The Song of Roland1

Total Page:16

File Type:pdf, Size:1020Kb

The Song of Roland1 1 Primary Source 4.2 THE SONG OF ROLAND1 The Song of Roland tells the story of a military campaign by Charlemagne in northern Spain in 778. His youthful nephew Roland has brashly insulted Ganelon, his father-in- law, and urged that he be sent to negotiate peace terms with a local ruler. Together, they plot to ambush Roland who, thanks to Ganelon’s treachery, has been left to guard the Roncesvaux Pass through the Pyrenees Mountains following the withdrawal of the main army back into France. In the passage below, Roland expresses fearlessness despite facing an army vastly outnumbering his. A Christian hero who prays and confesses all his sins before the battle, he dies only by blowing so hard on his horn, once all his men lay slaughtered, that his temples burst. Charlemagne hears the sound, returns, and avenges his deceased vassals. The 4,000-line epic poem was composed anonymously to be sung before intimate audiences and was finally set to paper around 1100 in northern France. For the complete poem, click here. For a freely accessible audio recording of the book, click here. Upon a peak is Oliver2 mounted, Kingdom of Spain he sees before him spread, 1030 And Sarrazins,3 so many gatheréd. Their helmets gleam, with gold are jewelléd, Also their shields, their hauberks orfreyéd,4 Also their swords, ensigns on spears fixéd. Rank beyond rank could not be numberéd, 1035 So many there, no measure could he set. In his own heart he's sore astonishéd, Fast as he could, down from the peak hath sped Comes to the Franks, to them his tale hath said. LXXXII Says Oliver: "Pagans from there I saw; 1040 Never on earth did any man see more. Gainst us their shields an hundred thousand bore, That laced helms and shining hauberks5 wore; 1 The Song of Roland, (Trans.) Charles Scott Moncrieff, intro. G. K. Chesterton, with a note on technique by George Saintbury (London: Chapman & Hall Ltd., 1919), 34-37. For a more recent translation and scholarly commentary, see The Song of Roland, (Trans. and Ed.) Glyn Burgess (London: Penguin Classics, 1990). 2 Roland’s closest comrade. 3 Europeans of the time called Muslims “Saracens.” (The translator has kept the original spelling in Old French for this and a few other terms.) In the actual battle, Roland faced disgruntled Basques, who professed neither Christianity nor Islam. 4 Adorned with gold. 2 And, bolt upright, their bright brown spearheads shone. Battle we'll have as never was before. 1045 Lords of the Franks, God keep you in valour! So hold your ground, we be not overborne!" Then say the Franks "Shame take him that goes off: If we must die, then perish one and all." AOI.6 LXXXIII Says Oliver: "Pagans in force abound, 1050 While of us Franks but very few I count; Comrade Rollanz, your horn I pray you sound! If Charles hear, he'll turn his armies round." Answers Rollanz: "A fool I should be found; In France the Douce7 would perish my renown. 1055 With Durendal8 I'll lay on thick and stout, In blood the blade, to its golden hilt, I'll drown. Felon pagans to th' pass shall not come down; I pledge you now, to death they all are bound. AOI. LXXXIV "Comrade Rollanz, sound the olifant,9 I pray; 1060 If Charles hear, the host he'll turn again; Will succour us our King and baronage." Answers Rollanz: "Never, by God, I say, For my misdeed shall kinsmen hear the blame, Nor France the Douce fall into evil fame! 1065 Rather stout blows with Durendal I'll lay, With my good sword that by my side doth sway; Till bloodied o'er you shall behold the blade. Felon pagans are gathered to their shame; I pledge you now, to death they're doomed to-day." LXXXV 1070 "Comrade Rollanz, once sound your olifant! If Charles hear, where in the pass he stands, 5 A coat of mail. 6 Scholars believe this acronym may mean “Thy will be done.” 7 The sweet. 