Introduction
Based on the poem The Song of Roland and its significance and relevance, French literature from the eleventh to thirteenth century is a crucial concept and topic for literature studies. The work is based on old French epics of the “chanson de geste” type and was composed in the eleventh century by an unknown, or anonymous author. Regardless of the fact that no one can certainly recognize who wrote the poem, a poet named Turold is thought to be one of its authors. The Song of Roland is widely considered to be France’s most renowned “chanson de geste” poem, as well as one of the most renowned storylines in all epic literature (Cook IX). According to the story, in the Pyrenees, upon the return of King Charlemagne after a campaign in Spain, his army was attacked by an enormously superior Basque tribe. Roland, who was a devoted assistant and nephew of King Charlemagne, was killed in the battle. His personality is the embodiment and example of a person who is endlessly devoted to his ideals and for whom military duty and honor are more essential in comparison with personal needs.
Introduction to the Genre’s Features
The “chanson de geste” is a genre of a medieval narrative that is attributed to old French epic poems and songs. The epics that originated in such a style were composed in verse and were originally sung by people. The end of the X century is considered to be the period in which the earliest “chanson de geste” poems originated, and their creation continued until the end of the XIII century. Duggan claims that the epic of the genre “chanson de geste” “presents its characters from the outside, through their actions” (213). It emphasizes and apotheosizes actions of heroes from the notion of global events rather than the individual destinies and personal feelings.
In contrast, concerning refutation aspects, one of the distinguishing features of the genre is the anonymity of authorship, despite the fact that the number of potential applicants for paternity is considerable. The Song of Roland belongs to the genre “chanson de geste” since the poem has the same types of formulas as the major epics from the XII century of the particular genre (Duggan 212). In the small “chanson de geste” narratives, it was sung about the hero’s acts of bravery and their impact on the development of global battles and events.
Main Characters of the Epic
In the poem The Song of Roland one main personage, Roland, is emphasized, as well as a group of central characters that surrounds him. According to the plot, Roland is portrayed as Charlemagne’s young count and loyal vassal, assistant and nephew simultaneously. Roland’s actions acquired traits of a heroic feat, while he himself, according to Duggan, is a person of “exceptional beauty” (213). The figure of King Charlemagne, who ruled the empire of Franks in the VIII-IX centuries, is significant, as his army under the command of Roland fought in the Roncevaux Pass battle. Furthermore, the main character had his primary assistant and advisor Olivier, whom he trusted. Olivier’s image includes the qualities of a brave warrior who is an aristocrat and also a genuine friend of Roland. Additionally, the hero who acted on the side of good was Archbishop Thurpen, who was also described as a valiant warrior.
By contrast, a few negative personages, including the rancorous Basque tribe, are depicted as total evil that opposes Roland. The figure of Ganelon, who is depicted as a vassal of King Charlemagne and Roland’s stepfather, displays negative traits when it is revealed that he is deceiving Charlemagne and wishes Roland’s death. Ganelon is represented as the character who sets the Muslim King Marsile against King Charlemagne, while he informs Charles that the danger from the vassal should not be expected. In addition, it can be stated that Ganelon is a disingenuous and recreant person, since, compared with Roland, he did not volunteer, when the situation required it while choosing the envoy to Saragossa (Cook 271). Moreover, the negative figure of the Muslim King Marsile represents a veritable enemy who defeated the army under the command of Roland. Owing to the fact that a number of both positive and negative characters is represented, the battle between good and evil is depicted as a collision of two forces with the manifestation of heroic qualities.
The Major Battle
The Song of Roland culminated in a battle in which the forces of King Charlemagne, led by Roland, clashed in a fierce battle with a significantly exceeding Basque army of the Muslim King Marsile. There is no evidence in the poem that Roland expected to win the Battle of Roncevaux, whereas his responsibility to the King Charlemagne and his army was raised to an absolute degree (Cook 70). The thoughts that the enemy’s army is noticeably greater in power than his were absent. Roland noticed that a formidable enemy army led by the King Marsile was advancing on his small detachment. Olivier, a friend of Roland, who combined the traits of courage and prudence, tried to convince Roland of the need to invoke for help from the King Charlemagne. Roland was conversely confident that making the decision to ask for salvation would be an indicator of cowardice. As a result of the battle, in which Roland was killed, the pathos of military honor, the idea of self-sacrifice and devotion to particular people are glorified.
General Discussion
Roland’s entire journey portrays him as a majestic brave man, who was entrusted with a special mission that deprives him of personal relationships. Various versions of the poem that are found in the literary heritage of France, Germany and England are united by the greatness and inspiration of Roland’s heroic death (Paul 52). Therefore, it proves the ubiquity and omnipresence of Roland’s heroic understanding of the essence among cultures. The poem had a great influence on western European cultures during the Late Middle Ages (Paul 53). It can be concluded that the great influence was provoked by the perfect image of Roland that has an image that is desirable for emulating. Nevertheless, he was deprived of the inner part of himself, where personal relationships and individual goals are equally important. According to the epic, Roland is absolutely oblivious to his personal life, since he never once thinks about his bride, who, receiving the news of Roland’s death, dies of grief. Roland’s superior qualities and courage are maximized, while his personal life remains neglected.
Conclusion
To summarize, epic poem The Song of Roland demonstrates the clash of two confrontational forces of good, in the person of Roland, and evil, in the person of his enemies. Personally, Roland is depicted from the idealized side, where the level of his self-sacrifice for the sake of his ideals reaches the extreme. Despite the difficulties that he had to endure, for instance, the betrayal of Ganelon, an inferior army, and the encirclement of enemies, he shows unadulterated dedication to his duty. Self-sacrifice and courage that were shown by a small Frankish army led by Ronald demonstrate the ideals of courage and heroism. His example is an indicator of how far human willpower and courage are capable of moving, and to which extent positive qualities are able to manifest.
Works Cited
Cook, Robert. The Sense of the Song of Roland. Cornell University Press, 2019.
Duggan, Joseph. The Song of Roland. Berkeley: University of California Press, 2020.
Paul, Mirabile. The compositional making and geographic itinerancies of the Chansons de Roland during the early and late Middle Ages. International Journal of European Studies, vol. 3, no. 1, 2019, pp. 52-66.