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Great Western Cattle Trail
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Map of major cattle trails with the Great Western Trail.
The Great Western Cattle Trail was used during the 19th century for movement of cattle and horses to markets in eastern and northern states. The trail was also known as the Western Trail, Fort Griffin Trail, Dodge City Trail, Northern Trail and Texas Trail. It replaced the Chisholm trail when it closed. While it wasn't as well known, it was greater in length, reaching rail-heads up in Kansas and Nebraska and carried longhorns and horses to stock open-range ranches in the Dakotas, Wyoming, Montana, and two provinces in Canada.
The Great Western Trail went west of and roughly parallel to the Chisholm Trail into Kansas. The cattle were taken to towns which were located on major railroads and delivered north to establish ranches. Although rail lines were built in Texas, the cattle drives continued north because of Texas rail prices, it was more profitable to trail them north.[1]
Contents
[hide]
1 Brief history
2 Landmarks on the trail
3 Dangers of the trail
4 See also
5 References
6 External links
Brief history[edit]
The Great Western Cattle Trail was first traveled by Captain John T. Lytle in 1874 when he was transporting 3,500 longhorn cattle up from Southern Texas into Nebraska. In five short years, it became one of the most traveled and famous Cattle Trails in U.S. history. Despite its popularity, traffic along the trail began to decline in 1885 due to the spreading use of barbed wire fences and the legislation calling for a quarantine of Texas cattle due to the "Texas Fever" - a disease spread by a parasitic tick. The last major Cattle drive up the trail was on its way to Deadwood, South Dakota in 1893. By that time there had been an estimated six to seven million cattle and one million horses that had traversed the trail. Later, in order to commemorate the significance of the Cattle Drive era, two markers were erected in the 1930s at Doan's. Doan's was seen as the last "stepping-off point" before entering Indian Territory that sold supplies, ammo, tobacco, provisions, Stetson hats & guns, and anything else that would be required on the long trek. C.E. Doan had kept a meticulous record of the companies and Trail Bosses along with the number of cattle that crossed his path each year, allowing for numbers and history to be preserved, so a marker was fitting. In 2003 a new project was launched in order to place cement markers every six to ten miles along the trail, from the Rio Grande to Ogallala, Nebraska. Oklahoma set the first post south of the city at Altus.
Texas placed its first marker at the Doan's Adobe house during the 121st Doan's May Day Picnic of 2005. The picnic was first held in 1884 on the first Saturday of May at the now ghost town of Doans, north of Vernon, Texas. A barbecue lunch and T-shirts are available for sale, and a king and queen are crowned at the event. One of the shirts for 2017 features a design by Harold Dow Bugbee, former curator of the Panhandle-Plains Historical Museum in Canyon, Texas, which depicts longhorns and a cowboy crossing the Red River at Doan's Crossing. There the postmaster Corwin F. Doan (1848-1929) also operated a store to supply the cowboys.[2][3] Bugbee's sculpture is part of the 1931 Trail Drivers Monument at Doans. During the event, riders cross the river each year from Oklahoma and usually arrive just before noon. The adobe house, built in 1881, is the oldest in Wilbarger County and is open for tours during the picnic.[4]
Markers were also placed in another major stopping point of the Great Western Cattle Trail: Seymour, Texas. One marker was erected in 1972 by the Seymour Historical Society, another four have been added since. Seymour was historically a popular campsite for cowboys since it was a major supply center. In fact, both Cowboys and Indians alike mingled in peace. In part due to the Great Western Cattle Trail's traffic, Seymour was seen as an ideal place to host a Cowboy Reunion. Jeff Scott was the retired Cowboy who broached the idea and it 'took'. In 1896 the Cowboy's Reunion was organized and had 10,000 spectators. The following year, 1897, Native American Chief Quanah Parker attended the Reunion, where he performed war dances with 300-500 of his Braves. The tradition of the Cowboy Reunion still continues today, except that it is now called the Seymour Rodeo and Reunion, and occurs on the second weekend of each July.
