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The Song of Roland
Nov 15, 2015, 4:33:39 PM11/15/15
to
Shoot a Muslim!!!!!!!!!!!!!!!!!!!!!!!!!!
Anyone killing Muslims will go to a paradise with thousands of virgins, streams running with wine, and no hangover. Just sex and wine.
Go ahead, get a Muslim, you always wanted fun!!!!!!!!!!!!
The Song of Roland
From Wikipedia, the free encyclopedia
For the 1978 film starring Klaus Kinski, see The Song of Roland (film).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2014)
The eight phases of The Song of Roland in one picture.
The Song of Roland (French: La Chanson de Roland) is an epic poem based on the Battle of Roncevaux in 778, during the reign of Charlemagne. It is the oldest surviving major work of French literature and exists in various manuscript versions, which testify to its enormous and enduring popularity in the 12th to 14th centuries.
The date of composition is put in the period between 1040 and 1115: an early version beginning around 1040 with additions and alterations made up until about 1115. The final text has about 4,000 lines of poetry. The epic poem is the first[1] and, along with The Poem of the Cid, one of the most outstanding examples of the chanson de geste, a literary form that flourished between the 11th and 15th centuries and celebrated legendary deeds.
Contents [hide]
1 Manuscripts and Dating
2 Critical opinions
2.1 Oral performance of the Song compared to manuscript versions
3 Plot
4 Form
5 Characters
5.1 Principal characters
5.2 Secondary characters
6 Durandal
7 Adaptations
8 Modern adaptations
9 See also
10 Notes
11 External links
Manuscripts and Dating[edit]
Set in the Carolingian era, it was written much later. There are nine extant manuscripts of the Song of Roland in Old French. The oldest of these manuscripts is held at the Bodleian Library at Oxford. This copy dates between 1129 and 1165 and was written in Anglo-Norman.[2]
Scholars estimate that the poem was written, possibly by a poet named Turold, between approximately 1040 and 1115, and most of the alterations were performed by about 1098. Some favor an earlier dating, because it allows one to say that the poem was inspired by the Castilian campaigns of the 1030s, and that the poem went on to be a major influence in the First Crusade. Those who prefer a later dating do so on grounds of what they interpret as brief references made in the poem to events of the First Crusade.
In the poem, the term d'oltre mer or l'oltremarin comes up three times in reference to named Muslims who came from oltre mer to fight in Spain and France. Oltre mer, modern French Outremer, literally "oversea, beyond sea, other side of the sea", is a native French term from the classical Latin roots ultra = "beyond" and mare = "sea". The name was commonly used by the Crusaders for Palestine.
The occurrence of this term in the poem cannot be interpreted as showing influence from the Crusades in the poem; on the contrary, the way it is used in the poem, in which it is simply a Muslim land, indicates that the author of the poem was unacquainted with the Crusades, and that the term was in French before the Crusades began meaning the far side of the Mediterranean Sea. The bulk of the poem is adjudged to date from before the Crusades (which started in 1098), but there are a few items where questions remain about these items being late additions shortly after the Crusades started.
Critical opinions[edit]
Oral performance of the Song compared to manuscript versions[edit]
Scholarly consensus has long accepted that the Song of Roland differed in its presentation depending on oral or textual transmission; namely, although a number of different versions of the song containing varying material and episodes would have been performed orally, the transmission to manuscript resulted in greater cohesiveness across versions.
Early editors of the Song of Roland, informed in part by patriotic desires to produce a distinctly French epic, could thus overstate the textual cohesiveness of the Roland tradition. This point is clearly expressed by Andrew Taylor, who notes,[3] "[T]he Roland song was, if not invented, at the very least constructed. By supplying it with an appropriate epic title, isolating it from its original codicological context, and providing a general history of minstrel performance in which its pure origin could be located, the early editors presented a 4,002 line poem as sung French epic".
Plot[edit]
The death of Roland at the Battle of Roncevaux, from an illuminated manuscript c.1455-1460.
Charlemagne's army is fighting the Muslims in Spain. They have been there for seven years, and the last city standing is Saragossa, held by the Muslim king Marsilla. Threatened by the might of Charlemagne's army of Franks, Marsilla seeks advice and his wise man, Blancandrin, councils him to conciliate the Emperor, offering to surrender and giving hostages. Accordingly, Marsilla sends out messengers to Charlemagne, promising treasure and Marsilla's conversion to Christianity if the Franks will go back to France.