8 The name of Roland’s sword. 9 A ivory horn. 3 I pledge you now, they'll turn again, the Franks." "Never, by God," then answers him Rollanz, "Shall it be said by any living man, 1075 That for pagans I took my horn in hand! Never by me shall men reproach my clan. When I am come into the battle grand, And blows lay on, by hundred, by thousand, Of Durendal bloodied you'll see the brand. 1080 Franks are good men; like vassals10 brave they'll stand; Nay, Spanish men from death have no warrant."11 LXXXVI Says Oliver: "In this I see no blame; I have beheld the Sarrazins of Spain; Covered with them, the mountains and the vales, 1085 The wastes I saw, and all the farthest plains. A muster great they've made, this people strange; We have of men a very little tale." Answers Rollanz: "My anger is inflamed. Never, please God His Angels and His Saints, 1090 Never by me shall Frankish valour fail! Rather I'll die than shame shall me attain. Therefore strike on, the Emperour's love to gain." LXXXVII Pride hath Rollanz, wisdom Olivier hath; And both of them shew marvellous courage; 1095 Once they are horsed, once they have donned their arms, Rather they'd die than from the battle pass. Good are the counts, and lofty their language. Felon pagans come cantering in their wrath. Says Oliver: "Behold and see, Rollanz, 1100 These are right near, but Charles is very far. On the olifant deign now to sound a blast; Were the King here, we should not fear damage. Only look up towards the Pass of Aspre, In sorrow there you'll see the whole reward. 1105 Who does this deed, does no more afterward." Answers Rollanz: "Utter not such outrage! Evil his heart that is in thought coward! We shall remain firm in our place installed; 10 For Roland, vassalage—service to a lord—was a condition of the greatest honor. 11 The Spanish, in other words, are not immune to death. 4 From us the blows shall come, from us the assault." .
Recommended publications
  • Emanuel J. Mickel Ganelon After Oxford the Conflict Between Roland
    Emanuel J. Mickel Ganelon After Oxford The conflict between Roland and Ganelon and the subsequent trial form an important part of the Chanson de Roland. How one looks at the trial and Ganelon's role in the text bears significantly on one's interpretation of the epic. While most critics acknowledge that Roland is the hero of the chanson and Ganelon the traitor, many, perhaps a majority, find flaws in Roland's character or conduct and accept the argument that Ganelon had some justification for his actions in the eyes of Charlemagne's barons and, perhaps, in the view of the medieval audience. Roland, of course, is blamed for desmesure and Ganelon is justified by the argument that his open defiance of Roland and the peers in the council scene gave him the right, according to the ancient Germanic ethical and legal code, to take vengeance on his declared adversaries. Proponents of this thesis allege that the Chanson de Roland, a text which they date to the eleventh century, reflects a growing tension and conflict between the powerful feudal barons and the growing power of the monarchy.1 The barons represent the traditions and custom law of a decentralized state where the king is primus inter pares, but essentially a baron like themselves. As the French monarchy grew in strength and was bolstered in a theoretical sense by the centralizing themes of Roman law, conflict between the crown and the nobility became apparent.2 1 For specific analysis of the trial in terms of allegedly older Germanic tradition, see Ruggero Ruggieri, Il Processo di Gano nella Chanson de Roland (Firenze: Sansoni, 1936); also George F.
