In regards to the Monstrous being a type of show, I want to address the “showiness” to Song of Roland. There are several events that seem to be a performance, and it detracts from the reality of the situation. In a sense, it makes the reader question the motivations behind the characters.
It’s best to begin with the proposed truce between Charlemagne and Marsilion. One of the requests of Charlemagne is that he takes Marsilion to France to be converted to Christianity. This is, of course, a major blow to the Muslims. However, why is it important to force conversion on Marsilion? Even if Marsilion becomes a Christian, what proof is there that he will willingly accept his belief? The whole converting the conquered king to Christianity is a performance for society to see a powerful man be brought to shame. It presents the French society with concrete knowledge that they have conquered and to incite pride for their country. In addition, the conquered country loses part of its identity-that of being Islamic. The Muslims now have to conform to the imposed law of the French.
Then, there’s Roland’s brave action of volunteering to meet Marsilion with the proposed truce. He is refuted by Oliver that he is too rash and will probably incite a duel. Nonetheless, this small action by Roland demonstrates his courage and will to be placed in what has been discussed as a hazardous mission. This provides Roland his performance of chivalric duty to his king and his obedience to stay when Charlemagne refuses to send him. It also makes Roland appear less negative when he volunteers his step-father to the task, since he had already offered his own service.
Finally, that of Roland’s lack of action and then action with the blowing of the horn. When Oliver requests Roland calls for aid, Roland replies, “Now God forbid […] That living man should say he saw me go Blowing of horns for any Paynim foe!” (93). Roland’s lack of action in this scene is because of his show of being courageous and proud. He feels it would be shameful to use the horn and call for help in front of the enemy. He does not want the enemy to know of his weakness. Once Roland is ready to sound the Olifant, he announces, “I’ve struck good blows this day” (117). Now that Roland has shown his good, he can use the horn. Roland is ready to die, because as the Archbishop Turin states earlier in battle, “ If you should die, blest martyrdom’s your guerdon” (95). By Roland’s performance of bravery and brutal killings, he has a straight passage into heaven.
By seeing the reasons for the actions made for certain key actions in the story, one wonders at the purity of the tale. In the process of certain showy actions, many were killed. One can say that if it wasn’t for the showiness of Roland volunteering Ganelon, Ganelon would not have been so passionate to swear revenge on Roland and cause a mighty blow to the French army. One questions if anyone’s actions in the story were done genuinely and not for an alternative purpose.
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2 comments:
In questioning the authenticity of conversion, you bring up an interesting point about the quality of otherness in the Spanish Muslims. The declaration of their conversion would make some of the "Paynim" knights worthy and chivalric in the eyes of the French, but their words would only be words, perhaps spoken under duress. Did anything about their personality, their character actually change? If all the pagans had to do was change their name, their superficial title, why didn't they? To avoid their death, they only had the change their name, not their ways. The French were just as murderous and ruthless as they claimed the Muslims were.
While titles in the middle ages represented much more in terms of cultural values, they look to the modern reader like a thin veneer between the hegemonic and the other. How then could the converts suddenly be joined into the fold when their convictions are so shallow? While the Paynims are wrong, shouldn't their commitment to their wrong ideas be an integral and admirable part of their character?
From what I can gather from The Song of Roland, otherness is not a set of cultural values but a self-determined name that can easily be changed.
I'd like to address the fact that The Song of Roland was most likely performed. It was probably sung in courts and the showiness was a part of keeping nobility from falling asleep. But you're right that there is an extra oomph to scenes that needed to be highlighted in order really get the listener's heart pumping. To the end I'm sure Ganelon's treachery was played up to make him appear even more of a villain, and in response to that his death, including the added bonus of 30 of his supporters being hung from the tree of doom, had to be as showing as possible to create the feeling that a true monster had been put to rest.
There are also point in the song in which verses are repeated with different words to create the same meaning. It becomes like a chorus of the same meaning being trumpeted with different variations to show off. My particular favorite is the trio 83-85 in which Oliver begs Roland to blow his horn and Roland refuses this cowardly act, instead choosing to coat his sword completely in blood to the hilt. It is definitely a momentous decision within the story and as such is deserving of at least three verses. The effect, of course, is to heighten the moment and elevate Roland's heroic, though foolish, decision and again separate him from the rest.
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