Biography about Roland

Roland Roland Roland is a real historical character, but almost nothing is known about him. There he appears to be a prefect of the border region of Brittany. In a very early Middle Ages, he is already called the nephew of Charles the Great, and the gloomy evil legend of the emperor says that he is the fruit of the blood mixing of the emperor with his own sister.

Thus, despite the fact that Roland is a hero without fear and reproach, the seal of vice celebrates him from birth. It also cannot be considered clean and unsuccessful, like all other heroes of the medieval imaginar. Further, of all the heroes presented in this book, only he, without a doubt, has features that are closely related to the national, that is, French, culture.

Created, as we will see later, by literary creativity, “Song of Roland”, it is a product of this text, which was called “a text lying in the foundation of our literature, culture and our history, the first creative manifestation of our language”. The figure of a possible author, Turold, presumably the clerics of the Anglo-Norman origin, is depicted on embroidery of the carpet in Bayo, and Wilhelm Malmsbury tells how about a year, during the battle of Gastings, as a result of which England went to the Wilhelm Conqueror, the Jongler lifted the fighting spirit of the Norman warriors by singing Cantilena Rolandi.

It is likely that by the middle of the XII century there was a primary version of the “Songs of Roland”, reflecting the national spirit of the kingdom of captains, inspired by the image of St. Denis. However, the manuscript, which is based on the modern edition of Songs, is an Engine Plantagenet Engined and revised and revised and processed surrounded by the Anglonorman King Henry II.

The “Songs of Roland” tells an episode, the basis of which, most likely, is historical - the campaign of the Carolingian army to Spain, where the emperor defeats the Saracensian kings, and especially the king of Saragos, whose name is Marsille. Around Karl the Great, two of his inner circle argue - the full warlike spirit of Roland and the pacifist -minded Ganelon.

Charles the Great decides to offer Marsilia the world, but Ganelon, out of hatred of Roland, incites Martian Marseille treacherously attack the rearguard of the Karl’s troops, which is entrusted to Roland. An unexpected attack takes place in the Pyrenees when crossing the Ronsevalskoye Gorge, where the huge army of Saracens attacks a small Christian detachment led by Roland, next to which is his combat comrade Olivier and Archbishop of Turbpin.

It is necessary to call the emperor and the main forces of his army, but Roland refuses out of pride, and when he finally resists with this necessity and trumpets into the horn, it is already too late. Roland and his fighting friends can only fight valiantly to the last; They are all killed to one. Carl, who approached too late, cannot help anything but a worthy burial, and when, having returned to Aachen, he declares to the beautiful Alde, the named bride of Roland, about his death, she dies.

Wall from sorrow, the old emperor understands that he will have to start a war with the Saracens. The main thing in her heritage is the figure of Roland, who became an example of a Christian knight, and later, as we will see, and a French knight. The character of Roland in “Songs” is depicted through his relationship with four characters. Especially the contrast between Roland and Olivier, his closest friend, which at the same time is very different from him both disposition and character.

The Songs say: "Roland was brave, but Olivier was wise." Roland is hot and hot -tempered, which will allow him in later literature to easily become “frantic”. Olivier is more balanced; In essence, the perfect knight could have turned out if they are united in order to restrain the scope of nature. It is noteworthy that in European and especially French Imaginar is always the character who is characterized by excessiveness and unbridled.

Nevertheless, as Piere Le Zhantil showed well, Roland from the "Song" is a character that is not devoid of weaknesses. First of all, nothing human is alien to him, and he fully fits into the concept of humanity, which, as we have seen, shares all the heroes of the medieval and European imaginal. Another pair is Roland and Karl the Great. Repeatedly emphasized that “Song of Roland” is a poem about vassal devotion.

This is a work that perfectly expressed the feudal spirit with its basis in the form of a relationship between a vassal and overlord. On the stained glass windows of the Chartra Cathedral, Roland is depicted next to Karl the Great. It seems to me that the main thing here is that the figure of the king is the emperor here. Charles the Great is not a autocrat, he consults, accepts advice, evaluates dangers, regrets heavy royal duties.

Its image shows that the supreme political power is not in the European imagenerated power of the absolute, and this turns the absolutist period of the monarchical power of the XVI - XVIII centuries from the era of the logical completion of European political ideology into the deviation within its development. Понятно, что этот персонаж, которому тоже будет суждена дальнейшая жизнь в литературе, — представитель Церкви.

This pair expresses the inviolability of mutual relations of a layman with clerical and Vice Versa, that is, an ideal that suggests that the relationship between representatives of one social role is those who pray - and the second are those who fight - should be as remarkable as between Roland and Turpin. Finally, in the sense of relations between the floors of Roland, it does not represent anything unexpected.

But Alda in "Songs" is an unclear character. She is the same friend who yearns for the hero, and the poem ends in almost the death of Alda. However, the whole intrigue takes place between men. This is the "rude male appearance of the Middle Ages", according to Georges Dubie. The hero Roland was famous for the wear and use of objects marked by the seal of holiness. This is primarily a sword, durandal, he has his own name as a living creature, and he is a inseparable companion of Roland.

Next is the horn, or Oliphant, which he wears behind his belt, and this is also a sacred object. He can make sounds, invitingly to trigger, provide assistance, so that he could be compared with a cornucopia in his sound version. The tradition of the image of Roland as a hero is emphasized by the importance that is given to his death and his grave. And the Ronsevalskoye Gorge is the highest -resistant of the graves.

