The French epic The Song of Roland (c. 1100) loudly echoes the feudal values ​​of its time. In describing the transformation of France into a Christian nation united by loyalty to king and country, the epic embodies the spirit of loyalty between a lord to his vassal. Although “Aucassin et Nicolette” is also an anonymous play written in the same French vernacular around the same time, it seems to be moving in an alternative direction. As a medieval novel, it also describes the same feudal society, but seems to treat the situation more satirically. Nevertheless, despite the satire of "Aucassin et Nicolette", it remains alongside La Chanson de Roland as a chronicle of the feudal era, and thus reinforces the values ​​promoted at the time. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayIn the 12th century, feudalism, which began in France in the 8th and 9th centuries under Charlemagne, had captured the governmental principles of a large part of Europe. , including England, the Holy Roman Empire, Spain, Sicily and Byzantium. The feudal system evolved according to time and place, while adhering to the two great principles of war and land. The lord and the vassal swore allegiance (loyalty) to each other, and thus feudal ties, relationships of loyalty and mutual trust were established. The smaller warrior-owner (the vassal) would ensure a personal army for the larger warrior-owner (the lord) in exchange for individual security and land (fief) which was guaranteed as hereditary possession if all promises were kept . Even lands held by the Church were considered feudal lands, and archbishops, bishops and abbots were granted fiefdoms in exchange for their mutual allegiance to dukes, princes and kings. The relationship between the lords of some countries and their rulers reflected this pattern, and the feudal monarch was considered holy and divinely chosen. The Song of Roland resonates with the feudal values ​​that characterized Europe at the time of its composition. Roland, the great warrior, is the perfect vassal of his lord, Emperor Charlemagne, leader of the Holy Roman Empire, responsible for defending and expanding Christianity. Charlemagne, “two hundred years old” (l. 539), is described as almost divine, proving his divine status as feudal monarch of “sweet France, the right arm of her body.” (l. 1194-5) Roland, “a fighter, there is no vassal like him under the vault of heaven” (l. 544), is courageous, even stupid. When Oliver begs him to blow his horn for help in what appears to be a futile battle, Roland's intrinsic warrior values ​​as a vassal prompt his refusal. Instead, he replies, "may it not please God, his angels and his saints to let France lose its glory because of me - may I not end up in shame, may I die the first. The Emperor loves us when we fight well." [emphasis mine](ll. 1090-1094) As leader of the rearguard, his role is to protect the army and the king, and therefore calling for help would be a betrayal of his commitment. He finally agrees to blow the horn when it is too late. As Roland senses his imminent death, he attempts to break his sword which contains holy relics, lest it fall into pagan hands. Breaking it against a stone, he recounts everything he did for Charlemagne and the many victories he won for him. “For a long time a good vassal held you: there will never be the like again in the holy land of France.” (l. 2311-2) He prepares for his death by confessing his sins andremembering “Charles, his lord, who raised him”. (l. 2381) This illustrates the reciprocal relationship between lord and vassal, embodying Charlemagne as the perfect lord and Roland as the perfect vassal. Roland as the perfect vassal is emphasized in the thematic subclimax of the epic. When Ganelon is chosen as an emissary to King Marsilion, which he will later take as an opportunity to betray the Frankish forces and his stepson, he drops the glove that Charlemagne hands him as an investment of his authority. But Roland, upon his appointment to the rearguard, unwittingly falling into the trap that Ganelon has treacherously set for him, pretends not to let go of the spear that Charlemagne holds out to him. This proves their position vis-à-vis their lord. Roland would do anything for Charlemagne. He refuses to call for help until it is too late because he wants to defend his king. Even when he senses his death, he tries to break his sword so that the pagans will never gain the upper hand over the Christians. On the other hand, Ganelon, fueled by a personal hatred towards Roland, turns out to be a traitor towards his lord. As required by the feudal pact, the vassal must have absolute loyalty to his lord in exchange for the latter's favor. Ganelon betrayed Charlemagne, but until his end, Roland maintained his absolute devotion. Unlike La Chanson de Roland, "Aucassin et Nicolette" does not glorify the feudal system. Although Aucassin, heir to Count Garin de Beaucaire, is charged by his father to “take [his] weapons, ride [his] horses, defend [his] lands and help [his] vassals” (II), Aucassin rejects the 'idea. the entire value system, affirming on the contrary that he would prefer to be with his “sweet friend” Nicolette. His, and later his, rejection of heritage, a value inherent in feudal society, gives an idea of ​​the author's approach to the context in which the story was composed. The very fact that Nicolette is called his "sweet friend" implies equality in their relationship, while women were not even mentioned in The Song of Roland. In general, the role of women in feudal society was that of the maiden in need of a savior, not that of an equal. "Aucassin and Nicolette" cannot escape the norms of its time, and Nicolette needs saving, but she shows her independence by escaping her own prison and making her way through the forest alone. However, “his beautiful hands and his beautiful feet, which had never had the habit [of walking at the bottom of the moat], were scratched and torn” (XVI), and Aucassin, “his mind so firmly fixed on Nicolette, fell so hard on a stone that dislocated his shoulder" (XXIV). The inversion of the sexes in Torelore, where the king is in a "child's bed" (XXIX, 9) and the queen leads the war with " A supply of fresh cheese/Rotten crab apples/And large field mushrooms” (XXXI, 6-8) further illustrate the author's satire on the treatment of women in feudal society. In addition to the gender inversion in Torelore, the community's attitude towards war also differs greatly from The Song of Roland and from feudal society in general Aucassin, raised to the rank of knight, attempted to contribute to the war effort by striking "at. right and left, killing many”, but was reprimanded by the king, because it was not their “custom to kill each other” (XXXII). Torelore, war is treated as a game. The inhabitants give power to the king, food serves as ammunition and victory is not worthy of death. However, despite its satirical costume, the story fails to free itself from the values ​​of its time. Nicolette must acquire the status of princess to marry Aucassin, and even if it is another way of parodying the norms.