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Saga of the Sons: Girart de Vienne Unveiled

A deep dive into the late twelfth-century Old French epic, exploring its narrative, characters, and its pivotal role in defining the Carolingian literary tradition.

Explore the Plot ๐Ÿ“œ Understand the Cycles ๐Ÿ“š

Introduction to Girart de Vienne

A Landmark Chanson de Geste

Girart de Vienne stands as a significant work within the corpus of Old French literature, specifically classified as a chanson de geste (song of deeds). Composed around the late twelfth century, approximately 1180, by the poet Bertrand de Bar-sur-Aube, this epic poem offers a rich narrative tapestry. It delves into the conflicts between the loyal vassals of Charlemagne and the emperor himself, while crucially establishing the profound friendship between two of the most celebrated heroes of the Carolingian epics: Olivier and Roland.[1]

Structure and Form

The poem is meticulously crafted, comprising over 6,000 rhymed decasyllable verses, organized into narrative segments known as laisses.[1][2] While the extant text dates from the late twelfth century, it is believed to be based on an earlier, now lost, poetic composition.[1] Its enduring appeal led to numerous adaptations, including a version in alexandrines during the 14th century and five distinct prose adaptations, showcasing its widespread influence through the medieval period and into the Renaissance.[1]

Context: The Carolingian Epics

As a chanson de geste, Girart de Vienne belongs to a tradition of epic poetry celebrating the deeds of knights and rulers, particularly those associated with the court of Charlemagne. These narratives often explore themes of loyalty, honor, warfare, and faith. The poem's contribution to solidifying the legendary status of figures like Olivier and Roland, and its role in structuring the broader cycle of Carolingian literature, marks it as a text of considerable historical and literary importance.

The Narrative Arc: Plot Summary

The Sons of Garin and Imperial Conflict

The narrative commences by introducing the four sons of Garin de Monglane: Hernaut, Girart, Renier, and Milon. Each son establishes themselves with a fief, with Renier eventually becoming the father of the renowned Olivier. The central conflict ignites when Aymeri, the son of Hernaut, becomes incensed upon hearing the Empress boast of a past humiliation inflicted upon his uncle, Girart. This perceived insult galvanizes the brothers, inciting them to challenge imperial authority.

A Fateful Duel and Enduring Friendship

In a pivotal attempt to resolve the escalating conflict, Olivier is put forth to engage in a duel against Roland, the nephew of Emperor Charlemagne. The confrontation takes place near Vienne. However, the duel concludes without a decisive victor as nightfall intervenes. An angelic intervention then advises the two heroes to conserve their strength for the impending battles against the Saracens. This divine counsel leads Olivier and Roland to swear an oath of eternal friendship. Following this pact, Roland proposes marriage to Olivier's sister, Aude.

Reconciliation and Impending Threat

Girart is subsequently reconciled with Emperor Charlemagne, seemingly resolving the internal strife. However, before the marriage of Roland and Aude can be solemnized, a messenger arrives bearing urgent news: the imminent invasion of Gascony by Saracen forces. This external threat shifts the focus from internal disputes to the defense of the realm, setting the stage for further epic confrontations.

Literary Cycles: Structuring the Epics

The Threefold Division of Carolingian Verse

Girart de Vienne holds particular significance for its role in conceptualizing the organization of the vast body of Carolingian epic poetry, often referred to as the "Matter of France." The poem itself articulates a tripartite division of these chansons de geste, based on central figures or ancestral lineages. This classification, as presented within the text, is:

At Saint-Denis, in the great abbey, we find it written (I don't doubt) in a book of noble lineage that there have been only three gestes in well-defended France (I think no-one will argue with me now).

The lordliest is that of the kings of France.

The next, it is right to say, was of Doon of the white beard, he of Mainz who had many lands. In his lineage were fierce and rugged people; they would have had the lordship of all of France, its power, its knighthood, but they were proud and jealous. Of that lineage, so full of treachery, was Ganelon who by his treason caused great sorrow in well-defended France when he committed in Spain the great felony that caused the death in pagan land of the Twelve Peers of France. You have heard tell in many a song that from the geste that came from Ganelon many a great knight was descended, fierce and bold and of very great fame. They would have been lords of the whole realm of France, but there was pride and treason in them. Through pride (we tell you truly) many a high-placed man has been thrown to earth, as were the angels in heaven (we know it in truth) who, for their crime, were thrown into the prison of hell where they will feel nothing but eternal pain. They lost the holy mansion of heaven by their pride and folly. Just so were Ganelon's kin, who would have been so powerful and famous if they had not been so full of treason. Of this lineage, which did nothing but evil, was the second geste.

The third geste, which was much to be praised, was that of Garin de Monglane of the fierce countenance. In his lineage I can well testify that there was not a single coward or good-for-nothing or traitor or vile flatterer; rather they were wise and bold knights and good fighters and noble warriors. Not once did they wish to betray a king of France; they strove to help their true lord and to advance his honour everywhere. They promoted Christendom and destroyed and confounded Saracens. This Garin of the fierce countenance had four sons; never were there bolder knights, I think, so that in a whole day one could not describe their prowess. The first son (I will not lie to you) was the fierce Hernaut of Beaulande. The second, as I have heard tell, was the praiseworthy Milon of Apulia. The third was Renier of Geneva, and the fourth was lord Girart the warrior.

โ€” (Girart de Vienne lines 8โ€“67; translation after J. J. Duggan)

Defining the Cycles

The three cycles, as described within the poem, are:

  • The "Geste du roi": Centered on Emperor Charlemagne and his immediate circle of loyal knights.
  • The "Geste de Doon de Mayence": Focuses on figures who rebelled against royal authority, notably Renaud de Montauban and Girart de Roussillon. This cycle often highlights themes of defiance and the complexities of feudal loyalty.
  • The "Geste de Garin de Monglane": Features knights, often younger sons without inheritance, who sought glory and land through combat against Saracens. William of Orange is a prominent figure in this cycle, and Girart de Vienne itself, with its focus on the sons of Garin, is a key text within this grouping.

Scholarly Editions and Translations

Accessing the Text

The study and appreciation of Girart de Vienne are facilitated by scholarly editions and translations that make this medieval epic accessible to contemporary readers and researchers. Key scholarly works include:

  • Original French Edition: Girart de Vienne, edited by Wolfgang van Emden (Published by the Sociรฉtรฉ des Anciens Textes Franรงais, Paris, 1977). This edition provides critical access to the Old French text.
  • English Translation: The Song of Girart of Vienne by Bertrand de Bar-Sur-Aube: A Twelfth-Century Chanson de Geste, translated by Michael A. Newth (Published by the Arizona Center for Medieval and Renaissance Studies, Tempe, 1999). This translation offers the narrative in modern English, preserving the epic spirit.

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References

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