    [Show full text]
  • Hero As Author in the Song of Roland
    Hero as Author in The Song of Roland Brady Earnhart University of Virginia A modern reader with no experience in medieval literature who received the unlikely gift of a copy of The Song of Roland might be given pause by the title. Is it going to be a song about Roland? Written by Roland? Sung by him? A simple confusion, quickly cleared up, and yet perhaps providential in the more serious questions it leads us to: Are there ways in which the hero Roland resembles a poet? How might the oliphant function as the text's counterpart within the text itself, and who is the audience? What light could this approach shed on interpretive controversies? A comparison of Roland's situation and that of the writer of the epic is somewhat outside the critical fray, and need not attempt to trump more strictly ideological or linguistic examinations. At the same time, its own answers to commonly disputed critical questions may complement the answers other approaches have provided. It will be necessary first to clarify a few points that can no longer be taken for granted. I will be assuming, as most scholars do, that this work is based on an event that actually took place. I will be examining what I see as its departures from a less self-consciously artistic recording of the event, which seem to lean away from mimesis toward invention. Clearly, historical truth is chimerical, invention a matter of degree and subject to the intricacies of patronage and contemporary aesthetic decorum. One does not have to establish "exactly what happened," though, to examine the differences between earlier and later accounts of a battle, especially when the later account in question diverges so extravagantly and uniquely from the earlier ones.
    [Show full text]
  • The Song of Roland Has Some Connection to the History of Charlemagne's Failed Conquest of Spain in 778, but This Connection Is Rather Loose
    Song of Roland Context: On the afternoon of August 15, 778, the rear guard of Charlemagne's army was massacred at Roncesvals, in the mountains between France and Spain. Einhard, Charlemagne's contemporary biographer, sets forth the incident as follows in his Life of Charlemagne: While the war with the Saxons was being fought incessantly and almost continuously, [Charlemagne] stationed garrisons at suitable places along the frontier and attacked Spain with the largest military force he could muster; he crossed the Pyrenees, accepted the surrender of all the towns and fortresses he attacked, and returned with his army safe and sound, except that he experienced a minor setback caused by Gascon treachery on returning through the passes of the Pyrenees. For while his army was stretched out in a long column, as the terrain and the narrow defiles dictated, the Gascons set an ambush above them on the mountaintops—an ideal spot for an ambush, due to the dense woods throughout the area—and rushing down into the valley, fell upon the end of the baggage train and the rear guard who served as protection for those in advance, and in the ensuing battle killed them to the last man, then seized the baggage, and under the cover of night, which was already falling, dispersed as quickly as possible. The Gascons were aided in this feat by the lightness of their armor and by the lay of the land where the action took place, whereas the Franks were hindered greatly by their heavy armor and the terrain. In this battle Eggihard, the surveyor of the royal table; Anselm, the count of the palace; and Roland, prefect of the Breton Marches, were killed, together with many others.
    [Show full text]
  • Tesi Di Laurea
    Corso di Laurea Magistrale in Scienze del Linguaggio D.M. 270/2004 Tesi di Laurea The Contribution of Germanic Sources in the Textual Reconstruction of the Chanson de Roland Relatrice Prof.ssa Marina Buzzoni Correlatore Prof. Marco Infurna Laureando Lorenzo Trevisan Matricola 860930 Anno Accademico 2018 / 2019 The importance of the Germanic sources in the Chanson de Roland 2 Introduction Index Introduction ................................................................................................ 7 Foreword .................................................................................................... 11 I. Literary context and poetic tradition ............................................... 13 1. Europe in the High Medieval Period ........................................... 13 1.1 Feudalism and rural aristocracy ........................................ 14 1.2 Secular powers and the Church ........................................... 17 1.3 Expanding the borders of Christendom .............................. 19 1.4 Trade, technology and towns ............................................... 21 1.5 Knowledge and culture ....................................................... 23 2. The rise of vernacular literature in Romance .............................. 25 2.1 The Carolingian Renaissance ............................................. 25 2.2 The first Old French texts .................................................... 26 2.3 The Hagiographic Poems .................................................... 28 3. The Old French Epic ...................................................................
