Song Of Roland Propaganda

The Song of Roland is considered to be the national epic of the French, as well as a source of patriotism for the French people (Cunningham 1). It created the basis for Old French literature and the French language as we read it today (Taylor 35). This epic has stood the test of time, with the first known translation of The Song of Roland being brought to light between 1086 and 1170 (Keller 242). For many years, scholars have debated the reasons and meanings for The Song of Roland. Did Roland actually exist, or was The Song of Roland a method of propaganda for the Holy Wars? It seems likely, based on a variety of evidence, that The Song of Roland was a form of propaganda for King Charlemagne in the Holy Wars (Taylor 34). The possibility was likely that Roland was chosen as a person for the French people to imitate during the difficult times of France (Taylor 30).
To begin, The Song of Roland was used at the time of the Holy Wars and Crusades as a source of inspiration and spirit for the people of France (Taylor 50). Roland, at the time, was considered to be the “model of chivalric virtues according to the Church” (Dominik 6). Scholars, such as Ludovic Vitet, have agreed that The Song of Roland became a symbol of the spirit of the French people (Taylor 35).
However, to fully understand the use for the epic, there must be a pre-existing knowledge of the history of the time period.
The Song of Roland is based on the history behind the battle of Roncevaux in the year 778, as well as the Crusades and the Holy Wars (Dominik 2). Roland was considered to be a celebrated individual during the time of the First Crusade. The existence of Roland himself is not known, nor can it be proven at this time, due to lack of sufficient evidence (Dominik 6). Scholars have found little to no evidence that The Song of Roland is based on factual information. Since this epic was passed on by the word of mouth via minstrels, some of the important information could have been lost (Taylor
49).
The date of composition for the epic has been debated for centuries. As Mark Dominik states, “…we are no longer in the realm of history, but in that of legend, in a mythic atmosphere” (Dominik 2). The first known translation of The Song of Roland dates back to the Oxford manuscript, written in 1095 (Keller 242). The author of the epic is unknown, but scholars believe that this epic was passed on by word of mouth, and the jongleur recorded it for his own use (Taylor 33). According to Hans E. Keller, a published author in the famous journal Olifant, “The only factors we can take into consideration [when trying to date the epic], then, are the date of the Oxford manuscript, the date of the adaption of the poem into Middle High German by the priest Conrad, and the iconographic evidence” (Keller 242-243).
Religion and religious views play a quintessential role in The Song of Roland. The primary action in the epic is the battle between the Christians and the Pagans (who were defined as Muslims and Jews). The Song of Roland projected a “new order of Christianity” on the pre-crusading era, such as that of the New Testament (Fitz 812). The Christians saw the pagans as evil, because they rejected Christ. Because of this fact, the Christians thought they were right, while the pagans were wrong in their beliefs and teachings (Dominik 4).
Correspondingly, The Song of Roland is abundant with religious symbols. Ganelon, the stepfather of Roland, is directly comparable to Judas because of the acts of treason that they both performed (Fitz 813). The battle between the Christians and the Pagans “can be read as a new contest between God and Lucifer” (Dominik 4). The events within The Song of Roland are comparable to biblical stories. For example, Roland is to Charlemagne as the fruit was to Adam and Eve, because of the temptation that was placed before them (Fitz 818). Charlemagne is not able to resist the temptation of Roland. Within the epic, Blancandrin, a pagan, offers to sacrifice his son. This offer “is figured by Abel’s heartfelt intention in sacrificing his lamb or by Cain’s murderous intention in dispatching his brother into the realm of typology” (Fitz 815).
By the same token, near the end of the epic, Ganelon has refused to believe in Roland. Therefore, his views are similar to that of the pagan’s rejections to Christ (Fitz 817). Both Roland and Charlemagne can be seen as Christ-like figures within the epic. Roland specifically can be seen as a sacrificial Christ (Dominik 4). Upon Roland’s death, he specifically confesses to God, who sends down angels to save his soul (Dominik 5). Dominik argues that “the story of Roland comes so close to that of Christ that it sees that Roland’s very destiny is to be killed as a holy martyr, and to be received in heaven as a man, almost divine” (Dominik 5).