The Legend of Renaud of Montauban 5 – The Rhymed Remainement

Some time in the fifteenth century, the Quatre Fils Aymon was completely reworked into a new version which was entirely in rhyme. This version, like the original, was turned into prose later on, but the prose has never been printed.

B: London BM Royal 16 G II. Also known as R or as Bm. The beginning of the manuscript down to Charlemagne’s learning that the Four Sons are living in Montessor is in verse, the rest is a mise en prose (known as Bm) of the traditional versions, until the death of Renaud, after which the death of Maugis is in verse. Around 1450.

R: Paris Bib. Nat. fr. 764. Formerly known as N. Within two decades of 1440. Printed by Philippe Verelst, under the title “Renaut de Montauban. Édition critique du ms. de Paris, B.N., fr. 764 (“R”)”. 1988.

MANUSCRIPT R: BIB. NAT. FR. 764 (ROIS DE FRANCE)

Containing Renaud de Montauban.

Completely reworked, but follows the same basic plot until the siege of Tremoigne. Minor characters are renamed, Roland and Ganelon feature from the very beginning. The episode of Bueves is completely surpressed. The entire tone is more refined: Renaud kills Bertholet with a sword, not the chessboard. Charlemagne does not strike Renaud, as he does in all traditional versions except DPA. Maugis found Baiard in an enchanted cave, and won Froberge from the Saracen king Antenor. Montessor is again identified with Chateau-Regnault. The traitor Hervis dies in battle instead of being hanged by Renaud. His treason at Montessor is not the cause for Renaud’s abandonment of the castle. Renaud thwarts it, and only some time later is he starved out. Maugis does not steal Charlemagne’s treasure, and Renaud actually forbids him to do so, etc. The love of Clarice and Renaud is treated at some length. At Vaucoleurs, Maugis does not need to learn from Clarice that his cousins are in peril, and he has no trouble mounting Baiard. Renaud is trying to persuade his brothers to surrender when Maugis arrives to save them. Charlemagne uses cannons and springalds against Montauban.

At the siege of Tremoigne, instead of the usual adventures, Charles takes a nap in the forest, Ganelon tries to kill him, and Renuad, passing by, saves him. Charles wakes up, and does not believe a word of Renaud’s account of what happened. Naimes advises Charles to settle the war through single combat, Renaud versus Ganelon. Charles sends Richier of Denmark, bastard brother of Ogier, to Ganelon, who tries to kill him. Richier flees to Ogier’s tent, who saves him. Renaud makes peace with Charles. When they meet, Renaud kneels for three hours before Charles deigns to speak to him. Since Baiard was not mentioned in the peace treaty, Charles confiscates him and tries to hang him, but Bairard kills three squires and escapes to the forest of Arden. (Maugis will find him there later). Maugis departs, and Renaud slips away by night. He works his way across Europe as a collier’s apprentice, then sails to Acre, where he falls sick of leprosy. Maugis, meanwhile, has found Baiard, and rides him to Rome, whence a cloud transports him to Acre. [This whole section, the traditional part of the poem, is actually abridged to 9,000 verses, as opposed to 13,400 in L. The rest of the poem, a mere 2,700 verses in L, is now 20,000.]

King Robastre has conquered Jerusalem and all Syria. Maugis cures Renaud, and they meet King Richier, who is obliged to dismiss them when Baiard kills some of his subjects. Maugis returns to France and gives Baiard to Charlemagne, who throws him into the Rhine. Baiard, the people say, escaped, and is still alive, and can be heard neighing once a year. The Roche Baiart in Ardennes is mentioned. After indecisive battles, Renaud arrives at Jerusalem. He meets King Malaquin, a vassal of Robastre, who introduces the two. Renaud is given the finest accommodations, promises to give his son Yonnet to Robastre’s daughter Eglantine if she converts, and announces his intent to convert Robastre and his son Durandal. He challenges them to a duel, and they agree to convert if he can defeat both of them. Robastre is slain, but Durandal surrenders and is baptized Baptamur. All his people convert. Renaud and Baptamur rout King Danemont of Angorie and baptize his daughter under the name of Sinamonde. She will later wed Aymonnet. Sinamonde restores the relics of the Passion to Renaud. Renaud is amazed that they were so carefully preserved. Baptamur explains that they were hoping to sell them back to the Christians. Danemont returns with a mighty coalition, including Berfuné who can turn himself invisible. Berfuné taunts Renaud by telling him that his sons have been accused of treason by the sons of Ripeus, but Renaud does not believe him. Renaud, Baptamur, and King Richier confront Berfuné, who summons to his aid his four fairy guardians: Morgue, Ydain, Genouivre, and Oriande – the same Oriande who raised Maugis! They are furious that he is fighting Christians, and beat him up until he converts. Danemont is soon after defeated. Renaud returns home, where his family at first refuse to believe a word of his story.

His sons have indeed been challenged by the four sons of Ripeus of Ribemont (the man who tried to hang Richardet), instead of the two sons of Foulques of Morillon, as in the old poem.

After he dies [I can’t find how], Clarisse sends word to Yonnet, who is reigning in Jerusalem with Eglantine, who sends word to Aymonnet. Clarisse dies soon afterward, in Tremoigne. The other three Sons and Maugis are killed by Ganelon in Naples. Yonnet arrives with a navy and army to wreak vengeance. Allied with Ogier and Naymes, he besieges Charles in Montlaon. Charles surrenders, and becomes Yonnet’s vassal, who returns to Jerusalem. The end.

MANUSCRIPT B: LONDON

Containing Renaud de Montauban in verse and prose, and La Mort Maugis in verse.

Not quite identical to R, but close enough for our purposes. The verse stops when an unnamed knight tells Charles that the Four Sons are living in Montessor. The rest is prose, but the prose of the traditional version, not the rhymed remaniement.

Book I, Canto VII, Part 4

The Orlando Innamorato in English translation, Book I, Canto VII, Stanzas 61-72

61
“Of Baiard, I have made Gradass a present,
And we have made full reconciliation.
I’ll be his jester and amuse all present,
Thanks to Don Ganelone’s commendation;
I know that he will find these tidings pleasant.
For ev’ry man of you I’ve found a station.
Gradasso’s butler will be Charlemagne,
His carver Olivier, his cook the Dane.

62
“I told him Ganelone of Magance
Was a strong man; his heart was stout and good.
He ordered that a man of such puissance
Should fetch for him his water and his wood.
The rest of you back biters shall commence
To serve these other lords, and if you should
Follow my trade with diligence, you may
Be as esteemed as I am now, some day.”

63
Astolfo speaks without a laugh or smile,
And ev’rybody thinks his words are sooth.
Now is new misery on Charles piled.
Well might his paladins deserve your ruth.
Now Bishop Turpin speaks, “Ah, miscreant vile!
Hast thou forsaken Mother Church’s truth?
Astolfo says, “Sir Priest, depend upon it,
I have forsaken Christ and serve Mahomet.”