Charlemagne and his men, tired of fighting, accept his peace offer and select a messenger to Marsilla's court. Protagonist Roland nominates his stepfather Ganelon as messenger. Ganelon, who fears to be murdered by the enemy and accuses Roland of intending this, takes revenge by informing the Saracens of a way to ambush the rear guard of Charlemagne's army, led by Roland, as the Franks re-enter Spain through the mountain passes.
As Ganelon predicted, Roland leads the rear guard, with the wise and moderate Oliver and the fierce Archbishop Turpin. The Muslims ambush them at Roncesvalles, and the Christians are overwhelmed. Oliver asks Roland to blow his olifant to call for help from the Frankish army; but Roland proudly refuses to do so.
The Franks fight well, but are outnumbered, until almost all Roland's men are dead and he knows that Charlemagne's army can no longer save them. Despite this, he blows his olifant to summon revenge, until his temples burst and he dies a martyr's death. Angels take his soul to Paradise.
When Charlemagne and his men reach the battlefield, they find the dead bodies of Roland's men, who have been utterly annihilated, and pursue the Muslims into the river Ebro, where they drown. Meanwhile, Baligant, the powerful emir of Babylon, has arrived in Spain to help Marsilla, and his army encounters that of Charlemagne at Roncesvalles, where the Christians are burying and mourning their dead. Both sides fight valiantly - when Charlemagne kills Baligant, the Muslim army scatters and flees, and the Franks conquer Saragossa. With Marsilla's wife Bramimonde, Queen of Saragossa, Charlemagne and his men ride back to Aix, their capital in France.
The Franks discover Ganelon's betrayal and keep him in chains until his trial, where Ganelon argues that his action was legitimate revenge, not treason. While the council of barons assembled to decide the traitor's fate is initially swayed by this claim, one man, Thierry, argues that, because Roland was serving Charlemagne when Ganelon delivered his revenge on him, Ganelon's action constitutes a betrayal.
Ganelon's friend Pinabel challenges Thierry to trial by combat, in which, by divine intervention, Thierry kills Pinabel. The Franks are convinced by this of Ganelon's treason, thus, he is torn apart by having four galloping horses tied one to each arm and leg and thirty of his relatives are hanged.
Form[edit]
Charlemagne finds Roland dead (14th-century miniature).
The poem is written in stanzas of irregular length known as laisses. The lines are decasyllabic (containing ten syllables), and each is divided by a strong caesura which generally falls after the fourth syllable. The last stressed syllable of each line in a laisse has the same vowel sound as every other end-syllable in that laisse. The laisse is therefore an assonal, not a rhyming stanza.
On a narrative level, the Song of Roland features extensive use of repetition, parallelism, and thesis-antithesis pairs. Roland proposes Ganelon for the dangerous mission to Sarrogossa; Ganelon designates Roland to man the rearguard. Charlemagne is contrasted with Baligant.[4] Unlike later Renaissance and Romantic literature, the poem focuses on action rather than introspection.
The author gives few explanations for characters' behavior. The warriors are stereotypes defined by a few salient traits; for example, Roland is loyal and trusting while Ganelon, though brave, is traitorous and vindictive.
The story moves at a fast pace, occasionally slowing down and recounting the same scene up to three times but focusing on different details or taking a different perspective each time. The effect is similar to a film sequence shot at different angles so that new and more important details come to light with each shot.
Characters[edit]
Principal characters[edit]
Baligant, emir of Babylon; Marsile enlists his help against Charlemagne.
Blancandrin, wise pagan; suggests bribing Charlemagne out of Spain with hostages and gifts, and then suggests dishonouring a promise to allow Marsilla's baptism
Bramimonde, Queen of Saragossa, King Marsilla's wife; captured and converted by Charlemagne after the city falls
Charlemagne, Holy Roman Emperor; his forces fight the Saracens in Spain.
Ganelon, treacherous lord and Roland's stepfather who encourages Marsile to attack the French army
King Marsilla, Saracen king of Spain; Roland wounds him and he dies of his wound later.
Naimon, Charlemagne's trusted adviser.
Oliver, Roland's friend; mortally wounded by Margarice. He represents wisdom.
