The concept of Fortuna and her wheel, or to be more general of fate and fortune itself in ancient and medieval literary and philosophical culture has been the topic of numerous investigations stretching over cultural and temporal boundaries. Beginning with the Roman and early medieval tradition culminating in Boethius De Consolatione Philosophiae scholars have tried to apply the concept of Fortuna to nearly every literary production from Cicero up to Shakespeare’s Renaissance conception of medieval tragedy and Fortune’s influence upon it. On the other hand, Arthurian literature as a literary product has not only influenced the evolution of the European literary canon, but has itself been struck by several literary and philosophical concepts. For Arthurian matters this fusion of traditions becomes most obvious in the anonymously composed Alliterative Morte Arthure; here, both the Boethian and the medieval tradition of Lady Fortune as the mistress of human fate and the hence resulting beginnings of early medieval tragedy come to the surface. As a concept not only closely linked to the wheel of Fortune but also to Arthurian literature per se the topos of the Nine Worthies, introduced for the first time by the fourteenth-century writer Jaques de Languyon in his Veux du Paon, also has to be taken into consideration. The Nine Worthies as a representation of Fortune’s grace and disposal with King Arthur being mentioned in the Alliterative Morte Arthure as one of the greatest amongst them, the fusion of all the concepts mentioned in the above has reached its zenith.
In the following, this paper will try to elaborate on the literary and philosophical concepts mentioned above, with a particular interest in the tradition of Fortuna and her appearance in the Alliterative Morte Arthure. Beginning with the commencements of the topos in late Roman and early medieval literature, I will try to exemplify the development of the concept with reference to Boethius’ De Consolatione Philospohiae and the Italo-English understanding and deployment of the de casibus tragedies, and answer the question of whether or not the AMA can be added to this genre. In doing so, the relation of the Alliterative Morte Arthure to the progress of the medieval tragic concept will be highlighted.
Finally, the Alliterative Morte Arthure will serve as the textual basis when both, the concept of Fortune and the Nine Worthies, as well as their amalgamation will be examined.
Table of Contents
1. Introduction
2. Medieval tragedy and Fortuna
2.1 Early Beginnings
2.2 Boethius and the De Consolatione Philosophiae
2.3 The Consolation and Fortune
2.3.1 Representation
2.3.2 Concept
3. From antiquity to tragedy
4. The Alliterative Morte Arthure
4.1 The AMA and the formula of the wheel
Regnabo – I shall reign
Regno – I reign
Regnavi – I reigned for a while
Sum sine Regno – I am without reign
4.2 King Arthur’s dream and Fortune
4.2.1 Fortune, Arthur and the Nine Worthies
5. Conclusion
Research Objectives and Key Topics
This paper examines the evolution of the literary concept of Fortuna and its transformation into the Christianized "Fortune," specifically investigating its role as a structural and thematic framework in the Middle English poem "Alliterative Morte Arthure." The research explores whether the poem can be categorized as a medieval "tragedy of Fortune" by analyzing the interplay between Boethian philosophy, the topos of the Nine Worthies, and the narrative progression of King Arthur’s downfall.
- The historical development of the goddess Fortuna from Roman antiquity to medieval Christian literature.
- Boethius’ "De Consolatione Philosophiae" as the foundational text for the medieval tragic concept.
- The structural application of the "formula of the wheel" within the "Alliterative Morte Arthure."
- The symbolic function of the Nine Worthies in relation to Arthur’s identity and inevitable demise.
- The reinterpretation of Arthur as a tragic figure caught between worldly glory and divine judgment.