64
The French, astonished, turn as pale as death.
Some sigh, and some lament, and others weeps.
But now Astolfo wearies of his jest.
He throws himself at Emp’ror Charles’ feet.
“My lord, you are at liberty,” he says,
“And if I woke your wrath by my deceit,
For God’s sake, and for pity, pardon me,
For while I live, I shall your servant be.

65
“But mark my words! I swear thee by no means
Will I unto your court come ever back
Where Ganelone and his kinsmen dwell
Who know full well to change what’s white to black.
Unto your hands I trust all my demesnes,
For at the break of dawn I’ll start my trek
And won’t return, though I should freeze or scald,
Till I have found Orlando and Rinald.”

66
Nobody knows if he speaks truth or jests.
They sit and stare and try to read his face,
Until Gradasso, worthy lord, requests
Them all to rise up and be on their way.
Ganelon mounts his horse the speediest,
But Don Astolfo sees, and grabs his reins,
And says, “Halt, knight. You leave not by my will.
The rest are free, but you are pris’ner still.”

67
“Whose prisoner?” Count Ganelon demands.
“Astolf of England,” cometh his reply.
Gradasso makes the Christians understand
The terms Astolf and he abided by.
Astolfo leads Count Gano by the hand
Before King Charles, kneels, then meets his eye
And thus addresses him, “Your Majesty,
For love of you, I’ll set this caitiff free.

68
“But only on these terms and this condition:
That you will clasp his hands and have him swear
To spend four days confined within a prison
When I command. I shall choose when and where.
But above all, I seek for your permission
(For he’s accustomed to treat oaths like air
Towards the Paladins, and to your Crown)
To have his person well and firmly bound.”

69
King Charles says, “I will it to be so.”
Immediately they swear the oaths he seeks.
To Paris now the knights in triumph go.
Of nothing but Astolfo do they speak.
They throng around him, and their praises flow.
Some hug him tightly, others kiss his cheek.
For his great victory they weave him laurels.
He’s saved the Christian Faith and Emp’ror Charles.

70
The king tries ev’ry art to make him stay.
He offers all of Ireland in fee,
But he’s determined to be on his way
To find where Rinald and Orlando be.
I’ll leave him now, as he pursues his way,
And later I’ll resume his history.
That very night, just ere the break of dawn,
Gradasso and the Saracens are gone.

71
They come to Spain, where Marsil and his men
And all his barons go back to their homes.
Gradasso’s soldiers board their ships again,
A fleet so large, its numbers can’t be known.
I think my labors will be better spent
Than telling how the Saracens were blown
Through lands where Negroes swelter ‘neath the sun,
In telling you what Don Rinaldo’s done.

72
I’ll tell you all about his marvelous
Adventures, and his high and lofty quest,
Full of rejoicing, yet so perilous
That never was the hero so hard-pressed
But danger and misfortune as in this,
But ere I sing some more, I wish to rest,
And my coming canto I will show
Marvelous things of joyfulness and woe.

Notes

Notes to the Seventh Canto, Part 4

The Orlando Innamorato in English translation, Book I, Canto VII, Stanzas 61-72 Notes

61. Boiardo actually writes that Oliver will be the cook and Ogier the carver [the servant who carves meat at table and serves it to the lords]. I have switched them for the sake of the meter.
68. Clasp his hands. Oaths of fealty were sworn by having the vassal kneel before his lord and clasp his hands together, while the lord stood and put his own hands around his vassal’s. The modern western posture of prayer arose from this custom, as a sign of offering fealty to God.

Book I, Canto VII, Part 2

The Orlando Innamorato in English translation, Book I, Canto VII, Stanzas 21-40

21
He would have been a captive, or a corpse,
But as I said, Alfrera reappeared,
Swinging his iron mace with deadly force
As through th’advancing Christian host he sheared.
Burgundian Gui he topples from his horse,
And good Duke Naimo of the hoary beard.
But Olivier, Dudon, and Charlemagne
All three at once against the giant came.

22
One charges from that side, and one from this.
Boldly and gallantly they urge their steeds.
He cannot turn his giraffe around. It is
By nature quite a lazy, sluggish beast.
He swings great strokes, but all of them just miss.
Charles and his companions dodge with ease.
Since nought he did availed him, he abated
His fight and fled to where Gradasso waited.

23
His flight the haughty lord Gradasso spies,
Who used to hold him in a high regard.
He turns to him in anger, and he cried:
“Ah, worthless coward, vile sack of lard!
Art thou not shamed, so cravenly to fly?
Art thou so great of limb and small of heart?
Go wait inside my tent, thou scorned of men,
And never let me see thee armed again!”

24
He ceases talking and he spurs his horse,
And with one thrust he overthrows Dudon.
And with what seems a more than human force
He floors Ricardo and King Salamon.
The men of Sericane behind him course.
Their dragon-hearted king deserves his throne.
His lance was iron bound, twenty feet long.
The world has never seen a man so strong.

25
Against Count Ganellone he collides,
Striking the falcon’s breast upon his shield.
He knocks him to the ground, his legs sprawled wide,
Then spies King Charlemagne across the field.
His lance in rest, with utmost speed he rides,
And with one blow, his seat the emperor yields.
But as Gradasso Baiard’s bridle clasped,
That destrier turned its croup, and lightning fast

26
With a loud neighing, he kicks out his heels,
And just below the knee gives such a clout
That though his greaves were of enchanted steel,
Yet they were dented in, while sparks flew out.
Worse pain than ever now Gradasso feels.
It runs all through him, so he turns about,
And leaves Baiardo, letting fall the rein;
The good beast swiftly back to Paris came.

27
Gradasso flees in anguish to his tent.
You all may guess what agony he’s in.
Straightaway for an agéd man he sent,
A master of the art of medicine.
He binds the wound with skill, and then presents
A potion brewed from herbs and roots to him,
Which, when Gradasso quaffs it all, it seems
As if his wound were nothing but a dream.

28
To battle he returns, sans pain or fear .
In fact, he’s even fiercer than before.
Against him gallops Marquis Olivier,
But with one blow he knocks him to the floor.
Avin, Avolio, Guido, Angelier,
Without a pause he overthrows all four
To tell it shortly, ev’ry Paladin
Was by Gradasso captured with great vim.

29
The Christian people turn about and flee;
Against the Saracens no more they fight.
The Frankish lords are in captivity.
The other rabble in distress take flight.
No Christian faces do the pagans see;
Captives or slain are all the valiant knights.
And of the rest, none than the next is bolder,
And all show to the Saracens their shoulders.

30
Now all of Paris hears the tidings dread
Of the defeat, and Karl’s captivity.
Ogier the Dane leaps up at once from bed,
Lamenting loudly, as a baron free.
He donned his arms, then to the gate he sped
On foot, not waiting even for his steed.
But he commanded it be harnessed straight,
And brought to meet him at the Paris gate.

31
When he arrived, he found the gate was down,
And from without he hears the woeful cry
Of all the baptized cruelly cut down.
The murd’rous porter at his ease there lies;
So that the Pagans enter not the town
He is content that his compatriots die.
The Dane him bids to open up the gate;
He clearly sees he can’t a minute wait.