Landmarks on the trail[edit]
Due to the project launched in 2003 it is easy for people to find where the Great Western Cattle Trail was since there are now cement markers every six to ten miles along the way. It was not always so, however. Cowboys used to have to find their way using landmarks. The major ones were Mt. Tepee, Big Elk Crossing, and Soldier's Spring. Mt. Tepee is actually Mount Webster, but it looked like a giant white Tepee standing out against the rest of the Wichita Mountains, and so was a useful landmark. It wouldn't be long before they reached Big Elk Creek, and needed to cross it. Big Elk Crossing was an ideal place to get the job done. Most of the time river crossings are unfortunate because they will bog down the cattle in mud that will be difficult to push lagers and sore-footed animals through at the end.There also is the danger that an animal will break a leg. Finding a stone crossing such as Big Elk was ideal. It was placed at a horseshoe bend in the creek, which acted like a natural corral to contain and herd the animals during the crossing. After crossing, it would take maybe a day or so to reach the next landmark: Soldier's Spring. Soldier's Spring is not as easily found today. It was a huge, red, sandstone bluff that was taller than a man's head, with spring water spilling out of its face and pooling at the bottom. The reason it was called Soldier's Spring was that it reportedly had names and ranks cut into it and the surrounding rocks. It was a fantastic place to camp while along the trail. All that remains of it today is a few broken rocks and a small, spring-fed pool.
Dangers of the trail[edit]
Despite the apparent languidness of the journey, there were always dangers. One of the major ones was stampeding. If a herd got spooked, that would mean that as many as 3,000 longhorn cattle would be in a panic-induced stampede. At that point the only thing that could safely stop them would be to corral them till they were all running in one big circle. Then the herd could let off steam safely and calm down while causing as little damage as possible. Cowboys had to be able to jump on their horses at a moments notice during the night in case of such an instance. Naturally there were precautions taken against such things. First off there was the response tactics aforementioned, but Cowboys would also sing softly to their cattle while on watch in order to cover up any sharp, unexpected noises that could cause the herd to spook, and they were extra careful when the weather turned stormy. But it wasn't only natural noises that could cause a herd to stampede.
During the time of the Great Western Cattle Trail there was also the forced relocation of Native Americans to the Cheyenne-Arapaho Reservation, effectively destroying native way of life. There are no reports of Natives being hostile to earlier Cattle Drivers, but as the Trail grew in traffic and popularity the Natives began demanding payment for the excellent grazing their territory provided. Of course, the Trail Boss never did give the usual 7 to 8 heads the Natives asked for, but usually gave 3 to 4 of the cattle that would either die on the trail, not fetch as good a price as others at market, or was one of the stragglers from a different drive. The Natives weren't exactly in a place to and didn't usually complain upon receiving beef. If they did not receive their beef, however, they would spook and stampede the herd during the night. This was not only problematic for everyone involved in the Cattle Drive, but it also meant greater potential loss than if they had peacefully paid the Native's toll, and could cause lasting damage to settlers. When hostilities got particularly bad, the Soldiers assigned to the Washita River Crossing by Edwardsville Rock was in charge of escorting Cattle Drives from the Red River's Doan Crossing to the Washita River. Fort Elliot troops took it from there. The Washita River soldiers were believed to be the ones who carved on Soldier's Spring during their patrols, though no one has ever confirmed it.
Even in cities the dangers of the trail continued. Cowboys who spent weeks on the trail were spoiling for trouble, and they found it in places such as Dodge City. With Saloons, alcohol and pent up energy, it wasn't surprising that more than a few Cowboys got involved in duels or shootings of one kind or another. The Boot Hill Cemetery at Dodge City was soon populated by Cowboys and the civilians and occasional town marshal they put there.
See also[edit]
Cattle drives in the United States
Dodge City, Kansas - history
References[edit]
Jump up ^ Mahoney, Sylvia Gann (2015). Finding the Great Western Trail (1st ed.). LUbbock, Texas: Texas Tech University Press. pp. 1–272. ISBN 9780896729438.
Jump up ^ "Corwin F. Doan". Findagrave.com. Retrieved May 3, 2017.
Jump up ^ Thomas Lindsay Baker, Ghost Towns of Texas (Norman: University of Oklahoma Press, 1986).
Jump up ^ "Doan's May Picnic". doansmaypicnic.com. Retrieved May 3, 2017.