Roland, the hero of the Song; nephew of Charlemagne; leads the rear guard of the French forces; bursts his temples by blowing his olifant-horn, wounds from which he eventually dies facing the enemy's land.
Turpin, Archbishop of Rheims, represents the force of the Church.
Secondary characters[edit]
Aude, the fiancée of Roland and Oliver's sister
Basan, French baron, murdered while serving as Ambassador of Marsile.
Bérengier, one of the twelve paladins killed by Marsile's troops; kills Estramarin; killed by Grandoyne.
Besgun, chief cook of Charlemagne's army; guards Ganelon after Ganelon's treachery is discovered.
Geboin, guards the French dead; becomes leader of Charlemagne's 2nd column.
Godefroy, standard bearer of Charlemagne; brother of Thierry, Charlemagne's defender against Pinabel.
Grandoyne, fighter on Marsile's side; son of the Cappadocian King Capuel; kills Gerin, Gerier, Berenger, Guy St. Antoine, and Duke Astorge; killed by Roland.
Hamon, joint Commander of Charlemagne's Eighth Division.
Lorant, French commander of one of the first divisions against Baligant; killed by Baligant.
Milon, guards the French dead while Charlemagne pursues the Saracen forces.
Ogier, a Dane who leads the third column in Charlemagne's army against Baligant's forces.
Othon, guards the French dead while Charlemagne pursues the Saracen forces.
Pinabel, fights for Ganelon in the judicial combat.
Thierry, fights for Charlemagne in the judicial combat.
Durandal[edit]
According to the Song of Roland, this legendary sword was first given to Charlemagne by an angel. It contained one tooth of Saint Peter, blood of Saint Basil, hair of Saint Denis, and a piece of the raiment of the Blessed Virgin Mary, and was supposedly the sharpest sword in all existence. In the story of the Song of Roland, the weapon is given to Roland, and he uses it to defend himself singlehandedly against thousands of Muslim attackers. According to one 12th century legend from the French town of Rocamadour, Roland threw the sword into a cliffside. You can still see the sword embedded into the cliff-face.
Adaptations[edit]
A Latin poem, Carmen de Prodicione Guenonis, was composed around 1120, and a Latin prose version, Historia Caroli Magni (often known as "The Pseudo-Turpin") even earlier. Around 1170, a version of the French poem was translated into the Middle High German Rolandslied by Konrad der Pfaffe[4] (formerly thought to have been the author of the Kaiserchronik). In his translation Konrad replaces French topics with generically Christian ones. The work was translated into Middle Dutch in the 13th century.
It was also rendered into Occitan verse in the 14th- or 15th-century poem of Ronsasvals, which incorporates the later, southern aesthetic into the story. An Old Norse version of the Song of Roland exists as Karlamagnús saga, and a translation into the artificial literary language of Franco-Venetian is also known; such translations contributed to the awareness of the story in Italy. In 1516 Ludovico Ariosto published his epic Orlando Furioso, which deals largely with characters first described in the Song of Roland.
There is also Faroese adoption of this ballad named "Runtsivalstríðið" (Battle of Roncevaux).[5] The ballad is one of many sung during the Faroese folkdance tradition of chain dancing.
Modern adaptations[edit]
The Chanson de Roland has an important place in the background of Graham Greene's The Confidential Agent. The book's protagonist had been a Medieval scholar specialising in this work, until the outbreak of the Spanish Civil War forced him to become a soldier and secret agent. Throughout the book, he repeatedly compares himself and other characters with the characters of "Roland". Particularly, the book includes a full two pages of specific commentary, which is relevant to its 20th-century plot line: "Oliver, when he saw the Saracens coming, urged Roland to blow his horn and fetch back Charlemagne - but Roland wouldn't blow. A big brave fool. In war one always chooses the wrong hero. Oliver should have been the hero of that song, instead of being given second place with the blood-thirsty Bishop Turpin.(...) In the Oxford version Oliver is reconciled in the end, he gives Roland his death-blow by accident, his eyes blinded by wounds. [But] the story had been tidied up. In truth, Oliver strikes his friend down in full knowledge - because of what he has done to his men, all the wasted lives. Oliver dies hating the man he loves - the big boasting courageous fool who was more concerned with his own glory than with the victory of his faith. This makes the story tragedy, not just heroics".[6]
It is also adapted by Stephen King, in the Dark Tower series in which Roland Deschain wishes to save the Dark Tower from the Crimson King.
