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Glyn Burgess - The Song of Roland

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Glyn Burgess The Song of Roland

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On 15 August 778, Charlemagnes army was returning from a successful expedition against Saracen Spain when its rearguard was ambushed in a remote Pyrenean pass. Out of this skirmish arose a stirring tale of war, which was recorded in the oldest extant epic poem in French. The Song of Roland, written by an unknown poet, tells of Charlemagnes warrior nephew, Lord of the Breton Marches, who valiantly leads his men into battle against the Saracens, but dies in the massacre, defiant to the end. In majestic verses, the battle becomes a symbolic struggle between Christianity and paganism, while Rolands last stand is the ultimate expression of honour and feudal values of twelfth-century France.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

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Contents
Glyn Burgess THE SONG OF ROLAND Translated with an Introduction and Notes by - photo 1
The Song of Roland - image 2
Glyn Burgess

THE SONG OF ROLAND
Translated with an Introduction and Notes by Glyn Burgess
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PENGUIN BOOKS
UK | Canada | Ireland | Australia
New Zealand | India | South Africa Penguin Books is part of the Penguin Random House group of companies whose addresses can be found at global.penguinrandomhouse.com.
The Song of Roland - image 4
This translation first published 1990 Copyright Glyn Burgess, 1990 All rights reserved ISBN: 978-0-141-91403-9
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THE BEGINNING
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THE SONG OF ROLAND
Glyn S. Burgess studied French at St Johns College, Oxford. He then took his MA at McMaster University, Hamilton, Ontario, and went on to do a doctorate at the Sorbonne. He has taught at Queens University, Kingston, Ontario, at the University of South Carolina, and, since 1971, at the University of Liverpool, where he is currently Professor of French and Head of the Department. His interests lie in early medieval French literature, especially in the relationship between literature and society.

In addition to the present volume, he has translated (with Keith Busby) the Lais of Marie de France for Penguin Classics, and he has published widely on twelfth-century courtly literature, especially on the Lais of Marie de France. His publications include Contribution ltude du vocabulaire prcourtois (1977), Marie de France: an Analytical Bibliography (1977; first supplement 1986), Chrtien de Troyes: Erec et Enide (1984), The Lais of Marie de France: Text and Context (1987) and The Old French Narrative Lay: an Analytical Bibliography (1995). He has been associated since its inception in the mid 1970s with the International Courtly Literature Society, of which he was President from 1989 to 1995.

A Note on the Translation
My aim has been to translate the Song of Roland into straightforward modern English, rendering each line of text by one line of translation. No attempt has been made to reproduce the poetic qualities of the text other than through the act of rearranging the elements within each line, where necessary, to produce the most satisfactory rhythm in English. The paratactic structure of the Old French text (many of its lines are single entities without any clear link with the preceding or following line) can lead to a feeling of awkwardness in the English.

Similarly the fact that Old French possesses two terms for the word and, si and e(t), occasionally presents problems. I have, therefore, felt obliged from time to time, to sacrifice absolute fidelity to the detail of the text in order to achieve a more readable translation. The tenses of the original have, on the other hand, been maintained. This can produce slightly disconcerting shifts of tense in the English, but it has the advantage of presenting the time sequences in the way envisaged by the poet. The reader will find in the Appendix a certain amount of the Old French text. The aim in editing these lines has been to reproduce those sections of the poem which are of particular significance for its meaning and structure.

The lines of the text which are not found here have been translated from the edition by F. Whitehead (Oxford, Blackwells French Texts, 2nd ed., 1946).

Introduction
The Bodleian Library in Oxford houses a small, rather insignificant manuscript designated as Digby 23 and containing a poem which lacks a title. This poem was first published (Paris, 1837) under the title La Chanson de Roland ou de Roncevaux by Francisque Michel, who records how he discovered it in July 1835. It has come to be known simply as the Chanson de Roland (Song of Roland). The manuscript, executed in the twelfth century (probably between 1130 and 1170), presents a number of linguistic features reflecting the Anglo-Norman dialect, the French spoken in England for some three hundred years after the Norman Conquest.

It contains a number of errors committed by the scribe and has been touched up in over sixty places by a twelfth-century reviser. Manuscript Digby 23 is certainly not the poets original, but some of the errors suggest that it represents the copy of a copy of the original (see Whitehead, pp. vivii).saga), Welsh (Cn Rolant), Dutch (the Roelantslied) and Middle English (Song of Roland). The precise date of composition of the Oxford version is difficult to determine. The numerous proper names, of individuals and places, seem at first sight to offer a fruitful source of information. But many appear to be the product of poetic invention.

Some, however, have made scholars wonder whether the poet had in mind a specific historical event. Allusions to the Col de Cize (vv. The poem has been dated as early as 1060 and as late as the second half of the twelfth century, but the most frequently accepted date is around the very end of the eleventh century (10981100). This would place the poem at the time of the First Crusade. Indeed the inclusion of a relic of the Holy Lance in Charlemagnes sword (vv. 2231, English edition, pp. 1624). 1624).

The story recounted in the Song of Roland has a certain historical foundation. The context is the dissension in the Muhammadan world which crept in around the year 750. Charles entered Spain in the year 778 at the solicitation of the governor of Barcelona, Suleiman ibn-al-Arabi, who sought his assistance against his enemy Abderrahman. Charles was promised in return the surrender of several cities in Spain. After a few months of campaigning and while he was besieging Saragossa, Charles was informed of a Saxon uprising in the north. He lifted the siege and began to make his way back to France, taking Suleiman with him as a prisoner.

The latters promises had not been adequately fulfilled and Charles probably suspected him of treachery. On the way back he destroyed Pamplona, to prevent it from rebelling against him, and drove out many of its inhabitants. As the Franks were crossing the Pyrenees on 15 August 778 their rearguard was ambushed by Basques. Their baggage train was pillaged and all the members of the rearguard were slaughtered. The ambush took place in the pass of Roncesvalles (Old French Rencesvals, French Roncevaux). This defeat taught Charles a lesson and his attitude towards Spain became defensive.

He eventually managed, with the capture of Barcelona in 803, to establish as a buffer zone an area of Frankish influence known as the Spanish March. The best-known account of these happenings is preserved in the Vita Karoli Magni of Einhard, written some fifty or sixty years after the event. Einhard tells us that the loss of the rearguard was due to Basque/Gascon treachery and that this was the only loss sustained by Charlemagne during his energetic attacks against Spain: At a moment when Charlemagnes army was stretched out in a long column of march, as the nature of the local defiles forced it to be, these Basques [Wascones], who had set their ambush on the very top of one of the mountains, came rushing down on the last part of the baggage train and the troops who were marching Particularly noticeable in this account is the presence of Roland and the absence of other protagonists of the

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