Social science 

French heroic epos is called. People's Heroic Epos: "Song of Roland"

gESTA., "Acts") meant in the Starofranzus language "the stories about the exploits" and applied primarily to the heroic traditions associated with either a separate character or with his genus, or even with a whole team.

The poems have been preserved in about a hundred manuscripts of the XII-XIV centuries. In the middle of the XIX century, this genre re-opened the philologists-romance, giving him an interpretation in the same concepts, which was resorted at the time to explain to Homer's poems.

Action (for extremely rare exceptions) occurs in the era, which we call Caroling; In some cases, you can even learn memories of the well-known real events that happened to the VIII, IX and X centuries. A small number of heroes of the song about acts with varying degrees of probability are identified with historical persons of the same VIII-X centuries, very rarely - earlier or later: so, Roland, Gilma short nose, Girard de Viennes more or less directly go to the personalities of high officials of the Empire, the times of Charles of the Great or Louis I; Richard Old from Roland is, perhaps one of the dukes of the Norman turns of the X-XI centuries.

Authorship

Although early chansons de Geste. In the advantage of anonymous, in their texts there are about fifteen poets, who claimed the authorship of the relevant poems. It was believed that Peru of one of them, Aden Le Rua, belonged to the two poems: "Childhood of the Razier of the Dane", "Bolshnaya Berta" and "Bev de Commarkets". Obviously, poets telling us their names in certain texts, and were the authors of these texts. Poets that were like themselves in this way, probably belonged to the aristocratic circles in which the juggler enjoyed well-known respect, and therefore they could completely venture on a self-task without fears that it would be deficious. The authors of the many other poems remaining unnamed could have come from more modest layers, where poetry was considered not so respectable, so that he could speak with pride.

Structure

The overall structure of the poems is able to mislead: medievists were often mistaken, assuming in them the presence of interpolations or damage to the manuscript. As a rule, a song about the acts seems to be outwardly heterogeneous: it combines various episodes in them, there are many deviations, repetitions, contradictions in detail. Such facts are explained by the fact that, apparently, until the middle of the XII century, this genre was solely oral. At that time, the songs about the acts were performed by special wandering singers, juggles. Many texts contain an indication of the declaration time: it is starting after breakfast and end with the onset of darkness. For example, Roland's declamination, with various interruptions, could stretch for two days. Starting from the middle of the XII century, some singers were used as cribs small (16-17 format by 10-12 cm) pocket manuscripts of rather rough work; We were reached by seven such "juggler manuscripts", thanks to which a number of poems were preserved (Raul de Cambra, "Girarus Ruslonsky", "Aliskans" and, perhaps, Oxford "Roland").

It has been proven that until the XIII century songs about the acts were performed in musical accompaniment. However, we have music only to one verse taken from the parody song about the acts, "Odinier", and introduced into one of the musical devices "Games about Robin and Marion" Adam de la Alya. Probably, the singer had at his disposal three melodic phrases (each length in one verse) and freely alternated them throughout the lesters, giving it a special melodic character. In addition, in some songs at the end of the lesters there are either a laconic refrain, or a shortened, so-called "single" verse ( vers Orphelin.).

All songs about the acts, with the exception of the "hormone and Isambara", are written with decade (with cesury according to Scheme 4 + 6, very rarely 6 + 4) or Alexandria (6 + 6) verse.

Origin

Most researchers believe that Chanson de Geste. In its original form, it is most likely, closer to the middle of the XI century. Judging by the inner and external data, which are contained in the oldest texts, it originated, most likely, in the north of France, between Laurea and Somme, or rather, in the western part of this region (in Normandy and the regions adjacent to it).

Topic

The first medievists struck the temporary gap between the poems themselves and real events, on which, apparently, an epic fabul was founded. Having established that they are separated by a three-four-hour emptiness, they tried to fill it out: either assuming the existence of a continuous tradition and thereby referring the origins of the genre to the Caroling era, or putting forward various hypotheses regarding the transmission method of "epic legends". Theories on the second issue are reduced to two types: they are either allowing local traditional traditions that may include narrative "cantilers" - a kind of limit of limital ballad; Or proceed from the idea that direct data (document, chronicle) was treated with some intermediaries and in this form reached poets. Their argument is built not so much on facts as in speculation. Reliable documents are very small, they all have a limited meaning and are not suitable for broad summary. Two of them are constantly mentioned in research: the first, the so-called "Song of the Saint Pharmaceutical" is a fragment of eight poems, obviously epic content written in the extremely damaged Latin; It is quoted by one Agiograph of the IX century, which sees a national crying, who performed by female choirs. The second of these documents, the "Haggan fragment", - the passage of the epic poem in the prosaic Latin retelling of the first half of the XI century, is extremely difficult for interpretation: it is possible that this remains of some Latin school type poem on the plot taken from the folk tradition and the relative future gesture About the gilometer short nose.

Today, medievalists are rather inclined to think that in different songs about acts, the borrowing process occurred in different ways. Some songs (for example, "Gormon and Isambaru") could precede Cantilene; Others (as perhaps the most ancient songs from the cycle about the guilome or "pilgrimage of Karl Great") are most likely on the amplifications of church origin; Finally, sometimes the poet could learn the primary data of the song in the oral traditions of any region ("Zhirarus Russylonsky") or feudal ligny ("Raul de Campie"), or those who continued and spread along the big roads ("Roland").

The form

Apparently, in the early period, an eight-seater was used, which was then gradually replaced by a ten-seater or Alexandrian verse.

Ancient poems

  • "Song of Roland" (mentioned in the Spanish chronicle of 1060-1070)
  • "Song of the Gilometer" (mentioned by the historian of Orderic Vitaly, 1080) - Burlesk about the good giant
  • "Hormone and Isambar" (link in the chronicle of Garulfa from Saint-Rickier, 1088)
  • "The pilgrimage of Charles Great" (the first half of the XII century; it is difficult, perhaps in the abbey of Saint-Denis) - on the topic of searching for relics, is clearly parody

All other poems known to us are dating period after 1150. Almost all of them are closely related to the "Roland", sometimes it is direct imitation.

