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The song of roland analysis essay
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A warrior bravely facing down a one hundred thousand pagan army until death: Count Roland from The Song of Roland is an exciting character from france’s oldest epic. The Song of Roland is a complex tale of betrayal: Two betrayals are played out simultaneously in the story (Goldin, 1332). When Charlemagne, king of the franks, is about to lay siege on the city of Saracens the cities king, Marsilion, plots to trick Charlemagne into leaving by promising to convert to christianity, but has no intention of fulfilling that promise (Childress, 1). The second betrayal - and the most important one in the story - is done on the story's main protagonist Roland by his stepfather Count Ganelon. The only reasoning Ganelon gives for his dislike of Roland is when he …show more content…
The Chanse was based off a battle that happened during the actual Charlemagne's venture into spain, but was not actually written until three-hundred years later in the 1100’s by an unknown author. (Charlemagne ; Owen, 34). The Song of Roland entered public view in nineteenth-century France - whom was desiring for a sense of national unity: “ … if the general public were still not captivated, the scholarly public certainly started to respond to the idea that Roland represented an important part of French history” (Divanna, 115). While what Count Ganelon did is certainly considered despicable by most moral standards but, from his viewpoint at least, Ganelon did not commit treason against King Charlemagne. This essay will attempt to prove that, and also will go over historical information regarding the actual conflict The Song of Roland was based off of, and also of its rediscovery and re-modernization by pre-modern
In this documentary report I shall look at the account of Urban II’s speech we are given by Fulcher of Chartres and assess it’s usefulness according to it’s likely reliability and it’s concurrence with the other accounts of Urban’s speech and the evidence we have from his letters. I shall first look at who Fulcher of Chartres was, as his role in society is important for understanding how he may have come to be aware of or present at the council of Clermont. A brief look at Fulcher will also provide an insight into what his opinions may have been and how this may colour his representation of the events. I shall also look at the message as we see it in Fulcher’s version of events and then at the overall view we are given from the evidence. I shall also look at the conclusions that ‘modern’ scholars have come to. Finally I shall look at the outcomes of this council and how much the outcomes reflect the aims we are told about in the accounts of the council of Clermont.
Arthur Koestler's Darkness at Noon depicts the fallacious logic of a totalitarian regime through the experiences of Nicolas Salmanovitch Rubashov. Rubashov had fought in the revolution and was once part of the Central Committee of the Party, but he is arrested on charges of instigating attempted assassinations of No. 1, and for taking part in oppositional, counter-revolutionary activities, and is sent to a Soviet prison. Rubashov, in his idle pacing throughout his cell, recollects his past with the Party. He begins to feel impulses of guilt, most especially in those moments he was required to expel devoted revolutionaries from the Party, sending them to their death. These subconscious feelings of guilt are oftentimes represented physically in the form of toothache or through day- or night-dreams. As his thought progresses with the novel, he begins to recognize his guilt, which emerges alongside his individuality. It remains in his subconscious, and it is not until Rubashov absolves himself through silent resignation at his public trial that he is fully conscious of guilt. By joining the Party, Rubashov allows himself to forget the questions of human nature and of his individuality. The nature of his guilt lies in this betrayal of his individuality.
The two lives of Charlemagne as told by Einhard and Notker are two medieval sources about the accounts of the life Charlemagne. Modern sources by Matthew Innes and Rosamond Mckitterick discuss how history was recorded during the medieval period and how it was suppose to be viewed in the early ages. Observing each of these sources helps get an understanding of how the writing of history is important in recorded history and how it affected how the history of Charlemagne was recorded.
shall fare forth to find you, so far as I may, and this I say
The figure of Gawain throughout Arthurian literature is an interesting one; he appears in more texts as a secondary character than any other knight named, and often gains glory even at the expense of the main hero (Busby 1980, 5). The first characteristic which separates him from the other knights is his relationship to Arthur: it is usually stated that he is Arthur's sister's son, a kinship that is found from William of Malmesbury's Gesta Regum Anglorum (c. 1125) and Geoffrey of Monmouth's Historia Regum Britanniae (c. 1136) onward (Busby 1980, 31). However, it is notable that Gawain often seems more like a type than an individual; in Old French literature he is never the subject of a biographical romance, as are most of the other knights, he never has one particular lady's name associated with him, and he is frequently used as a constant against which other knights are judged, the perfect embodiment of good qualities, more a symbol of perfection than an actual person (Busby 1980, 7).
During World War II and the Holocaust, there was not only mistrust for the government but there was also plenty of mistrust for prior friends and neighbors. In the graphic novel, “Maus (Volume I and II) Vladek Spiegelman makes it very clear to his son, Artie, that one cannot count on their friends. He makes the point that in time of hardship, friends will abandon you quite quickly. Vladek says, “Friends? Your friends…if you lock them together in a room with no food for a week…then you could see what it is, friends! (Maus, VI. 5-6). Throughout the novel, we see examples of this gloomy point proven repeatedly.
