Song of Roland: Battles, Treason Redefined, Thierry’s Compromise

The universe of the Song of Roland is characterized by honor and moral and spiritual absolutes. Roland embodies strength, and Oliver wisdom. The epic consistently portrays Christians as righteous and pagans as wrong, aiming to affirm shared values of loyalty and bravery while condemning betrayal.

Judicial Battle and Divine Intervention

In the feudal age, trial was often synonymous with judicial battle, known as Deo judicio or the judgment of God. This concept blurred the lines between legal process and divine will, operating under the assumption that nature is not indifferent to human events and that judicial proceedings are part of an ongoing dialogue between God and man. This explains the frequent prayers and swearing on relics, intended to draw God's attention, based on the belief that God supports the just and punishes those who fail Him. The judicial duel at the end of Roland is an attempt to invoke supernatural intervention, as Charlemagne prays, "Oh God, make the right between them clear."

Ganelon's Trial: A Shift Towards Legal Nuance

Ganelon's trial, however, introduces a new complexity, foreshadowing modern legal proceedings: the quibbling over words. Charlemagne accuses Ganelon of treason, stating, "He was with me, came in my army to Spain, and took from me 20,000 of my French. And my nephew, whom you'll not see again, and Oliver, brave man, born to the court, and the 12 peers, betrayed them all for money."

Ganelon defends himself by rejecting the accusation of treason. He admits to wanting Roland to suffer and die because Roland "cheated me of gold and goods," and he found a way to achieve this. However, he insists, "But treason, no, I'll grant no treason there."

This argument is significant because it introduces the concept of motivation and intention into the narrative, delving into the psychology behind human actions. More importantly, it highlights a universe where words have become ambiguous.

Treason vs. Vengeance

Ganelon's defense hinges on the distinction between treason and vengeance. He argues that his actions, witnessed by all the French, constituted vengeance, not treason. He claims, "Now I had challenged Roland, that great fighter, and Oliver, and all of their companions. King Charles heard it, and all his noble barons. I took revenge, but there's no treason there."

In the older feudal world, treason implied not only disloyalty to one's lord but also killing someone in a treacherous or hidden manner. Ganelon's emphasis on the openness of his actions aligns with this older understanding.

The Evolving Definition of Treason

The Song of Roland bridges two distinct worlds. It reflects the strengthening of the Capetian monarchy, even subtly, by its end. During this period, the word "treason" began to regain its Roman resonance of lèse-majesté, a crime against the ruler or the state.

This shift is evident in Thierry's argument during the proceedings. Thierry asserts that regardless of any wrong Roland might have done to Ganelon, Roland was "in your service and serving you should have protected him." Thierry's claim undermines the sovereignty of local feudal units or clans and affirms the sovereignty of the state.

Thierry: A New Type of Character

Thierry represents a new type of character in the Song of Roland. He is physically smaller than the other characters and more finely dressed, suggesting a more cultivated world to come. His mind is also more subtle. Thierry proposes something unthinkable in the earlier parts of the poem, which were dominated by questions of war or peace and moral absolutes. He suggests a compromise.

Thierry acknowledges that Roland provoked Ganelon but still insists that Ganelon was wrong to seek revenge. Ultimately, he proposes executing Ganelon but sparing his family. He offers Ganelon's opponent, "I will make peace for you with Charlemagne... but justice will be done on Ganelon." This offer, imbued with peace and even charity, contrasts sharply with the ideals of the poem's first half and is visually depicted in a 13th-century German image of Ganelon's execution by drawing and quartering.

The discussion will next move to Paris and the High Parisian Gothic style of the 13th century, as seen in the Sainte-Chapelle.