The Motif of Wrath and Withdrawal in Medieval European Epic and its Impact on The Homeric Question – Some Preliminary Remarks

Peter Grossardt

doi:10.24277/classica.v32i1.835

Abstract

Building on his research of 2009, the author of the following article will discuss some parallels to the wrath of Achilles in the medieval European tradition, especially in the Latin Song of Waltharius and in the French chanson de geste as exemplified most notably by the Geste de Fierabras. This epic forms the best parallel to the Iliad, but doesn’t seem to depend on it. It is therefore claimed that the opening of the Iliad with the immediate conflict between the king and his main vassal represents a traditional device of oral epic poetry. As a consequence, the established idea of a chronographic epic style, which has been replaced by the more dramatic Homeric poems, has to be abandoned. On the contrary, it was the dramatic and colourful motifs like the wrath of Achilles or the conquest of Troy with the help of the Wooden Horse, which formed the kernel of the legend, around which smaller episodes crystallized that were told in a more chronographic style.

Highlights

Building on his research of 2009, the author of the following article will discuss some parallels to the wrath of Achilles in the medieval European tradition, especially in the Latin Song of Waltharius and in the French chanson de geste as exemplified most notably by the Geste de Fierabras
It is claimed that the opening of the Iliad with the immediate conflict between the king and his main vassal represents a traditional device of oral epic poetry
As in the case of Waltharius, there is, an a limine probability that the motif might be derived from Latin sources, which themselves depend on the Iliad, especially from the Ilias Latina, which gives a picturesque description of Achilles drawing his sword against Agamemnon, paralleled, as we have seen, by Roland acting against Charlemagne.[117]

Summary

The latin song of waltharius

The Latin epic of Waltharius is a rather unique work of art combining Germanic lore with Christian faith and a highly developed culture of Latin poetry.[12]. See the detailed discussions of the two fragments by Schneider, 1925; Haug, was cowardice This may only be a retort to Hagano’s unfair allegations immediately preceding.[29] It is quite possible that in the authentic Germanic tradition of the story there was the same motif of Guntharius offending Hagano and Hagano withdrawing from battle exactly as we have it in the Latin song. In the Song of Waltharius the death of Hagano’s nephew Patavrid, who fights as sixth in the row, certainly marks a point of culmination in the story and is heavily mourned by Hagano.[51] But it doesn’t lead to Hagano reentering battle right again This happens only when five more warriors have been killed by Waltharius and Guntharius himself is expected to enter battle against the Aquitainian hero. As we shall presently see, this conclusion is confirmed by a study of the medieval French tradition of the chansons de geste

The old french songs about guillaume au nez courbe

Guillaume and rainouart in the chanson de guillaume

Guillaume and king louis in the charroi de nîmes

The quarrel between charlemagne and roland in the geste de fierabras

Conclusion