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work the warriors, no matter which side they are on, have significant names for their weapons and war-horses. This holds to the ancient custom that honored weapons with special names as having magical powers that could help its bearer. The battles and heroism of the main characters, as well as the names and details given about their war-horses and weapons, were important to a society that was constantly in a state-of-battle readiness, such as Roland's was.


Beyond the battle scenes, Roland is true to the era in its portrayal of vassalage between a lord and his liegeman. In her introduction, Dorothy L. Sayers defines vassalage as "a personal bond of mutual service and protection between a lord (seigneur) and his dependant, and was affirmed by an oath and the rite of "homage"." The Song of Roland undeniably represents the bond between lord and vassal. For instance, when Roland agrees to lead the rearguard, although his place is usually with the vanguard, he does because of his bond ...

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is not easily accomplished because the nobles of his realm wish to have Ganelon go free instead of face Pinabel, Ganelon's "champion". The pain of these treacheries cuts Charlemagne to the heart, yet they go beyond just Charlemagne. They are injustices against the community as a whole. After trial by ordeal, the custom of two warriors fighting each other with God deciding the winner, the king's revenge can proceed with the sentencing of Ganelon and his supporters to death. Eventually, although the nobles wish to let Ganelon go free because of their cowardice, the justice within the community prevails when the loyal young noble Thierry stands up against Ganelon's champion. The love ...

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