External links[edit]
Encyclopedia of Oklahoma History and Culture - Great Western Trail
Great Western Trail article including photos and video on TravelOK.com Official travel and tourism website for the State of Oklahoma
Oklahoma Digital Maps: Digital Collections of Oklahoma and Indian Territory
http://rebelcherokee.labdiva.com/cattletrail.html Contains more folklore about the Great Western Cattle Trail
http://www.greatwesterncattletrail.com/along_gwct_a/along_gwct.html
http://www.thegreatwesterntrail.com/
http://www.redriverhistorian.com/greatwestern.html
http://www.en.wikipedia.org/w/index.php?title=Great_Western_Cattle_Trail&action=edit
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The Song of Roland
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For the 1978 film starring Klaus Kinski, see The Song of Roland (film).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2014) (Learn how and when to remove this template message)
The eight phases of The Song of Roland in one picture.
The Song of Roland (French: La Chanson de Roland) is an epic poem (Chanson de geste) based on the Battle of Roncevaux Pass in 778, during the reign of Charlemagne. It is the oldest surviving major work of French literature and exists in various manuscript versions, which testify to its enormous and enduring popularity in the 12th to 14th centuries.
The date of composition is put in the period between 1040 and 1115: an early version beginning around 1040 with additions and alterations made up until about 1115. The final text has about 4,000 lines of poetry. The epic poem is the first[1] and, along with The Poem of the Cid, one of the most outstanding examples of the chanson de geste, a literary form that flourished between the 11th and 15th centuries and celebrated legendary deeds.
Contents
1 Manuscripts and dating
1.1 AOI
2 Critical opinions
2.1 Oral performance of the Song compared to manuscript versions
3 Plot
4 Form
5 Characters
5.1 Principal characters
5.2 Secondary characters
6 Durandal
7 Historical adaptations
8 Modern adaptations
9 See also
10 Notes
11 Further reading
12 External links
Manuscripts and dating[edit]
Bodleian Library, MS Digby 23, Part 2
Set in the Carolingian era, it was written much later. There is a single extant manuscript of the Song of Roland in Old French, held at the Bodleian Library at Oxford.[2] This copy dates between 1129 and 1165 and was written in Anglo-Norman.[3] There are also eight further manuscripts, and three fragments, of other poems on the subject of Roland.[4]
Some scholars estimate that the poem was written, possibly by a poet named Turold (Turoldus in the manuscript itself), between approximately 1040 and 1115, and most of the alterations were performed by about 1098. Some favor an earlier dating, because it allows one to say that the poem was inspired by the Castilian campaigns of the 1030s, and that the poem went on to be a major influence in the First Crusade. Those who prefer a later dating do so based upon what they interpret as brief references made in the poem to events of the First Crusade.
In the poem, the term d'oltre mer or l'oltremarin comes up three times in reference to named Muslims who came from oltre mer to fight in Spain and France. Oltre mer, modern French Outremer, literally "oversea, beyond sea, other side of the sea", is a native French term from the classical Latin roots ultra = "beyond" and mare = "sea". The name was commonly used by the Crusaders to refer to Palestine.[citation needed]
The occurrence of this term in the poem cannot be interpreted as showing influence from the Crusades in the poem; on the contrary, the way it is used in the poem, in which it is simply a Muslim land, indicates that the author of the poem was unacquainted with the Crusades, and that the term was in French before the Crusades began meaning the far side of the Mediterranean Sea. The bulk of the poem is adjudged to date from before the Crusades (which started in 1098), but there are a few items where questions remain about these items being late additions shortly after the Crusades started.
After two manuscripts were found in 1832 and 1835, the Song of Roland became recognized as France's national epic when an edition was published in 1837.[5]
AOI[edit]
Detail of manuscript showing "AOI"
Certain lines of the Oxford manuscript end with the letters "AOI". The meaning of this word or annotation is unclear. Scholars have hypothesized that the marking may have played a role in public performances of the text, such as indicating a place where a jongleur would change the tempo.[6]
Critical opinions[edit]
Oral performance of the Song compared to manuscript versions[edit]
Scholarly consensus has long accepted that the Song of Roland differed in its presentation depending on oral or textual transmission; namely, although a number of different versions of the song containing varying material and episodes would have been performed orally, the transmission to manuscript resulted in greater cohesiveness across versions.
Early editors of the Song of Roland, informed in part by patriotic desires to produce a distinctly French epic, could thus overstate the textual cohesiveness of the Roland tradition. This point is expressed by Andrew Taylor, who notes,[7] "[T]he Roland song was, if not invented, at the very least constructed. By supplying it with an appropriate epic title, isolating it from its original codicological context, and providing a general history of minstrel performance in which its pure origin could be located, the early editors presented a 4,002 line poem as sung French epic".