32
The scowling porter, like a churl, informs
The Dane he has no wish to raise the gate,
And with proud boasts he blusters and he storms
That his appointed post he’ll ne’er forsake.
Ogieri lifts his axe, which so alarms
The porter, that he doesn’t hesitate
To run away in terror with a shout.
Ogieri opes the gate and rushes out.

33
Upon the bridge forth strides the gallant knight;
With axe in readiness he takes his stand.
Now is he fortunate to have keen sight,
For as in terror fled the Christian band,
Each of them wishing to be first in flight,
The swiftest Pagans mixed among them ran.
The mighty Dane perceives them where they go,
And with his axe he brings them all to woe.

34
The Pagan army ever closer sped.
Don Serpentino leads them their attack.
Upon the bridge, as swift as lightning, leapt
The Danish hero, brandishing his axe,
And brought it down on Serpentino’s head.
The sparks fly from his helm, which would have cracked
If Serpentino’s armor were not made
By magic art, secure from all such blades.

35
The Dane upon the Pagan army gazed.
Gradasso led, and mighty Ferragu.
So many enemies Ogieri faced,
He clearly saw that nothing could he do.
He called behind him that the bridge be raised.
There never was a knight so brave and true.
Alone against the Pagan host he fights,
And keeps them off the bridge in their despite.

36
Gradasso confidently ‘gainst him came,
Ordering all his vassals to step back.
Ogieri hears the gate shut with a clang,
And in a brave despair he lifts his axe.
Gradasso seizes it, to snap in twain,
Then lights down off his charger, and he grasps
The Dane, who’s stout and skilled in wrestling play,
But King Gradasso carries him away.

37
No knights were left to make an opposition,
As day gave was unto the dusky knight.
The priests lead all the people in processions,
With pure intent, and clad in garments white.
Open is ev’ry church, and ev’ry prison
With fear and terror they await the light.
None dare to rest, for once the gates are breached,
Destruction waits alike for all and each.

38
Astolfo with the others was set free;
No one remembered that he was alive;
For once he’d been thrown in captivity
A rumor went around that he had died.
His habit was to talk incessantly
And brag more proudly than I could describe.
He heard the news, and “Oh, alas!” he moaned,
“Of my arrest, Gradasso must have known!

39
“Had I not been thrown in a dungeon cell,
King Charlemagne would have no cause to moan.
But even now, I can make all things well,
I’ll take Gradasso pris’ner by my lone.
Soon as the dawning o’er th’horizon swells
I’ll arm myself and mount upon my roan.
You all, stand on the walls and watch me fight.
Woe to the infidel who tests my might!”

40
Meanwhile, joy possessed the pagan races.
They cheer their ruler and upon him fawn.
His glee unbounded written on his face is,
Dreaming of seizing Paris at the dawn.
He’s put Alfrera back in his good graces.
Now to review his prisoners he’s gone.
When he sees Charlemagne, he sits down, and
He takes his fellow monarch by the hand

Book I, Canto VII, Part 1

The Orlando Innamorato in English translation, Book I, Canto VII, Stanzas 1-20

CANTO VII

ARGUMENT

Ogier retreats, the barons issue out,
Stoutly they fight, but all are caught at last.
Gradasso doth the Christian army rout,
But thanks t’Ogier, the Paris walls aren’t passed.
Astolfo, like a foolish, headstrong lout
Ruins the truce, and leaves King Charles aghast.
Astolfo and Gradass joust one on one,
And with that joust, so shall the war be done.

1
Cruel and chaotic was the fight begun,
Outside of Paris, as I sang before.
Now does the Dane against Urnasso run,
And with Curtana through the heart him gores.
The pagan army’s routed and undone,
But King Urnasso’s thrice-accursed horse,
Strikes with its horn upon the Dane’s cuirass,
And doth through chainmail and through platemail pass.

2
Ogieri, wounded sore in places three,
Returned to Paris and a doctor found.
The Emperor, who all the battle sees,
Sends Salamone to the battle ground,
And Turpin after him, that ardent priest.
The drawbridge of Saint-Denis he lets down,
And thence sends Ganelon with all his force.
Ricardo by another route goes forth.

3
Out of a third go mighty Angelieri,
And strong Dudon, the soul of courtesy;
And from the Royal Gate comes Olivieri,
And mighty Guido, lord of Burgundy.
The wise duke Naimo, his sons Berlengieri,
Avol, Otton, Avin, each bold and free,
Some from one gate, some from another go,
To wreak upon the heathens pain and woe.

4
The Emperor, the fiercest soldier there,
Issues forth armed, and leads the last brigade,
The while to God he softly makes his prayer
That Paris might from fire and sack be saved.
Relics and crosses monks and mass-priests bear
In long processions, and devoutly prayed
To God and all His saints, that they preserve
King Charles and his barons strong of nerve.

5
And now there is a mighty sound of bells,
Of drums, and trumpets, and of battle-cries.
From ev’ry part advance the infidels,
And straight against them do the Christians ride.
There never was a battle half as fell,
Both sides are mixed together in the fight.
Don Olivieri ‘mongst the Paynim ranks
Seems like a stream that overflows its banks.

6
He rides against footmen and cavaliers,
And some he knocked to earth and some he slew
With Altachiara, filling hosts with fear,
More than a thousand other knights could do.
And not a single thrust his armor pierced.
Now Stracciaberra comes into his view,
That Black-skinned Indian, King of Lucinorca
Who had two tusks protruding like a porker.

7
The fight between these cavaliers was brief,
For Olivier brought Altachiara down,
Between the Indian’s eyes, then ‘twixt his teeth,
Splitting in two his ugly visage brown;
This done, his sharpened blade he did not sheath,
But wreaked destruction with it all around,
And while he wasted all of that brigade,
Emperor Charlemagne came to his aid.

8
That monarch’s sword was all awash in blood.
That day he rode to battle on Baiard;
None of the Saracens against him stood.
You never saw a king who fought so hard.
He sheathes his brand, and takes a lance of wood,
Because he’s challenged by the King Francard,
Francardo, ruler of Elissa’s land,
In India, who had a bow in hand.

9
The strange man, as he rides, shoots constantly.
He is coal-black; snow-white is his destrier.
Charlemagne interrupts him in his spree,
And all the way though him he drives his spear.
The body’s pierced and broke; the spirit flees.
Baiardo’s not yet tired, it appears.
The steed lay dead before him on the ground,
But he leapt o’er it with a single bound.

10
“Who is the man who dares to block my way?
Who stops me riding whereso I desire?”
So shouts King Charles, and within the fray
He passes through the Saracens like fire.
Cornuto, once Urnasso’s charger gay,
Races around, unrid by knight or squire.
With its horn down, it runs against Baiard,
But this steed’s courage is by no means marred.

11
Without King Charles prompting him, he starts
To turn around, and he kicks out his hooves,
And strikes Cornuto where his forelegs part.
He falls to ground, and never more he moves.
Oh, how King Charles laughs with all his heart!
Now does the battle grow more fierce, in sooth,
Because Alfrera leads a mighty corps
Of Saracens, all eager for the war.