Evolution

From the middle of the XII century, the image of the knight's exploits is combined with the descriptions of its economic life (monetary, land issues). At the same time, under the influence of truthful morals, women's figures appear in the poems, on which the public interest is partially focused.

At the end of the XIII century, the valor is finally pushed out by other narrative motifs borrowed from the novel: the late songs about acts do not differ from him almost nothing but the forests. There are such songs like "Aya Avignon", "hero" of which is a woman who sings his spear in the ranks of warriors, the enchanting "Bordeaux" and the poems of Aden-les-Rua, anticipating the novels of the ramp and swords.

Gestures

At the end of the XII century, "gestures", or song cycles arise. The starting point for this process is the hero of an existing poem - he either goes into one or more new poems, where other feats are attributed; Either new songs chant the ancestors, relatives and even the descendants of this hero. It is customary to highlight three cycles of the song:

  • the cycle of the guilome - in general terms was formed by 1220 and was complemented during the XIII century; Total 24 poems, including:
    • "Coronation of Louis"
    • "Nim Turg"
    • "Taking Orange"
    • "Guillome monasticism"
    • "Aliskans"
    • a few songs about Emery, the fictional father of the guilome, and their ancestors ("Narbonns")
  • cycle about Carla Great (finally developed at the end of the XII - middle of the XIII century)
    • "Maynet"
    • "Basin"
    • "Berta Bolshnoy"
    • "Queen Sibila"
    • "Aquin"
    • "Otinel"
    • "Gi Burgundy"
    • "Anseis Cartagena"
    • "Aspremont"
  • the cycle of rebellious barona (or about the nonone de Maansa):
    • "Hormone and Isambar"
    • Raul de Cambra
    • "Feats of the Rye"

Sometimes there is also a "loan cycle", which includes four or five songs of the late XII - early XIII century, "Nanketi gesture". Many minor characters are found in songs included in different cycles. In the second half of the XII century, the Foundation for Epic Onomastics, from which all the authors were drawn.

Some poems are not amenable to classification by cycles:

  • "Flovant" whose hero is the son of Glodight
  • two songs of the XII century about Eli de Saint-core
  • roman's song "Ami and Amil" (end of the XII century)
  • Gyon Bordosky.

Literature

  • Paul syman. Experience in building medieval poetics. St. Petersburg, 2002, p. 469-480.

Notes

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The most vivid events of national history, captured in oral tradition, were later processed by the educated list, which in France were called jugglers, in Spain - Hughal, in Germany - Spies.

The leading genre of the French heroic epic era of feudalism was "Chanson de gesture" (" сhansons de geste", Songs about the exploits or acts). Jugglers created more or less final text from different legends. Chansons de Geste was performed at the fairs, in castles under the accompaniment of harp or Viol. The volume of poems was from 1000 to 20,000 poems.

The housing of the heroic poems that came to us are about 100 poems. All of them are clearly divided into 3 thematic cycles. For the first time, this division was offered the famous twist of the XIII century Bertrant de Bar-sur-Obo in the introductory lesters to his poem "Girar de Viennes": "... Only three gestures decorate France: about the king of France - the most important, the richest and knighting. The second - about the nonone Sedubogen from Maansa, who was so taped ... The third gesture, which was so appreciation, - about Garien Monglan's Gorny ... "

1. "Gesture of King France" He tells about the role of caroling emperors, taking their origin from Pippina Short. The French of the XII century see Caroling Time by the Golden century, and the power of emperors is truly sacral; Hence the central figure here is the King of France, the symbol of the unity of the country, the folk truth and strength, the stronghold against the ingenians - "pagans", or against the peculiarity and predatoryness of large feudal feudals. In the epic it is the generic quality of caroling. The main role in the works belonging to the "King's" gesture "is most often played by Karl the Great, the son of Pippina, who is often attributed to the acts of other emperors in the epic. Karl - figure, the most clearly correlated in the consciousness of Europeans of the XII century with the "Golden Age" and the Divine Authority.

2. "Gesture Odon de Maans" Represents unprofitable vassals, a double assessment of feudal destroyed is given, sorrow is expressed about the inconsistencies of the feudal and weakness of the king, but at the same time some sympathy for rebellious baron is expressed. Thus, the epic world appears in its entirety: the royal power as the power of the highest and comprehensive, as a kind of the highest synthesis of the myth of the "golden age", ideal vassals as a support of the highest power, and reconcile, inclined to vassal anarchy as something, on the one hand , opposed to the highest power, and, on the other, showing some negative parties.

3. B. "GESTER GARENE DE MONGLAN" The image of the ideal Vassal, disinterestedly serving homeland and the king, the king is on the second plan, "acts" are made by his faithful vassals. The wording from the poem "Ernalt de Breal" reports about the genus Garen, and the ability to rule as the main relationship is the ability to rule according to the law.

The most perfect poem of the royal cycle of the French heroic epic is "Song of Roland", Combining patriotic pathos of the first and third cycles. The perfect king and perfect vassal complement each other. Approximate time of creating a poem - 1100 year. The oldest reached Oxford manuscript to us dated 1170 year. The problem of authorship remains unresolved: the name mentioned in the last line ( Poem end. Turwldus tiring...) may be the name and the narrator, and the juggler who fulfilled the work, and the correspondence.

At the heart of the poem - historical legends about one of the Spanish hikes of Charles of the Great 778, which ended with the unsuccessful siege of Saragossa; By returning home, the Ariellargard detachment of francs was attacked by Basque; In the Battle of Ronsevalsky Gorge, among other noble barons, Markgraf of Brittany, Khrotland.

