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• W67709817 abstract "THE Chanson de Roland seems to present a Manichean world, one in which Christians enjoy God's favor and Saracens do not. True, certain Saracens, such as Abisme (vasselage ad e mult grant estultie v. 1639) and Baligant (deus! quel baron, s'oust chrestientet v. 3164), have their virtues and certain of the Franks, notably Ganelon, their failings. (1) Nonetheless, in this poem, God prevents the sun from setting in answer to Charlemagne's prayers (vv. 2447-75) and through the angel Gabriel bolsters the French king when he falters in his combat with the Emir (vv. 3611-12). No such aid comes to the opposing side, as Roland says: paien unt tort e chrestiens unt dreit (v. 1015). (2) Yet one cannot help noticing that the feats of arms by the opposing sides in this martial narrative are remarkably similar. Aside from the prodigious blows struck by Roland himself, the faithful and the faithless appear to produce equally spectacular mutilations. Close examination of the bloodshed, however, reveals a code that follows the Christian-Saracen dichotomy. Knights of both faiths are penetrated by lances, their hearts crushed, but only Saracen bodies, and that of the Christian traitor, Ganelon, undergo the severing of extremities. Whereas one is tempted to seek the motivation for these amputations in medieval theology, such as a belief in the materiality of the soul, no religious explanation by itself suffices. For a better understanding of this preference for Saracen dismemberment, one must look instead to Germanic traditions of criminal punishment. As Dominique Boutet says of chanson de geste brutality in general: derriere l'ideologie religieuse il y a un vieux fond barbare que l'on ne peut pas, que l'on ne veut pas renier (Le Cycle de Guillaume d'Orange 11). Boutet's proposition certainly applies to the Chanson de Roland, in that gore plays a major role in the text. Here bloodshed, for the original audience and today's reader, provides more than essential entertainment. Almost without exaggeration, one can say that carnage is the narrative. Despite the seemingly black and white moral world the song presents, where the right battle the wrong, both sides of the fight suffer wounding and death in nearly equal measure. There is no doubt as to who will triumph in the end, but until then the Saracens give almost as good as they get. No doubt, the need for drama trumps religious absolutism, for an enemy easily defeated offers no glory. (3) The battle begins with French feats of prowess, but soon the Saracen blows begin to tell, such as when Climborin confronts Engelier de Gascogne: empeint le ben, tut le fer li mist ultre,/pleine sa hanste el camp mort le tresturnet (vv. 1497-98). As an engagement between minor characters, the killing is typically terse. For major protagonists, the wounding becomes more graphic; for example, when Marganice meets Olivier and he Oliver derere enmi le dos;/le blanc osberc li ad desclos el cors,/parmi le piz sun espiet li mist fort (vv. 1945-47). Turpin's demise is all the more vivid: Li quens Rollant veit l'arcevesque a tere; Defors sun cors veit gesir la buele, Desuz le frunt li buillit la cervele; Desur sun piz, entre les dous furceles, Cruisiedes ad ses blanches mains, les beles. (vv. 2246-50) Even Charlemagne himself suffers mutilation before dispatching Baligant: Li amiralz ... fiert Carlemagne sur l'elme d'acer brun, Desur la teste li ad frait e fendut; Met li l'espee sur les chevels menuz, Prent de la carn grant pleine palme e plus; Iloec endreit remeint li os tut nut. (vv. 3602-07) When the French land telling blows the results are equally florid, such as when Olivier encounters the pagan Malon and strikes him with his broken lance: l'escut li freint, k'est ad or e a flur,/fors de la teste li met les oilz ansdous,/e la cervele li chet as piez desuz (vv. 1354-56). Only Roland's feats of prowess produce slightly more spectacular detail than those of other knights: Rollant. …" @default.
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• W67709817 date "2005-03-22" @default.
• W67709817 modified "2023-09-23" @default.
• W67709817 title "Mutilation and Dismemberment in the Chanson de Roland, A Question of Faith?" @default.
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