LA CHANSON DE ROLAND

TRANSLATED FROM THE SEVENTH EDITION OF LEON GAUTIER, PROFESSOR AT THE ECOLE DES CHARTES, PARIS.

BY LÉONCE RABILLON, Licencié en droit, Paris University, French Lecturer at Johns Hopkins University.

NEW YORK HENRY HOLT AND COMPANY 1885

COPYRIGHT, 1885 BY HENRY HOLT & CO. W. L. MERSHON & CO., Printers and Electrotypers, RAHWAY, N. J.

TO DANIEL C. GILMAN, President of Johns Hopkins University, THIS TRANSLATION IS MOST RESPECTFULLY DEDICATED.

[vii]

PREFACE.

Several years ago, the maker of this version translated into French one of the early works of H. W. Longfellow. This circumstance was not forgotten by the American poet who kindly consented to listen to this new attempt at rendering into English the "CHANSON DE ROLAND."

To his encouragement is due the present publication. The writer will ever proudly treasure up the remembrance of his friendly welcome and counsel....

The translator has followed, as literally as possible, the text of the Oxford MS., as revised by Léon Gautier. The parts inclosed in parentheses are interpolations of the learned Professor. This revised text should be kept in hand by the English reader for comparison with the original, which is nine centuries old. The translator may thus be more likely to obtain the indulgence of the reader for the quaint representation, in a modern language, of the coloring of this most ancient poem.

[viii]The orthography of all the names, as well as their prosodic accent, has been preserved in their ancient form; and accordingly, an index has been appended to the work.

The seventh edition of Léon Gautier's "CHANSON DE ROLAND," contains a vast amount of explanatory notes, grammatical and historical, to which the reader is referred.

HISTORY OF THE POEM.

On the 15th of August, 778, in a little Pyrenean Valley, still known in our days by the name of Ronceval, a terrible event took place. Charlemagne, returning from his expedition to Spain, crossed that valley and the Pyrenees, leaving his rear-guard in command of Roland, Prefect of the Marches of Brittany. His main army had passed unmolested; but at the moment when the rear-guard advanced into the defiles of the mountain, thousands of Gascons rushed from their ambush, fell upon the French army and slaughtered the whole guard to the last man. So perished Roland.

Eginhard, the historian of Charlemagne, terminates his narrative with these words: "The House-intendant, (Regiæ mensæ præpositus), Eggihard, Anselm, Count of the Palace, Roland, Prefect of the Marches of Brittany (Hruolandus britannici limitis præfectus), with many more, perished in [ix]the fight. It was not possible to take revenge on the spot. The treacherous attempt once perpetrated, the enemy dispersed and left no trace." (Eginhard's Life of Charlemagne, Vol. I., p. 31; edition of the Société de l'histoire de France.)

From the moment of the defeat of Ronceval, legend commenced its labor upon this truly epic event which, in its origin, is absolutely French, but has found its echoes throughout Europe, from Iceland to Eastern regions.

The commentators generally agree in dating the composition of the Poem before the first crusade in the year 1096. The author, it is ascertained, was Norman, the dialect used by him being Norman throughout. Whether this author was really Turoldus, named in the last line of the Poem, is a point which Léon Gautier refuses to affirm. We refer the reader to the very interesting preface of Genin, and to the learned introductions of Léon Gautier, for more complete information.

The word "Aoi," which is placed at the end of every stanza, and found in no other ancient French poems, is interpreted differently by the commentators. M. Francisque Michel assimilated it at first to the termination of an ecclesiastical chant—Preface, xxvii.—and later to the Saxon Abeg, or the English Away, as a sort of refrain which the "jongleur" repeated at the end of the couplets. M. [x]Génin explains it by ad viam, a vei, avoie, away! it is done, let us go on!

M. Gautier, with his skeptical honesty, declares the word unexplained. See Note 9, p. 4, of his seventh edition.

MANUSCRIPTS.

The most complete and ancient is that of Oxford, in the Bodleian Library, marked "Digby, 23," a copy of the XIIth. century. All others are Rifaccimenti, Refashionings.