In the poem, Charles's campaign is presented as a crusade, instead of Christian Basque on Roland, the unmeasised Hordes of Muslims are attacked. Assustive for the death of his beloved Vassal, Karl turns into Christianity all Spanish Moors. Thus, in the "song about Roland" there is a frank contamination of the epoch, the author resorts to reception perfect epic time Attributeing Carlo great participation in the Crusades of the XI century. Karl the Great is depicted by almighty, endowed with a huge physical and moral force. The Count Roland is worthy of his companion - a valiant knight, selflessly devoted to his tinsel and "cute France". Roland is ready to lead a dangerous embassy or stay at the head of the arrigard detachment and exposing himself danger, fulfill its patriotic debt:

When I saw the Roland Count Mighty,

What is close to battle, - he became arrogant

He became Gordy as Lev Ile Leopard.

"Friend Olivier, leave such speeches!

Said Roland - the Great Emperor

Left with us 20 thousand troops,

I did not kayahal, that there is a coward among us!

I owe each knight for Signora

To tolerate and heat, and cold, and deprivation.

I don't have to regret your blood and body! ...

Friend Olivier, once a spear

Cut enemies I will be durandal -

I gave me a great emperor -

And if death will comprehend me here, -

To whom my sword will get - he will say -

"Holded them loyal valiant vassal."

By side with Roland, Archbishop Turpen, with a sword in one hand and a cross in another, and brave, but prudent Olivier. There is no controversy between passionate, unrestrained on the feat of Roland and reliable, cautiously in their solutions Olivier there is no oppression, both are beautiful in their vassal dedication to the king and selfless courage. They are opposed to Rolande - Ganeleon's stepman who personifies feudal and egoism. Ganeleon is a decent knight, but he pushes on the betrayal of the same passion of nature as the stepper. When Karl does not agree to send his nephew with the embassy to Martilylia and he asks to render this honor to his stepfather - Hanelon comes into rage, it seems to him that Roland wants to get rid of him:

... if God gives me a back here, -

Until the death of Mount and suffering

Your lot will be! " And exclaimed

Roland in response: "Your mad speech!

And everyone knows: I'm not afraid of threats!

But the wise franc take the message should,

And if the emperor deigns, "I will take the message eagerly!

Aoy!

So the tragic conflict arises, during which Ganeleon makes betrayal, and Roland dies in battle. Especially inevitable and fair it seems to be retribution, comprehended by Hanelon. After the fight, in which the honor of the deceased Roland defends the Knight of the Camera, and the interests of Hanelon - his Rodain, the mighty Pinabel, is depicted fair victory of the Repoland representative.

The quartering of Hanelon, described with the ruthless naturalism characteristic of medieval consciousness, does not seem to be excessive and cruel, since "terrible death" has suffered a traitor and 30 of his relatives in the edification of descendants.

Deep patriotic idea "Song about Roland" corresponds to her artistic form. The poem organically combines folklore and individual literary creativity. For example, characteristic of folk poetics hyperbolism emphasizes the scale of depicted events and the power of epic characters: 20 thousand Russian detachment first defeats the 100 thousandth army of Martily, and then 400 thousands of Emir Baligant, a horn calling for the rescue of Karl the Great - hear thousands of kilometers, Roland Plubit in Rog so hard that The veins burst with his temples.

The poem uses the characteristic folklore reception - parallelismIn addition to expression epic and heroic pathos Events occurring. Almost all the major heroes are depicted in pairs: Carlo appropriates Emir Baligant, (both mighty skillful warriors, both bodies, etc.), Karl's nephew - Roland is equal to the nephew of the Baliant Aerhrot, twelve French Pars - 12 Saracinsky peers. It should be noted and constant forms of challenge to a duel, praise before the fight, martial arts descriptions, permanent epithets ("Honey France", as in the mouth of francs, which is understandable and in the mouth of Saracin), simplicity and consistency psychological experiences , p outcome of the presentation events.

An important sign of the genre - the form. All French epic poems are written by ten or twelve-sized verse with a cesury after IV or VI Slut, the text of the poems is divided into lesters or tirades, (from 5 to 40 poems each) related associated assembly or, later, rhymes passing through the whole lesse. Like all previous signs, it is part of the mnemonic system aimed at memorizing and retelling, later this system turns into a traditional genre form.

In general, the Epos of France is well studied, during the second half of the XIX century in Europe, a number of works (Paris, Gautier, Tavernier, Bruckner, Bedier, Boissonade) came out. Today, these works have become classic, although many provisions are refuted (for example, the theory of J. Bedje on the creation of a "song about Roland" in the monastery). In 1874-1875 In Paris, there is a classic work of Wiole-le-Duke "Dictionnaire Raisonné du Mobilier Français De L" Epoque Carlovingienne à la Renaissance ", where the text of the" Song about Roland "text is involved in the study of medieval material culture (weapons and armor). This tradition continued other researchers , among which the most interesting works of F. Cardini, J. Le Goff, however, the same tendency remains here - the text of epic poems is given only as an illustrative material for the provisions of the history, psychology and mythology of the studied period in these studies

During the 20th century "Chansons de Geste" (and "Song of Roland" first) become the subject of research so often that the literature on the "songs about acts" today is almost immense. Of the most interesting work, the works of the Spanish researcher R. MENENDES PIDALE should be called.

In recent decades, the authors have increasingly attract the cultural and historical aspect of the study of "songs about acts". So, although in its works on religious, philosophical and aesthetic thought in medieval Europe, D. Robertson, in the first place, he examines the reflection of these concepts in the Knight's Roman, he repeatedly refers to the works of "ChanSons De Geste" and to "Song about Roland" - in First of all. Causes the interest of the work of K. Berto, P. Bancura, H. Bartles. In domestic literary studies, the tradition of studying "ChanSons De Geste" also has a long history. From the works of Russian literature, it is necessary to note the works of B. I. Yarho, in particular, "Introduction" to his own translation of the "Song about Roland", articles of Vl. A. Lukova "Song of Roland" in the light of folklore "and" French heroic epic "Song of Roland" (analysis of the folk nature of the monument) ", where the poem understands in detail how the folklore work is shown and the folk specificity of its expressive means is shown, as well as Numerous articles by Z.N. Volkovka and her book "Epos France", which describes in detail the genetic connections of the entire French heroic epic and the language of its monuments is dealt. In 1995, the book A. D. Mikhailov "French heroic epos" was published, which is perhaps the fullest work of Russian researchers on this issue.