Such a grave is all the more original that it distinguishes a very important characteristic feature of Roland's image. The action of the whole song is literally immersed in nature, in a mountain landscape, against which the heroic epic always turns around and only under the sky. It is noteworthy that the legendary memory of Roland is most often found in nature. This is where he left his main mythological traces of the presence: the rocks that he cut in two of his durandal, the passage of Roland in the mountain massif Circus Havarny, in the French Pyrenees, or the rock in San Terenzo not far from barking spices.

Many places, especially in Italy, store traces of Roland's "knees". The medieval hero, as we have seen, is always associated with a certain place, with geographical space; Roland is a multi -spat hero. The Roland also includes in another group of heroes of the imaginal world - into the area of ​​outlandish creatures, giants. In Ronko Di Malio, not far from Savona, he left a trace of his gigantic leg.

The most impressive monument to the legend, perpetuating Roland, should be called the statue that he was placed in the German city of Bremen in the year. This is a statue of a five -meter height, erected in front of the city town hall as a symbol of the rights and privileges of the city. In the course of history, it was often worn in processions, and it exists to this day. And in that period, which is usually defined as transitional from the Middle Ages to revival, and from my point of view, this is the phase of the long historical period of the Middle Ages, which lasted until the 18th century, an important transformation occurs with Roland.

In Italy, he is picked up by an ideological and cultural course, and in a large princely family, Del Aste, he falls into a real favor. Here Roland becomes the hero of those new epic poems in which the knightly spirit is experiencing a stormy flowering. This is one of the most beautiful fruits of medieval imagenar, created during the flame of Gothic. The works painting this new appearance of Roland belong to the pen of two great writers who enjoyed the patronage of the princely family, Del Aste.

The first of them, Boyardo, is the Humanist poet, who wrote between the year “Roland in love”. In the poem, he combines the Carolingian cycle with the novel by the cycle of Arturovsky. His special development is obtained sophisticated-vibrant love experiences, and to a greater extent just in a new pair-Roland and Beautiful Angelica. The extensive poem tells of the war that the wicked kings agrasant and the rodomont from whose name the word “rodomontade” came from, that is, “bragging” lead with the leaders of Christians Karl the Great and Roland.

It is told there about Roland's unfortunate love for Angelina. Because of her, in fact, Roland falls into the frenzy, to which the poem owes his name. But there is also the love of the Saracensky knight of Rugger to Bradamant, and his transition to Christianity at the historical time when the rise of the Del Aste family began. In Ariosto Roland, it becomes the hero of the medieval Imaginar times of the flaming Gothic, the hero chivalry and sophisticated.

The further fate of Roland remains either close to the ancient “Songs of Roland”, then marked by the influence of a more modern “frantic Roland”, the tradition of Ariosto received a special continuation in Sicily, from sculptures on carriage to - very often - characters of puppet theaters.The reincarnation that Roland survived in Italy, becoming “frantic” there, also gave rise to a new type of river hero-the type of paladin.

This word comes from the French Palatin, in the Italian language of the XIII century uttered as Paladino, the nature of the courageous, knightly, which felt almost even Carlo Great. Since then, Roland belongs to a special type of knightly hero - the type of paladin. Christian Amalvi described how the other direction in the history of the imaginar led to the fact that the national and even secular image of Roland appeared in France of the 19th century.

Like most medieval heroes, Roland was immediately picked up by the era of romanticism, and two great romantic poets of France devoted their poems to him, which would be destined to enter the school literature. In the same years, everything is done to popularize the "Songs of Roland." The first edition, simultaneously equipped with a scientific commentary, and is available for understanding the general public, is released in the year Franciska Michelle.

After that, when in the year Victor Duryuy introduces a mandatory study of history in elementary school, and from the moment that more and more translations of “songs” into modern French begins to appear, it becomes a source of historical information. The translation final in its influence will be completed by Leon Gauthier in the year, and this creation of the scientist, who in the same years released a large final work called “chivalry”, will deepen the understanding of the merits of this social class and its ideology.

After a year, Roland enters the company of other valiant “veterans”, who were combined to study in primary and secondary schools under the sign of revenge in the war with the Prussians. Among them is the defeated Roland. He equally inspires monarchists and Catholics, which is quite natural, and secular Republicans, which can already cause surprise. However, Michel explained to them that the “song about Roland” should be perceived as the creation of a folk French genius, as an emanation of a collective soul.

The place of the hero of Roland in today's Imaginar Europe is very vague. For example, if in Italy, in addition to the theaters of puppets, Ariosto’s heritage was somewhat mastered by cinema in films such as “Orlando and Paladina of France” The French name “Roland, Persistent Prince” directedo Pietro Francisha and “Paladina” French name - “The choice of seniors” by J.

Battiato, then in France, perhaps, he served as material only for archaic Louis Feiyad’s silent film “Roland in the Ronsevalsky Gorge” and works, although not deprived of attractiveness, but nevertheless remaining hopelessly marginal - “Songs of Roland” by Frank Cassenta. Today's life, it seems, is not too favorable to the revival of Roland-hero.

However, the imaginar to such an extent depends on the accidents and vicissitudes of history that it is impossible to know for sure whether the Paladin, with the image of which is associated with so many beautiful dreams, its worthy place in the European imaginaire.