Durendal

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Roland cleaving a rock with Durendal and blowing the olifant before death. -Replica (c. 1942) of the 13th century stained glass window at Chartres Cathedral Copie du Medaillon de La mort de Roland a Roncevaux.jpg
Roland cleaving a rock with Durendal and blowing the olifant before death.
–Replica (c. 1942) of the 13th century stained glass window at Chartres Cathedral

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 (The Song of Roland) state that it first belonged to the young Charlemagne.

Contents

According to one legend, at the end of the Battle of Roncevaux Roland hurled the sword from him to prevent it being seized by the Saracens, and it came to rest in Rocamadour. A replica sword that was embedded in a rock face there was reported stolen in June 2024.

Etymology

The name Durendal arguably begins with the French dur- stem, meaning "hard", though "enduring" may be the intended meaning. [2] Rita Lejeune argues that the name may break down into durant + dail, [3] which may be rendered in English as "strong scythe" [4] or explained in more detail to mean "a scimitar or scythe that holds up, resists, endures". [5] Gerhard Rohlfs suggests dur + end'art, "strong flame" or "[a flame] burns strongly from it". [4] [6]

The Pseudo-Turpin explains that the name "'Durendal' is interpreted to mean [that] it gives a hard strike" (Durenda interpretatur durum ictum cum ea dans ). It has been argued that the Pseudo-Turpin offering a gloss of the meaning constitutes evidence that it was a name that was not readily understood in French. [a] [7]

One non-French etymology is Edwin B. Place's attempt to construe it in Breton as diren dall, meaning "blade [that] dulls cutting edge" or "blade [that] blinds". [7] Another is James A. Bellamy's Arabic etymology, explaining a possible origin of the sword's name in ḏū l-jandal (ذو الجندل), meaning "master of stone". [8] [4] [b]

Properties

According to legend, the sword was capable of cutting through giant boulders with a single strike, and was indestructible. [9]

Chanson de Roland

Roland holds Durendal while blowing olifant at Battle of Roncevaux -painting by Wolf von Bibra (1862-1922). BattleofRoncevauxWvBibra.jpg
Roland holds Durendal while blowing olifant at Battle of Roncevaux
–painting by Wolf von Bibra (1862–1922).

In La Chanson de Roland (The Song of Roland), the sword is said to contain within its golden hilt a tooth of Saint Peter, blood of Basil of Caesarea, hair of Saint Denis, and a piece of the raiment of Mary, mother of Jesus. [11] [12] [13]

According to legend as recounted in the poem, at the Battle of Roncevaux Pass Roland took the rearguard to hold off Saracen troops long enough for Charlemagne's army to retreat into France. [14] He slew a vast number of enemies: wielding Durendal, he sliced the right arm of the Saracen king Marsile, [c] decapitated the king's son Jursaleu or Jurfaleu and put the one-hundred-thousand-strong army to flight. [17] [18] [19] His mission accomplished, Roland senses he is near death, [21] and comes to a spot with "four blocks of marble", [24] when a Saracen tries to steal his sword, Roland smashes his head and helm with his olifant. [26] So that the weapon does not fall into enemy hands, he attempts to destroy Durendal by hitting it against a sardonyx  [ fr ] block, [29] [31] [d] , yet the sword is indestructible, chipping away more flakes of the "dark stone". [12]

Roland recounts that when Charles was at the "Vale of Moriane", an angel bid the king to give the sword to a capable "count and captain", and the king girt the sword onto Roland [32] (cf. § Origins and previous ownership).

Finally, mortally wounded, he hid it beneath his body as he lay dying along with the olifant, the horn he had used to alert Charlemagne. [33] [34]

Mainet

According to the fragmentary work Mainet  [ fr ] which describes the youthful exploits of Charlemagne when he fled to Saracen-controlled parts of Spain, [35] Charles (as Mainet, the pseudonym he adopted [36] [e] after defecting) served in the court of Galafre wooing his daughter Galienne. Charles on Galafre's behalf fights the enemy Braimant [37] [35] and wins the sword Durendal. [38] [39]

This work identifies the forger of Durendal as a smith named Haurifas, brother of Galant (Wayland the Smith). [40] [f] [g]

A more complete version is preserved in Girart d'Amiens  [ fr ]'s compilation Charlemagne (c. 1300), as well as the Low Rhenish (<(Low) Frankish [44] <Low German [45] ) Karlmeinet. This work is sometimes classed as Dutch. [46] [48] [h]

There is also the Italian (or Franco-Italian [49] ) Karleto, [46] and the Spanish Crónica general  [ es ]. [46]