See also[edit]
La Brèche de Roland
Matter of France
Herzog Ernst
Lamprecht
Notes[edit]
Jump up ^ "The Song of Roland". FordhamUniversity.edu. Retrieved 2015-02-04.
Jump up ^ Short, Ian (1990). Introduction. France: Le Livre de Poche. pp. 5-20.
Jump up ^ Taylor, Andrew, "Was There a Song of Roland?" Speculum 76 (January 2001): 28-65
^ Jump up to: a b Brault, Gerard J., Song of Roland: An Analytical Edition: Introduction and Commentary, Penn State Press, 2010 ISBN 9780271039145
Jump up ^ Part of Runtsivalstríðið with Dansifelagið í Havn [1]
Jump up ^ "The Confidential Agent", Part 1, Ch. 2, quoted in "Graham Greene: an approach to the novels" by Robert Hoskins, p. 122 [2]
External links[edit]
Wikisource has original text related to this article:
The Song of Roland
French Wikisource has original text related to this article:
La Chanson de Roland
Wikiquote has quotations related to: The Song of Roland
Wikimedia Commons has media related to Chanson de Roland.
The Song of Roland at Project Gutenberg (English translation of Charles Kenneth Scott Moncrieff)
The Digby 23 Project at Baylor University[dead link]
The Song of Roland[dead link]
La Chanson de Roland (Old French)
The Romance of the Middle Ages: The Song of Roland, discussion of Oxford, Bodleian Library MS Digby 23, audio clip, and discussion of the manuscript's provenance.
Earliest manuscript of the Chanson de Roland, readable online images of the complete original, Oxford, Bodleian Library MS Digby 23 (Pt 2) La Chanson de Roland, in Anglo-Norman, 12th century, ? 2nd quarter".
Old French Audio clips of a reading of The Song of Roland in Old French
Timeless Myths: Song of Roland
Wikisource-logo.svg "Roland, The Song of". New International Encyclopedia. 1905.
[show] v t e
King Charlemagne and the Matter of France
[show] v t e
The Song of Roland
Anyone killing Muslims will go to a paradise with thousands of virgins, streams running with wine, and no hangover. Just sex and wine.
Go ahead, get a Muslim, you always wanted fun!!!!!!!!!!!!
The Song of Roland
From Wikipedia, the free encyclopedia
For the 1978 film starring Klaus Kinski, see The Song of Roland (film).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2014)
The eight phases of The Song of Roland in one picture.
The Song of Roland (French: La Chanson de Roland) is an epic poem based on the Battle of Roncevaux in 778, during the reign of Charlemagne. It is the oldest surviving major work of French literature and exists in various manuscript versions, which testify to its enormous and enduring popularity in the 12th to 14th centuries.
The date of composition is put in the period between 1040 and 1115: an early version beginning around 1040 with additions and alterations made up until about 1115. The final text has about 4,000 lines of poetry. The epic poem is the first[1] and, along with The Poem of the Cid, one of the most outstanding examples of the chanson de geste, a literary form that flourished between the 11th and 15th centuries and celebrated legendary deeds.
Contents [hide]
1 Manuscripts and Dating
2 Critical opinions
2.1 Oral performance of the Song compared to manuscript versions
3 Plot
4 Form
5 Characters
5.1 Principal characters
5.2 Secondary characters
6 Durandal
7 Adaptations
8 Modern adaptations
9 See also
10 Notes
11 External links
Manuscripts and Dating[edit]
Set in the Carolingian era, it was written much later. There are nine extant manuscripts of the Song of Roland in Old French. The oldest of these manuscripts is held at the Bodleian Library at Oxford. This copy dates between 1129 and 1165 and was written in Anglo-Norman.[2]
Scholars estimate that the poem was written, possibly by a poet named Turold, between approximately 1040 and 1115, and most of the alterations were performed by about 1098. Some favor an earlier dating, because it allows one to say that the poem was inspired by the Castilian campaigns of the 1030s, and that the poem went on to be a major influence in the First Crusade. Those who prefer a later dating do so on grounds of what they interpret as brief references made in the poem to events of the First Crusade.