Plot[edit]
The death of Roland at the Battle of Roncevaux, from an illuminated manuscript c.1455–1460.
Charlemagne's army is fighting the Muslims in Spain. They have been there for seven years, and the last city standing is Saragossa, held by the Muslim King Marsile. Threatened by the might of Charlemagne's army of Franks, Marsile seeks advice from his wise man, Blancandrin, who councils him to conciliate the Emperor, offering to surrender and giving hostages. Accordingly, Marsile sends out messengers to Charlemagne, promising treasure and Marsile's conversion to Christianity if the Franks will go back to France.
Charlemagne and his men, tired of fighting, accept his peace offer and select a messenger to Marsile's court. The protagonist Roland, Charlemagne's nephew, nominates his stepfather Ganelon as messenger. Ganelon, who fears to be murdered by the enemy and accuses Roland of intending this, takes revenge by informing the Saracens of a way to ambush the rear guard of Charlemagne's army, led by Roland, as the Franks re-enter France through the mountain passes.
As Ganelon predicted, Roland leads the rear guard, with the wise and moderate Oliver and the fierce Archbishop Turpin. The Muslims ambush them at Roncesvalles and the Christians are overwhelmed. Oliver pleads with Roland to blow his horn to call for help, but Roland tells him that blowing his horn in the middle of the battle would be an act of cowardice. If Roland continues to refuse, Oliver will not let Roland see his sister again whom Roland loves the most. However, Archbishop Turpin intervenes and tells them that the battle will be fatal for all of them and so instructs Roland to blow his horn oliphant (the word is an old alternative to "elephant", and was used to refer to a hunting horn made from an elephant tusk) to call for help from the Frankish army. The emperor hears the call on their way to France. Charlemagne and his noblemen gallop back even though Count Ganelon tries to trick them.
The Franks fight well, but are outnumbered, until almost all Roland's men are dead and he knows that Charlemagne's army can no longer save them. Despite this, he blows his olifant to summon revenge, until his temples burst and he dies a martyr's death. Angels take his soul to Paradise.
When Charlemagne and his men reach the battlefield, they find the dead bodies of Roland's men, who have been utterly annihilated. They pursue the Muslims into the river Ebro, where the Muslims drown. Meanwhile, Baligant, the powerful emir of Babylon, has arrived in Spain to help Marsile. His army encounters that of Charlemagne at Roncesvalles, where the Christians are burying and mourning their dead. Both sides fight valiantly. When Charlemagne kills Baligant, the Muslim army scatters and flees, leaving the Franks to conquer Saragossa. With Marsile's wife Bramimonde, Queen of Saragossa, Charlemagne and his men ride back to Aix, their capital in France.
The Franks discover Ganelon's betrayal and keep him in chains until his trial, where Ganelon argues that his action was legitimate revenge, not treason. While the council of barons assembled to decide the traitor's fate is initially swayed by this claim, partially out of fear of Ganelon's friend Pinabel who threatens to fight anyone who judges Ganelon guilty, one man, Thierry, argues that because Roland was serving Charlemagne when Ganelon delivered his revenge on him, Ganelon's action constitutes a betrayal.
Pinabel challenges Thierry to trial by combat. By divine intervention, Thierry kills Pinabel. By this the Franks are convinced of Ganelon's treason. Thus, he is torn apart by having four galloping horses tied one to each arm and leg and thirty of his relatives are hanged. Bramimonde converts to Christianity, her name changing to Juliana. While sleeping, Charlemagne is told by Gabriel to ride to help King Vivien and bemoans his life.
Form[edit]
Charlemagne finds Roland dead (14th-century miniature).
The poem is written in stanzas of irregular length known as laisses. The lines are decasyllabic (containing ten syllables), and each is divided by a strong caesura which generally falls after the fourth syllable. The last stressed syllable of each line in a laisse has the same vowel sound as every other end-syllable in that laisse. The laisse is therefore an assonal, not a rhyming stanza.