As usual, if you want to understand one or another people, feel its traditions, mentality, understanding of his native language and epos, as they are the indicator that detects all the features, subtleties and other nuances inherent in representatives of the people who You are interested in. You want to fully feel that they are Scandinavians, turn to the reservoir (both older and younger), do not forget also about sagas; Germans - then the way to you to the "Song about Nibelunga"; Greeks - Well, if you do not know their epic, then continue to talk

Pretty (just in case I remind the keywords: Troy, Odise, Hercules, Achilles, Argonauts and others); Spaniards - direct attention to the "song about my Side"; The French are then looking for a "song about Roland", which will be discussed.
"Song about Roland" is an outstanding monument of world literature. Honestly, when reading this poem, I want, smiling and shaking the head, exclaim "Oh, already these French!" Even their heroic epos - and that saturated with praise, restlessness, desperation, paraticity, but also courage, contempt of difficulties, brillium, nobility, dignity, courage.
For his artistic essence "Song about Roland" - indeed, a vivid example of an epic with typical of this kind of literature by the monumentality, repeats and variations, raised by the French passion for hyperbola (that's what exactly not to take away!), Pathos and pathetics. The historical truth, which served sometime the basis for creating an epic poem (although in this some researchers disagree), and what it finally become - two diametrically opposite things. But - and here already a joking tone changes to serious - this does not prevent the poem to remain one of the key figures on the Epos Board of the World.
In fact, as official chronicles tell us those times, the campaign of Karl's big for Pyrenees was unsuccessful, and the enemies who attacked the Ariřard of the French Army were basks, and not Saracin. But such details at reading the work become small and invisible. Also, the captured reader with understanding and grace will react to such nuances, like the fact that the geography of the poem is simply fantastic that, according to calculations, every five French kill, at least four thousand incorrect, and the sound of Roland's horns sounds at thirty leagues.
It is important that this heroic epic gives us an imagination about loyalty and treason, honesty and courage, meanness and ingenuity - and all this is surprisingly brightly shown in the poem without halftone and strokes, the presence of which will apologize or, on the contrary, destroyed the categorical of our perception of the work of the work. If the meanness is then yaraya, if bravery is a recklessness, if love lives until the last breath of his beloved and dies with him if God's mercy is before the ascent of the angels behind the hero's glove.
But the main thing (at least, in my opinion, that is, the only right thing) is that the "song about Roland" brings up real heroes. Roland is the perfect knight, patriot, irreconcilable to enemies, beloved. His friend and comedhens Oliver is also an outstanding warrior, a sophisticated strategist, less reckless, more sensible. King Karl is big - the embodiment of wisdom, nobility, honor, loyalty to the state, i.e., those rice that the true ruler is endowed. It is in such a company that we, the reader "Songs about Roland", travel by her pages, take part in wars and battles, we argue in the campaigns. And these knights become samples for us, and the honesty and nobility of their images are light, which will indicate us the right path on the off-road life.

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French heroic epos

Early Middle Ages (IV-XI century)

This is an era, when the primitive-community system, pagan beliefs and elements of oral culture, which A.N. Veselovsky identified as the state of mythological completeness of being. The myth preceded religion and combined faith, scientific representation and artistic image. At the origins of cultural development, a person did not figure the myth, he lived in myth, not separated by a material fact and fiction. During this period, the nationwide epic has not yet been.

In the era of the great resettlement of peoples, once related tribes diverged over long distances and stopped understanding each other. The full of all mythological memory of Scandinavians and Germans remained in Iceland and the Scandinavian lands. The traces of her found "Junior Edde" and in the "Elder Edde", recorded centuries after occurrence. The name "EDDA" has an unclear origin. His roots are looking for either in the word "poetry", or in the name of the farm, where the manuscript was found in the XIII century. In the collections there are images and motives entered into the German epic. This is the Supreme God alone, Thor, Freia, Assa, Sons Bora, Valkiriy's Valkiriya, mythical and twin creatures, real historical facts and characters. In the bizarre world of spells, secrets, hints and artistic fiction are found traces of history.

On the Rhine, the Burgundy kingdom with the center in Worms was destroyed by the Huns. In the German epic, his leader, Atilla, acts under the name of Etzel. The legend of the death of the country and the Burgundy kings comes closer to the name of the epic hero of Sigurd (Siegfried) and his wife Hilda (CRIMHILDY). Brunhilded's trip to the underground kingdom, the story of the matchmaker and the wedding of Bunjords and her revenge of Crimhild and Siegfried, as well as the fabulous motives of prophecy ("prophecy of Welver"), instructions ("speeches high") are not related to a single story. It is only the motives and the image of the Eddic legends, among which the struggle of dark and light forces occupy an important place. A separate plot was the mystery of the gold of nifloong (Nibelung).

Heroic Epos has all nations. This is "Iliad", "Song about Roland", "Beowulf", "Word about the regiment of Igor", the epic tales, fairy tales of the East and the West.

French heroic epos

Like the Epos of Germany and England, the French heroic epic has developed on a national basis of Celtic legends. He reached us in the form of poems that were sang in the VIII-IX centuries, folk performers - juggles. These execution-songs (CHANSONS) consisted of unequal length of stanza - Tirad. In addition to fiction and descriptions, the community life also contained historical material. They had the image of Karl the Great, Good and Smart King, who defended francs from "Aliens" - Normanov, Saksov and Saracinov-Mavrov. The latter after the spread of Christianity began to be called incorrect. Fighting with them has acquired an additional meaning of the protection of faith. The memories of Carla (768-814), crowned in 800 by the emperor, was based on the basis of the so-called "royal cycle" and reflected the utopian folk dream of a wise ruler, which protects the people from the cruelty of the enemies and self-government of the feudalists.


