The Song of Roland — Story, Setting & Ideas

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Scott-Moncrieff, C. K. (Charles Kenneth), 1889-1930 [Translator] Project Gutenberg 1996 Not confirmed
Roland (Legendary character) -- Romances; Epic poetry, French -- Translations into English Readers of public-domain and historical texts
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Words 35,563
Reading time 155 min
Text sections 4

For The Song of Roland — Story, Setting & Ideas, the stored edition analysis reports 35,563 words, 2 hr 35 min estimated reading time, and 4 detected text sections.

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This editorial note examines the structural movement and recurring imagery in C. K. Scott-Moncrieff's translation of the Old French epic, focusing on the alternation between council scenes and battlefield action, the repeated motif of the orchard, and the use of the 'AOI' marker.
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Blancandrins was a pagan very wise, In vassalage he was a gallant knight, First in prowess, he stood his lord beside. And thus he spoke: "Do not yourself affright! Yield to Carlun, that is so big with pride, Faithful service, his friend and his ally; Lions and bears and hounds for him provide, Thousand mewed hawks, sev'n hundred camelry; Silver and gold, four hundred mules load high; Fifty wagons his wrights will need supply, Till with that wealth he pays his soldiery. War hath he waged in Spain too long a time, To Aix, in France, homeward he will him hie. Follow him there before Saint Michael's tide, You shall receive and hold the Christian rite; Stand honour bound, and do him fealty. Send hostages, should he demand surety, Ten or a score, our loyal oath to bind; Send him our sons, the first-born of our wives;-- An he be slain, I'll surely furnish mine. Better by far they go, though doomed to die, Than that we lose honour and dignity, And be ourselves brought down to beggary." AOI.

Says Blancandrins: "By my right hand, I say, And by this beard, that in the wind doth sway, The Frankish host you'll see them all away; Franks will retire to France their own terrain. When they are gone, to each his fair domain, In his Chapelle at Aix will Charles stay, High festival will hold for Saint Michael. Time will go by, and pass the appointed day; Tidings of us no Frank will hear or say. Proud is that King, and cruel his courage; From th' hostage he'll slice their heads away. Better by far their heads be shorn away, Than that ourselves lose this clear land of Spain, Than that ourselves do suffer grief and pain." "That is well said. So be it." the pagans say.

The council ends, and that King Marsilie Calleth aside Clarun of Balaguee, Estramarin and Eudropin his peer, And Priamun and Guarlan of the beard, And Machiner and his uncle Mahee, With Jouner, Malbien from over sea, And Blancandrin, good reason to decree: Ten hath he called, were first in felony. "Gentle Barons, to Charlemagne go ye; He is in siege of Cordres the city. In your right hands bear olive-branches green Which signify Peace and Humility. If you by craft contrive to set me free, Silver and gold, you'll have your fill of me, Manors and fiefs, I'll give you all your need." "We have enough," the pagans straight agree. AOI.

King Marsilies, his council finishing, Says to his men: "Go now, my lords, to him, Olive-branches in your right hands bearing; Bid ye for me that Charlemagne, the King, In his God's name to shew me his mercy; Ere this new moon wanes, I shall be with him; One thousand men shall be my following; I will receive the rite of christening, Will be his man, my love and faith swearing; Hostages too, he'll have, if so he will." Says Blancandrins: "Much good will come of this." AOI.

Ten snow-white mules then ordered Marsilie, Gifts of a King, the King of Suatilie. Bridled with gold, saddled in silver clear; Mounted them those that should the message speak, In their right hands were olive-branches green. Came they to Charle, that holds all France in fee, Yet cannot guard himself from treachery. AOI.

