Product Description

Presents the classical epic, glorifying the heroism of Charlemagne in the 778 battle between the Franks and the Moors. Bibliogs.

Product Details

• Amazon Sales Rank: #173726 in Books
• Published on: 1957-12-30
• Original language: English
• Number of items: 1
• Binding: Paperback
• 208 pages

Features

• ISBN13: 9780140440751
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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Customer Reviews

Are you Kidding? Buy This Book!
This is "The Song Of Roland," as Dorothy Sayers remarks in the introduction to this fine translation, is 'the earliest, the most famous, and the greatest of those Old French epics which are called Songs of Seeds.'

This book, written around the end of the eleventh century, and recalling an actual disaster in 778 A.D., the anonymous poet describes in detail the betrayal and slaughter by Saracens the rearguard of Charlemagne's army under ROLAND at Rencevaux and Charlemagne's bitter revenge. Nowhere in literature is the medievel Code of Chivalry more perfectly expressed than in this masterly and exciting poem.

This text includes an extensive introduction to the Eurpoean Medieval world and provides explanations on civil and military costume.

"When Thierry feels the blade bite through his flesh,
And sees the blood upon the grass run red,
Then he lets drive a blow at Pinabel.
Down to the nasal he cleaves the bright steel helm,
Shears through the brain and spills it from his head,
Wrenches the blade out and shakes it from it dead.
With that great stroke he wins and makes an end.
The Franks all cry: "God's might is manifest!"

Yes!!!! Buy this book! You will not be disappointed.
Five stars. Without equal.

A great epic poem
The great French/Frank epic poem, the Song of Roland, stemmed out of an actual event. There really was a Roland--he was a nobleman of some kind. He and his party were ambushed and killed during Charlemagne's lifetime. But they were not fighting Saracen pagans. They were actually killed by a party of Basques. Also, Roland was not a major factor in this battle, but rather merely a participant.

Somewhere along the line a legend sprang up, and it gradually evolved and developed into what is now this poem. The poem is entertaining to read, and is a great example of Frank thought and prejudice (in making the villains Saracens). In fact, the opposing sides in the battle are Christians and Pagans, typical enemies from the period in which this was written.

This poem is epic in many respects, and is also tragic. Certainly Roland's flaw is his excessive overconfidence and pride (hubris), which prevent him from blowing his horn and petitioning aid for himself and his army. The battle sequences, which are very graphic, are reminiscent of The Iliad and the Aeneid, though this work does not measure up to either in greatness or epic grandeur. I have given the poem four stars in relation to similar works (such as The Iliad, the Aeneid, and the Odyssey). The poem is well-written and is an enjoyable read, but the poet was by no means as talented as the likes of Homer, Virgil, Dante, Milton, or the Beowulf poet. Still, this is one of history's great epic poems, and should be treated as such. Study of this poem is essential for anyone interested in the epic as a form of poetry.

"Mountjoy!" Surely thou dost geste....
This review relates to the volume -The Song of Roland-,
Translated and with an Introduction by Dorothy L. Sayers,
Penguin Classics, 1957 (first translation, 1937). 206 pp.
There seems little point in giving a work of world literature
a rating of stars as to whether it is better or lesser than
some other work of world literature, even of the same genre.
The rating for this review is based on this particular
edition and translation.
The excellent qualities of this Penguin edition include

the "Introduction." Sayers discusses this "earliest,
the most famous, and the greatest of those Old French
epics which are called Songs of Deeds." Her "Introduction"
is divided into the highly enlightening subsections titled:
The Poem; The Feudal Picture; Vassalage; Tokens; Chivalry;
The Rules of Battle; Nurture and Companionage; Horses and
Swords; and The Verse and the Translation. She says the
poem as we have it "would appear to have achieved its
final shape towards the end of the eleventh century." But
the events described in the epic took place in 778, and
"the anonymous poet describes in detail the betrayal and
slaughter by Saracens of the rearguard of Charlemagne's
army under Roland -- at Rencevaux -- and Charlemagne's
bitter revenge."
Perhaps most interesting in the "Introduction" are Ms.
Sayers' character studies. She sees that in Charlemagne,
"beneath this larger-than-life-size figure, we discern
another: the portrait of the ideal earthly sovereign --
just, prudent, magnanimous, and devout." She goes
further and posits that in the way he is described
in this epic he even seems like an early medieval version
of a "constitutional" monarch. "Beneath all this again
is the personal character of Charlemagne -- his stately
bearing, his courtesy, his valour and strength, his deep
religious feeling, his friendship for Naimon, his warm
affection for his nephew and the Peers.... He rides
and fights among his barons as the greatest baron of
them all."
Roland, on the other hand, in Ms. Sayers' view, has a
character which is "simplicity itself." "Rash, arrogant,
generous, outspoken to a fault, loyal, affectionate,
and single-minded, he has all the qualities that endear
a captain to his men and a romantic hero to his audience.
He has no subtlety at all; other men's minds are a closed
book to him." This particular view of Roland makes him
sound a little like a faithful pooch rather than a
chivalrous knight; and perhaps strains a bit of invective
at Romantics in believing that they prefer no subtlety
in their heroes.
The final aspect which Ms. Sayers stresses is the "essential
Christianity of the poem." "It is not merely Christian in
subject; it is Christian to its very bones." *** "And it
is a Christianity as naive and uncomplicated as might be
found at any time in the simplest village church." However,
it is a Christianity which has already made the concession
to the idea of "just wars" -- and killing for "the right
reasons." Augustine and Constantine take precedence over
Jesus.
This is a very readable translation and Ms. Sayers, who
received a degree in medieval literature from the
Somerville College, University of Oxford, in 1915, does
it great credit with a readable, engrossing translation.
Here is the section on the death of Roland himself (actually
it takes him 3 full stanzas to die; 174, 175, and 176,
even though it seems he has fully expired in the first --):
Now Roland feels death press upon him hard;
It is creeping down from his head to his heart.
Under a pine-tree he hastens him apart,
There stretches him face down on the green grass,
And lays beneath him his sword and Oliphant [his horn].
He's turned his head to where the Paynims are,
And this he doth for the French and for Charles,
Since fain is he that they should say, brave heart,
That he has died a conqueror at the last.
He beats his breast full many a time and fast,
Gives, with his glove, his sins into God's charge.
[174]
------------------
-- Robert Kilgore.