit.'  Cuncipotens: sc. Deus

 

 Aeneid 2.543: meque in mea regna remisit. ‘He has sent me back to my realm.’

 

 DDSDDS   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.

"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 

Haec ait et mensam pede perculit exiliensque  DSDDDS 
Ducere equum iubet et sella componere sculpta  Aeineid 10.858: equum duci iubet. ‘He bids his horse be brought.’

 

 DDSSDS
Elision: ducere equum
 
Atque omni de plebe viros secum duodenos 475  SSDSDS
Elision: atque omni
 
Viribus insignes, animis plerumque probatos  Epistula ad Thessalonicenses 1.2.4: probati sumus a Deo. ‘We are tested by God.’

 

 DSDSDS 
Legerat. inter quos simul ire Haganona iubebat.  DSDDDS
Elision: H-ELISION: ire Haganona
 
Qui memor antiquae fidei sociique prioris  DSDDDS 
Nititur a coeptis dominum transvertere rebus.  DSDSDS   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 
Rex tamen econtra nihilominus instat et infit: 480  Econtra: formed from the preposition and the adverb. Beck gives examples of similar Vulgar Latin combinations that survive in French: de retro (derrière), de intus (dans), de unde (dont).

 

    DSDDDS 
Ne tardate, viri, praecingite corpora ferro  : Aeineid 1.101; 8.539; 12.328: fortia corpora. . . ‘Bodies of the brave. . .’

 

 SDSDDS 
Fortia, squamosus thorax iam terga recondat.  : Aeineid 1.101; 8.539; 12.328: fortia corpora. . . ‘Bodies of the brave. . .’


Prudentius, Hamartigenia 423: . . .squamosum thoraca gerens de pelle colubri. ‘. . .Wearing a scaly breast-plate of snakeskin.’  

 DSSSDS   "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. 
Hic tantum gazae Francis deducat ab oris?'  Liber Deuteronomii 1.41: instructi armis. . . ‘Ready armed. . .’ Danihel Propheta 3.22: nam iussio regis urgebat. ‘For the king’s commandment was urgent.’

 

 
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 SSSSDS 
Instructi telis, nam iussio regis adsurget,  SSSDDS 
Exibant portis, te Waltharium cupientes 485  Te Waltharium: apostrophe.

 

 SSSDDS 
Cernere et imbellem lucris fraudare putantes.  Lucris fraudare equiv. to [se eum] armillis fraudaturos

 

 DSSSDS
Elision: cernere et
 
 "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 
Sed tamen omnimodis Hagano prohibere studebat,  DDDDDS 
At rex infelix coeptis resipiscere non vult.  SSSDDS   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 

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