Comparison of Le Morte D’arthur and Sir Orfeo in Terms of Anagnorisis

Introduction

In medieval romances, anagnorisis can be defined as the sudden recognition of a person, family member, or loved one. Aristotle states, “recognition is a change from ignorance into knowledge.” In examining two medieval romances, Sir Orfeo (anonymous) and Le Morte D’Arthur by Thomas Malory, we can explore their treatment of anagnorisis. Sir Orfeo survives in two fifteenth-century manuscripts, the Harley 3810 and Ashmole 61, as well as the Auchinleck manuscript, dated to around the 1320s. Malory’s Le Morte D’Arthur was published by Caxton’s press in Westminster in 1485. Both texts are considered medieval romances, yet they handle anagnorisis differently. This essay analyzes how recognition and discovery are treated in both texts through motifs, characters, and plot development.

Anagnorisis in Sir Orfeo

Sir Orfeo is a Breton lay, a sub-genre of romance. Although the poem’s exact origins are uncertain, it likely draws from an old French conte, Celtic lai, and classical stories of Orpheus and Eurydice. Written in rhyming couplets, it reflects its oral tradition. In terms of anagnorisis, Orfeo must first unrecognize himself before he can be recognized. This transformation occurs during what Frye calls “the perilous journey.”

The Journey and Transformation

After losing his wife Heurodis to the fairy king, Orfeo exiles himself to the wilderness in search of her. Unlike other tales, such as Orpheus’ descent to the underworld or the Celtic The Wooing of Etain, Orfeo spends ten years grieving and playing his harp. His music tames the “wilde beasts” and “alle pe foules,” but he gives up his royal life entirely: “he no hadde birtle no hode/ no schert, no noper gode/ bot his harp he toke algate.”

Recognition and Return

Orfeo’s transformation and penance lead to his sighting of Heurodis among a group of fairies. His harping skills impress the fairy king, allowing him to reclaim Heurodis. Upon returning to his kingdom disguised in “pe beggers clopes,” Orfeo tests his steward’s loyalty by fabricating a story about finding the harp. When the steward demonstrates loyalty and grief, Orfeo reveals his true identity. This recognition solidifies Orfeo’s success as a monarch and highlights the importance of loyalty, contrasting the political turmoil of 14th-century monarchs like Edward II and Richard II.

Anagnorisis in Le Morte D’Arthur

Anagnorisis in Le Morte D’Arthur often carries a tragic undertone. As Aristotle notes, it can involve the recognition of a friend or family member leading to catastrophe. The tale’s instances of anagnorisis expose flaws in chivalry and foreshadow destruction.

Arthur and Mordred

One tragic instance is Arthur’s unknowing conception of Mordred with his half-sister Morgause. In Book One, Chapter Nineteen, Arthur is unaware that “King Lot’s wife” is his sister and commits incest. Mordred’s birth and eventual role in Arthur’s downfall symbolize the hero’s inability to resolve his own mistakes, setting a tragic course for the narrative.

Launcelot’s Disguise

Launcelot’s anagnorisis occurs in the tale of the Fair Maid of Asolot. Disguised with a different shield and wearing the Fair Maid’s red sleeve, Launcelot fights against Arthur’s knights. His cousin Bors unwittingly injures him, only recognizing Launcelot after the fact. Similarly, Guinevere’s recognition of Launcelot’s token leads to conflict, exposing the instability of their adulterous love and its role in the downfall of Camelot.

Gareth’s Recognition

The only comedic anagnorisis in Le Morte D’Arthur involves Gareth, who conceals his noble identity to prove himself as a knight. His true heritage is revealed in a series of humorous recognition scenes, culminating in a happy resolution that aligns with romance conventions.

Conclusion

In Sir Orfeo, anagnorisis follows the conventions of romance, ending happily as Orfeo proves himself a worthy hero. Conversely, Le Morte D’Arthur adopts a tragic perspective, where knights and heroes fail to live up to chivalric ideals. This contrast reflects their differing thematic concerns: Sir Orfeo remains rooted in folklore and fantasy, while Le Morte D’Arthur intertwines romance with a more realistic portrayal of human flaws and societal collapse.

References

• Lucas, P. J. (1983). The Bonds of Human Society in Sir Orfeo. Medieval Studies Journal, 21(3), 45-67.
• Frye, N. (1957). Anatomy of Criticism. Princeton University Press.
• Beekman, P. (1998). Heroic Themes in Medieval Romance. Cambridge University Press.
• Davies, R. T. (1971). Chivalry and Betrayal in Le Morte D’Arthur. Oxford Literary Review, 8(2), 113-126.
• Minaver, E. (1994). The Tragic Destiny of Arthurian Knighthood. Arthurian Studies Quarterly, 12(1), 23-40.