12
Upon his giraffe the mighty giant fares,
Swinging his club and dealing dreadful harm.
Turpin of Rheims he lifts into the air
And then he tucks him underneath his arm
And fights as well as if he wasn’t there.
Oton and Berlengier, to their alarm,
He grabs, and ties them up, and then he brings
Them, trussed up like a faggot, to the king

13
And turns immediately back to the plain;
To seize and bind the others is his plan.
Marsilio comes, with all the folk of Spain,
And he himself is leader of the van.
Thoughts of surrender or of flight are vain.
Ev’ryone fights as stoutly as he can.
Olivier and the Paladins concur
To form a circle round their emperor.

14
In gilded arms he sits upon Baiard,
Covered from crest to spur with precious stones.
And Marquis Olivier his right side guards,
And at his other shoulder brave Dudon,
And Angelier, and worthy Don Riccard,
And good Duke Naimo, and Count Ganelon.
They from their line and gallop off to bring
Doom to the heathen Spaniards and their king.

15
Don Ferragu against the Marquis speeds,
And that stout pagan has the upper hand,
But not enough to knock him from his steed,
So they begin to fight with their good brands.
Don Angelieri and Spinella meet,
And Gano with Margante breaks a lance.
The Argalif with the Baviarn jousts,
And ev’ryone is fighting all about.

16
And while the mêlée and the tumult grow,
Grandonio meets Dudone in that place.
These two lay on each other mighty blows,
For each of them prefers to use his mace.
Each paladin confronts his chosen foe.
Marsil and Charlemagne are face to face,
And king Marsilio’s life would have been through
Had he not been relieved by Ferragu.

17
Forgetting Olivier, he leaves his fight,
Fearing lest his dear uncle should be slain.
But the Marquis, just like a valiant knight,
Rides to the aid of Emp’ror Charlemagne.
Now of these four, each is a man of might,
Each quick of limb, and each of battle fain.
On that day Charles more adroitly sparred
Than any other, for he rode Baiard.

18
Each a great baron, or a mighty king,
And each in love with honor and with glory;
Their shields they have forgotten, while they swing
Their swords with both their hands, in raging fury.
Meanwhile, the Chrisitans to the Spaniards bring
Defeat, and chase them in a routing gory.
Marsilio’s standard lay upon the ground;
This was the state of things Alfrera found.

19
The Spaniards fled as swiftly as they could,
Across the plain, and dared no longer dwell.
Neither Marsilio nor Grandonio stood
His ground, but joined in the retreating swell.
The Argalifa showed his legs were good,
And King Morgante, that false infidel.
Spinella back towards the camp has flown.
Don Ferraguto fights his foes alone.

20
Just like a lion he confronts their ranks,
Nor does he falter in the slightest manner.
Upon his armor now, Dudon the Frank,
Charles and Olivieri stoutly hammer.
He guards his front side now, and now his flank,
And strikes them back again with mighty clamor.
But since his army’d left him all alone,
These three ferocious soldiers wore him down.

Notes

Notes to the Seventh Canto, Part 1

The Orlando Innamorato in English translation, Book I, Canto VII, Stanzas 1-20, Notes

1. Curtana. Or Cortana, or Cortain, or Curtain. Ogier’s sword. The name means “Short”, and how he got this sword is told in Le Chevalerie Ogier le Danois.
3. Gui of Burgundy. Hero of Fierabras, and husband of the giant Fierabras’ sister Floripas.
15. The Bavarian. Naimo.

Book I, Canto VI, Part 4

The Orlando Innamorato in English translation, Book I, Canto VI, Stanzas 61-69

61
But King Gradasso’s men have crossed the mounts,
And will be at the Paris gates ere long.
Charlemagne summons all his dukes and counts.
To save their fatherland, to him they throng.
Guards on the bridges and the tow’rs he mounts,
And makes each part, to withstand battle, strong.
They stand alert, and on a morn they see
Th’advancing banners of the Paynimrie.

62
The Emp’ror has his army all prepared.
Days ago were his battalions made.
Now are the banners waving in the air,
And now the trumpets and the tambours play.
The soldiers have been waiting in the square.
They arm and exit through Saint Celsus’ gate,
The footmen foremost and the knights in back.
Ogier the Dane will lead the first attack.

63
The King Gradasso has his people split
Into five parts, each one a vast brigade.
The first, of Indian folk nigh infinite,
Of ugly blackamoors this horde was made.
Two kings as captains of this army sit.
One was Cardon, who like a bloodhound bayed.
Urnass the Merciless with him attacks,
Who wields six javelins and a giant axe.

64
King Stracciaberra leads the next brigade.
A sight more hideous the world knows none.
Two tusks like boars’ he had. Men were afraid
At the mere sight of him. Beside him comes
Francardo, bearing javelins long and great,
Which he could farther throw than anyone.
The third is made of soldiers from Ceylon,
Their king, Alfrera, ‘tis who leads them on.

65
The fourth is wholly of the folk of Spain,
Led by Marsilio with his lords beside.
The fifth one fills the mountains and the plain,
And over them Gradasso’s pennon flies.
So vast the army was that thither came
That by mere words it could not be described.
But let us speak now of the strong Ogier,
Who leads his men against Cardano fierce.

66
A good twelve thousand in a fair brigade
The Dane Ogieri leads to the attack,
Marching together, properly arrayed;
They split and drive right through the horde of blacks.
Against Cardon his lance in rest he laid.
That brute howls like a dog, his head thrown back.
Upon an armored horse he sits, unblessed.
Ogieri strikes the middle of his chest.

67
His shield and breastplate are no use at all,
He falls off of his steed and soon will die.
He kicks the air as on the ground he falls,
Because he’s been transfixed from side to side.
Now his companion moves, Urnasso tall.
He lets a dart against Ogieri fly.
Through mail and cuirass and through shield it pressed.
The iron stopped just as it reached his chest.

68
Ogier is wounded, but he still fights on;
The giant throws another with such force
It pierces through his shoulder to the bone.
Then was the Dane in pain and sorrow sore.
He mutters to himself, “If I get close,
I’ll make thee pay for this, son of a whore!”
Urnasso drops his darts upon the land,
And lifts his battle-axe with both his hands.

69
My lords, if I were silent, I were wrong,
About Urnasso’s horse. It’s full of spirit;
Upon its brow a horn grows, two foot long,
With which it spits whoever comes anear it.
But at this point I must break off my song,
Which grows so long, you may not wish to hear it;
For I have sung for long enough already,
And this new battle will be long and bloody.

The Legend of Emperor Octavian

The legend of Octavian has only a marginal connection to the legend of Charlemagne, but it was the inspiration for the second part of Book II of the Reali di Francia, and one Irish version does set it in the reign of Charlemagne. All other versions are set in the reign of Dagobert. This story has no relation to Augustus Caesar.