On a narrative level, the Song of Roland features extensive use of repetition, parallelism, and thesis-antithesis pairs. Roland proposes Ganelon for the dangerous mission to Sarrogossa; Ganelon designates Roland to man the rearguard. Charlemagne is contrasted with Baligant.[8] Unlike later Renaissance and Romantic literature, the poem focuses on action rather than introspection. The characters are presented through what they do, not through what they think or feel.
The narrator gives few explanations for characters' behavior. The warriors are stereotypes defined by a few salient traits; for example, Roland is loyal and trusting while Ganelon, though brave, is traitorous and vindictive.
The narrator is openly biased towards the Franks. His moral view is very black-and-white: the Franks are good, and the pagans are bad.
The story moves at a fast pace, occasionally slowing down and recounting the same scene up to three times but focusing on different details or taking a different perspective each time. The effect is similar to a film sequence shot at different angles so that new and more important details come to light with each shot.
Characters[edit]
Principal characters[edit]
Andriodos, helpless boy; despite the honor came from King Charlemagne.
Baligant, emir of Babylon; Marsile enlists his help against Charlemagne.
Blancandrin, wise pagan; suggests bribing Charlemagne out of Spain with hostages and gifts, and then suggests dishonouring a promise to allow Marsile's baptism
Bassalt, came from the name of rocks that are solid and may occur in the second phrase of the poem; captured the horse of the king.
Bramimonde, Queen of Saragossa, King Marsile's wife; captured and converted by Charlemagne after the city falls.
Charlemagne, Holy Roman Emperor; his forces fight the Saracens in Spain.
Ganelon, treacherous lord and Roland's stepfather who encourages Marsile to attack the French army.
King Marsile, Saracen king of Spain; Roland wounds him and he dies of his wound later.
Naimon, Charlemagne's trusted adviser.
Oliver, Roland's friend; mortally wounded by Margarice. He represents wisdom.
Roland, the hero of the Song; nephew of Charlemagne; leads the rear guard of the French forces; bursts his temples by blowing his olifant-horn, wounds from which he eventually dies facing the enemy's land.
Turpin, Archbishop of Rheims, represents the force of the Church.
Secondary characters[edit]
Aude, the fiancée of Roland and Oliver's sister
Basan, French baron, murdered while serving as Ambassador of Marsile.
Bérengier, one of the twelve paladins killed by Marsile's troops; kills Estramarin; killed by Grandoyne.
Besgun, chief cook of Charlemagne's army; guards Ganelon after Ganelon's treachery is discovered.
Geboin, guards the French dead; becomes leader of Charlemagne's 2nd column.
Godefroy, standard bearer of Charlemagne; brother of Thierry, Charlemagne's defender against Pinabel.
Grandoyne, fighter on Marsile's side; son of the Cappadocian King Capuel; kills Gerin, Gerier, Berenger, Guy St. Antoine, and Duke Astorge; killed by Roland.
Hamon, joint Commander of Charlemagne's Eighth Division.
Lorant, French commander of one of the first divisions against Baligant; killed by Baligant.
Milon, guards the French dead while Charlemagne pursues the Saracen forces.
Ogier, a Dane who leads the third column in Charlemagne's army against Baligant's forces.
Othon, guards the French dead while Charlemagne pursues the Saracen forces.
Pinabel, fights for Ganelon in the judicial combat.
Thierry, fights for Charlemagne in the judicial combat.
Durandal[edit]
According to the Song of Roland, the legendary sword called Durandal was first given to Charlemagne by an angel. It contained one tooth of Saint Peter, blood of Saint Basil, hair of Saint Denis, and a piece of the raiment of the Blessed Virgin Mary, and was supposedly the sharpest sword in all existence. In the story of the Song of Roland, the weapon is given to Roland, and he uses it to defend himself single-handedly against thousands of Muslim attackers. According to one 12th-century legend from the French town of Rocamadour, Roland threw the sword into a cliffside.[citation needed] You can still see a sword there, allegedly Durandal, embedded into the cliff-face.[citation needed]
Historical adaptations[edit]
A Latin poem, Carmen de Prodicione Guenonis, was composed around 1120, and a Latin prose version, Historia Caroli Magni (often known as "The Pseudo-Turpin") even earlier. Around 1170, a version of the French poem was translated into the Middle High German Rolandslied by Konrad der Pfaffe[8] (formerly thought to have been the author of the Kaiserchronik). In his translation Konrad replaces French topics with generically Christian ones. The work was translated into Middle Dutch in the 13th century.
