stones of the city into place with his harp, Orfeo and his harp can represent
functions of culture, language, and civilization.” If we are to continue with
this interpretation of Orfeo being a “hero” in the poem, then we must
consider the fact that the performer of the Lay is also one too. As Liuzza
(1991, p.282) comments: “Heurodis must be resurrected by the voice of
the singer just as the written word, in medieval linguistic thought, must
be revived by the voice of the reader/performer.” Unlike in the classic
tale of Orpehus and Eurydice (on which Sir Orfeo is based), we are
met with an Orfeo here, who does not need bravado and machismo to
reclaim his wife. Orfeo loses his wife to this precise mindset “an hundred
knightes” (line 143) could not save Heurodis from the Fairie King. But
now, whilst humbling himself as a “minstrel” Orfeo “kneled adoun bifor
the king” (line 418), and swallows his pride. In contrast to the original tale
of Orpheus and Eurydice, where bravado and defiance of Pluto leads to
a tragic conclusion, Orfeo’s ending here is far more joyous. His battle is
won through patience and honour (Gros & Kenneth, 1967), not bravado
and defiance. In approaching humbly, and only speaking to remind the
Fairie King of the “lesing of thi mouthe” (line 465), Orfeo is showing
how culture can be spread through peaceful means, and in particular,
through the means of a Breton Lay.
Now that order is slowly being restored to the hero, so too is it restored to
the rest of the world. Toward the end of the poem, we see the metaphor
of music representing culture/art continue. Despite having a “berd” that
is down to his “kne “(line 507), Orfeo is not judged on his physiognomy.
Instead he is offered to dine with men of all social classes “mani lording”
(line 520), with ample music “trompours and tabourers, / Harpours fele,
and crouders - / Miche melody thai maked alle” (lines 521-523) on offer.
As a minstrel, his harp (or his cultural background), is enough for him to
be offered a ‘place at the table’. It is only later, in line 582 “Ye beth our
lord, sir, and our king!” that his men identify Orfeo as being their former
King and rejoice. This, to me, demonstrates the enduring impact that
music (being symbolic of culture) has had on Orfeo’s kingdom since
he has left. Despite being gone for ten years, the culture of music has
never left, and social classes are now mixing more freely (earlier, in line
86, the hall is said to be full only of: “squier and knight”). Just as in the
opening, where the Breton Lay is mentioned in line 3 of the poem, the
final mention of the Breton Lay: “Gode is the lay, swete is the note” (line
603), occurs 3 lines before the ending of the poem, ending it on a tone
of jubilation and satisfaction.
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