Duringthe medieval period,TheSongof Rolandwas written to exhibit an understanding of the concept of chivalry. According to Puchner (2015), this work is identified as one of theprimary exemplars of the concept. It is because the book depicts theexternal battle between the evil and the good.It is of worth thatthe chivalric ideals pursued by Don Quixote are influenced by thedifference between the Christian knights of Charlemagne and thesacred Muslims[ CITATION Bai16 l 1033 ]. The whole of the Christians` work is portrayed as upholders ofchivalry with the great exemplars of the chivalric facets beingdisplayed in each of the major characters. The book also recognizesthe Saracens as having some of the chivalrous tendencies in an oddtwist to the conventions of the time. Indeed, most of the authorsincluding Weaver(2012), believe that TheSong of Rolandgives them these values as a way of making the work more attractive.If those qualities were unavailable from the Saracens, they would notstand even a minor skirmish with the righteous Charlemagne[ CITATION Puc15 l 1033 ]. It happens that the Saracen king, Marsile becomes tired of theconflict and admits the defeat. However, he hatches a plan to do awaywith Spain of Charlemagne by bowing down to Charlemagne andtransforming to Christianity. At a given point, the book describesthe character known as Ganelon as traitorous[ CITATION Puc15 l 1033 ]. His trait emerges after concluding to have Roland killed instead ofaccepting the surrender of Marsile. After a great war where Rolanddemonstrates his popular Chivalric facets, he is killed in defense ofsuperior ideals like God, king, country and Chivalry[ CITATION Puc15 l 1033 ].Afterward, Roland is avenged by the greater part of Charlemagne’sarmy. Therefore, this piece will identify and describe the threechivalric ideals pursued by Don Quixote as demonstratedin TheSong of Roland.
Thesong of Rolandrecognizes Chivalry as a code of conduct, and something that themedieval people would consider as a significant part of God`s idealworld[ CITATION Bai16 l 1033 ]. This concept is based on the fact that nothing can last forever andeven an impression such as chivalry must respect the changing of theages. Thechange constitutes to evolution as one of the great chivalrystandards. Ideally, evolution occurred gradually through latemedieval works that include Dante`s Divine Comed[ CITATION Wea12 l 1033 ]y.In this concept, Dante`s Inferno stands as an example that supportsthe standard. Therein, an accurate evaluation of many facets ofhuman investment is expounded.
Accordingto Puchner (2015), this work allows the reader to go through hell,sees, hears and stifles in the choking air. Undoubtedly, thenarrative promotes fear and penitence to the men of Dante’s time. Further, this Chivalric ideal demonstrates the disproportion ofvengeance to the crime, impulsive sin, as well as the outrage ofeverlasting torments for momentary that appears to be shocking andpreposterous. Puchner (2015), also argues that the evolution enablesthe individuals to make their sojourns through life and learnsomething along the way. In this manner, there is the mood ofemotional tenderness that permeates the people. This tendency appearsto be a definite shift from earlier works that expound the ideas ofchurch, country, and chivalry[ CITATION Bai16 l 1033 ].This transition eventually concludes in a great novel, Don Quixote ofthe 15thcentury.
Theincompatible systems of morality are the other Chivalry idealsdepicted in TheSong of Roland. Here, Don Quixote assumes to be a flesh as well as blood sample of aknight errant with the intention of forcing his colleagues to facetheir breakdown and uphold the chivalric code[ CITATION Puc15 l 1033 ].However, the battle between the newand the old arrives at an unconditional stalemate. No one,therefore, understands Don. In the same way, Don Quixote is in aposition to understand nobody. Only Sancho who has a basic indulgentof morality and self-motivated desires can intervene between Don andthe world[ CITATION Wea12 l 1033 ]. As the book narrates, Sancho is found of subscribing to the dailyethics. In contrast, he surprises the audience by signifyingcredence in the anachronistic codes of Chivalry.
TheDivision between Class and Worth
Differentiating between an individual`s worth and class is animportant code of Chivalry. This moral is a relatively radicalperspective in the Cervantes`s time[ CITATION Bai16 l 1033 ]. According to Don Quixote, Cervantes attracts the straightattention that nobles are repeatedly splendid and respectable. However, the distinction between the Duke and the Duchess’sinsensitive mischievousness and Sancho’s anxiety-ridden sympathyexplains this challenge of class[ CITATION Wea12 l 1033 ]. Although the peasant Sancho has a low social status, his wisdom isperfect. Similarly, the lowly shepherds and goatherds appear asphilosophers. The noble characters like the Duke and Duchesse`s onthe other hand, are often unkind. Forthat reason, the focus of Cervantes on these differences betweenvalue and class is a major reason that Don Quixote was a radical taskduring the medieval age.
Fromthese concepts, it can be concluded that the society is not amonolithic thing but a shared reality. The three chivalric idealsdiscussed above demonstrate the idea of collective consciousness. This approach shows the modern reader the different views ofchivalry. The views are portrayed as overacting codes of conductthat reflect the horizon encompassing the society. In most cases, acontemporary reader of the Songof Rolandwould be reaffirmed in his or her belief in the ideals of chivalrydue to the collective consciousness of the surrounding. Theevolution, however, constitutes to the furtherance of the individualof the concept of life.
Bailey, M., & Giles, R. (2016). Charlemagne and His Legend in Early Spanish Literature and Historiography. Suffolk: Boydell & Brewer.
Puchner, M. (2015). Norton Anthology of Wold Literature (Shorter Third Edition ed.). New York: W. W. Norton.
Weaver, A. H. (2012). Battling Romantic and Modernist Phantoms: Strauss`s Don Quixote and the Conflicting Demands of Musical Modernism. Journal of Musicological Research, 31 (1), 1-26.