It was also rendered into Occitan verse in the 14th- or 15th-century poem of Ronsasvals, which incorporates the later, southern aesthetic into the story. An Old Norse version of the Song of Roland exists as Karlamagnús saga, and a translation into the artificial literary language of Franco-Venetian is also known; such translations contributed to the awareness of the story in Italy. In 1516 Ludovico Ariosto published his epic Orlando Furioso, which deals largely with characters first described in the Song of Roland.
There is also Faroese adoption of this ballad named "Runtsivalstríðið" (Battle of Roncevaux).[9] The ballad is one of many sung during the Faroese folkdance tradition of chain dancing.
Modern adaptations[edit]
The Chanson de Roland has an important place in the background of Graham Greene's The Confidential Agent, published in 1939. The book's protagonist had been a Medieval scholar specialising in this work, until the outbreak of the Spanish Civil War forced him to become a soldier and secret agent. Throughout the book, he repeatedly compares himself and other characters with the characters of "Roland". Particularly, the book includes a full two pages of specific commentary, which is relevant to its 20th-century plot line: "Oliver, when he saw the Saracens coming, urged Roland to blow his horn and fetch back Charlemagne – but Roland wouldn't blow. A big brave fool. In war one always chooses the wrong hero. Oliver should have been the hero of that song, instead of being given second place with the blood-thirsty Bishop Turpin.(...) In the Oxford version Oliver is reconciled in the end, he gives Roland his death-blow by accident, his eyes blinded by wounds. [But] the story had been tidied up. In truth, Oliver strikes his friend down in full knowledge – because of what he has done to his men, all the wasted lives. Oliver dies hating the man he loves – the big boasting courageous fool who was more concerned with his own glory than with the victory of his faith. This makes the story tragedy, not just heroics".[10]
It is also adapted by Stephen King, in the Dark Tower series in which Roland Deschain wishes to save the Dark Tower from the Crimson King.
The Song of Roland is part of the Matter of France (the Continental counterpart to the Arthurian legendarium known as the Matter of Britain), and related to Orlando Furioso. The names Roland and Orlando are cognates.
Emanuelle Luzzati's animated short film, I paladini di Francia, together with Giulio Gianini, in 1960, was turned into the children's picture-story book, with verse narrative, I Paladini de Francia ovvero il tradimento di Gano di Maganz, which translates literally as “The Paladins of France or the treachery of Gano of Maganz” (Ugo Mursia Editore, 1962). This was then republished, in English, as Ronald and the Wizard Calico (1969). The Picture Lion paperback edition (William Collins, London, 1973) is a paperback imprint of the Hutchinson Junior Books edition (1969), which credits the English translation to Hutchinson Junior Books.
Luzatti's original verse story in Italian is about the plight of a beautiful maiden called Biancofiore – White Flower, or Blanchefleur – and her brave hero, Captain Rinaldo, and Ricardo and his paladins – the term used for Christian knights engaged in Crusades against the Saracens and Moors. Battling with these good people are the wicked Moors – North African Muslims and Arabs – and their Sultan, in Jerusalem. With the assistance of the wicked and treacherous magician, Gano of Maganz, Biancofiore is stolen from her fortress castle, and taken to become the reluctant wife of the Sultan. The catalyst for victory is the good magician, Urlubulu, who lives in a lake, and flies through the air on the back of his magic blue bird. The English translators, using the original illustrations, and the basic rhyme patterns, slightly simplify the plot, changing the Christians-versus-Muslim-Moors conflict into a battle between good and bad magicians and between golden knights and green knights. The French traitor in The Song of Roland, who is actually Roland's cowardly step-father, is Ganelon – very likely the inspiration for Luzzati's traitor and wicked magician, Gano. Orlando Furioso (literally, Furious or Enraged Orlando, or Roland), includes Orlando's cousin, the paladin Rinaldo, who, like Orlando, is also in love with Angelica, a pagan princess. Rinaldo is, of course, the Italian equivalent of Ronald. Flying through the air on the back of a magic bird is equivalent to flying on a magic hippogriff.