In the poem, the term d'oltre mer or l'oltremarin comes up three times in reference to named Muslims who came from oltre mer to fight in Spain and France. Oltre mer, modern French Outremer, literally "oversea, beyond sea, other side of the sea", is a native French term from the classical Latin roots ultra = "beyond" and mare = "sea". The name was commonly used by the Crusaders for Palestine.
The occurrence of this term in the poem cannot be interpreted as showing influence from the Crusades in the poem; on the contrary, the way it is used in the poem, in which it is simply a Muslim land, indicates that the author of the poem was unacquainted with the Crusades, and that the term was in French before the Crusades began meaning the far side of the Mediterranean Sea. The bulk of the poem is adjudged to date from before the Crusades (which started in 1098), but there are a few items where questions remain about these items being late additions shortly after the Crusades started.
Critical opinions[edit]
Oral performance of the Song compared to manuscript versions[edit]
Scholarly consensus has long accepted that the Song of Roland differed in its presentation depending on oral or textual transmission; namely, although a number of different versions of the song containing varying material and episodes would have been performed orally, the transmission to manuscript resulted in greater cohesiveness across versions.
Early editors of the Song of Roland, informed in part by patriotic desires to produce a distinctly French epic, could thus overstate the textual cohesiveness of the Roland tradition. This point is clearly expressed by Andrew Taylor, who notes,[3] "[T]he Roland song was, if not invented, at the very least constructed. By supplying it with an appropriate epic title, isolating it from its original codicological context, and providing a general history of minstrel performance in which its pure origin could be located, the early editors presented a 4,002 line poem as sung French epic".
Plot[edit]
The death of Roland at the Battle of Roncevaux, from an illuminated manuscript c.1455-1460.
Charlemagne's army is fighting the Muslims in Spain. They have been there for seven years, and the last city standing is Saragossa, held by the Muslim king Marsilla. Threatened by the might of Charlemagne's army of Franks, Marsilla seeks advice and his wise man, Blancandrin, councils him to conciliate the Emperor, offering to surrender and giving hostages. Accordingly, Marsilla sends out messengers to Charlemagne, promising treasure and Marsilla's conversion to Christianity if the Franks will go back to France.
Charlemagne and his men, tired of fighting, accept his peace offer and select a messenger to Marsilla's court. Protagonist Roland nominates his stepfather Ganelon as messenger. Ganelon, who fears to be murdered by the enemy and accuses Roland of intending this, takes revenge by informing the Saracens of a way to ambush the rear guard of Charlemagne's army, led by Roland, as the Franks re-enter Spain through the mountain passes.
As Ganelon predicted, Roland leads the rear guard, with the wise and moderate Oliver and the fierce Archbishop Turpin. The Muslims ambush them at Roncesvalles, and the Christians are overwhelmed. Oliver asks Roland to blow his olifant to call for help from the Frankish army; but Roland proudly refuses to do so.
The Franks fight well, but are outnumbered, until almost all Roland's men are dead and he knows that Charlemagne's army can no longer save them. Despite this, he blows his olifant to summon revenge, until his temples burst and he dies a martyr's death. Angels take his soul to Paradise.
When Charlemagne and his men reach the battlefield, they find the dead bodies of Roland's men, who have been utterly annihilated, and pursue the Muslims into the river Ebro, where they drown. Meanwhile, Baligant, the powerful emir of Babylon, has arrived in Spain to help Marsilla, and his army encounters that of Charlemagne at Roncesvalles, where the Christians are burying and mourning their dead. Both sides fight valiantly - when Charlemagne kills Baligant, the Muslim army scatters and flees, and the Franks conquer Saragossa. With Marsilla's wife Bramimonde, Queen of Saragossa, Charlemagne and his men ride back to Aix, their capital in France.
The Franks discover Ganelon's betrayal and keep him in chains until his trial, where Ganelon argues that his action was legitimate revenge, not treason. While the council of barons assembled to decide the traitor's fate is initially swayed by this claim, one man, Thierry, argues that, because Roland was serving Charlemagne when Ganelon delivered his revenge on him, Ganelon's action constitutes a betrayal.
Ganelon's friend Pinabel challenges Thierry to trial by combat, in which, by divine intervention, Thierry kills Pinabel. The Franks are convinced by this of Ganelon's treason, thus, he is torn apart by having four galloping horses tied one to each arm and leg and thirty of his relatives are hanged.
