Seen by most as the birthmark of French Literature, as well as perhaps the greatest and oldest chanson de geste (epically heroic poems that began to appear in the late eleventh century), La Chanson de Roland is undoubtedly a landmark in Medieval Literature. It celebrates the heroic feats of count Roland, Charlemagne’s nephew and right-hand, in serving his country, his king and his faith.
A large variety of themes, including religion, faith, loyalty, bravery and heroism, amongst others, recur throughout La Chanson de Roland. I intend to draw upon a few of these themes, paying particular attention to what is considered by most as the climax of the chanson, Roland’s death; more specifically, laisses CLXXI and CLXXII.

The importance given to Christian faith and God is both evident and undeniable throughout the chanson, and portrayed quite accurately in laisses CLXXI and CLXXII. For instance, Roland’s plea for help to ‘Sainte Marie’, to an extent, indicates this. Despite Roland's inherent stubbornness and arguably excessive pride, seen, for instance, through his reluctance to blow the Oliphant knowing that defeat was imminent, he doesn’t hesitate in seeking both comfort and help from celestial powers. Further religious importance is revealed through the divine powers Charlemagne is accredited: ‘Carles esteit es vals de Moriane,
Quant Deus del cel li mandat par sun angle’. Here, as with his prophetic dreams, Charlemagne, the king, someone who would have been widely admired, and is given divine powers to highlight the power and influence religion would’ve had at the time. Furthermore, despite the fact that throughout these two laisses the main focus is Rolands service to his king, as well as his country, the last line of laisse CLXXII draws emphasis of God: ‘Deus! Perre, n'en laiseit hunir France!’ Not only is this is this a poignant ending to the laisse, but gives God an even greater importance than who or what is mentioned in the laisses.

Loyalty, whether it is to one’s country, one’s king, or one’s god, is undoubtedly one of the fundamental themes through La Chanson de Roland; it certainly is in laisses CLXXI and CLXXII. It is mainly through the use of language and direct speech that the importance of loyalty is highlighted. Firstly seen when Roland directs himself to his sword and says ‘Ne vos ait hume ki pur altre fuiet!’. Here, a slight sense of resentment towards anyone disloyal enough to do such a thing is detected. The importance of loyalty is further seen through Roland’s last great efforts, prior to his death, to destroy his sword, as he claims that ‘Mielz voeill murir qu'entre paiens remaigne’. The utter devotion here towards his nation, France, is more than evident. His devotion towards his king is even more so: in both laisses, particularly laisse CLXXII, Roland’s numerous heroic feats and countless conquests are listed. It is immediately afterwards pointed out, however, that these conquered lands are lands ‘Que Carles tient’, thus indicating who Roland truly fights, without hesitation.

In some ways linked to the theme of loyalty, honour is yet another key theme the author gives great importance all throughout the chanson, particularly, again, in these two laisses. Again seen through his desperate and numerous attempts (.X. colps) to break his sword as opposed to letting it end up in enemy hands, it is evident that honour is imperative to Roland. This is further emphasized as he apostrophizes Durendal, his sword, by referring to it in the second person and thus giving it a human-like status. This gives Roland’s relationship with Durendal greater significance, particularly when taking into account the fact that, despite such a long history together and such an intense bond, he is still willing to destroy it in honour’s name. The importance of honour is further emphasised as Roland, despite being alone on the battlefield, takes time to recount all of his victories and state that ‘Mult bon vassal vos ad lung tens tenue:
Jamais n'ert tel en France l'asolue.’ Finally, with regards to honour, one may argue the significance Durendal’s description: ‘E! Durendal, cum es bele, e clere, e blanche! Cuntre soleill si luises e reflambes!’ Believed by some to be symbolic of war, Durendal is described in a glorifying manner, perhaps as a means to glorify war itself, and thus serve as some sort of propaganda describing the honour involved in serving one’s country, king and God.

Finally, I would like to draw emphasis on the theme of heroism, the very characteristics that make Roland such a memorable character in La Chanson de Roland. Repetition is the main technique used, particularly in laisse CLXXII, to portray Roland in such a heroic light. The constant repetition of ‘Jo l'en’, ‘Si l'en’ and the conjunction ‘e’ give the impression of a seemingly never-ending list of conquests under his name, which give him the heroic status he has sought for his entire life. The use of the word ‘trestute’ to describe such conquests is an epic exaggeration used to further depict Roland’s heroism.

There is still much debate today regarding the true purpose with which La Chanson de Roland. Having closely analysed particular sections in the chanson, as well as a variety of recurring themes, I find the great importance given to faith in Christianity and a single God sufficient to believe that this piece of medieval literature was written with religious purposes. Despite Roland being the hero of the epic, and Charlemagne the great emperor and a divine agent on earth, God and Christianity are always portrayed as the important feature of all.

The fact that the protagonist and hero of the play, undoubtedly portrayed in a positive light (particularly taking into account the time at which the piece was written) gives such importance to the concepts of loyalty, honour and heroism, suggests that the author, whoever he may be, intended for the audience to give equal importance to such things. Thus, I believe that, other than the religious teachings present in La Chanson de Roland, the emphasis on the themes of loyalty, bravery and heroism exists as a means to instruct those who would have listened to the chanson at the time when it was written the principles upon which one should lead their life: Roland’s principles.