    [Show full text]
  • Song of Roland Unknown Memory Verse
    Song of Roland Unknown Memory Verse • Psalm 25 • This week, can you recite verses 1-10? Imagine • Read Summary from Omnibus! Conflict • What has been the greatest conflict of the past century? Conflict • What has been the greatest conflict of the past century? • Communism and Democracy • Liberalism and Conservatism • Socialism and Capitalism • Rich and Poor • Proletariat and Bourgeoisie • Industrialism and Agrarianism • Nationalism and Colonialism • Management and Labor • First World and Third World • East and West • North and South Allied and Axis • NATO and Soviet Conflict • The greatest conflict of the past century, even the past millennium, has been between: • Islam and Civilization • Islam and Freedom • Islam and Order • Islam and Progress • Islam and Hope • Islam and the Gospel Conflict • Every other conflict pitting men and nations against one another has inevitably waxed and waned • This furious struggle has remained all too constant • The tension between Islam and every aspiration and yearning of man intrudes on nearly every issue, every discipline, every epoch and every local Author • Le Chason de Roland or The Song of Roland • One of the most famous medieval French chivalric ballads, known as chansons de geste – literally, “songs of deeds” • Traditional folk musicians and minstrels would travel from town to town singing about the epic adventures of great heroes from the past • About a hundred of these popular epic poems survived, from the 11th to the 15th century • We don’t know who the various composers were or even when the poem took
    [Show full text]
  • Review Article Patricia Harris Stäblein Patterns of Textual Shift And
    Review Article Patricia Harris Stäblein Patterns of Textual Shift and the Alien Hero: Ogier the Dane in the Europeanization of Old French Epic Fueled by numerous recent editions and studies of supposedly inferior Old French epics, and by increasing awareness o the value of Old French epic material in translation, the scholarly world is beginning to move away from an anchorage in the Oxford Roland, one shaped by the political design of nineteenth century France as much as by modern aesthetic preferences. The thrust of this effort is toward understanding how a multi-centered medieval heroic narrative framework expanded and shifted to bind several centuries of European culture. Rencesvals has generally been seen as the consummate form towards which all true Old French epics bend, just as all historical events focus on the supreme facta of the Incarnation and Crucifixion in medieval Christianity. The practice of Old French epic form, however, shows Rencesvals to be only one branch of a luxuriantly boughed tree. Some of that lush narrative braciation is traced in three recent volumes published with the patronage of the Danske Sprog-og- Literaturselskab: I. a facsimile of an incunabulum containing the prose romance Ogier le Dannoys; II. Ogier le Danois dans les littératures européennes by Knud Togeby; III. an edition, modern French translation, and analyses of Karlamagnús saga I, III, VII, and IX by Agnete Loth, Annette Patron-Godefroit, and Povl Skårup.1 First envisaged and partially carried out by Knud Togeby and Pierre Halleux, this trio of books is devoted to elucidating the literary and cultural dimensions of a figure long obscured by the nineteenth-century politicization of Charlemagne and Roland.
    [Show full text]
  • Orlando Innamorato [Orlando in Love]
    Matteo Maria Boiardo: Orlando Innamorato [Orlando in Love] (1495) Jo Ann Cavallo (Columbia University ) Genre: Epic, Poetry (any). Country: Italy. Written for a fifteenth-century Italian court society hooked on Arthurian romance but also attuned to current world events, Boiardo’s Orlando Innamorato [Orlando in Love] charts a complex imaginary course in which characters from diverse cultures encounter one another in ways that range from armed conflict to friendship and love. Although knights and damsels from around the globe are gripped by a number of passions, such as erotic desire, anger, ambition, compassion, and the desire for glory or revenge, their actions are not based on either religious or ethnic differences. The narrative thereby breaks out of the polarization of Christians and Saracens typical of Carolingian epic, presenting a broader cosmopolitan vision of humankind consonant with ancient, medieval, and fifteenth-century historical and geographical texts that were capturing the attention of the Ferrarese court. In the chansons de geste, or historical songs, that formed the basis of the medieval Carolingian epic genre, the hero Roland (later Italianized as Orlando) was celebrated as Charlemagne’s most stalwart paladin. In the twelfth-century The Song of Roland, a Basque ambush of Charlemagne’s retreating army at the mountain pass of Roncesvalles (Einhard) was refashioned into an Armageddon of sorts in which Roland and his companions who formed the rearguard were massacred by Saracens due to his stepfather Ganelon’s treachery. Subsequent elaborations of Frankish exploits in Spain prior to the fatal battle of Roncesvalles, most notably the Franco-Venetian Entrée d’Espagne (c.