Merry and bold is now that Emperour, Cordres he holds, the walls are tumbled down, His catapults have battered town and tow'r. Great good treasure his knights have placed in pound, Silver and gold and many a jewelled gown. In that city there is no pagan now But he been slain, or takes the Christian vow. The Emperour is in a great orchard ground Where Oliver and Rollant stand around, Sansun the Duke and Anseis the proud, Gefreid d'Anjou, that bears his gonfaloun; There too Gerin and Geriers are found. Where they are found, is seen a mighty crowd, Fifteen thousand, come out of France the Douce. On white carpets those knights have sate them down, At the game-boards to pass an idle hour;-- Chequers the old, for wisdom most renowned, While fence the young and lusty bachelours. Beneath a pine, in eglantine embow'red, l Stands a fald-stool, fashioned of gold throughout; There sits the King, that holds Douce France in pow'r; White is his beard, and blossoming-white his crown, Shapely his limbs, his countenance is proud. Should any seek, no need to point him out. The messengers, on foot they get them down, And in salute full courteously they lout.

C. K. Scott-Moncrieff's translation of The Song of Roland preserves a distinctive structural rhythm: the poem alternates between deliberative councils and violent engagements. The opening scene, set in an orchard at Sarraguce, establishes a pattern of decision-making that recurs throughout. King Marsilies, surrounded by his barons, seeks counsel under a marble throne—a static, enclosed space that contrasts with the open field of battle. This orchard, a locus of political calculation, reappears as a site of loss when Roland later searches the field for fallen companions. The poem's movement between these two poles—the shaded orchard and the exposed valley of Rencesvals—shapes its narrative tension.

The Orchard as a Recurring Setting

The orchard appears at critical junctures: Marsilies holds court there, and later Roland finds his peers lying on the green grass. This setting is not merely decorative; it frames moments of decision and lament. In the opening laisses, the orchard is a place of political intrigue, where Blancandrin devises the plan to send hostages. By the poem's end, the same green grass becomes a funeral ground. The repetition of the phrase 'green grass' ties these scenes together, underscoring the transition from strategic calculation to irrevocable loss.

The 'AOI' Marker and Structural Pacing

The text includes the unexplained marker 'AOI' at the end of many laisses. In the excerpts, it appears after Marsilies's council and after Roland's stand. This recurring element may indicate a musical or rhetorical pause, segmenting the narrative into discrete units. The marker often follows a shift in focus—from dialogue to action, or from one character's perspective to another. Its presence suggests a deliberate structuring of the epic into performative blocks, guiding the reader's attention through the rapid alternation of scenes.

Movement Between Council and Battlefield

The poem's structure relies on abrupt transitions from deliberation to combat. The council at Sarraguce yields directly to the description of Charlemagne's campaign. Later, Roland's solitary search for his companions follows the massed pagan assault. These shifts are not smoothed over; the juxtaposition highlights the fragility of plans made in the orchard. The repeated phrase 'Will he or nill' (used when Roland must fight on foot) underscores the loss of agency that occurs when strategy gives way to violence. The structure itself enacts the theme of inevitable doom.

Repetition of Gestures and Phrases

Certain gestures recur with slight variation: Roland 'embraces' his companions, the Archbishop 'gives benediction,' and characters 'swoon' from grief. These repeated actions create a ritualistic quality. For instance, Roland's act of arranging the bodies before the Archbishop mirrors the earlier ordering of troops. The phrase 'He has embraced him close against his breast' echoes across different laisses, linking Roland's bond with Olivier to his care for the dead. This repetition reinforces the poem's focus on loyalty and loss, while the incremental changes—from living comrade to corpse—deepen the pathos.

Readers attentive to the poem's structure will notice how the alternation between council and combat, the recurrence of the orchard, and the ritualized gestures create a cohesive pattern. The 'AOI' marker invites consideration of the epic's oral origins. This translation by Scott-Moncrieff preserves these structural features, allowing modern readers to trace the movement from deliberation to disaster.

Some nights I still think about that orchard in The Song of Roland — how every return to it felt like a breath before the next storm. That same patient rhythm lives in The complete works of John Gower, volume 1 — A Closer Reading, where each scene settles so quietly you almost miss the weight gathering underneath. It reminds me how old stories keep their own time, and I’m glad I’ve lived long enough to follow.

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