Excerpt from the Book
4.2.1 Fortune, Arthur and the Nine Worthies
Even though she is bearing her pagan symbols, Fortune’s first appearance is quite Christian: in fear of the wild animals Arthur saw himself confronted with, he reaches a paradisiacal garden in the midst of a meadow – it will be in this locus amoenus that the former pagan goddess will appear to the king. Like the Virgin Mary Fortune descends from the clouds above, wearing a richly decorated dress draped with gold and silver. In the midst of his fearful flight she appears like Arthur’s salvation, though she will become his Eve. Although she introduces herself as being “made by Christ” her role as a Christian agency is neither explained in her outer appearance nor in her reaction, but through the voices of her victims. In doing so the author of the AMA has splendidly united the tradition of Fortune and the topos of the Nine Worthies under the patronage of Christianity. By uniting these two topoi, however, the author replaces Fortune as the central image and therefore reflects her Christian nature not in her own behaviour but in the instrument of her heavenly occupation – the wheel. In the dream the eight kings of the wheel do not only act as spokesmen of Fortune but also as exempla malorum with reference to Arthur. In order to fully understand the fusion of the two topoi and their influence on the AMA it is advisable to take a quick look at the evolutionary history of the topos of the Nine Worthies before preceding the analysis.
Summary of Chapters
1. Introduction: This chapter introduces the study of Fortuna in literary culture and defines the objective to analyze the "Alliterative Morte Arthure" as a tragedy of Fortune.
2. Medieval tragedy and Fortuna: This chapter traces the origins of the goddess Fortuna, her transition into a Christian instrument in the works of Boethius, and her establishment as a literary topos.
3. From antiquity to tragedy: This chapter discusses the emergence of the "de casibus" genre, distinguishing medieval tragedy from Aristotelian models and highlighting the shift from prosperity to adversity.
4. The Alliterative Morte Arthure: This chapter provides a detailed analysis of how the "formula of the wheel" and the Nine Worthies structure the narrative and characterize Arthur’s tragic fall.
5. Conclusion: This chapter synthesizes the findings, confirming that the "Alliterative Morte Arthure" serves as a sophisticated example of a medieval Christian tragedy.
Keywords
Fortuna, Fortune, Alliterative Morte Arthure, Boethius, De Consolatione Philosophiae, Medieval tragedy, Nine Worthies, Formula of the wheel, King Arthur, De casibus, Literary topos, Christian providence, Fall of Princes, Arthurian literature, Narrative structure.
Frequently Asked Questions
What is the primary focus of this study?
The study focuses on the literary representation of Fortuna and how it evolved into a key element of medieval tragic narratives, specifically within the "Alliterative Morte Arthure."
Which historical periods does the research cover?
The research covers the transition from Roman antiquity to the medieval period, with a special emphasis on the late fourteenth-century "Alliterative Revival."
What is the central research question?
The central question is whether the "Alliterative Morte Arthure" can be classified as a "tragedy of Fortune" based on the structural and philosophical traditions established by Boethius.
What methodology is employed in this research?
The author uses a literary and philosophical analysis of primary texts, comparing the poem's structure to historical models like the Boethian wheel and the Nine Worthies topos.
What is the significance of the "formula of the wheel" in this context?
The formula of the wheel acts as a structural and thematic guideline, representing the four stages of a king's life (Regnabo, Regno, Regnavi, Sum sine Regno) that mirror Arthur's rise and fall.
How does the work define medieval tragedy?
It defines medieval tragedy not as a performed dramatic play, but as a narrative depiction of a reversal of fortune, often focusing on the fall from high degree to adversity.
How is King Arthur portrayed within this framework?
Arthur is portrayed as a once-mighty warlord whose excessive pride and reliance on worldly glory lead to his inevitable downfall, illustrating the Christian moral that no one is secure from Fortune.
What role do the Nine Worthies play in Arthur’s dream?
In Arthur's dream, the Nine Worthies serve as "exempla malorum" (examples of evil/downfall), warning the King that even the greatest figures are subject to divine judgment through the wheel of Fortune.
Why is the "Alliterative Morte Arthure" considered an "extraordinary piece" of literature?
It is considered extraordinary because it successfully synthesizes chronicle traditions, alliterative romance, and complex theological reflections on fate into a coherent, overarching tragic structure.
- Quote paper
- Isabell Beilharz (Author), 2009, "That monster, Fortune!", Munich, GRIN Verlag, https://www.grin.com/document/139519
