Like Adam and Eve began in the garden,
set before the tree of knowledge that possessed both good and evil, The Song of Roland begins with two
kingdoms, each in their garden. Each has a choice of good or evil. From the
start it is known the King of Saragossa “hates God’s name” (7). Emperor Charlemayn often prayed, had visions,
and was guided by God’s angel Gabriel. King Marsilion, while in the company of
twenty thousand, quickly took side with one man’s words, the conniving
Blancandrin. The King then appointed, “ten matchless villains” to kill God’s
Emperor (69). At the same time, they plotted with Ganelon to also crucify
Roland. Emperor Charlemayn “was a man not hasty in reply/But wont to speak only
when well advise” (142-143). The language of this epic is very clear: There
is good and evil, and the force of good will
win over the forces of evil. The immense importance of this epic is that one’s
soul cannot be saved after death; it must be a choice made while yet alive. If
Christianity is not chosen, then death will result and to the devil’s grove,
the unbeliever will go. Through the illustration of war, The Song of Roland represents a spiritual holy war.
This epic is a holy war, a battle
between spiritual forces of Heaven and hell. It is holy faith that Ganelon lays
down before his fate is sealed. The epic reads, “He sware the treason and sware
his faith away” (608). He sold his birthright of grace to get even with Roland
and betray the Emperor. Swearing on a sword was a symbol of valor and honor
among the vassals and kings; it was a sacred pledge. With this deed Ganelon,
along with all who held allegiance to Saragossa’s reign, agreed to bondage of
hell’s victory. They took the devil’s bait and become his vassals doomed to
hell. The forces of Heaven could no longer prevail over their souls. The moral
lesson of this spiritual epic is justified when one understands the grave
importance of servitude of good over evil.
The
Song of Roland vividly
and viciously describes the sword at work in moral and spiritual justification
for holy war. Emperor Charlemayn is charged to do battle as God’s army, Sayers
writes, “But God will not he be o’ercome or killed/ Saint Gabriel comes
hastening down to him” (3609-3610). Detailed description of Charlemayn’s fight
against the King chants in rhyme for pages. The work of his sword vividly separates
the false treasures, divides his mortal existence from the evil spirit behind his
face, “He carves the helm with jewel-stones ablaze/He splits the skull, he
dashes out the brains/Down to the beard he cleaves him through the face/And, past
all healing, he flings him down, clean slain” (3615-3619). The holy war is an
escalating spiritual battle equally fierce that vividly reveals the result of
falling faith. Countless examples, justified by the sword, were fought in this
spiritual battle. The battle that belongs to God is carried out by divine orders,
given through visions and visits from the angel Gabriel, directly to the
Emperor.
The forces of good and evil are clearly
represented by the Christians, who are led by Emperor Charlemayn and the villains
of Saragossa under the control of King Marsilion. The Song of Roland is an epic of a holy war; it is one of a
spiritual nature that looks deep into one's soul. The
horrific descriptions of pain and loss are warnings to choose wisely the forces one chooses to serve. Charlemayn,
like God, will not quit fighting for the spiritual life of every man. Saragossa
and Ganelon represent the dark souls of men, fighting Satan’s battle against
God. The driving force, the motivation to get even, was fueled by anger and hate,
and only resulted in a death sentence. Therefore the spiritual battle,
illustrated by this holy war, is justified to save souls from the senseless destruction
of evil.
Kathleen: What an energetic and well-developed analysis of Song of Roland. It's clear that this epic poem really spoke to you.
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