Carl acts in poems not alone. He is surrounded by faithful servants, vassals, noble people, peers, and primarily nephew Count Roland.

"Song of Roland" is the most wonderful poem of the royal cycle. It is based on a real historical event - the campaign of Charles through the Pyrenees to Spain, in the land of Mavrov in 778, and the death of the Ariecleard troops and 12 peers on the way back in Ronsevalsky gorge. The earliest record (Oxford manuscript) was made in 1100, and was written in the Anglo-Saxon dialect. The name of its author is unknown, but the analysis of the text suggests that they had an already educated person - a monk-cleric and in the "song" ideological traces of preparation for the first Cross campaign are visible. Like other epic works, the "song" in the processing passed three stages: a) evidence of eyewitnesses of the event; b) a story or retelling about the past; c) literary and ideological processing. So "Iliad" and "Word about the regiment of Igor" were created. A separate episode was attached to a nationwide value.

At the basis of the plot of "Songs about Roland" - the feat of the epic hero - Vassal Charles and the servants of the Lord, to whom he extends his glove before his death.

The main conflict of the poems is a conflict of loyalty and betrayal. On the board of the baronov (in the troops of Karl Baron, these are men) Karl collects "more than a thousand" French.

The main stories are the fact that for Roland and other francs - honor, for Hanelon - "the wrong choice", who threatens the death in the enemy camp. After going to Spain and treacherously, having agreed with the king of Mauri Martilyl, Ganeleon advises Karl to bring troops from Spain by appointing Roland to Arijard.

The extensive part of the poem is devoted to the description of the battle. The number of warriors grotesque is exaggerated. Saracins are approaching avalanche. Their hordes are "unpearer", "there are pagans, their thousands of hundred" ... Waiting for "unprecedented battle", a friend of Rolanda Count Oliver advises him to immediately return Charles, having bounced Oliphant in the magical horn. But Roland hopes on his magic sword Durandal, and most importantly - the despondency is afraid in the cowardice of tribesmen.

The author of the song is terrified, but also admires the battle. The fighting cry of the French "Monzhua", historically witnessed since the XI century, means "my joy" and supports the idea of \u200b\u200bextinguishing in battle and the extermination of incorrect. Nature itself is involved in the battle.

And only at the last moment Roland agrees to shirk in Oliphant. But late call comes. Ower's friend died, the peers were killed, the archbishop died.

The picture was waiting for the Ganeleon's traitor. He is judging the king, but the barons do not want to support the accusation. Only as a result of the "God's Court" through the boron duel, Ganeleon suffered a death sentence.

Convenient and completion of the poem - Archangel Gabriel, appeared to Karl in a dream, tells him to go to a new campaign. But "again to war to go was not cute Carlo. Oh my God! "He brought," as life is difficult. " The author of the song about Roland is agreed with this, which "River Beard and Gorky crying."

So, the idealization of military exploits is temperate in reflections on cruel military life. But the song remains a hymn patriotism, love for "cute, beautiful France" (La Belle, La Douce (Do1ce) France). Other elements of the "Songs" - the lyrical theme of Roland's love to the bride of Alde, the relative relations of Roland and his stepfather of Hanelon, the friendship of Roland and Oliver - subordinate to the epic idea of \u200b\u200bthe unity of the interests of the hero and the people of Franks. This idea is laid throughout the formation of the epic and is embodied by the author in the characteristic generic features: in the "top" view, in a wide coverage of events, the number of actors, "external descriptions", objectivity (even Ganeleon is beautiful), permanent epithets ("sworn" enemy , "Battle of terrible," Rock Angry "," France Cute "," Roland Young, Bold ").

In the epic, with deep respect relate to weapons. Roland has a sword of an exceptional fortress, particles of saints are laid in the handle. In addition, he has a hunting and combat horn of exceptional power. Horn and sword have their own names - Oliphant and Durandal Italian historian Cardini Franco in his famous book "The origins of the medieval knighthood" writes about the weapons: "He was made by his own name: Durandal Rolanda, Zhuaiz Karl Great, Eccalibur of the legendary King Arthur. The birth of a weapon is shrouded in the cover of mystery. Eccalibur, for example, produced from the cliff, but miraculously disappears, as soon as the king is dying. Someone is an unknown garbage, a rim from the water puchin, kidnaps the sword. Angel hands Harl's weapons to reward them the best of his Wassalie warriors. Weapons are always a person. Charles sword "Does not want" to break into the fatal day of Ronsevalsky's passion, "does not want" to leave his senory. The sword is an animated creature, which can inspire love. Much is said that in the "song about Roland" there are no female characters and love intrigue. The pathetic and fleeting vision of the Alda do not count. But forget about the love hymn, which permeated with a high feeling, coming from the depths of the heart, when Roland appeals to his faithful girlfriend-spa - Durandal (Spatha - Zh.R.); Oblining it to "Width", Roland mourns the fate of Durandal, because it remains alone, without his master. He begging her to fulfill his last will and, finally, concluding in a farewell embrace, promises her loyalty to the coffin. " Dying, Roland does not remember his beautiful Alde, he worries about a combat girlfriend, covering it with his body.

"Song of Roland" as an epic work.

"Song of Roland" "La Chanson de Roland" is the most ancient and significant monument of the French epic. He became known in 1837, after the publication of Oxford manuscript dated 1170 year. "Song of Roland" refer to heroic poems, the so-called Chanson de Geste (song of deeds). The time of emergence and authorship of the poem is still controversial. Apparently, you can talk about the usual way to create a national epic. A real historical fact - a battle with basks in the Ronsvalsky Gorge in Pyrenees in 778. The troops of Karl the Great, who returned from the Spanish campaign, - at first, became the stories of eyewitness participants, which then served as material to create epic songs. Finally, these songs were connected and treated with one talented author. The story did not save the name of the Creator "Song about Roland", the completed string "here are interrupted by the Turoldo told". Researchers found several educated monks named Turoldus, but it is not known whether one of them was the author or just a correspondence. The name of the Turold also often encountered Normans. The question of the creator of "Song about Roland" is just as unclear how about the creator of "words about the regiment of Igor" or "Iliad". Undoubtedly one - the way to create an epic is multistage. It is customary to allocate at least three stages ending with the written processing of the monument.

