Over time paladin came to refer to other high-level officials in the imperial, majestic and royal courts.[2] The word palatine, used in various European countries in the medieval and modern eras, has the same derivation.[2]
By the 13th century, words referring specifically to Charlemagne's peers began appearing in European languages; the earliest is the Italian paladino.[1] Modern French has paladin, Spanish has paladín or paladino (reflecting alternate derivations from the French and Italian), while German has Paladin.[1] By extension, paladin has come to refer to any chivalrous hero such as King Arthur's Knights of the Round Table.[1]
In the Roman imperial period, a palatinus was one of the closest retainers of the emperor, who lived in the imperial residence as part of the emperor's household. The title survived into the medieval period, as comes palatinus. However, the modern spelling paladin is now reserved for the fictional characters of the chanson de geste, while the conventional English translation of comes palatinus is count palatine. After the fall of Rome, a new feudal type of title, also known simply as palatinus, started developing. The Frankish kings of the Merovingian dynasty (reigned 480–750) employed a high official, the comes palatinus, who at first assisted the king in his judicial duties and at a later date discharged many of these himself. Other counts palatine were employed on military and administrative work.[3]
In the Visigothic Kingdom, the Officium Palatinum consisted of a number of men with the title of count that managed the various departments of the royal household. The Comes Cubiculariorum oversaw the chamberlains, the Comes Scanciorun directed the cup-bearers, the Comes Stabulorum directed the equerries in charge of the stables, etc. The Ostrogothic Kingdom also maintained palatine counts with titles such as Comes Patrimonium, who was in charge of the patrimonial or private real estate of the king, and others. The system was maintained by the Carolingian sovereigns (reigned 751–987). A Frankish capitulary of 882 and Hincmar, archbishop of Reims, writing about the same time, testify to the extent to which the judicial work of the Frankish Empire had passed into their hands.[3]
Instead of remaining near the person of the king, some of the counts palatine were sent to various parts of his empire to act as judges and governors, the districts ruled by them being called palatinates.[3] By the High Middle Ages, the title "count" had become increasingly common, to the point that both great magnates who ruled regions that were the size of duchies, and local castle-lords, might style themselves "count". As the great magnates began to centralize their power over their local castle-lords, they felt the need to assert the difference between themselves and these minor "counts". Therefore, several of these great magnates began styling themselves "Count Palatine", signifying great counts ruling regions equivalent to duchies, such as the Counts Palatine of Champagne in the 13th century. The Count Palatine of the Rhine served as prince-elector from "time immemorial" (with Wigeric of Lotharingia reaching back to the late Carolingian era), noted as such in a papal letter of 1261, and confirmed as elector in the Golden Bull of 1356. Palatin was also used as a title in the Kingdom of Hungary.
In the French courtly literature of the 12th century, the paladins are the twelve closest companions of Charlemagne, comparable to the role of the Knights of the Round Table in Arthurian romance.
Their greatest moments come in The Song of Roland (written between c. 1040 and 1115), which depicts their defense of Charlemagne's army against the Saracens of Al-Andalus, and their deaths at the Battle of Roncevaux Pass due to the treachery of Ganelon. The Song of Roland lists the twelve paladins as Roland, Charlemagne's nephew and the chief hero among the paladins; Oliver, Roland's friend and strongest ally; and Gérin, Gérier (these two are killed in the same laisse [123] by the same Saracen, Grandonie), Bérengier, Otton, Samson, Engelier, Ivon, Ivoire, Anséis, Girard. Other characters elsewhere considered part of the twelve appear in the song, such as Archbishop Turpin and Ogier the Dane.
The paladins figure into many chansons de geste and other tales associated with Charlemagne. In Fierabras (c. 1170), they retrieve holy relics stolen from Rome by the Saracen giant Fierabras. In some versions, Fierabras is converted to Christianity and joins the ranks of the paladins himself. In Le Pèlerinage de Charlemagne they accompany their king on a pilgrimage to Jerusalem and Constantinople in order to outdo the Byzantine Emperor Hugo.
The ItalianRenaissance authors Matteo Maria Boiardo and Ludovico Ariosto, whose works were once as widely read and respected as William Shakespeare's, contributed prominently to the literary and poetical reworking of the tales of the epic deeds of the paladins. Their works, Orlando Innamorato and Orlando Furioso, send the paladins on even more fantastic adventures than their predecessors. They list the paladins quite differently, but keep the number at twelve.[4]
Boiardo and Ariosto's paladins are Orlando (Roland), Charlemagne's nephew and the chief hero among the paladins; Oliver, the rival to Roland; Ferumbras (Fierabras), the Saracen who became a Christian; Astolpho, descended from Charles Martel and cousin to Orlando; Ogier the Dane; Ganelon the betrayer, who appears in Dante Alighieri's Inferno;[5] Rinaldo (Renaud de Montauban); Malagigi (Maugris), a sorcerer; Florismart, a friend to Orlando; Guy de Bourgogne; Namo (Naimon or Namus), Duke of Bavaria, Charlemagne's trusted adviser; and Otuel, another converted Saracen.