The Low-German version Karlmeinet/Karl Mainet [i] [j] in accordance with the French version, describes how a belligerent King of Africa named Bremunt invaded Gallafers's Spanish Kingdom lusting after princess Galie. [54] [55] She, however, falls in love with young Charlemagne being harbored by Gallafers. [56] While the Mainet fragment mentioned Mainet having received the gift of a white horse Afilé that belonged to Galafre, [57] [k] Karlmeinet describes the hero being knighted with the gift of the sword Galosevele and the horse Affeleir as white as a swan. [62] [63] [64] Young Charles's combat with Bremunt took place near Toledo at the Vael Moriale, i.e. the vale of Moriane mentioned in La chanson de Roland. [66] [45] The exploits are told of the aggressor king Bremunt with his magnificent sword that was nameless until he named it Durendart. [68] [69] [63] [70] As expected Charles defeats Bremunt who begs promise to bury him and flings over the sword, and grabbing it Charlemagne now becomes the winner of Durendart/Durendarde. [72] [73] [74] [75]

Spanish tradition

The Spanish epic Cantar de Roncesvalles  [ es ] (dated to 13th century by Ramón Menéndez Pidal; somewhat later by others) only survived in a hundred line fragment, and tells of the aftermath of the battle at Roncesvalles, where Charlemagne (Carlos) searching for bodies finds Bishop Turpin (Turpín) and Oliver (Olivieros) before reaching his nephew Roland's body (Roldán). Aymon (Aimón) also discovers the remains of his son Renaud de Montauban (Reinalte de Montalbán). There is loose resemblance to the Chanson de Roland, but the song appears to inherit a different Spanish tradition as represented in the Nota Emilianense  [ es ]. [76] [77] Pidal categorized the work as a cantar de gesta (chanson de geste). [78] [77] Charlemagne further suffers the loss of the sword Durandarte (v. 57), which the king had won while serving Galfre in Toledo (v.56) by defeating Braymante (v. 58), [79] [80] all according to the tradition already described under § Mainet above.

After the minstrels took license with the material, the sword Durendarte was transformed into a famous knight, fallen at Roncesvalles, entrusting his cousin to carve out as token to his sweetheart, [81] i.e., the romance  [ es ] of Durendarte and lady Belerma. [82]

Origins and previous ownership

The sword has been given various provenances. Several of the works of the Matter of France agree that it was forged by Wayland the Smith, who is commonly cited as a maker of weapons in chivalric romances. [83]

According to La Chanson de Roland, an angel brought Durendal to Charlemagne in the vale of Moriane, and Charlemagne then gave it to Roland. [84] [l]

Durendal was once captured, but not kept, by the young Charlemagne when he fled to Spain [35] according to the 12th-century fragmentary chanson de geste Mainet (as already discussed under § Mainet); that Charlemagne aka Mainet won the sword (Durendaus) by slaying Braimant. [38] [86]

While Mainet names Durendal's swordmaker Haurifas as aforementioned, [39] Fierabras claims Durendal was made by his (Aurisas/Hanisars's) brother Munificans, [87] [43] [88] while Doon de Mayence asserts Durendal was made by Galan (Wayland) himself. [89] The beginning of Chanson d'Apremont mentions the "sharp Durendal" [90] ascribed to the workmanship of Galant in a variant manuscript (olim Cheltenham ms., [91] now Cod. Bodmer 11 [92] [m] ).

According to another 12th-century chanson de geste, the Song of Aspremont , the owner of Durendal just before Roland obtained it was a Saracen named Aumon, son of king Agolant, [n] . Young Roland mounted Naimes's horse Morel without permission, [95] and armed only with a rod, defeated Aumon, taking as spoils both the sword and the horse Veillantif. [96]

These materials were combined in the Italian prose Aspramonte by Andrea da Barberino in the late 14th to early 15th century. That work stated that after young Carlo (Charlemagne) came into possession of Durindarda (Durendal) by killing Bramante in Spain, Galafro gave it to Galiziella, [o] [97] who then gave it to Almonte the son of Agolante (i.e., French : Aumon). [p] [98] [99] Galiziella is glossed as the bastard daughter of Agolante, [100] making her Almonte's half-sister. Durindana is eventually won by Orlandino (young Orlando). [101]

Andrea da Barberino was a major source for later Italian writers. Boiardo's Orlando innamorato traces the sword's origin to Hector of Troy; it belonged for a while to the Amazonian queen Pantasilea, and was passed down to Almonte before Orlando gained possession of it. [102] Ludovico Ariosto's Orlando Furioso follows Boiardo, saying it once belonged to Hector of Troy, but that it was given to Roland by Malagigi (Maugris).

Local lore

Rocam durandal 082005.jpg
"Durendal" in cliff face at Rocamadour
Epee-roland-Bull-Soc-Correze14(1892)-p140.png
Sword [103]

Tradition has it that Roland's Breach in the Pyrenees was created when Roland, attempting to break Durendal, instead cut a huge gash in the mountainside with one blow. [104] [105] A similar legend is used to explain a notch in the peak of Puig Campana in the Province of Alicante, Spain.