This origin, the genesis of the epic defines its ideological and artistic features. The private episode of one of the trips of the legendary Karl of the Great is subjected to "Song about Roland" to a significant rethinking and interpreted as an event of a nationary value. Historical opponents in the battle at Ronsevale - Basque - replaced by the Arabs - Muslims. Fixing in time and in space, the events of "songs" identify the patriotic national religious idea of \u200b\u200bthe work.

The image of the "Douce France" (Pretty France) is the first in French literature recognition in love for homeland. At the same time, the war with Muslims is interpreted in the poem as the case "God-magnitude" and knight. "Song about Roland" is a feudal epic, so the ideas of knightly loyalty, the service of Vassal to his senor, military valor and willingness to die on the battlefield in the poem. But through the estate, medieval concepts, germinate, and more general, necessary for the creation of any genuine epic work, the public above personal - the interests of France and its troops are incommensurable more than its own ambitions and spiers. This thought is a "Song" with the Russian "Word", with "Ilia" and with epic works created by centuries later, such as "War and Peace" L. N. Tolstoy. But if, in the late times, the author appeals to extreme situations - the events of war, revolution, the national liberation movement, the era of the generic system and the partitioning period of the nation is a natural time for the epic.

To identify ideas in the poem, hyperbole is widely applied. The power and physical endurance of francs are exaggerated, the number of enemies with which they fight, the wisdom and age of Karl the Great, the valor and significance of the main hero of Roland. The head of the Breton Mark, marked in the chronicles among the famous francs killed in the Pyrenees, turns into a better commander of troops, the support of the nation. He is given in the poem the main place. The story is built on the conflict of Roland and Hanelon, that is, the development of events and actions, as they are given in the work. The criminal egoism and korestolubia of Hanelon is opposed by the selfless service of Roland in the glory of Charles and Mila France. The plot of "songs" is simple and consistent, its main links - the Quarrel of Roland and Hanelon, the betrayal of Hanelon, Ronsevalskaya Bights, the court over Ganeleon. The culmination of the poem is a description of the battle consisting of two episodes - the battle of the Ariecleard Roland with the first argeon of the Maurus and the continuation, the battle with the second army when the francs are subjected to complete destruction. In the central part of the poem, its most important episodes are concentrated - Roland's disagreement with another Olivier, the heroic behavior of the Archbishop Turpina, the farewell of Roland with his sword Durandal and with friends, the return of Karl the Great, who heard the sounds of Roland's horns. Numerous characters of the poems, both francs and "incorrect" are connected here. A large number of actors and the breadth of the coverage of events are also the properties of the epic. His creator looks at what is happening with some vertices, while possessing an amazing inquiry. The combination of large plans and an elong household part reflects the genesis of epic songs, the centuries-old way to create them.

Orientation on oral tradition, and then verbal execution led laconium and clarity of the song "Songs". The poem is written with ten-sided verse and is divided into unequal sizes, which are called tirades. Tiramas numbered.

At the end of most, Tirad stands "Aoy" - chorus or, maybe a conditional designation of some famous musical motive in the XII century. Constant epithets are used - Beau Sire (Valiant Senor), Douce France (Cute France) ,. Charles Le Grand (Karl Great), RGEUX ROLAND (Valiant Roland). Real historical characters are adjacent to the fictional. Inanimate items have their own names. Among them, the sword of Rolanda - Durendal (Durandal), Rog - Olifant (Oliphant). Heroes see the prophetic dreams. Epic repetitions are widely used in the songs in the descriptions of the battles, crying for the dead, names of places, parallel structures in the alignment of characters and descriptions of events. Twice go to the attack "Invalid", twice hears the carl tube sound. Historical Carlo, who personifies the idea of \u200b\u200bstate unity and Christian faith in the poem, is opposed to the fictional Sarazinsky king of Martsilius, Roland - Ganeleon, etc.

Epos of Romanesque peoples - French and Spaniards - entirely fit into the framework of the X-XIII centuries. Only with the IX century. Romanesque languages \u200b\u200bare distinctly allocated and literary creativity begins on them. Not earlier than the second half of the VIII century. Historical events include whose echoes are heard in Epos. This, of course, does not exclude the fact that the people's poetry of Romanesque peoples inherited some elements of the folk tradition of the Germans who created the first "barbaric states" on this territory - francs and visa.

The transition from People's Latin to the Starofranzus language and the beginning of the ethnic consolidation of future French, as well as the first phase of feudalization fall in France on the Epoch of Caroling (VIII-IX centuries). This era acts in heroic poetry as a kind of epic time. The most outstanding from Carroling, crowned in 800 by the Westrian emperor Karl Great became an epic king, invariably the noble, majestic and powerful "Sedoboroch Karl", the ruler of the epic "cute France".

About 100 French heroic poems, the so-called "Chansons de Geste" ("songs about acts"), apparently, seem to be the X-XIII centuries. and written by stanzas (lessels) associated with associates, which in later editors (XIII-XIV centuries) are inferior to accurate rhymes. Assonance is specific to the ancient Romanesque (French and Spanish) epic, as allity - for German. The French epic verse in the monuments reached us - Syllabic Table.

The French Epos has developed in the IX-X centuries. In oral folk art. Hypothesis J. Bedje and his school on the formation of this epic in the XII century. From chronicles and monastic legends is little happy. The French epic reached us mainly in the form of long poems that are the result of a complex high-quality evolution of brief epic songs (cantilene), and not their mechanical association (as it was the city of Paris). The carriers of the epic tradition in the folklore France were jugglers, stray folk singers, similar to the German spielman. Jugglers performed poems in an empowerment recitative, accompanying themselves on a small harp or Viola. They performed in Knight's castles and in urban areas during the fairs. Book poems that have come down to us store very distinct traces of an oral epic tradition. The initial volume of heroic songs was probably small. Large poems were performed in several techniques, as if testifying after certain intervals, as it were, a short summary of the preceding statement or hints, which preceded the upcoming story to be interested in the listeners.

