Abstract

In the half-century since Kenneth Sisam characterized the Middle English Sir Orfeo as a Greek myth “almost lost in a tale of fairyland,” scholars have struggled to synthesize these two apparently disparate elements into a unified reading of the poem. The narrator has seemingly transformed the ancient legend of Orpheus and Eurydice into a contemporary romance of a king Orfeo and his queen Heurodis. The Greek harper becomes an English minstrel, and some readers have explored the meaning of this transformation through the traditions of medieval mythography and the music theory of Boethius. In Orfeo's loss of his wife and kingdom, his wandering in the wilderness, and his final successful return, other readers have seen the outlines of a specifically Christian allegory. Many of these scholars have explored the exegetical resonances between Orpheus and David and Orpheus and Christ, and, in spite of differences in emphasis and technique, they share a view of Orfeo's journey as a kind of penance or pilgrimage of the soul. Unlike his classical counterpart, however, Orfeo finds his wife not in Hell but in fairyland, and in defining the precise nature of this other world, suggestions range from a version of the Celtic world of “the dead and the taken” to associations between fairyland and the architecture of Revelation