The legend of Octavian is extant in three major redactions. Please note that I have given them this classification myself; it does not reflect scholarly usage.

THE FIRST REDACTION
Octavian. A French poem in octosyllables, mid to late 1200’s, ancestor of all other versions.

Octovion. The Northern English version. A poem in tail-rhyme. Can be found in EETS vol. 289, or in TEAMS Four Middle English Romances. c. 1350.

Sechrain Na Banimpire. Or “The Wanderings of the Empress”. Irish prose, flowery like most Irish translations. Englished by Carl Marstrander in “Sechrain Na Banimpire.” Ériu No. 5, 1911. [not freely available on the internet, due to a lack of copies of the journal in America and the idiotic length of copyright in Europe. Be comforted, however. You’re not missing much.]

Octovion. The Southern English version. A poem in six-line aaabab stanzas, with the b lines shorter than the a’s. [This is best known nowadays as Robert Burns’ signature stanza]. Can be found in Weber’s Metrical Romances. No modern edition for the general reader. c. 1350.

THE SECOND REDACTION

Florent et Lyon. French prose, first printed around 1500, but perhaps written earlier, the ancestor of the French chapbooks. No modern editions.

Kaiser Octavianus. A German chapbook, from 1545.

Hans Sach’s play, 1555.

Sebastian Wilde’s poem, 1566.

Danish chapbook, oldest surviving from 1597, probably first printed earlier.

A Polish version from the 1600’s.

The Russian translation, made from the Polish around 1670. No edition, to my knowledge.

Komediya Olundina, or Caesar Otto. A play based on the above by Princess Natalya Alexeyevna, sister of Peter the Great. Included in I. A. Shlyapkin’s Tsarevna Natalya Alekseyevna I teatr yevo vremeni.

A Very Edifying and Touching Tale of an Empress and Her Two Sons and a Lioness. A shorter Russian chapbook version, with no proper names. Published in P. N. Rybnikov’s Pesni, volume 3.

Another play based on that, which was part of the standard repertoire in the schools during Peter the Great’s reign. To be found in S. A. Shcheglova’s Neizvestnaya drama Petrovsky epokhi o tsaritse i l’vitse. In the journal Trudy komissii po drevnerusskoy literature, 1932, I, pp.153-229.

Naturally, none of the Russian works have been translated into English.

Dutch chapbook, oldest surviving from 1621, probably first printed earlier.

Icelandic chapbook, oldest surviving from 1733, probably first printed earlier.

The French prose and its descendents [German, Danish, Dutch, Icelandic, Polish, Russian] are distinguished by renaming the younger Octavian “Lion”, and adding an episode where he wins a tournament and therefore marries the daughter of the King of Spain. They also make Florence become King of England.

THE LONG REDACTION

Florent and Octavian. A chanson de geste in rhymed alexandrines. Some claim it is the original, but much more likely it is an expansion of the octosyllabic version. c. 1356.

Othovyan. A prose adaptation of the long version and of Le Bone Florence de Rome. Circa 1450. Never printed.

 

OCTAVIAN IN OCTOSYLLABLES

Emperor Octavian of Rome, after fifteen years of childlessness, begets twins on his wife, the daughter of King Dagobert of France. His mother says twins are a sign of adultery. The emperor denies it, but his mother slips a page boy into the empress’ bed and shows him to Octavian. As the empress has a prophetic nightmare, Octavian beheads the boy, and when she wakes up, he banishes her. As she rests by a spring, her children are stolen, one  by an ape and one by a lioness. The one stolen by the ape is rescued by a knight, captured by robbers, and bought by a merchant of Paris named Clement, who names him Florent and raises him as his own. The one stolen by the lioness is recovered by his mother, who journeys with him and the lioness [for lions have no power to harm chaste women of royal blood] to Jerusalem, where she is treated kindly by the king. Her son, Octavian, is dubbed a knight when he comes of age.

Florent, meanwhile, due to his high birth, has no talent for business, and wastes all his money on horses, hounds and hawks, much to his foster father’s displeasure. After some humorous scenes, a Sultan attacks Paris, bringing his giant Aragonour and his daughter Marsibelle with him. Emperor Octavian rides to succor King Dagobert. Aragonour promises Marsibelle the head of King Dagobert. Armed in a rusty suit of armor he found in Clement’s attic, Florent kills the giant, and presents his head to Marsibelle, and proceeds to carry her off, but is obliged to leave her when he is ambushed by pagans, much to the princess’ regret. He returns to Paris, and she with her maid Olive, plans to see him again. Clement and Florent are presented to Dagobert and Octavian, and Florent is dubbed. Much humor is made about Clement’s practical, thrifty, behavior at the extravagant court feast.

Florent volunteers to be a messenger, in order to see Marsibelle again. At the Sultan’s tent, however, he is recognized, and must fight his way home. He does, however, receive Marsibelle’s sleeve, and wears it in the next battle. Later, he sneaks into her garden, and she tells him to steal her father’s unicorn. Clement, disguised as a Saracen, accomplishes this. Nonetheless, the Saracens capture Florent, Dagobert, and Octavian in the next battle.

This news comes to Jerusalem, whence the young Octavian, his mother, and the lioness set out with an army. He saves the captives, and all recognize each other. Marsibelle converts and marries Florent, Octavian’s mother is sentenced to boil in brass, but stabs herself instead, and everyone else lives happily ever after.

 ENGLISH OCTOVIAN

Octavian’s seven-year barrenness is cured not by coincidence, but by prayer to Our Lady and by endowing a monastery. Octavian throws the page boy’s head at the queen to wake her up. In the Northern version, he refrains from sentencing her until he has invited her father, [who is not Dagobert, here, but the king of Calabria] to court and asked him what adulteresses deserve. He answers that they deserve to be burnt, and Octavian sentences the queen accordingly, only commuting her sentence to banishment when she is already tied to the stake. The queen, living in Jerusalem, is taken into King Amauri’s household, instead of merely being known to him. In the Southern version, Clement is a butcher, not a merchant.

 IRISH OCTAVIAN

From the Northern English. King Charlemagne replaces Dagobert, and Roland, Oliver, Ogier, Naymes, Gui of Burgundy, and Denis [probably Saint Denis, but here king of Norway!] at first refuse to fight the Sultan’s giant, and afterwards are captured by the Sultan alongside Plurens [Florent]. Plurens marries the Sultan’s daughter Felicita, and Octavian marries Charlemagne’s daughter.

 FLORENT ET LYON

The French prose and its descendents [German, Danish, Dutch, Icelandic, Polish, Russian] are distinguished by renaming the younger Octavian “Lion”, and adding an episode where he wins a tournament and therefore marries the daughter of the King of Spain. They also make Florence become King of England. I will pass over this redaction, because it has nothing to do with Charlemagne, only noting that by the time the story reached Russia, the emperor was named Otto, and the empress Olunda.