Form[edit]
Charlemagne finds Roland dead (14th-century miniature).
The poem is written in stanzas of irregular length known as laisses. The lines are decasyllabic (containing ten syllables), and each is divided by a strong caesura which generally falls after the fourth syllable. The last stressed syllable of each line in a laisse has the same vowel sound as every other end-syllable in that laisse. The laisse is therefore an assonal, not a rhyming stanza.
On a narrative level, the Song of Roland features extensive use of repetition, parallelism, and thesis-antithesis pairs. Roland proposes Ganelon for the dangerous mission to Sarrogossa; Ganelon designates Roland to man the rearguard. Charlemagne is contrasted with Baligant.[4] Unlike later Renaissance and Romantic literature, the poem focuses on action rather than introspection.
The author gives few explanations for characters' behavior. The warriors are stereotypes defined by a few salient traits; for example, Roland is loyal and trusting while Ganelon, though brave, is traitorous and vindictive.
The story moves at a fast pace, occasionally slowing down and recounting the same scene up to three times but focusing on different details or taking a different perspective each time. The effect is similar to a film sequence shot at different angles so that new and more important details come to light with each shot.
Characters[edit]
Principal characters[edit]
Baligant, emir of Babylon; Marsile enlists his help against Charlemagne.
Blancandrin, wise pagan; suggests bribing Charlemagne out of Spain with hostages and gifts, and then suggests dishonouring a promise to allow Marsilla's baptism
Bramimonde, Queen of Saragossa, King Marsilla's wife; captured and converted by Charlemagne after the city falls
Charlemagne, Holy Roman Emperor; his forces fight the Saracens in Spain.
Ganelon, treacherous lord and Roland's stepfather who encourages Marsile to attack the French army
King Marsilla, Saracen king of Spain; Roland wounds him and he dies of his wound later.
Naimon, Charlemagne's trusted adviser.
Oliver, Roland's friend; mortally wounded by Margarice. He represents wisdom.
Roland, the hero of the Song; nephew of Charlemagne; leads the rear guard of the French forces; bursts his temples by blowing his olifant-horn, wounds from which he eventually dies facing the enemy's land.
Turpin, Archbishop of Rheims, represents the force of the Church.
Secondary characters[edit]
Aude, the fiancée of Roland and Oliver's sister
Basan, French baron, murdered while serving as Ambassador of Marsile.
Bérengier, one of the twelve paladins killed by Marsile's troops; kills Estramarin; killed by Grandoyne.
Besgun, chief cook of Charlemagne's army; guards Ganelon after Ganelon's treachery is discovered.
Geboin, guards the French dead; becomes leader of Charlemagne's 2nd column.
Godefroy, standard bearer of Charlemagne; brother of Thierry, Charlemagne's defender against Pinabel.
Grandoyne, fighter on Marsile's side; son of the Cappadocian King Capuel; kills Gerin, Gerier, Berenger, Guy St. Antoine, and Duke Astorge; killed by Roland.
Hamon, joint Commander of Charlemagne's Eighth Division.
Lorant, French commander of one of the first divisions against Baligant; killed by Baligant.
Milon, guards the French dead while Charlemagne pursues the Saracen forces.
Ogier, a Dane who leads the third column in Charlemagne's army against Baligant's forces.
Othon, guards the French dead while Charlemagne pursues the Saracen forces.
Pinabel, fights for Ganelon in the judicial combat.
Thierry, fights for Charlemagne in the judicial combat.
Durandal[edit]
According to the Song of Roland, this legendary sword was first given to Charlemagne by an angel. It contained one tooth of Saint Peter, blood of Saint Basil, hair of Saint Denis, and a piece of the raiment of the Blessed Virgin Mary, and was supposedly the sharpest sword in all existence. In the story of the Song of Roland, the weapon is given to Roland, and he uses it to defend himself singlehandedly against thousands of Muslim attackers. According to one 12th century legend from the French town of Rocamadour, Roland threw the sword into a cliffside. You can still see the sword embedded into the cliff-face.