On July 22, 2017, Michael Eging and Steve Arnold released a novel ″The Silver Horn Echoes: A Song of Roland," inspired by the La Chanson de Roland. This work is more closely based on a screenplay written by Michael Eging in 2008, simply known as "Song of Roland" and first optioned to Alan Kaplan at Cine LA that same year. The book explores the untold story of how Roland finds himself at Ronceveaux, betrayed by Ganelon and facing the expansive Saragossan host. Primary characters in the novel include Charles (Charlemagne), Ganelon, Bishop Turpin, Oliver, Aude, Marsilion, Blancandarin and others recognizable from the poem. Introduced in this tale are additional characters that inject intrigue and danger to the story, including Charles oldest son, Pepin, Marsilion's treacherous son, Saleem, and the scheming Byzantine emissary, Honorius. The cover artwork was hand painted by Jordan Raskin. The authors determined when writing both the screenplay and the novel to remain in the world created by the poem; thus Charles remains an older man near the end of his long reign rather than in 778 when the attack on the rearguard actually occurred. Further, this novel bookends the story with William the Conqueror's use of the poem as a motivator for Norman forces prior to the Battle of Hastings in 1066.[11]
See also[edit]
La Brèche de Roland
Matter of France
Herzog Ernst
Lamprecht
Notes[edit]
Jump up ^ "The Song of Roland". FordhamUniversity.edu. Archived from the original on 2015-02-04. Retrieved 2015-02-04.
Jump up ^ (in French) La Chanson de Roland on Dictionnaire Étymologique de l'Ancien Français
Jump up ^ Short, Ian (1990). Introduction. France: Le Livre de Poche. pp. 5–20.
Jump up ^ La Chanson de Roland on Archives de littérature du Moyen Âge
Jump up ^ Gaunt, Simon; Pratt, Karen (2016). The Song of Roland, and Other Poems of Charlemagne (1st ed.). New York, NY 10016, United States of America: Oxford University Press. p. xi. ISBN 978-0-19-965554-0.
Jump up ^ Love, Nathan (1984). "AOI in the Chanson de Roland: A divergent hypothesis". Olifant. 10 (4). Société Rencesvals.
Jump up ^ Taylor, Andrew, "Was There a Song of Roland?" Speculum 76 (January 2001): 28-65
^ Jump up to: a b Brault, Gerard J., Song of Roland: An Analytical Edition: Introduction and Commentary, Penn State Press, 2010 ISBN 9780271039145
Jump up ^ Part of Runtsivalstríðið with Dansifelagið í Havn
Jump up ^ "The Confidential Agent", Part 1, Ch. 2, quoted in "Graham Greene: an approach to the novels" by Robert Hoskins, p. 122 [1]
Jump up ^ Author's Notes, The Silver Horn Echoes: A Song of Roland, iUniverse, July 2017 (http://www.iuniverse.com/Bookstore/BookDetail.aspx?BookId=SKU-000995830)
Further reading[edit]
Brault, Gerard J. Song of Roland: An Analytical Edition: Introduction and Commentary (Penn State Press, 2010).
DiVanna, Isabel N. "Politicizing national literature: the scholarly debate around La chanson de Roland in the nineteenth century." Historical Research 84.223 (2011): 109-134.
Jones, George Fenwick. The ethos of the song of Roland (Johns Hopkins University Press, 1963).
Vance, Eugene. Reading the Song of Roland (1970).
External links[edit]
Wikisource has original text related to this article:
The Song of Roland
French Wikisource has original text related to this article:
La Chanson de Roland
Wikiquote has quotations related to: The Song of Roland
Wikimedia Commons has media related to Chanson de Roland.
The Song of Roland at Project Gutenberg (English translation of Charles Kenneth Scott Moncrieff)
The Song of Roland--(Dorothy L. Sayers) at Faded Page (Canada)
The Song of Roland public domain audiobook at LibriVox
La Chanson de Roland (Old French)
The Romance of the Middle Ages: The Song of Roland, discussion of Oxford, Bodleian Library MS Digby 23, audio clip, and discussion of the manuscript's provenance.
Earliest manuscript of the Chanson de Roland, readable online images of the complete original, Oxford, Bodleian Library MS Digby 23 (Pt 2) La Chanson de Roland, in Anglo-Norman, 12th century, ? 2nd quarter".
Old French Audio clips of a reading of The Song of Roland in Old French
Timeless Myths: Song of Roland
"Roland, The Song of". New International Encyclopedia. 1905.
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