Bayard

The Charlemagne who appears in the legendary Matter of France is not always on the side of the heroes, and there are those who stand opposed to him - not only the villainous traitor Ganelon, but heroic characters as well who, at least at times, stand in opposition to the king. They are the central figures of their own sub-cycle within the legends, recorded in folktales as often as in literary chansons de geste. Notably, though, folklore remembers these people more for their horse than for their specific acts of defiance.

Bernardo del Carpio, Spanish culture hero

In the earliest chronicles, Roland is said to have died at the hands of Basques. In later versions, the mythologized battle of Roncesvalles is between him as commander of Charlemagne's rearguard and the Saracens. But in Spain, the story is told slightly differently; the battle is the climax of a legendarium focused around a different character entirely. That story asserts the primacy of an independent Spain, and gained prominence as the notion of a united Spanish realm with its own national identity was coming to the fore. Naturally, therefore, it figures strongly in the romancero viejo.

Literary License in the Italian Orlando Epics

A Tartar king and several French paladins fight for the love of the Princess of Cathay, the Saracen king of Spain has pushed north into France and laid siege to Paris, and the greatest champions of the Saracen and Christian kingdoms have fallen in love.

So ends Matteo Maria Boiardo's unfinished epic Orlando Innamorato, which takes its inspiration from the legends concerning Carolingian France but leaves both legend and history in the dust as it spins its own story of the madness of love. Written in the 15th century, and abandoned when Boiardo's native Venice was plunged into war with a Muslim enemy once again, the thread is picked up by Ludovico Ariosto in his continuation, Orlando Furioso. Both stories are set during an attempted invasion of France by the Saracens, perhaps inspired by that stopped by Charles Martel at the Battle of Tours in 732, but in neither case do the details of the story bear any resemblance to the earlier legends which seem to serve as their inspiration, nor to the true history which lies behind the myths.

Karlamagnussaga: the Scandinavian Matter of France

Whether it's a translation of lost sources or primarily a compilation of lore based largely in ones we know is unclear (it's most likely a little of both), but the Old Norse Karlamagnussaga, or "Saga of Charlemagne," is one of the best sources we have for how medieval legend portrayed Charlemagne - all presented in the way that legend was shaped for presentation to a Scandinavian audience.

The Twelve Peers Prepare for Battle

When Rollant sees that now must be combat,
More fierce he's found than lion or leopard;
The Franks he calls, and Oliver commands:
"Now say no more, my friends, nor thou, comrade.
That Emperour, who left us Franks on guard,
A thousand score stout men he set apart,
And well he knows, not one will prove coward.
Man for his lord should suffer with good heart,
Of bitter cold and great heat bear the smart,
His blood let drain, and all his flesh be scarred.
Strike with thy lance, and I with Durendal,
With my good sword that was the King's reward.
So, if I die, who has it afterward
Noble vassal's he well may say it was."

England's Broken Sword

Among the Crown Jewels of the United Kingdom is a broken sword. Its blade is missing about six inches at the business end. There are several legends, but no known facts, about where this came from and how it came to be this way. Today, it's known as the "Sword of Mercy," and used in coronations because it is symbolic of a monarch's need to be merciful.

Roland and the Death of Heroism

After failing to gain control of the Spanish city of Zaragoza, Charlemagne brought his troops back across the Pyrinees to France. As they crossed through the mountain pass at Roncesvalles, the rearguard was set upon by Basques (who likely mistook the army for an attack on their homeland), and many men died. Among them was Hruodland, prefect of the Breton marches.

This is history. These events are known to have happened. Hruodland died on the 15th of August, 778. The facts known to us from the early ninth century, as they appear in one of the first biographies of the emperor. Nothing else at all is known about Hruodland, and little about the battle in which he was killed (though Islamic sources preserve a great deal of information about why Charlemagne and his army were in Spain at that time in the first place). But the memory of the battle persisted oral lore, so that by the twelfth century it was an especially famous moment in the French national memory.

The Three Matters of Medieval Literature

There are three subjects within the sphere of European history with which every educated High Medieval European reader could be expected to be familiar, for they serve to provide much of the content for a wealth of literature in the period: Classical Antiquity, Arthur's Britain, and Charlemagne's France. In no case was the expected knowledge terribly accurate (in fact it's probable one of the the three matters is a complete fabrication), but it's likely the stories were widely taken as, if not strictly factual, at least rooted in true history. And, tellingly, many of the later literary works dealing with these subjects assume the reader's familiarity with the material. The skill of the Medieval author lies in presenting a story well, with novel details and artful presentation, even more than in telling tales wholly unfamiliar to the audience.

These three subjects were recognized as important literary genres by the poet Jean Bodel (1165-1210), but continue to be prominent in literature up through the Early Modern Period. For example, there is an abundance of material on each subject in the Romancero Viejo tradition, though an even greater selection deals with the history of Spain. In each case, themes prevalent in the literature of the time and space in which the work is produced are introduced into the depiction of the past; much as, today, Robin Hood stories remain popular but the newest presentations of the material have come to be very different in character from the oldest, early modern Spanish presentations of Carolingian material will fairly consistently be spun in such a way as to attach glory to Spanish identity while also often showing a certain battle-weariness, whereas a Middle English retelling of a Classical myth will introduce anachronistic themes of knighthood, chivalry, and courtly love. These stories retained their prominence not because their themes were timeless and universal, but, on the contrary, because they could adapt to present themes that were especially weighty in the minds of their tellers. It takes a talented writer indeed to tell an old story known to the entire audience, while giving it a renewed significance that grants it an impact beyond any it may have had for them previously.