Roncesvalles (Roncevaux or Ronceveau) offers an imperfect introduction to communal-life on the Camino Francés. I dub it imperfect because the place is clean, well-organized, and sublime. Finding a high bar at the start of a thing is awkward: it makes managing expectations down the line more difficult.
Roncesvalles carries the ambiance that only a gothic chapel in a grim wood can lift.
The compound is located on the Spanish side of the Pyrénées, the natural border with France. Its cold stone buildings are are nestled in a forest glen, just beyond a rugged section of the trail. Appropriately, it was founded as resting place (or hospital) for the weary at the height of the Camino impulse.* Over the course of a thousand years (and a thousand swirling snowstorms), it has maintained this singular vision.
At the end of this long day, Bob and I rested our peregrino-legs, wandered the grounds, ate a “pilgrim meal,” and did our first dormitory-style overnight.
Somewhere in that sequence of events, we happened across this life-sized statue in the weeds.
A dying Roland and his steed. The scene prompts the exclamation: “How ill-fated thou wert.”
The statue appears as a mashup of “The Dying Gaul” and “The Fallen Warrior from Temple of Aphaia.” (Bob wondered if it was a not-so-subtle message about the trail ahead.) Our working hypothesis was that this was “Roland and his horse expiring in the nude.” Only when I returned home, did I did find older photographs of the sculpture confirming this theory. In these, the Roland figure has his motific sword (Durendal) and his blow-horn (Olifant) by his side. Apparently these implements were pinched prior to our arrival. Today they likely hang above the fireplace of some proud souvenir hunter.
The scene gives pause to extend thinking about this medieval chanson de geste (“song of heroic deeds”). In a previous post (see here) I contemplated the story that the Song of Roland tells and the manner of Roland’s death. (Follow this link if you want to read an online version of the Song for yourself.) Here I briefly consider the relevance of the Song of Roland for Bible Land Explorers. It may not as distant as you think.
La Chanson De Roland (a drawing by Mary Evans Picture Library). Source, here (accessed 8/5/2021).
Two thoughts.
First, Bible Land Explorers will find The Song of Roland of interest because it is infused with biblical characters, acts, and symbols.
Biblical characters and acts are obvious enough. God, Satan, Christ, Peter, Gabriel, and others are invoked, named, or suggested. The perspective of the song combines Christian belief with Frankish tribal traditions. The virtues of truthfulness, loyalty, and wisdom are elevated, while the likes of greed, falsehood, shame, and fear are condemned. Achievement of paradise is a regular theme (as one might expect in a context featuring battlefield speeches). Christian action such as confessional prayer, priestly blessing, and baptism/conversion of pagans are celebrated.
Use of biblical symbols and literary allusions are a little harder to pick out.
Most obviously—as many students have noted—Roland’s character resembles the Gospel presentation of Jesus of Nazareth. He is young, passionate for truth, and loyal to his Lord. He has a band of “12 associates” or “peers.” At the height of the action he is betrayed by an insider and killed as a result (laisse 69). His betrayer and his associates (that number 30), at the last, are hung by ropes. The betrayer himself suffers a crueler fate, ropes join his limbs to horses. He is pulled apart with nerves unbraiding and bowels gushing out. Ew!
Another example of this biblical infusion concerns Charlemagne. On one occasion, evening approaches while the king is in pursuit of the enemy army. He prays that God will extend the daylight. His prayer is answered; the “sun stands still,” enabling his vengeance to be poured out in full (laisse 181). This passage is built around a deliberate flashback to Joshua’s “long day” recorded in chapter 10 of the biblical book by his name.
The decorated archivolt above the entry door to the La Real Colegiata de Santa María. The structure was erected at the beginning of the 13th century and is a parade example of local Gothic style.
Second, beyond its use of the biblical text, Bible Land Explorers will find the Song of Roland of interest as a voice from the Crusader period.
Keep in mind that the dramatic date of Roland (8th c) and the date of writing (11th c) are separated by hundreds of years, a good deal of “open source” editing, and a shifting political landscape.
As we have already pointed out, revisions made to the story escalate a raid into a seven-year war, local rebels into Muslims from afar, and hundreds of men into hundreds-of-thousands of men.
In its final form, Charlemagne’s conflict is with King Marsilion of the Saracens (read “Muslims”) who come from oltre mer or outremer. Not surprisingly this phrase for land “beyond the sea” is code from the Crusader period for the Holy Land. Other hints accumulate. The enemy is described as pagans who have taken Jerusalem and plundered Solomon’s temple (laisse 117). The enemy breathes invectives about hating Christians and how Mohammed is superior to “Saint Peter, the Roman” (laisse 75).
Pope Urban II’s call for the first crusade in 1095 is considered one of the most influential speeches of the medieval period. The tragic end of that first crusade just four years later rattled Western Europe to its core and undoubtedly fueled the popularity of the Song of Roland.
The setup becomes clear: this is Charles versus Marsilion. Christian versus pagan. The pious versus the duplicitous. The tragedy of Roland’s good death becomes a Frankish version of the war cry: “Remember the Alamo!”
Construction of the Chapel of Santi Spiritus (the square building on the right) dates back to the 12th century. It is believed that this is the oldest building in Roncesvalles. The chapel functions as a funerary temple sitting on a crypt-full of human remains. Tradition suggests that the body of Roland and his associates were first buried here. In the following centuries other dignitaries and pilgrims who didn’t quite make it over the Pyrénées joined them.
Bob and I pushed such things out of mind. We took our turn to enter the dining room and were assigned to a table with seven other peregrinos. We enjoyed fresh conversation and a pilgrim meal thick in carbohydrates. All was good fuel for the morning.
¡Buen Camino!
Communal meals are a common experience along the Camino. It is a great time to meet new friends and swap stories.
The “pilgrim meal” is typically the cheapest fuel on the menu.
*According the D.M. Gitlitz and L.K Davidson, the hospice was moved here in AD 1132 by the bishop of Pamplona. A 12th c hymn (“La Pretiosa”) describes how monks here washed the feet of pilgrims, cut their hair, treated the sick, and fed the hungry. See The Pilgrimage Road to Santiago (2000: 59).
Join Mark and Vicki for a Mediterranean experience May 25-June 5, 2022. We'll be cruising aboard the luxurious Celebrity Infinity. See the link here for details. Onboard lectures will provide focus for the group as we visit the ports of Olympia, Santorini, Ephesus, and Athens among others. Optional add-on visits to Venice or Rome are possible on either end of the trip. Contact me at markziese@gmail.com.