Perhaps the most famous operas inspired by the poem are those by Handel: Orlando (1733), Ariodante and Alcina (1735). Les Paladins is a 1760 opera by Jean-Philippe Rameau. The plot is based on a verse tale by La Fontaine, Le petit chien qui secoue de l'argent et des pierreries, itself derived from an episode in Ariosto's Orlando Furioso. [6]
The title of Paladin is revived in the early modern period for the closest retainers of a monarch. Thus, the leaders of armies supporting the Protestant Frederick V in the Thirty Years' War were named Paladins.[8]
While the Arthurian "Matter of Britain" enjoyed a major revival in the 19th century in the hands of the Romantic and Victorian poets, writers, and artists, the "Matter of France" has generally received less attention. The Song of Roland has nevertheless inspired numerous modern works, including Graham Greene's The Confidential Agent (1939),[11] and Stephen King's Dark Tower series.
Emanuele Luzzati's animated short film, I paladini di Francia, together with Giulio Gianini, in 1960, was turned into the children's picture-story book, with verse narrative, I Paladini de Francia ovvero il tradimento di Gano di Maganz ('The Paladins of France or the treachery of Gano of Maganz', 1962). This was republished in English, as Ronald and the Wizard Calico (1969).[12]
In the later 20th century, Paladin has become a trope in modern fantasy. A paladincharacter class was first introduced in 1975 for Dungeons & Dragons in Supplement I – Greyhawk. The Dungeons & Dragons character class was reportedly inspired by the protagonist of the 1962 fantasy novel Three Hearts and Three Lions,[13] which was itself a pastiche of various elements of medieval and post-medieval legend, including elements of the Matter of France. I paladini — storia d'armi e d'amori is a 1983 Italian fantasy film. As a character class in video games, the Paladin stock character was introduced in 1985, in The Bard's Tale. In Age of Empires II, the Paladin is the ultimate upgrade for knights of some European and Eurasian steppe civilizations. And in 2008, the Hollywood action film Jumper featured characters known as Paladins, with a leader named Roland. Though the movie was adapted from a 1993 science-fiction novel of the same name, the Paladin reference is not in the book.
Related Research Articles
Roland was a Frankish military leader under Charlemagne who became one of the principal figures in the literary cycle known as the Matter of France. The historical Roland was military governor of the Breton March, responsible for defending Francia's frontier against the Bretons. His only historical attestation is in Einhard's Vita Karoli Magni, which notes he was part of the Frankish rearguard killed in retribution by the Basques in Iberia at the Battle of Roncevaux Pass.
Orlando furioso is an Italian epic poem by Ludovico Ariosto which has exerted a wide influence on later culture. The earliest version appeared in 1516, although the poem was not published in its complete form until 1532. Orlando furioso is a continuation of Matteo Maria Boiardo's unfinished romance Orlando innamorato. In its historical setting and characters, it shares some features with the Old French La Chanson de Roland of the eleventh century, which tells of the death of Roland. The story is also a chivalric romance which stemmed from a tradition beginning in the late Middle Ages and continuing in popularity in the 16th century and well into the 17th.
The Song of Roland is an 11th-century chanson de geste based on the deeds of the Frankish military leader Roland at the Battle of Roncevaux Pass in AD 778, during the reign of the Emperor Charlemagne. It is the oldest surviving major work of French literature. It exists in various manuscript versions, which testify to its enormous and enduring popularity in Medieval and Renaissance literature from the 12th to 16th centuries.
The chanson de geste is a medieval narrative, a type of epic poem that appears at the dawn of French literature. The earliest known poems of this genre date from the late 11th and early 12th centuries, shortly before the emergence of the lyric poetry of the troubadours and trouvères, and the earliest verse romances. They reached their highest point of acceptance in the period 1150–1250.
Renaudde Montauban was a legendary hero and knight which appeared in a 12th-century Old French chanson de geste known as The Four Sons of Aymon. The four sons of Duke Aymon are Renaud, Richard, Alard and Guiscard, and their cousin is the magician Maugris. Renaud possesses the magical horse Bayard and the sword Froberge.
The Matter of France, also known as the Carolingian cycle, is a body of medieval literature and legendary material associated with the history of France, in particular involving Charlemagne and the Paladins. The cycle springs from the Old French chansons de geste, and was later adapted into a variety of art forms, including Renaissance epics and operas. Together with the Matter of Britain, which concerned King Arthur, and the Matter of Rome, comprising material derived from and inspired by classical mythology, it was one of the great European literary cycles that figured repeatedly in medieval literature.
The Battle of Roncevaux Pass in 778 saw a large force of Basques ambush a part of Charlemagne's army in Roncevaux Pass, a high mountain pass in the Pyrenees on the present border between France and Spain, after his invasion of the Iberian Peninsula.
Durendal, also spelled Durandal, is the sword of Roland, a legendary paladin and partially historical officer of Charlemagne in French epic literature. The sword is famous for its hardness and sharpness. Sources including La Chanson de Roland state that it first belonged to the young Charlemagne.