However, the mention of another unfortunate events, "run forward" is not only a professional reception of an oral narrator, it has a purely artistic meaning: the narrator draws the attention of the listeners to the prospect of dramatic deployment of events, to the sad fate of heroes.

People's Heroic Epos: "Song of Roland".

"Song about Roland." People's heroic epic of the Middle Ages differs significantly from Gomeov's poems. Homer's poems, as shown, completed the development of the folk ancient epic. Homer relies on the myth, singing the heroic past of his people, "the glory of husbands"; Its scale is space and humanity. Especially "Odyssey", with its sophisticated composition, with a variety of literary applications, testifies to the transition from the folk stage on the literary, author. Medieval epic poems, compared to the Homer Epos, as if returned to a typologically earlier, purely folk staging of literature. They reflected the oral folk creativity of young peoples of Western Europe, their passionary impulse, which is based on the spread of Christianity.

These poems were developing during the centuries, and were recorded almost simultaneously: the best manuscript "Song about Roland", the so-called Oxford manuscript, refers to the middle of the XII century; At the same time, in the Spanish monastery, the "Song of My Side" was recorded, at the turn of the XII-XIII centuries in South Germany, "Song of Nibelungakh" was recorded. But to what extent the authorship of the poems belong to people who have fulfilled their record? Whether they were simply the monks of the correspondence who had any more ancient, who did not reach us manuscripts, or professional obscene poets, which in France were called "jugglers", in Spain "Hugrars", and in Germany "Spies"? It is impossible to answer this question today. In the last line "Song about Roland", the name of one's own one appears: "Turold said". But we do not know anything about this Turold, and the assumption that this is the author of the poem is unreasonable. The fact is that the epic literature of the Middle Ages does not know the concept of individual authorship: the text of the epic poem is a collective heritage, and each new performer, each new correspondence, felt entitled to make changes to it. Therefore, dealing with the recorded, recorded text "Song about Roland", should be aware that it is one of the many really existing options for the poem.

"Song of Roland" is the main monument of the French epic, the most rich and extensive of all other national epic traditions of Western Europe. It consists of the so-called Chansons De Geste ("Chanson de Gesture", or a shorter "gesture", - Song of the Act). Today is about a hundred gesture created in the X-XIII centuries. Stray singers-jugglers performed gestures under the accompaniment of harp or a viola at the fairs, in the castles of the feudal. The volume of the gesture is from one to twenty thousand poems, that is, the gesture could not always be listened to the time, sometimes it took place for its execution for several days.

Gestures could narrow conflicts inside the feudal nobility, but Caroling Epos - Songs about the so-called "Caroling Regeneration" were most popular, about the era of the board of the historical emperor Karl Great (rules from 768 to 814). In a popular memory, he departed all the other rulers of his dynasty and turned into an ideal king, the creator of the powerful power and defender of faith. "Our emperor Karl" is one of the main characters "Song about Roland."

The historic basis of the poem is set out by Frankish and Arabic chronicles. At the end of the VIII century, Spain was exposed to the invasion of the Moors; In 778, 38-year-old Karl (he will be proclaimed only in 800) to no avail in the dispute of Muslim rulers in Spain. This expedition was unsuccessful. He was forced to take off the short siege of the Zaragoza, and returning to France, was attacked by the troops of Basques who confessed Christianity, who wanted to take revenge on the francs for the destruction of their settlements. The airship of the French was attacked in the tesnes of Ronsevalsky gorge, which in the Pyrenees. The basks easily took the top, and among the fallen in this battle, the only chronicle mentions some "Chrodeland, the prefect of the Breton Brand", that is, the epic Roland.

Jugglers turned this episode in the picture of the seven-year war of Charles with Sarcins for the Christianization of Spain. We again meet with a characteristic epic exaggeration of the scale of events, the number of people involved in them, with the rethinking of the meaning of these events for the history of the people.

The plot events are enlarged. At the seventh year of war in Spain, won many victories, Carl takes ambassadors from the last opponent, the king of Zaragoza Marcialy, with a false proposal of the world. For the Embassy of Marcialia Karl responds by the Embassy

Hanelon, which should clarify the conditions of the truce. Hanelon's name on the Council utters his stepper and the beloved nephew of Charles, Count Roland, he himself first caused to be ambassador. But since Franks remember the fate of their former ambassadors - they were all killed by Martilye, - the king forbids Roland to go to the embassy, \u200b\u200bbut agrees to the candidacy of Hanelon. Ganeleon immediately accuses Roland that he wishes his death, and he dies to revenge. Arriving in Zaragozu, he joins a treacherous conspiracy with Martilyl, inspiring him that only the militant Roland at the court of an old, tired emperor stands for the war, and it is necessary to donate with Roland to save Spain from francs. By bringing hostages and the gifts of Marcialy Carlo, Ganeleon persuades him to appoint Roland to the head of the twenty thousand French Ariergard, who will cover the return of Karl's main troops, and Roland, with his definition herself, accepts this order, seeing recognition of his military merit.

The plan of Hanelon and Marcília is carried out. In the Ronsevalsky gorge, the hundredsmatic hordes of the Maurus treacherously attack the French. Spent Roland, Olivier, Three times persuade him to protrubed in Rog Oliphan, until Karl can hear his call and come to the rescue, but proud Roland refuses. He is right and left to the left of Durandal, he worns on the battlefield on his battle horse Vellyantif, kills hundreds of Mavrov, but all this in vain. In a cruel battle, all French peers and barons were killed: a spishop-warrior Turpen died in the penultimate, and finally, Roland himself, only before his death, protriving in the horn. Karl returns to his call, mourns the French and arranges the defeat of Marcialy's troops at first, and then landed in Spain Babylonian Emir Baligan. So the right thing of the Christian faith was proved, and the pagans renounced their gods that could not help them.