    [Show full text]
  • Read Book the Silver Horn Echoes a Song of Roland 1St Edition Ebook
    THE SILVER HORN ECHOES A SONG OF ROLAND 1ST EDITION PDF, EPUB, EBOOK Michael Eging | 9781532020209 | | | | | The Silver Horn Echoes A Song of Roland 1st edition PDF Book Further, this novel bookends the story with William the Conqueror 's use of the poem as a motivator for Norman forces prior to the Battle of Hastings in Meanwhile, new enemies, treacherous allies, and a lethal shapeshifter all conspire to work against him. Additional Information. The date of composition is put in the period between and an early version beginning around with additions and alterations made up until about The title was usually bestowed though jealously by the Eastern Empire in Constantinople. In the deeper shadows of the hallway, Ganelon's personal steward of many years, the spidery Father Petras, hovered near his lord's shoulder, a specter in brown clerical homespun. Glaring at the human rampart assembling between him and his quarry, he straightened his clothes and threw back his shoulders. By: Temple Grandin Ph. I received this Audio Book for Free in exchange for an unbiased Review. Will the film ever get made? But when he redeems his voucher for a neon servant of his own named Michael, everything changes. In an adjoining room, the parish priest awoke at the opening of the outer door. The Silver Horn Echoes pays homage to "La Chanson de Roland" by revisiting an age of intrigue and honor, and a fateful decision in the shadows of a lonely mountain pass— Roncevaux! Big sword, bad attitude. On the journey he fights and runs and has all kinds of problems in his intentions to Save the Day.
    [Show full text]
  • Ludovico Ariosto's Orlando Furioso, the Thousand and One Nights, and the Hundred and One Nights
    Re/Writing the Orient: Ludovico Ariosto’s Orlando Furioso, the Thousand and One Nights, and the Hundred and One Nights Amanda Batarseh Canto XXIII marks a tragicomic turning point in the Orlando Furioso, as the tension sustaining the titular character’s epic stoicism and romantic chivalry falls away to reveal a maniacal anti- hero. This canto’s staging of Orlando’s madness is, in Albert Ascoli’s words, the “center of ‘otherness’ in the poem,”1 unsettling the binary of medieval and classical literary traditions that Ariosto draws on, and suggesting a novel genre of literary expression. In this article, I explore one of Ariosto’s avenues of disrupting ostensible polarities—his use of dynamic intertextual practices that write and rewrite the “Orient.” I contend that the Furioso both expresses and unsettles opposing impulses, something I will argue by reframing Ascoli’s elaboration of crisis (a “double focus” upon “concord and discord”) to encompass the geo-historical domain of Arabic cultural exchange in the medieval Mediterranean.2 Focusing on Ariosto’s resounding echoes of the Thousand and One Nights’ and the lesser-known Hundred and One Nights’ frame tales, I seek to illuminate the Furioso’s double focus upon movement toward and away from Muslim- Arab cultural affiliation, a push-pull that opens a space of difference where literary traditions can converge neither in reconciliation nor domination of one another. I examine in particular how Ariosto’s poem captures the ambiguous hybridity of the medieval Mediterranean: beginning with a cursory analysis of the Saracen figure as an unsettled construction of “self” and “other,” I then move to a parallel investigation of the poem’s dynamic intertextual practices.