Adaptations[edit]
A Latin poem, Carmen de Prodicione Guenonis, was composed around 1120, and a Latin prose version, Historia Caroli Magni (often known as "The Pseudo-Turpin") even earlier. Around 1170, a version of the French poem was translated into the Middle High German Rolandslied by Konrad der Pfaffe[4] (formerly thought to have been the author of the Kaiserchronik). In his translation Konrad replaces French topics with generically Christian ones. The work was translated into Middle Dutch in the 13th century.
It was also rendered into Occitan verse in the 14th- or 15th-century poem of Ronsasvals, which incorporates the later, southern aesthetic into the story. An Old Norse version of the Song of Roland exists as Karlamagnús saga, and a translation into the artificial literary language of Franco-Venetian is also known; such translations contributed to the awareness of the story in Italy. In 1516 Ludovico Ariosto published his epic Orlando Furioso, which deals largely with characters first described in the Song of Roland.
There is also Faroese adoption of this ballad named "Runtsivalstríðið" (Battle of Roncevaux).[5] The ballad is one of many sung during the Faroese folkdance tradition of chain dancing.
Modern adaptations[edit]
The Chanson de Roland has an important place in the background of Graham Greene's The Confidential Agent. The book's protagonist had been a Medieval scholar specialising in this work, until the outbreak of the Spanish Civil War forced him to become a soldier and secret agent. Throughout the book, he repeatedly compares himself and other characters with the characters of "Roland". Particularly, the book includes a full two pages of specific commentary, which is relevant to its 20th-century plot line: "Oliver, when he saw the Saracens coming, urged Roland to blow his horn and fetch back Charlemagne - but Roland wouldn't blow. A big brave fool. In war one always chooses the wrong hero. Oliver should have been the hero of that song, instead of being given second place with the blood-thirsty Bishop Turpin.(...) In the Oxford version Oliver is reconciled in the end, he gives Roland his death-blow by accident, his eyes blinded by wounds. [But] the story had been tidied up. In truth, Oliver strikes his friend down in full knowledge - because of what he has done to his men, all the wasted lives. Oliver dies hating the man he loves - the big boasting courageous fool who was more concerned with his own glory than with the victory of his faith. This makes the story tragedy, not just heroics".[6]
It is also adapted by Stephen King, in the Dark Tower series in which Roland Deschain wishes to save the Dark Tower from the Crimson King.
See also[edit]
La Brèche de Roland
Matter of France
Herzog Ernst
Lamprecht
Notes[edit]
Jump up ^ "The Song of Roland". FordhamUniversity.edu. Retrieved 2015-02-04.
Jump up ^ Short, Ian (1990). Introduction. France: Le Livre de Poche. pp. 5-20.
Jump up ^ Taylor, Andrew, "Was There a Song of Roland?" Speculum 76 (January 2001): 28-65
^ Jump up to: a b Brault, Gerard J., Song of Roland: An Analytical Edition: Introduction and Commentary, Penn State Press, 2010 ISBN 9780271039145
Jump up ^ Part of Runtsivalstríðið with Dansifelagið í Havn [1]
Jump up ^ "The Confidential Agent", Part 1, Ch. 2, quoted in "Graham Greene: an approach to the novels" by Robert Hoskins, p. 122 [2]
External links[edit]
Wikisource has original text related to this article:
The Song of Roland
French Wikisource has original text related to this article:
La Chanson de Roland
Wikiquote has quotations related to: The Song of Roland
Wikimedia Commons has media related to Chanson de Roland.
The Song of Roland at Project Gutenberg (English translation of Charles Kenneth Scott Moncrieff)
The Digby 23 Project at Baylor University[dead link]
The Song of Roland[dead link]
La Chanson de Roland (Old French)
The Romance of the Middle Ages: The Song of Roland, discussion of Oxford, Bodleian Library MS Digby 23, audio clip, and discussion of the manuscript's provenance.
Earliest manuscript of the Chanson de Roland, readable online images of the complete original, Oxford, Bodleian Library MS Digby 23 (Pt 2) La Chanson de Roland, in Anglo-Norman, 12th century, ? 2nd quarter".
Old French Audio clips of a reading of The Song of Roland in Old French
Timeless Myths: Song of Roland
Wikisource-logo.svg "Roland, The Song of". New International Encyclopedia. 1905.
[show] v t e
King Charlemagne and the Matter of France
[show] v t e
The Song of Roland
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