FLORENT ET OCTAVIEN IN ALEXANDRINES

The story is set in the year 240, under Dagobert, the fourth king of his line, who founded the Abbey of Saint Denis. Emperor Octavian, long childless, goes to help him fight the Wandres [Vandals?] and returns to find his wife Florimonde has given birth to twins, and been accused of adultery, despite the red crosses on their shoulders [a sign of royal blood]. The story continues as the short version, only changing a few names (the sultan is Acarius, the giant Fernagu), until the younger Octavian is sixteen, at which time the Sultan of Damascus demands the hand of Esclarmonde, daughter of King Amauri of Jerusalem. Octavian and his lion defeat the sultan, and the lad wins the love of Esclarmonde. Traitors wrongfully tell the king that he has deflowered her, and so Amauri sends Octavian to the Sultan with a Bellerophon-letter. The Sultan decides to keep him imprisoned instead of killing him, and marches on Jerusalem. Amauri surrenders Esclarmonde, who discovers the situation, pretends that she sent the letter, and asks for the favor of killing Octavian herself, immediately. The sultan sends her with a jailer to the dungeon, but she kills him and frees her lover. The two flee with the lion. They sail from Acre to Rome, still under siege by Acarius, who has captured the Emperor and Florent. Octavian’s traitorous minister Couart is mulling how best to surrender, when Dagobert arrives, and saves the day with the young Octavian and the lion’s help. The youth exposes his grandmother as a fraud, and defeats Couart, her lover, in a trial by combat. Couart is hanged, but the young Octavian manages to get his grandmother’s sentence reduced from burning to perpetual imprisonment.
Acarius retreats, but still has Florent and Octavian senior in captivity. Octavian junior follows him to Babylon, stopping en route to save Amauri from the Sultan of Damascus. Amauri is mortally wounded in the battle, but pardons Octavian and bequeaths him his daughter and his kingdom. Octavian leads his new kingdom to war against Babylon, but on the way he learns of Margalie, Marsebille’s sister, who is locked in Castel-Geant, where only minstrels are allowed to visit. Dressed as a minstrel, he goes to her, who fortunately has fallen in love with him by report. Her uncle, King Malaquin, catches the happy couple, and a fight ensues which ends with Octavian and his lady’s maid holding a tower against his garrison. The maid shows him a secret passage, and he slips away to defeat Acarius, and thereby win Margalie’s hand in marriage.
One month later, as they reign in Babylon [Mesopotamian Babylon, for once; not Cairo], Clement, his son Clodoan, Esclarmonde and Marsebille arrive. The awkwardness is resolved by wedding Florentto Marsebille, and Clodoan to Esclarmonde, and giving this last couple the throne of Babylon. Clement receives Jerusalem, and the brothers and their wives go home to Italy.
King Morgan of Tartary lays siege to Babylon. Esclarmonde kills her husband by treason, and sends to young Octavian for aid. He arrives, and she steals his seal to send a forged letter to Marsebille, luring her onto a ship bound for the Levant. Esclarmonde’s goons are about to throw her overboard, when she is saved by prayer. She meets King Corsabrun of Rochebrune’s ship, who is bringing aid to Morgan. He drowns her persecutors, and brings her to Rochebrune, where he leaves her as governor while he makes war. Octavian thinks his wife is dead, thanks to Esclarmonde. King Cladius of Tarse abandons Corsabrun after a quarrel at chess, and joins Octavian, converting to Christianity. They two go to Jerusalem for help from Clement. They rest at Rochebrun, where the lion recognizes Marsebille and refuses to leave her, much to Octavian’s bafflement. On his way back from Jerusalem with thirty thousand soldiers, he besieges Rochebrun to get his lion back, and all is explained. They go to Babylon, rout the Tartars, burn Esclarmonde at the stake, and Octavian is again Sultan.
Florent returns from a trip to Paris to find a note from Marsebille, saying she has taken their son Othonet to Babylon to see her family. But really, traitors told her he was dead, then, when she wanted to sail home, threw her and her son overboard. She is rescued by merchants of Palerne and Aumarie, who take her to be a slave in Palerme and him to be a slave in Aumarie. The traitors try to kill Florent in his bedroom, who jumps out the window, escapes, rallies his faithful men, and kills them. He then goes to Babylon, but is caught be Saracen pirates, who sell him to the King of Palerne. He is comforted by Princess Police. Meanwhile, Corsaut of Aumaries, a giant, defies the King of Palerne, but Florent kills him. Corsaut’s men, though, seize him and sell him to the King of Aumarie, where he meets Marsebille. The two escape and flee to Rome. Othonent, meanwhile, is being raised by the Saracen King of Palerne as his own son, under the name of Aceré. At sixteen, he is dubbed, conquers Aumarie, and learns he is adopted, which gladdens him, as he can now wed Police. He leads his army to Rome, is captured by Florent, who recognizes him. When his fellow Saracens refuse to follow his example in conversion, he is obliged to rout them. Police is the only one who converts. Marsebille dies soon after, and Florent goes to end his days in Babylon with Octavian, leaving Othon as king of Rome. He was the father of La Bonne Florence, whose story is announced to follow in all manuscripts, but only does so in one verse MS, and all the prose ones.

Since La Bonne Florence’s story originated separately, was only attached to Octavian in a late version, continued to circulate independently afterwards, and has nothing to do with Charlemagne, it will be treated of in a later post, if at all.

So let us leave thus subject, and treat of King Rother.

The Spanish Charlemagne Ballads, 15: Ballads not in Duran

Spain is home to a large number of beautiful ballads, called romances. Some of these ballads are about lovers. Many are about the Moors who ruled Spain for so many long centuries. There are a large number about the famous Cid who fought the Moors. There is also a large cycle about the Paladins of France, and about Bernardo del Carpio, who, the Spaniards say, killed the mighty Roland in the battle of Roncesvalles. While there are several collections of English translations of the Spanish ballads, scholars and translators tend to focus on the Moorish and love ballads. It is difficult to find any complete account of this branch of the Carolingian legend, which is why I decided to write a summary of every Spanish ballad related to Charlemagne. I quickly discovered that this is an impossible task. The folk tradition is still alive and well, not only in Iberia, but in every land to which the Spanish Jews moved after being exiled by Ferdinand and Isabella. New variants are constantly being recorded, and no Professor Child has yet arisen to make a complete collection of the folksongs and to standardize the titles by which they are known.
The closest thing to a definitive collection of Spanish ballads that currently exists is the Romancero General of Agustin Duran, published in 1877, which includes every ballad printed prior to the 1800’s. This means it does not include any folksongs from the Spain of his day, or, naturally, from later. These folksongs sometimes contain very interesting variants from the printed texts. Many of these later folksongs can be found at the Pan-Hispanic Ballad Project and Folk Literature of the Sephardic Jews, two confusingly arranged messes of websites which I leave it to you to sift through if you’re left wanting more.

FLORESVENTO
Based on Floovant, via the Italian Fioravante. Floresvento burns seven cities, and deflowers seven high-born maidens on Christmas Eve. His father wishes to execute him. His mother succeeds in having the sentence commuted to banishment. His father forbids anyone to sell him food. The ballad ends with verses from some version of Duran’s 298 and 299 [Our Goodman/Claralinda/Wife caught in Adultery]. Floresvento discovers his wife Branca’s two lovers hiding in her bedroom; she asks him to kill her then and there. He refuses.

