> [[renoir]]. “Oral-Formulaic Tradition and the Affective Interpretation of Early Germanic Verse”. in [[calder-christy1988eds]]. #nopdf ## Notes ### Theme A (“A” is my term, just for organization) A west germanic verse formula: “I/we learned/heard of…” ex. The opening of Beowulf Introductory, in that is appears either at the beginning of a text or at the start of a chapter/episode within the text. Appears within the following formulaic theme (found in Beowulf, Andreas, The Fates of the Apostles, Ludwigslied). A hero/heroine who: (1) goes from one location to another, (2) is in serious danger, (3) experiences some kind of physical, moral, or emotional trial or testing, and (4) emerges physically, morally, or emotionally victorious, usually against initially discouraging odds. —Beowulf (1) sails to Denmark (210-228), (2) meets two monsters (745-823 and 1492-1668), (3) is physically confronted by them and is morally confronted by a disgruntled retainer named Unferth (499-528); and (4) is officially proclaimed victorious both physically and spiritually (1840-1854). Later, he (1) follows (1399-1417) two monstrous visitors from elsewhere (1349a, ellorgæstas) to their mysterious pond, (2) seriously endangers his life by diving to the bottom (1492-1512), (3) fights one of them (1518-1568), and (4) wins (1563-1568). —Sigmund we learn he has (1) travelled on all kinds of far-ranging adventurers (877b), (2) been in danger (877a, 879a), (3) fought giants (833), and (4) beaten them (844). —Hildebrand (1) returns from the east (ostar, 22b), (2) is challenged to mortal combat by his son, Hadubrand, who does not recognize him (37-44), (3) experiences the tragedy of fighting his own son (53-54)—which is just about the worst tragedy to befall a warrior in germanic society since it valued the father-son relationship so much, Egil Skalla-Grīmsson in his Sonatorrek even compares the life of a father after the death of his son to a withered stump—(4) [missing, but the Ásmundarsaga Kappabana and Saxo Grammaticus in his Gesta Danorum say Hildebrand “wins” and kills his son.]. ### Theme B The Hero on the Beach (even if there’s no beach) A hero (1) is within sight of retainers, (2) in a position of liminality between two locations, (3) at the outset or conclusion of a journey, and (4) in the presence of some kind of flashing light. Usually this “type-scene” is followed by a slaughter. —Hildebrand (1) untar heriun tuem (3b), and is (2) between two hostile armies (3b), (3) back from his journey to the east (22b), and (4) tries to pacify his son with his bright arm rings and is in the precence of his sons magnificent armor (46a-48b). They then fight and his son dies (63a-64b). ### Theme C (PIE) Someone tells a story about a hero, and the hero is present and listens. It proceeds some kind of trial which the hero must undergo. —In Beowulf, a poet composes a poem about Beowulf in front of Beowulf (871-874). —In the Odyssey, a poet sings about Odysseus in front of Odysseus (VIII.72-82 and 499-520). —In the Hildebrandslied, Hadubrand tells the story of Hildebrand in front of Hildebrand himself, before they fight. ### Theme D (PIE) The “Return Song” narrative topic (1) A women is left behind at home, (2) the hero returns (3) but is not recognized, (4) gifts are mentioned, (5) followed by a risky situation, a settlement, and/or a bloody episode. —Penelope, Odysseus, the massacre of the suitors etc. —South Slavic songs (Lord). Many included a settlement after the hero is recognized, and imply that serious risk was involved. In one of them the hero “kills three hundred” people in the three months following his return. —(1) Hildebrand leaves a bride at home, (2) returns, (3) is not recognized by his son, he then (4) offers him rings (33-35), and (5) then fights him to the death. ### Theme E (PIE) Tragic Father/Son Fight narrative topic A father is forced to kill his son because his son does not recognize his him. —Shanahmeh! —Hildebrandslied. So the Hildebrandslied has two PIE narrative topics and three themes (2 Germanic, 1 PIE) Damn.