Two in Venice, in St. Mark Library, XIIIth. century; French MSS., No. 4 & 7.

In the National Library, Paris, No. 860, XIIIth. century.

The Versailles MS., now deposited in the Library of Chateauroux, a copy of which is in Paris Nat. Library; 15, 108; XIIIth. century.

In the Lyons Library, 964; XIVth. century.

In Cambridge, Trinity Collage, R. 3-32; XVIth. century.

One called the Lorrain, a fragment found near Metz.

The Karlomagnus Saga, an Icelandic copy of the Oxford MS.; XIIIth. century.

In M. Petit de Julleville's Introduction to his version can be found a chronological list of the [xi]works which concern the "CHANSON DE ROLAND," the translations of it, and dissertations on the subject in France and Germany.

There are twenty-one translations in different languages:

Four in German, by Th. Müller, Hertz, Boehmer, Eug. Kölbing.

One in Polish, by Mad. Duchinska.

One in Danish, by Unger.

One in Icelandish, Karlomagnus' Saga.

Twelve in French, by Francisque Michel, Bourdillon, Delécluze, Génin, P. Paris, Vitet, Jônain, de Saint-Albin, d'Avril, Petit de Julleville, Lehugeur and Léon Gautier, of whose translation seven editions were issued.

Two in English, one in England by J. O'Hagan, and one in America, the latest and present one.

Besides, a version from Vitet's French paraphrase, by Mrs. Marsh.

[1]

SARRAGOSSA.

COUNCIL HELD BY KING MARSILE.

I.

II.

III.

IV.

V.

VI.

VII.

[7]

COUNCIL OF CHARLEMAGNE AT CORDOBA.

VIII.

IX.

X.

XI.

[11]

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

XXVI.

XXVII.

XXVIII.

[21]

THE EMBASSY AND CRIME OF GANELON.

XXIX.

XXX.

XXXI.

[23]

XXXII.

XXXIII.

XXXIV.

XXXV.

XXXVI.

XXXVII.

[27]

XXXVIII.

XXXIX.

XL.

XLI.

XLII.

XLIII.

XLIV.

XLV.

XLVI.

XLVII.

XLVIII.

XLIX.

[34]

L.

LI.

LII.

LIII.

LIV.

LV.

[38]

THE REAR GUARD.

ROLLÁND DOOMED TO DEATH.

LVI.

[39]

LVII.

LVIII.

LIX.

[41]

LX.

LXI.

LXII.

LXIII.

LXIV.

LXV.

LXVI.

LXVII.

[45]

LXVIII.

LXIX.

LXX.

LXXI.

LXXII.

LXXIII.

[49]

LXXIV.

LXXV.

LXXVI.

LXXVII.

LXXVIII.

LXXIX.

LXXX.

[55]

PRELUDE TO THE GREAT BATTLE.

LXXXI.

LXXXII.

LXXXIII.

[57]

ROLAND'S PRIDE.

LXXXIV.

LXXXV.

LXXXVI.

[59]

LXXXVII.

LXXXVIII.

LXXXIX.

[61]

XC.

XCI.

XCII.

XCIII.

[64]

THE MELEE.

XCIV.

XCV.

XCVI.

XCVII.

[68]

XCVIII.

XCIX.

C.

CI.

CII.

[70]

CIII.

CIV.

CV.

CVI.

CVII.

CVIII.

[74]

CIX.

CX.

CXI.

CXII.

CXIII.

CXIV.

[79]

CXV.

CXVI.

CXVII.

CXVIII.

[82]

CXIX.

CXX.

[83]

CXXI.

CXXII.

CXXIII.

[85]

CXXIV.

CXXV.

[86]

CXXVI.

CXXVII.

CXXVIII.

CXXIX.

[89]

THE HORN.

CXXX.

CXXXI.

CXXXII.

CXXXIII.

CXXXIV.

CXXXV.

CXXXVI.

[94]

CXXXVII.

CXXXVIII.

CXXXIX.

CXL.

CXLI.

[98]

THE ROUT.

CXLII.

CXLIII.