Froissart’s Chronicles, simply known as the Chroniques, is considered by historians as the one of the important entities that recounts the events which happened during the Hundred Years’ War period. It was an extensive literary work with approximately 1.5 million words in length, written in Middle French prose by Jean Froissart. The Chronicles start by narrating the deposition of King Edward II in year 1326 and covering events from this time onward up to year 1400, hence can be significant in the study of the first part of the Hundred Years’ War. This source is also of vital importance in the study as well as the understanding of the chivalric culture of the 14th century England and French as chivalry and knighthood are the central ideal of
Unfortunately, the role of ignorance and jealousy combining to breed fear and hatred is a recurring theme in history ultimately exhibiting itself in the form of prejudice. As demonstrated through the altering of historical events in The Song of Roland, the conflict between the Christian and Islamic religions takes precedence over the more narrow scope of any specific battle and is shaped, at least in part by the blind perception of a prejudice born of the ignorance and envy Christian Europe had for representatives of the non-Christian world. To fully see this prejudice and its effect on the participants, it is necessary to recognize the circumstances of the "real" battle along with the altering characters and settings attributed to its later writing, understand the character and beliefs of the participants, and carefully examine the text itself to see how prejudice comes into play.
In John Steinbeck's short story," The Chrysanthemums," there is a strong underlining of betrayal. We can see betrayal in three forms throughout the story. First we see Elisa being betrayed by the salesman who plays on her emotions by giving her a sales pitch only to get some work out of her. Then, in result to confiding in the salesman Elisa betrays her husband by opening herself up, and confiding to a complete stranger things which she couldn't reveal to her own husband. Finally, we see Elisa betraying herself by not allowing herself to fully express her true emotions, and by being too afraid to step out of societies norms for woman during this time.
In Florence Goyet 's article " Narrative Structure and Political Construction: the Epic at Work" she discusses how Roland’s personal choices affects his relationships and how he makes his decisions that ultimately makes him a hero. Ganelon’s hatred for Roland, which is so far the only real “personal” thing in The Song of Roland, seems quite impersonal. He hates his stepson, so he decides to try to get him killed. Though it is a choice based on personal emotion, it seems logical and not very emotional. So far there has been no great shows of emotion in the epic, and though we see many choices that are based on the personal interests of the characters, the epic still
Malory's Le Morte D’Arthur isn't known to be classic just because of Arthur-but rather the themes of family, love, revenge, identity, loyalty and betrayal. As King, Arthur is put in many situations that test the people he surrounds himself with. Therefore, betrayal has become a reoccurring theme. Throughout the novel, people are seen betraying each other. Betrayal has become familiar in a way to the members of the round table, ultimately leading to it's demise. The acts of betrayal occur in various forms, whether it be through adultery or just going behind the other person's back. Regardless of how it happens it brings about serious disorder for all involved.
Finally Joan listened to the voices and went to the Bavdri courts in Reims to talk about the voices. She vented to the court that it was god’s will that the Dauphin become king despite his enemies. Joan w...
In his De Laude Novae Militiae (1128 - 1131), Bernard of Clairvaux exhorted young Christian knights to take up the calling of spiritual chivalry and fight pagans without fear of eternal damnation since when he kills an evildoer, he is not a homicide, but ...a malicide, and it is plainly Christ's vengeance on those who work evil. Though Bernard's words served as a precursor to the Second Crusade they are important when examining the life of Saladin, for in his life and actions this man, destined to become the greatest of the aforementioned pagans, would exemplify none of the traits one would expect of a horrible infidel. Rather, one could say that, aside from religion, Saladin embodied many of the ideals held dear by the chivalric Christian warrior of the age.
There I was, Beowulf, standing tall and brave after the battle had ended. It was a bit strange to me seeing as I had once lived a very lonely life; I had killed other creatures before, I had fought small dragons, I had hunted wild boars, I had swam a race in the sea, but to me, this battle was much different. I had many villagers counting on me to defend their land. I prepared myself for everything, even the unthinkable, for seven days and seven nights in the halls of Hygelac the Geat. I had wished to go alone on this journey to slay Grendel and save Greatsland, but I was told to pick fourteen earls to take with me.
In The Passion of Joan of Arc, Carl Theodor Dreyer uses the visuality of spatial relationships in each shot with the human face and its ability to convey unspoken emotion in his portrayal of the demise of Joan of Arc. Unlike most film, the message is almost entirely told by just the eyes and expressions of the actors. There is very little reliance upon props and background. The camera angles and close-up shooting accentuate emotions and reactions. The editing style is almost methodic in keeping the emotional pace; it is much like an argument, alternating images of Joan’s tenacity, and the judges’ contempt. The artistic elements of the film are found in the subtle elements of the setting in contrast with the story that is realized by looking into Joan’s eyes as she witnesses her lifelong beliefs condemned and destroyed by her martyrdom.