The verses of the first laisse of the epic, Orlando's Song, express the fulcrum of the poem: the end of paganism and the victory of the superior, Christianity through will of God. “Zaragoza. . .held by King Marsiliun who does not love God. Marsiliun serves Mohamed and prays to Appolin. But he cannot prevent evil from reaching him” (3). Here, already in the first lines of the epic, the poet clarified the outcome of those who do not love God: evil will strike him. In the Song of Orlando, the poet uses the symmetries and asymmetries of those who are good and those who are evil to illustrate the justice of God and the superiority of Christianity. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay To show the power of God and the superiority of Christianity, the poet first presents pagans and Christians as parallels. The only difference between the two groups is that Christians are depicted as good and pagans as evil. The parallels between Christians and pagans are first illustrated before the first battle. Saracen society is described as a mirror of the types of chivalric virtues of Christians. For example, Blancandrin is described as "well endowed with the kind of courage that befits a knight, and had cunning and judgment to bring to the aid of his lord" (4). This symmetry is also illustrated in more subtle ways throughout the poem; Marsilio's throne, like that of Charles, is placed under a pine tree. There is also symmetry in the outcome of the first battle. However, due to Ganelon's betrayal, the Christians lose this battle; the losses suffered by Charles and Marsiliun are mirrored. Roland cuts off Marsiliun's right hand and Charles loses his metaphorical right hand: Roland. Because the poet presents Christians and Saracens so symmetrically, any example of non-symmetry attracts the reader's attention, demonstrating a certain meaning. Carlo and Marsilio's grandchildren illustrate a significant example of symmetry transforming into asymmetry. Both grandchildren are equally bold and proud. In response to Charles offering him more troops, Roland says, “I will do no such thing. God shame me if I dishonor my ancestors! I will keep twenty thousand francs with me. . . and you can cross the pass with absolute confidence, and fear no one as long as I live” (26). Marsilun's grandson Aleroth echoes Roland's brashness and pride: “King, I have served you long and known suffering and hardship, and battles fought and won in the field. Do me a favor: the first shot at Roland. I'll kill him. . .Charles will lose heart. . .you will have no more wars as long as you live” (29). Aleroth and Roland both use equally proud language to assure their kings that they will be victorious. Their pride is also the cause of both their deaths: Aleroth because he charges forward to make an attempt on Roland's life, and Roland because he is too proud to blow his horn for help. However, the poet treats their deaths noticeably differently. The mirroring used so far by the poet clearly highlights every difference between the narrative of the Christians and that of the pagans. The poet dwells little on Aleroth's death, only mentioning it, but during the description of Roland's death the narrative slows down dramatically. The moment of Rolando's death takes place in three moments, which all describe the same scene. The first ends with "he offers his glove to God as a pledge of his sins", the second with "he offered his right glove to God". The angels descend from heaven and come to him", and the third with "offers his right glove to God and Saint Gabriel takes it from him" (72). Roland's offering of his right glove to God indicates that Roland is a vassal of God, andGod's acceptance through Saint Gabriel recognizes God as Roland's overlord. The fact that the moment of Roland's death hangs in much of the narrative and draws the reader's attention, as well as the poet's deviation from the typical symmetrical structure highlights its significance. What is significant here is that Roland is saved, as illustrated by God's acceptance of his glove. This demonstrates Roland's goodness as a member of the Christian army and, therefore, the favor that God bestows on Christians. To continue with the theme of symmetry, the poet balances Roland's death with Charles' revenge. The poet also creates a symmetry with the Christian army led by Charles and the pagan army led by Emir Baligant. The poet presents the emir as a pagan counterpart to Charles. For example, like Charles, Baligant is incredibly old: "[he] outlived both Virgil and Homer" (79). The mirroring between the two also results from Baligant's effort to imitate Charles. For example, Baligant calls his sword "Precieuse" because it rhymes with the name of Charles' sword: "Joyuse". Since an imitation is usually considered inferior to the original, the poet can maintain the symmetry between Charles and the emir, leaving no doubt in the reader's mind that Charles, and therefore Christianity, is superior. The mirroring between Charles and Baligant continues as they clash and this time, unlike the case of the swords, their actions appear to be simultaneous. The language the poet uses to describe the fight illustrates this: “[they] exchange heavy blows . . .nothing can separate them and the struggle cannot end without the death of one or the other” (106). The language the poet uses to describe their battle evokes the idea that the two are equal in skill and strength. The poet does this to build the need for divine intervention, which comes when Charles is seriously struck: Charles staggers and almost falls, but it is not God's will for him to be killed or beaten. Saint Gabriel approaches him asking: “Great King, what are you doing?” When he hears the sacred voice of the angel, Carlo loses all fear of death and his vigor and mental clarity return. (107)The poet uses the symmetry between the emir and Charles to create a situation where God must intervene to end the battle. God, of course, chooses to save Charles. It is an angelic vision, rather than Charles' strength, that changes the battle. This highlights the idea of ​​God's justice and supports the idea that the morally good will achieve victory. There is a final moment in the epic where not symmetry, but asymmetry in those who are good and evil, is used to illustrate the power of God. Ganelon's trial is a trial by combat. Unlike the case of Charles and Baligant, the poet indicates that the men who will fight, Pinabel and Thierry, are asymmetrical because they are not equally strong. Thierry who fights for the Emperor is described as “gaunt of limbs, stout and fast. . .he is neither very tall nor very short", while Pinabel who fights for Ganelon is, "tall and strong and brave and swift, and if he strikes a man with a blow, the other has come to the end of his days" ( 114 ) The poet describes Pinabel in a way that makes it seem as if he will certainly win the battle against the “gaunt” and “nervous” Thierry, once again building the need for divine intervention; Thierry, “may God show today which of us is right” (116).This could be the general cry of Christians throughout the poem.The poet emphasizes Pinabel's strength over Thierry's to make it clear that he is the good man and not simply the strongest to win, and to demonstrate God's justice for those who are morally good. Keep in mind: this is just one example.....