[100]

CXLIV.

CXLV.

[102]

OLIVIER'S DEATH.

CXLVI.

CXLVII.

CXLVIII.

[104]

CXLIX.

CL.

CLI.

CLII.

CLIII.

CLIV.

CLV.

[109]

CHARLEMAGNE APPROACHES.

CLVI.

[110]

CLVII.

CLVIII.

CLIX.

[112]

CLX.

CLXI.

CLXII.

[114]

THE LAST BENEDICTION OF THE ARCHBISHOP.

CLXIII.

[115]

CLXIV.

CLXV.

CLXVI.

CLXVII.

CLXVIII.

[118]

CLXIX.

[119]

ROLAND'S DEATH.

CLXX.

CLXXI.

CLXXII.

CLXXIII.

[122]

CLXXIV.

CLXXV.

CLXXVI.

CLXXVII.

CLXXVIII.

[127]

THE CHASTISEMENT OF THE SARACENS.

CLXXIX.

CLXXX.

CLXXXI.

CLXXXII.

[131]

CLXXXIII.

CLXXXIV.

[132]

CLXXXV.

CLXXXVI.

CLXXXVII.

CLXXXVIII.

CLXXXIX.

CXC.

CXCI.

CXCII.

CXCIII.

[139]

CXCIV.

CXCV.

CXCVI.

CXCVII.

CXCVIII.

CXCIX.

[144]

CC.

CCI.

CCII.

CCIII.

[147]

CCIV.

CCV.

CCVI.

CCVII.

CCVIII.

CCIX.

CCX.

CCXI.

CCXII.

CCXIII.

CCXIV.

CCXV.

CCXVI.

[155]

CCXVII.

CCXVIII.

CCXIX.

CCXX.

CCXXI.

CCXXII.

CCXXIII.

CCXXIV.

CCXXV.

CCXXVI.

[160]

CCXXVII.

CCXXVIII.

CCXXIX.

CCXXX.

[164]

CCXXXI.

CCXXXII.

CCXXXIII.

CCXXXIV.

CCXXXV.

CCXXXVI.

CCXXXVII.

CCXXXVIII.

CCXXXIX.

CCXL.

CCXLI.

CCXLII.

CCXLIII.

CCXLIV.

CCXLV.

CCXLVI.

CCXLVII.

[175]

CCXLVIII.

CCXLIX.

CCL.

CCLI.

CCLII.

CCLIII.

CCLIV.

CCLV.

CCLVI.

CCLVII.

CCLVIII.

[182]

CCLIX.

CCLX.

CCLXI.

CCLXII.

[185]

CCLXIII.

CCLXIV.

CCLXV.

CCLXVI.

CCLXVII.

[188]

CCLXVIII.

CCLXIX.

[191]

THE PUNISHMENT OF GANELON.

CCLXX.

CCLXXI.

CCLXXII.

CCLXXIII.

CCLXXIV.

CCLXXV.

[195]

CCLXXVI.

CCLXXVII.

CCLXXVIII.

CLXXIX.

CCLXXX.

CCLXXXI.

[199]

CCLXXXII.

CCLXXXIII.

CCLXXXIV.

CCLXXXV.

CCLXXXVI.

CCLXXXVII.

CCLXXXVIII.

CCLXXXIX.

CCXC.

CCXCI.

[205]

CCXCII.

[206]

THE END OF THE CHANSON.

CCXCIII.

FOOTNOTES

1 Molted. Because in that condition, better for hunting.

2 Pallies. A square piece of silk on which the knights used to sit. (From Pallium).

3 Tables. In the romances of the Middle Ages the game of tables means tric-trac, chess, checkers, etc.

4 Bezants. A Byzantine coin.

5 A sort of undergarment made of gold and silk brocade worn in time of war under the coat of mail, and in time of peace under the mantle of fur. In the latter case it was of silk.

{209]

GLOSSARY.

Of places and words which may present some difficulty as regards origin and meaning on account of their ancient orthography. For more complete information see Léon Gautier's seventh edition of the text.

The numbers indicate stanzas in this edition.