The French Epic The Song of Orlando (c. 1100) strongly echoes the feudal values ​​of its time. As it depicts 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 and his vassal. Although “Aucassin and Nicolette” is also an anonymous piece written in the same French vernacular in much the same place, it seems to move in an alternative direction. Being a medieval novel, it also describes the same feudal society, but seems to deal with the situation in a more satirical way. However, despite the satire of "Aucassin and Nicolette", it remains together with the Song of Orlando as a chronicle of the feudal era, thus reinforcing the values ​​promoted at the time. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay By the 12th century, feudalism, which began in France during the 8th and 9th centuries under Charlemagne, had captured the ruling princes of much of Europe, including England, the Holy Roman Empire, Spain, Sicily, and Byzantium . The feudal system changed depending on time and place, but adhered to the two fundamental principles of war and land. The lord and vassal swore allegiance (fidelity) to each other and thus feudal ties established relationships of mutual loyalty and trust. The minor warrior-owner (the vassal) provided a personal army to the major warrior-owner (the lord) in exchange for individual security and land (fief) which was guaranteed as a hereditary possession if all promises were kept. Lands held by the Church were also considered feudal lands, and archbishops, bishops, and abbots were granted fiefdoms in exchange for their mutual loyalty to dukes, princes, and kings. The relationship between the lords of some countries and their rulers reflected this model, and the feudal monarch was considered holy and divinely chosen. Orlando's Song 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, head of the Holy Roman Empire, responsible for the defense and expansion of Christianity. Charlemagne, "two hundred years old" (l. 539), is described as almost divine, reflecting his divine status as feudal monarch of "sweet France, right arm of his body". (l. 1194-5) Roland, "a fighter, there is no vassal like him under the vault of heaven" (l. 544), is courageous, even foolishly. When Oliver begs him to blow his horn for help in what appears to be a futile battle, Roland's inherent warrior values ​​as a vassal prompt his refusal. Instead, he replies, "let it not please God and his angels and his saints to let France lose her glory because of me – do not let me end in shame, let me die first. The Emperor loves us when we fight well." [italics mine](ll. 1090-1094) As leader of the rear guard, his job is to protect the army and the king, and so asking for help would be a betrayal of his commitment. He finally agrees to blow the horn when it's too late. As Roland senses his impending death, he attempts to break his sword which holds the sacred relics, to prevent it from falling into the hands of the pagans. As he breaks it against a stone, he tells of all he has done for Charlemagne and the many victories he has achieved for him. "For a long time he held you a good vassal: there will never be one like it in the Holy Land of France." (l. 2311-2) He prepared for death by confessing his sins and remembering "Charles, his lord, who brought him up." (l. 2381) This exemplifies the reciprocal relationship between the lord and the vassal, embodying Charlemagne as theperfect lord and Roland as the perfect vassal. Roland as the perfect vassal is emphasized in the thematic sub-climax of the epic. When Ganelon is chosen as an emissary of King Marsilion, who will later take an opportunity to betray the Frankish forces and his stepson, he drops the glove that Charlemagne holds out to him as an investment of his authority. Roland, however, having just been appointed rear guard, unknowingly stumbling into the trap that Ganelon has treacherously set before him, pretends not to drop the spear given to him by Charlemagne. This shows their position when it comes to their lord. Roland would do anything for Charlemagne. He refuses to ask for help until it is too late because he wishes to defend his king. Even when he senses his death, he attempts to break his sword so that the pagans will never gain the upper hand over the Christians. In contrast, Ganelon, fueled by a personal hatred towards Roland, proves treacherous towards his lord. As the feudal pact requires, the vassal must have absolute loyalty to his lord in exchange for the latter's favor. Ganelon betrayed Charlemagne, but to his end Roland maintained his absolute devotion. Unlike Roland's Song, "Aucassin and Nicolette" does not glorify the feudal system. Although Aucassin, the heir of Count Garin of Beaucaire, is charged by his father to "take [his] arms, mount [his] horse, defend [his] land, and aid [his] vassals" (II), Aucassin rejects the entire value system, stating instead that he would rather be with his "sweet friend" Nicolette. His, and then her, rejection of heritage, an integral value of feudal society, gives clues to 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 Orlando's Song. In general, the role of women in feudal society was that of a girl in need of a savior, not that of an equal. “Aucassin and Nicolette” cannot escape the standards of its time, and Nicolette needs saving, but she shows her independence as she escapes her own prison and makes her way through the forest alone. However, "her beautiful hands and feet, which had never been accustomed to [walking at the bottom of the ditch], were scratched and torn" (xvi), and Aucassin, "with his mind so firmly fixed on Nicolette, fell in love so hard as a stone that had dislocated his shoulder" (XXIV). The gender reversal in Torelore, where the king is in "childbirth" (XXIX, 9) and the queen wages war with "A supply of fresh cheeses". / Rotten wild apples / And large mushrooms from the fields" (XXXI, 6- 8) further exemplify the author's satire on the treatment of women in feudal society. In addition to the gender reversal in Torelore, the community's attitude towards of the war differs greatly from The Song of Roland and from feudal society in general Aucassin, raised as a knight, attempted to aid the war effort by striking "on the right and on the left, killing many", but was admonished by the king, because he was not theirs." habit of killing each other" (XXXII). For feudal society, the role of the warrior is optimal, but in Torelore war is treated as a game. The inhabitants give power to the king, food is used as a weapon and victory is not worth death. Yet, despite its satirical costume, the story cannot free itself from the values ​​of its time. Nicolette must acquire princess status in order to marry Aucassin, and while this is another vehicle to parody the canons of status by revealing her true origin when needed, the fact remains that it was necessary to complete the story with success. . Even as satire he manages to imitate.