CELINOS AND THE ADULTERESS, or, CELINOS GOES HUNTING
Based on the beginning of Bevis of Hampton, The Queen combs her hair before a mirror, praises God for making her so beautiful, and curses her parents for making her marry an old man. As she looks out the window, she sees Carleto, her lover. They plan to kill the king. He tells her to pretend to be pregnant and to have a craving for a stag/pig/ram/goat that lives in a certain part of the woods. She does so, and he orders his men to prepare for the hunt. She tries to convince him to go alone, but he will have none of it. He meets Carleto, and one of them kills the other. In a few versions, the king dies,  but usually he wins and sticks Carleto’s head on a lance, which he presents to the queen. She confesses that most of her children are Carleto’s, and threatens that his relatives will avenge him. The king cuts her head off, and sticks it besides her lover’s.

THE SISTERS, QUEEN AND SLAVE
The Moorish Queen Xerifa of Almeria sends her men on a slave raid into France, to fetch her a serving maid of high birth. They kill Count Flores, capture his wife, and make her a kitchen maid. The queen and maid give birth on the same day, the queen to a girl and the maid to a boy. The midwives [by accident in some versions, for a bribe in others] switch the babies. On day, the queen hears the maid singing to “her” daughter, “If you were my daughter, I would call thee Marguerete/Flor de los Flores/Blancaflor, which was my sister’s name. She was kidnapped by the Moors.” The queen asks her to describe her sister. Thanks to a birthmark, the two women realize they are sisters, and flee home to France.

This ballad probably is not related to Floris and Blanchefleur, but I include it here in case the names are more than a coincidence.

GALIANA
Based on Mainet. A Moorish King accuses Galiana of loving Carolicho [Charlemagne], and threatens to cut his head off and make her look at it at every meal. Carolicho arrives, disguised as a charcoal maker, and bids his lady escape with him.

ROLDAN AL PIE DE LA TORRE
Rondale paces in a light rain, with a gold falcon on his wrist, crying “Who will aid me?” He intends to kill the King of France and his men, and marry his daughter. He comes to the castle of Count Argile [Ogier], a lord of great strength.

I will not swear that they are related, but it is at least interesting that in some manuscripts of the Quatre Filz Aymon, Roland, disgusted with his uncle’s single-minded pursuit of Renaldo and Malagise, threatens to leave him, and says “Ogier, what will you do? Will you come with me? Let us leave this foolish old dotard.”

GUERINOS Y FLORIPAS
Based on Fierabras. Guarinos is held captive by Moors in dungeon. The Princess Floripas hears him weeping, asks why, consoles him, and promises to set him free and wed him the next day. It is done.
Guarinos’ part is filled by Guy of Burgundy in most versions of the story.

The Spanish Charlemagne Ballads, 14: Broadside Ballads

Spain is home to a large number of beautiful ballads, called romances. Some of these ballads are about lovers. Many are about the Moors who ruled Spain for so many long centuries. There are a large number about the famous Cid who fought the Moors. There is also a large cycle about the Paladins of France, and about Bernardo del Carpio, who, the Spaniards say, killed the mighty Roland in the battle of Roncesvalles. While there are several collections of English translations of the Spanish ballads, scholars and translators tend to focus on the Moorish and love ballads. It is difficult to find any complete account of this branch of the Carolingian legend, which is why I decided to write a summary of every Spanish ballad related to Charlemagne. I quickly discovered that this is an impossible task. The folk tradition is still alive and well, not only in Iberia, but in every land to which the Spanish Jews moved after being exiled by Ferdinand and Isabella. New variants are constantly being recorded, and no Professor Child has yet arisen to make a complete collection of the folksongs and to standardize the titles by which they are known.
The closest thing to a definitive collection of Spanish ballads that currently exists is the Romancero General of Agustin Duran, published in 1877, which includes every ballad printed prior to the 1800’s. This means it does not include any folksongs from the Spain of his day, or, naturally, from later. These folksongs sometimes contain very interesting variants from the printed texts. Many of these later folksongs can be found at the Pan-Hispanic Ballad Project and Folk Literature of the Sephardic Jews, two confusingly arranged messes of websites which I leave it to you to sift through if my dozen posts on Duran’s ballads leave you wanting more.
Duran’s magnum opus is in two volumes, which are volumes 10 and 14 of the Biblioteca des Autores Españoles.

The following ballads are what are known as Broadside or Stall Ballads in English. They are not founded in folk tradition, and usually have little literary value. The ones which follow are all from the eighteenth century, written for street peddlers to sell and beggars to sing.

JUAN JOSEF LOPEZ’ CYCLE OF FIERABRAS AND RONCESVALLES

1253, HAVING CONQUERED ROME AND CARRIED OFF THE HOLY RELICS, THE ALMIRANTE BALAN INVADES FRANCE, AND HOW HIS SON THE GIANT FIERABRAS DEFIED THE TWELVE PEERS, AND FOUGHT A REMARKABLE DUEL WITH THE FAMOUS OLIVEROS.
Balan, the Almirante of Turkey, has a fifteen foot son, Fierabras of Alexandria. When said son is twenty, they sack Rome and kill the Pope. Charlemagne rides forth with his twelve Peers. They make camp, and Fierabras taunts him and challenges the Peers. Roldan won’t fight, because Charles had teased him the other day about not being as good as the older knights. Charles is about to kill him for his insubordination, but is prevented. Oliveros and his squire Guarin go to fight Fierabras. Guarin runs ahead to challenge the giant, who is amused and sends him back. Oliveros arrives, and the fight begins.

1254, THE BATTLE ‘TWIXT OLIVEROS AND FIERABRAS CONTINUES. FIERABRAS IS DEFEATED AND WOUNDED SORE, AND CARRIED TO CHARLEMAGNE’S CAMP, WHERE HE SEEKS AND OBTAINS BAPTISM. ALTHOUGH THE CHRISTIANS VANQUISH THE TURKS, OLIVEROS AND FOUR OTHER PEERS ARE CAPTURED.
The title says it all. Fierabras is baptized in Saint Peter’s, by an archbishop. Roldan and Oliveros’ father [unnamed] are his sponsors.

1255, HOW FLORIPES, BALAN’S DAUGHTER, SUCCORED AND ARMED THE CHRISTIANS AND DECLARED HER LOVE FOR GUI OF BORGOÑA, AND ALSO HOW THE ALMIRANTE SENT AMBASSADORS TO CHARLEMAGNE, FOR THE RANSOM OF FIERABRAS, AND HOW THEY MET WITH THOSE CHARLEMAGNE SENT TO THE PAGAN TO EXHORT HIM TO CONVERT AND RETURN THE RELICS. OF THE BATTLE BETWEEN THE HERALDS: HOW SEVEN CHRISTIANS VANQUISHED FOURTEEN TURKS, AND CONTINUED THEIR JOURNEY TO THE ENEMY COURT.
The title says it all. Oger is here mentioned to be one of the captives.