In the third part, the Poem's action is immediately transferred to the capital of Karl, in Aachen, where the traitor Ganeleon is sent for the trial. However, the Court of Baron, consisting of the relatives of Hanelon, justifies him, and justice triumph only thanks to the "God's judgment", that is, a fight between Pinabel, a supporter of Hanelon, and a faithful servant of Karla - Thierry. Thierry wanders the top, and Ganeleon takes a painful penalty - "treason and the criminal does not praise." In the finals of the poem, the widow of Mince Brahmymond voluntarily adopts Christianity, and the Karl's king in a dream is Archangel Gabriel and calls to the profog of Christians suffering from the pagans:

But the king does not want to go to war.

He picks up: "God, how much is my lot Gork!" -

River beard gray, crying mournfully ...

As can be seen, the composition of the poem is based on the principle of symmetry: each of the three main steps of action consists of two contrast events. The baggage of the poem, the betrayal of Hanelon, includes a description of two embassies - Maravo Blankandrina and Christian Hanelon. The climax of the poem is a description of two battles, one victorious, the second most disastrous for the French. Delivery - Retribution of Muslims and Ganeleon.

Compared to Gomemer's poems of the action framework in "Song about Roland" narrowed: it is only military, patriotic and religious epic. Roland's beloved, Alda's lady, is mentioned only in one stanza; Roland himself does not remember her. Only by learning from Karl about the death of someone who "the oath gave her wife," she immediately dies - "Homes, Alde, God!" There are no privacy among the heroes, they are only warriors, diplomats, government figures, and their value system is subordinated to the concepts of Christian and vassal debt. To those who do not share these values, the author does not show any tolerance. Maurics are shown as idolatries, deprived of the light of true faith; Died in battles, these devils are directed directly to hell. Those of them who refuse to take baptism after the surrender of Zaragoza Carlo, killed on the spot, and the epic author says quite calmly about it:

Jealous of Karl about the faith of Christian,

He weights he consecrate the water to prelates

And the Maurus to paint in the fonts of Naspech,

And if someone does not agree to this,

Those hang, burn and kill mercilessly.

The same Christian idea is permeated by images of the main epic heroes. Karl is a defender of the south of France from raids of Maurus, and the war with them is understandable as a patriotic war for "cute France". Karl's barons are faithful vassals and the best warriors in the world, and the best among them is Roland, who won his king many land. But, in addition, Roland also vassal God, no wonder before his death, he stretches his glove to heaven - this is a gesture that he betrays himself to the Lord, as Vassal gives his glove as a sign of loyalty to Sisser. The church of the warrior personifies in the poem of the Archbishop Turpen, who in Ronseval one hand lets the sins in a dying, and the other will bring enemies.

With Christianity, a relatively small element of fiction in the poem is associated. Carlo starred prophetic dreams. King is Archangel Gabriel; On the prayer of the emperor, the day lasts: so that he could finish the beating of the Moors, God stops the sun in heaven. At an hour of battle in Ronsevale, a terrible thunderstorm is developed over France - then crying at the dying Roland.

Accordingly, the characters in the poem are outlined more straight than Homeric characters. Karl personifies in the gesture of state wisdom, Christian virtue, Roland - Bogatyr Fury, Olivier - Prudent Restraint:

Obama Olivier, Roland Bezden,

And the valor is one more equal.

All three heroes are opposed to each other, but combined with each other love for "Mila France", and opposes them a traitor to the interests of the birthplace of Ganeleon.

The poem says that Roland makes a mistake, as a result of which his whole detachment dies and he himself. This error is a consequence of his frantic heroism, his faith in his strength and its high principles:

Let no one say about me

That I forgot from fright.

I will never take my own kind.

..........................................

Shame that in whose heart the fear crept.

Roland's tragic mistake is explained and justifies his advantages of the epic hero, and let the previous epic heroism, which fills the person, vanity, is a sin that is subject to redeeming, Roland fully reaches the feat of his mistake. Heroism His I am deducted and unlimited, this is a hero aimed at a personal feat to the glory of his king and his God. This is a new, painted by Christianity version of the epic hero, which is why the poem is named after Roland name, name.

"Song about Roland" in Oxford manuscript consists of 4002 poems. Like all gestures, it is written by a special stubbic shape - lessels, or otherwise tiradami, with a non-permanent number of rows in stroke, from four to twenty; Rows inside the lesters are associated with inaccurate rhymes - associations, when in each last syllable of each row of this stanza, the same vowel sounds. The French epic verse is a Syllabic Table, the exact rhymes in the French versification will arise later.

"Song of Roland" uses the same repeats (often the forests are completed by the exclamation of "Aoy!"), Sustainable formulas; Its amazing parallelism in the image system and in the compositional construction.

Known processing "Song about Roland" almost all Romanesque and German languages.

"Song about Roland" was recorded at the time when the knights had already arisen with his special ideology, and the Knight's Code had a well-known imprint on the image of the relationship between the characters "song" (the glorification of loyalty to the vassal duty, Christian dust), but in general the value system Here is the early refortel. Specific knightly conflicts will be reflected in the most popular epic literature genre of high Middle Ages - in the knightly novel.

"The word about the regiment of Igor"- The most famous monument of the ancient Russian literature. The plot is based - the unsuccessful campaign of the Russian princes to the Polovtsy, undertaken by Novgorod-Seversky Prince Igor Svyatoslavich in 1185. "The word" was written at the end of the XII century, shortly after the events described (often dated the same 1185 year, less often 1-2 years later).

Infused by the motifs of Slavic folk poetry with elements of pagan mythology, according to his artistic language and literary significance, "the word" stands in a number of the largest achievements of the Russian medieval epic. In the history of studying the monument, a large resonance caused a version of "Word" as falsification of the late XVIII century (skeptical point of view), currently rejected by the scientific community.