Sir Orfeo
The author of the text Sir Orfeo edited by Laskaya, & Salisbury, (1995) is unknown; however, the text’s language indicates that it was written during the late 13th or beginning of the 14th centuries in the Westminster-Middlesex area. On the other hand, the text “Octavian edited by Hudson is considered to have been a 14th-century translation of the 13th century French Romance; it depicts a family romance that starts with a calumniated wife and separated twins. The two texts have numerous literary elements that can as well as be applied to signify the homiletic folklore in medieval writing. This essay intends to provide a traditional literary criticism of Sir Orfeo and Octavian.
Sir Orfeo
The text Sir-Orfeo applies an objective and descriptive style of writing, which can be seen from the use of the third-person narrator. This can as well be seen in the use of a natural semantic field, which focuses the narrator oneness with nature and his disconnection from his wife as well as the kingdom. This style is useful as it applies adjectives, offers an unbiased viewpoint whilst equally setting the scene for the reunion of Orfeo and Heurodis. On the other hand, lines 322-327 are also narrated in the third person, as the plot fails to permit either character to speak.
Imagery has been applied all through the Breton Lay to demonstrate the degree of Orfeo’s love for Heurodis and to establish kindred amid nature and the past king. The passage introduces simile from line (305), ‘Gentil and jolif as bird on ris’ (Laskaya, & Salisbury, 1995). This establishes a contrast amid the ladies and the ‘faucouns’; concurrently portraying the fairies as savages that devour the guiltless, at the same time as linking the ladies with nature, the element which he has depended on in his expedition to get Heurodis. Likewise, onomatopoeia is implemented to depict nature, in the passage from line 305’and ridden on haukin bi o rivere’. This forms a phonetic aspect to romance, which in turn makes the falconry scene to be extra vivid as well as vital to the text. Sir Orfeo, also applies metaphor inform of exclamative and inquisitive sentences in the monologues; this adds realism to his desperate predicament (Laskaya, & Salisbury, 1995). The protagonists personify death thus revealing his sentiment of powerlessness to the audience.
The application of tone is significant to the style of romance since it portrays Sir Orfeo’s mind state to the readers. Notably, the passage starts with a nostalgic, contemplative tone that represents his desire to get back to his previous lifestyle and his fruitless search for his wife. This shows a type of the homiletic folklore in medieval writing, as it is a valuable set of contrasts amid riches and poverty. The style is again applied by Heurodis when she gazes at Sir Orfeo and weeps for his hardship. More melancholy is presented in the middle of the passage; spiritual tone as partners appear to converse with each other regardless of their calm however are torn in their capability to be close with no reuniting. The last part of the passage presents a submissive and somber tone because Sir Orfeo seems to forfeit trust and assumes that his life is unworth living since he saw Heurodis, and against lost her.
The themes that are presented include; love, which is seen as the driving force for Sir Orfeo, though sarcastically, it is as well the reason for his hypothetical demise. Additionally, nature is portrayed as an option to love and helps Orfeo in his quest for his wife; on the other hand, it was the scenery of her kidnap in the opening part of the romance. Finally, there is a depiction of mysticism in this part, based on the quiet communication between Orfeo and Heurodis (Laskaya, & Salisbury, 1995). This becomes paradoxical, since such mysticism, like the greater supremacy of the fairy king, was the cause of Orfeo’s failure to save his wife. Nevertheless, the magical music of Orfeo’s harp aids the get-together of man and wife, hence constituting the joyful ending which is vital to the genre of the Breton Lay.
Rhetorical devices like repetition are applied to highlight the importance of the falconry scene. The falcon depicts the cycle of the earth, which signifies the seasons shifting in Orfeo’s expedition as well as climax and despair of their love. There is also a repetition of ‘Allas’ all through the final part to stress the spirit of Orfeo and the loss of his wife. The syntax becomes of use in depicting the urgency or necessity of Orfeo’s state. Additionally, longer sentences have also been used especially during the meeting between Orfeo and Heurodis, hence establishing a slowing of a moment in which both actors value (Laskaya, & Salisbury, 1995). Nevertheless shorter sentences have also been implemented in the monologues of Orfeo, in the first half depicting his love of nature, as well as in the latter half, unfolding his anger and loneliness. Because this passage depicts an imperative view, certain themes have been presented in it as well as the entire text.
“Octavian”
Nurture is a significant theme presented in Octavian‘s treatment of the family and is first established in the passages where the animals are seen to have carried away the boys. The lioness is searching for her cub’s food she gets Octavian; moreover much is presented of her suckling the newborn as well as her tender, humorous treatment of him. Clement gets a wet nurse to escort Florent to Paris, and the wife likes the boy like her child, caring for him from the wrath of her husband (Hudson, 2006). Clement is also presented to be a loving, and, even a supportive foster father. The theme of love has also been shown further when the editor talks about the boy being protected by Clement. The theme of love presented in the text Octavian is also evident in Sir Orfeo, which means that the two texts share a similar theme.
There are various rhetorical devices that have been applied in the text, Octavian to emphasize different aspects. From the text, humor has also been presented with which conflicting group values are shown. To a certain degree extent, the capability for humor, ironic sarcasm, as well as epic boast is intrinsic in noble character. Numerous intentionally funny scenes are presented in the text Octavian and an array of comedy from joke to subtle irony. It is frequently applied to direct the audience’s reaction to the grouped-based values of Clement and Florent(Hudson, 2006). Moreover, humor emerges from the absurdity of personality and context: primarily the reasonably gentle humor of Florent’s polite personality in the bourgeois environment, as when composed he shows the proper display of falcon’s feathers to the frustrated Clement, next to the additional critical handling of Clement’s actions at court, where the viewers are motivated to get together with the feasting upper class in their scathing laughter at his cost. Previously, when Florent is mocked by the knights in his makeshift armor, the knights are not identified however, the exact reality of their ironic wit C in spite of appearances.
Octavian seems similar to Sir Orfeo in that, it also shows the use of imagery. For instance, in Octavia, imagery has been applied to describe various instances including the time when the boys are carried away by the animals and how they are protected. Octavian has also shown the use of an objective and descriptive style especially when a third-person narrator is applied (Hudson, 2006). This gives more meaning of the context to the readers. However, Octavia does not indicate long sentences but uses short tenses to give more meaning to the readers.
Reflection
The start of Sir Orfeo places it’s text in Breton Lay’s tradition while the harp forms the central image; this can be seen, from the start to the end. On the other hand, in the text, Octavia portrays a family romance that starts with a calumniated wife and separated twins and uses a third-person narrator. Both texts Octavia and Sir Orfeo have a similar literal style which marks them among the Middle English versions. In Sir Orfeo for instance, the objective and descriptive style of writing seen based on the narrator’s oneness with nature, separation with his wife, and the empire. In the text Octavia, the use of the third person also supports the literal style of objective and descriptive style. They also have similar themes that connect their characters to their situations and give the audience a focus point. For example, themes in Sir Orfeo include; love, which is seen as the driving force for Sir Orfeo, though sarcastically, it is as well the reason for his hypothetical demise.