    [Show full text]
  • The Song of Roland: a Mid-Twelfth Century Song of Propaganda For
    Hans E. Keller The Song of Roland: a Mid-Twelfth Century Song of Propaganda for the Capetian Kingdom For more than a century now scholars have been discussing the Oxford version of the Song of Roland. It is thus scarcely surprising that all of those who have dealt with the poem have been intrigued as to the authorship of such an incomparable masterpiece, nearly classical in its structure. But it seems even more important to understand its signifi- cance and to define the audience to whom the poet is speaking, as well as to discover the message he wants to convey. For this purpose, it is most vital to know when the Oxford version of the poem was composed. If that problem can be solved satisfactorily, we will know more about the man who signed the Oxford version, Turoldus, and, further, the dispute as to whether or not the different parts of the work constitute later inser- tions can be resolved without undue difficulty. This paper, therefore, will examine the factors which help determine the date of the version preserved in the Oxford manuscript, and we will also propose a possible new solution to the problem. For the dating of the Oxford Roland, it is not without interest that one finds all combatants using the spear in what Dorothy Leigh Sayers1 terms "the modern fashion (escrime nouvelle): the spear is held firmly under the right arm, with the point directed at the adversary's breast, the aim being either to pierce him through, or to hurl him from the saddle by weight and speed as the horses rush together." She further points out that
    [Show full text]
  • Excerpt from the Song of Roland D
    The Story of the Middle Ages Excerpt from The Song of Roland d 1 Carlon the King, our Emperor Charlemayn, Full seven years long has been abroad in Spain, He’s won the highlands as far as to the main; No castle more can stand before his face, City nor wall is left for him to break, Save Saragossa in its high mountain place; Marsilion holds it, the king who hates God’s name, Mahound he serves, and to Apollyon prays: He’ll not escape the ruin that awaits. AOI 2 Marsilion sat in Saragossa town, He sought an orchard where shade was to be found, On a bright dais of marble he lies down; By twenty thousand his vassals stand around. He calls before him all his dukes and his counts: “Listen, my lords, what affliction is ours! The Emperor Charles that wears fair France’s crown Invades our country our fortunes to confound. I have no host but before him gives ground, I find no force his forces for to flout; Wise men of wit, give counsel to me now, Save me from death and loss of my renown.” There’s ne’er a paynim utters a single sound, Till Blancandrin, Valfonda’s lord, speaks out. 3 Blancandrin’s wise amid the paynim horde;[24-46] He was for valour a mighty knight withal, And fit of wit for to counsel his lord. He tells the king; “Be you afeared for naught, But send to Charles in his pride and his wrath Your faithful service and your friendship henceforth.
    [Show full text]
  • Henry II and Ganelon
    Syracuse Scholar (1979-1991) Volume 4 Issue 1 Syracuse Scholar Spring 1983 Article 4 1983 Henry II and Ganelon Paul R. Hyams Follow this and additional works at: https://surface.syr.edu/suscholar Part of the Medieval History Commons Recommended Citation Hyams, Paul R. (1983) "Henry II and Ganelon," Syracuse Scholar (1979-1991): Vol. 4 : Iss. 1 , Article 4. Available at: https://surface.syr.edu/suscholar/vol4/iss1/4 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Syracuse Scholar (1979-1991) by an authorized editor of SURFACE. For more information, please contact [email protected]. Hyams: Henry II and Ganelon Henry II and Ganelon Paul R. Hyams nee upon a time, there was a king of Nantes, called Equitan, 0 a good and courteous ruler, filled with a proper enthusiasm for princely things: Equitan had a seneschal, a good knight, brave and loyal, who took care ofhis landfor him, governed and administered it. Unless the king was making war, he would never, no matter what the emergency, neglect his hunting, his hawking or other amusements. 1 [lines 21-28] In time Equitan fell in love with his seneschal's wife and seduced her, while the ''seneschal sat in court, trying pleas and accusations.'' Now these two illicit lovers came to a hot and sticky end. The wronged Paul R. Hyams was educated at Ox­ husband killed the couple by upending them in a tub of boiling water ford University and is now a fellow of Pembroke College, Oxford.
    [Show full text]