Naimon, Duke of Bavaria, also called Naimes, Naime, Naymon, Namo, and Namus, is a character of the Matter of France stories concerning Charlemagne and his paladins, and appears in Old French chansons de geste and Italian romance epics. He is traditionally Charlemagne's wisest and most trusted advisor.
Bradamante is a fictional knight heroine in two epic poems of the Renaissance: Orlando Innamorato by Matteo Maria Boiardo and Orlando Furioso by Ludovico Ariosto. Since the poems exerted a wide influence on later culture, she became a recurring character in Western art.
Oliver, sometimes referred to as Olivier de Vienne or de Gennes, is a legendary knight in the Matter of France chansons de geste, especially the French epic The Song of Roland. In the tradition, he was Roland's closest friend, advisor, confidant and brother-in-law to be, one of Charlemagne's twelve peers and brother of Aude, Roland's betrothed. He dies with Roland at the Battle of Roncevaux Pass. Some critics have linked his name to the olive tree, a biblical symbol of divine wisdom.
Fierabras or Ferumbras is a fictional Saracen knight appearing in several chansons de geste and other material relating to the Matter of France. He is the son of Balan, king of Spain, and is frequently shown in conflict with Roland and the Twelve Peers, especially Oliver, whose prowess he almost rivals. Fierabras eventually converts to Christianity and fights for Charlemagne.
Ferragut was a character—a Saracen paladin, sometimes depicted as a giant—in texts dealing with the Matter of France, including the Historia Caroli Magni, and Italian epics, such as Orlando Innamorato by Matteo Maria Boiardo and Orlando Furioso by Ludovico Ariosto. In the tales, he was portrayed as physically invulnerable except at his navel/stomach, and was eventually killed by the paladin Roland.
The Historia Caroli Magni, also known as the Historia Karoli Magni et Rotholandi or the (Pseudo-)Turpin Chronicle, is a 12th-century Latin chronicle consisting of legendary material about Charlemagne's campaigns in Spain. The chronicle states it was written by Charlemagne's contemporary Turpin, Archbishop of Reims, but it was found out as a medieval forgery. The work was extremely popular, and served as a major source of material on Charlemagne in chronicles, fiction and iconography throughout Medieval Europe. The miracles of the flowering lances and the death of Ferracutus appear on the windows of Chartres cathedral.
Roland is an opera with music by Jean-Baptiste Lully and a libretto by Philippe Quinault. It was first performed on January 8, 1685, at the Palace of Versailles by the Académie Royale de Musique and later, beginning on March 8, 1685, at the company's public theatre in Paris, the Théâtre du Palais-Royal. The story is derived from Ariosto's epic poem Orlando Furioso. The opera takes the form of a tragédie en musique with an allegorical prologue and five acts.
Ruggiero is a leading character in the Italian romantic epics Orlando Innamorato by Matteo Maria Boiardo and Orlando Furioso by Ludovico Ariosto. Ruggiero had originally appeared in the twelfth-century French epic Aspremont, reworked by Andrea da Barberino as the chivalric romance Aspramonte. In Boiardo and Ariosto's works, he is supposed to be the ancestor of Boiardo and Ariosto's patrons, the Este family of Ferrara, and he plays a major role in the two poems.
Agolant or Agolante is a fictional character in Medieval and Renaissance romantic epics dealing with the Matter of France, including Orlando innamorato by Matteo Maria Boiardo and Orlando furioso by Ludovico Ariosto. He is a Saracen king from Africa.
Roland the Mighty is a 1956 Italian film directed by Pietro Francisci. about the Battle of Roncevaux Pass in AD 778, where Roland, a knight in the service of Charlemagne was killed while defending the rear-guard of the Frankish army as it retreated across the Pyrenees.
La Spagna, also called La Spagna in rima, is a 14th-century Italian epic attributed to the Florentine Sostegno di Zanobi and likely composed between 1350 and 1360. The poem is in ottava rima, composed of 40 cantos, each of about 40 octaves. The work is an adaptation of the story of Charlemagne's battles in Spain and the adventures of his nephew, the paladin Orlando (Roland), including the tale of his mortal duel with Ferraguto and his ultimate death at Roncesvalles.
Entrée d'Espagne or L'Entrée d'Espagne or Entrée en Espagne is a 14th-century (c.1320) Franco-Venetian chanson de geste. The author is thought to be from Padua. The work has survived in only one manuscript, today in the Biblioteca Marciana in Venice. Based on material from the Pseudo-Turpin Chronicle and several other sources, the epic poem tells of Charlemagne's battles in Spain and the adventures of the paladin Roland.
1 2 3 One or more of the preceding sentencesincorporates text from a publication now in the public domain:Holland, Arthur William (1911). "Palatine". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol.20 (11thed.). Cambridge University Press. pp.595–596.
↑ Frank, Grace, "La Passion du Palatinus: mystère du XIVe siècle," in Les Classiques français du moyen âge (30) Paris 1922.
↑ The Picture Lion paperback edition (William Collins, London, 1973) is a paperback imprint of the Hutchinson Junior Books edition (1969), which credits the English translation to Hutchinson Junior Books.
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