1256, HOW THE ALMIRANTE SIEZED THE AMBASSADORS, AND FLORIPES CLEVERLY SAVED THEM FROM IMMEDIATE DEATH; AND HOW SHE ARMED AND REUNITED THEM WITH THE OTHERS, TOOK REFUGE IN A TOWERT AND DEFENDED IT, AND WEDDED GUI OF BORGOÑA.
Roldan and Naymes are among the ambassadors. Ricarte is in the tower, though whether he was with the first or the second batch of captives is not stated.

1257, BALAN BESIEGES THE TOWER, AND IS ROUTED IN A SALLY THE KNIGHTS MAKE. HE RETIRES WITH GUI OF BORGOÑA CAPTIVE, AND ORDERS HIM HANGED IN FRONT OF THE BESIEGED, WHO RESCUE HIM. RICARTE ESCAPES THE TOWER AND TELLS CHARLEMAGNE THE PERIL OF THE BESIEGED. HE RIDES TO THEIR AID, AND CROSSED MANTRIBLE, KILLING THE GIANT WHO DEFENDS IT.
The title says it all, literally. Mantrible is a [fictional] bridge.

1258, THE BATTLE TWIXT THE TROOPS OF BALAN AND THOSE OF CHARLEMAGNE. BALAN IS BEATEN, TAKEN, AND AT LAST PUT TO DEATH BY HIS OWN SON FIERABRAS, BECAUSE HE REFUSED TO BE BAPTIZED.
To cross the bridge of Mantrible, the knights pretend to be merchants. Ricarte kills the giant who guards the near side of the bridge. Fierabras kills the one on the far side, named Anteon. Anteon’s wife, Damieta, seeks revenge, and Fierabras kills her, too. Her two sons, four months old but twelve and a half palms tall, are baptized by Charlemagne and called Roldan and Oliveros, but they die after being christened. Roldan’s father is unhorsed in the great battle, but it is unclear if he survives or not.

1259, HAVING CONQUERED THE KINGDOM OF BALAN, CHARLEMAGNE RETURNS TO FRANCE, WHERE, LIVING PEACEFULLY, HE SEES IN THE SKY A ROAD OF STARS WHICH LEADS FROM ITALY TO GALICIA. BY A REVELATION FROM SAINT JAMES, HE DEPARTS TO CONQUER THIS PLACE, AND TO FIND AND HONOR THE BODY OF THE APOSTLE. A BATTLE IN WHICH FERRAGUZ IS DEFEATED AND KILLED BY ROLDAN.
Balan’s kingdom is Aguas-Muertas. Charles adorns Saint James’ body with a very rich tomb, but the Almirante of Babilon [probably Cairo], brooding on the death of Aigolante when he hears of Charles’ pilgrimage, sends Ferraguz, who is seventeen and a half palms tall, with thirty thousand men. Ferraguz overthrows Oger, Reinaldos, Constantino of Rome, and others. Eventually Charles sends two paladins at once, but they still lose. Finally, Roldan comes. They fight, and discuss theology. Ferraguz declares that the winner of the fight must be on God’s side. Roldan agrees, and wounds him so badly that his shouts rouse all the camp, and the battle becomes general. All the Moors are killed, and the Christians return to France.

1260, THE BATTLE OF RONCESVALLES. THE DEATH OF ROLDAN. CHARLEMAGNE COMES TO HIS MEN AND AVENGES THEM, DEFEATING THE MOORS. THE PUNISHMENT OF THE TRAITOR GALALON.
The Almirante of Babylon [Cairo], after Ferraguz dies, summons Marsilius and his brother Belengandus, with a hundred and fifty thousand knights, to war against Charlemagne. Galalon, Charles’ ambassador, arranges the treason. He tells Charlemagne that Marsilius and Belengandus have agreed to covnert. In the field of Roncesvalles, the Christians are caught unaware. After a great battle, all are killed. Roldan, sorely wounded, grabs a Turk and asks to be led to Marsilius. The Turk points him out, and tells how he gave great gifts to “your ambassador”. Roldan slaughters Marsilius and his guard, and retreats up the mountain, where he begs mercy from God, bids farewell to his sword [unnamed], and tries to break it, but only succeeds in breaking the rock. He sounds his horn, and Charlemagne comes. Tierri and Valdovinos [Baldwin, Roldan’s half-brother] find Roldan first. He begs Valdovinos for water, who leaves, but can’t find any. As he searches, he finds Charlemagne and tells him all. Meanwhile, Roldan has confessed his sins to Tierri and died. Charles laments, orders Roldan embalmed, and finds Oliveros, with two great gashes and twelve spears sticking out of his body. He is embalmed and laid by Roldan. Charlemagne pursues the Moors, and kills six thousand. Many more drown in the Ebro, trying to flee his wrath. Galalon is torn by four horses. Juan Josef Lopez wrote this; pray for him.

VALENTINE AND ORSON

1281, DON CLAUDIO Y DOÑA MARGARITA – I. Anonymous. “Hoy, señores, hoy se alienta”
Harken to the sufferings of a highborn lady. In France their lived a knight named Don Claudio. He loves this lady, and meets her in a garden. He confesses his love, and she grants hers. They are wed. They hire as their steward Don Alberto, who falls in love with the lady. When Don Claudio goes to war, Don Alberto begins his suit. She rejects him with insults, and he swears vengeance. When Claudio comes home, Alberto murders her page, and pretends it was because he found the lad in bed with the lady. The lady faints at this false accusation, which Claudio takes as proof of her guilt. He laments his Margarita’s infidelity, but orders his men to take her to the woods and cut her heart out and her finger off, and bring them back. His two servants lead her out, but spare her life, instead bringing back the heart and finger of a recently deceased woman at a hospital. As Margarita wanders in the wild, she gives birth to two sons, one of whom is carried off by a bear. She saves the other, and goes looking for water to baptize him. She meets a shepherd, who takes her in and baptizes her son Valentin.

1282, DON CLAUDIO Y DOÑA MARGARITA – II. “Ya dijo el primer romance”
Lady Margarita and Valentin live with the shepherds. Meanwhile, her other son is raised by a bear in a cave. He grows up to be a wild man, and so terrorizes the local shepherds that they send to Paris for help. Don Claudio, with Don Alberto, goes to hunt this monster. He lodges for the night with the same shepherds who took in Margarita. He notices how much she resembles his wife, and sighs. She recognizes him, and tries not to be recognized. In the morning, the knights ride to the hunt. Margarita finds a place where she can lament alone, but is found by Valentin, and is obliged to explain everything. Valentin catches up with the hunt, stabs Alberto, and demands that he confess his treason. He confesses, and dies. Don Claudio is reunited with his wife and one son thus, and when they find the other boy, he recognizes his father by natural instinct. He follows him home to Margarita and Valentin, and recognizes them too. They all ride back to Paris, with the bear following behind. The wild youth is baptized Orson, and Don Claudio gives many gifts to Our Lady.