In Rocamadour, in the Lot department, a local legend holds that instead of dying with Durendal hidden under his body, Roland called on the Archangel Michael for assistance and was able to throw the sword several hundred kilometres across the border into France, where it came to rest in Rocamadour. [105] There it was deposited in the chapel of Mary, but was stolen by Henry the Young King in 1183. [103] Successive replicas have been stolen; most recently a sword fashioned from sheet metal was embedded in a cleft in a cliff wall, secured with a chain. [106] That sword was reported stolen in June 2024. [105] [107] [108]

Games

A sword named Durendal appears in a number of fantasy video games. In Final Fantasy Legend III (1991) it's one of four mystic swords (its name shortened to 'Durend' due to character limitations). In the Super Sentai series Kyōryū Sentai Zyuranger (1992). the monster Dora Knight wields a magic sword called Durandal. [109]

Durandal is the name of an artificial intelligence in the Marathon Trilogy (1994−1996) developed by Bungie. [q]

In the Fire Emblem videogame series, Durandal is the name of the legendary claymore sword wielded by one of the characters. Durandal is the name of a character in Honkai Impact 3rd (2016); her namesake is the super-AI Holy Blade Durandal, which takes the form of a sword. In Library of Ruina (2020), Durandal is the signature weapon of Roland, one of the main protagonists. A sword named Durandal is in Chained Echoes (2022), as well as a lesser known game, Days Bygone.

In Terraria , Durendal is a weapon that the player is able to craft, but it's a whip rather than a sword. Durendal is the name of a spaceship in Xenosaga and of an organization in Front Mission 4 . The name also appears in Fate/Grand Order (2015).

Literature

A sword named Durendal also appears in literature. In the xianxia-inspired series of novels The Godking's Legacy by author Virlyce, Durandal is the name of one of the main characters, a sentient sword that previously belonged to the legendary warrior-mage Roland. In The Dresden Files book series, Durendal is one of three powerful swords and is linked to the emotion of hope. In the light novel and anime series High School DxD , the historical Durandal that was first used by Roland is currently wielded by Xenovia one of the heroines.

Eponymy

Durandal was a G1  [ ja; fr ]-winning thoroughbred racehorse in Japan.

Gilbert Durandal is the name of a character in the anime series Mobile Suit Gundam SEED, Macross Frontier , and Space Battleship Tiramisu , and in the live-action tokusatsu series Kamen Rider Saber (2020) and the spinoff Kamen Rider Sabela & Durendal (2022).

Explanatory notes

  1. ↑ Unlike "Halteclere" or "Joyeuse", which are easily comprehensible as French words.
  2. ↑ Encouraged by the fact that there are many Arabic sword names with this prefix, e.g. Ḏū l-Faqār.
  3. ↑ Riding on a horse named Gaignun/Gaignon, mentioned here. The name means "watch dog" or a type of mastiff. [15]
  4. ↑ In modern French tr., sardoine which is "sardonyx", but editors footnote this as "sard or brown agate" indicating there is a range of types of chalcedony this word could be referring to. [30] Moncrieff renders as "sardonyx terrace".
  5. ↑ Mainet is the diminutive of "Magne". [35]
  6. ↑ Only "Hauri.." is legible due to damage in manuscript, but reconstructed as "Haurifas" by editor Gaston Paris based on the assertion that the name derived from Latin aurifex for "goldsmith", despite knowing that "Haurisas"[ sic ] (cf. following note re misspelling) was the spelling given for this sibling smith of Galant in Fierabras . [41]
  7. ↑ Though misspelt as Haurisas, by Paris, the name actually reads "Aurisas" in ms. b and "Hanisars" in base ms. a in the Fierabras text. [42] Depping uses the Hanisars spelling. [43]
  8. ↑ What Voretzsch called a Middle Dutch work, Karel ende Elegast is irrelevant here, as well as not belongings to other works that adapted Mainet,as it is rather an adaptation of its sequel, Basin: it tells of the robber-knight Elegast (Basin in the French version) who helps Charlemagne. [44]
  9. ↑ To be more precise, the first part of Karlmeinet dubbed Karl und Galie [50] (in Rhenish verse [51] ). Below, some of the pertinent texts are cited using either Dagmar Helm ed. (1976) Karl und Galie or his later modern translation Helm tr. (1999) to clarify they belong to this Part 1 of Karlmeinet.
  10. ↑ The fourth part is Karl und Elegast, which is considered a loose translation from the Middle Dutch Karel ende Elegast aforementioned. [52]
  11. ↑ Horse received via the Saracen friend Morant le Turfier [58] (Morans de Turfie, v. 3, Morant de Surie, IId, 43)
  12. ↑ The scene of the angel giving the sword to Karl (Charlemagne) is depicted in a manuscript of Der Stricker's Karl der Große. [85]
  13. ↑ The former Cheltenham Library ms., now in the Bodmer Library in Cologny near Geneva. [93]
  14. ↑ This is actually alluded to also in Mainet IV, 39–40 "Et puis la reconqujist Rollandins au cuer franc/Quant il occist Yaumont fil le roi Agoulant". [94] [86]
  15. ↑ Come lo re Galafro.. donò Durindarda a Galiziella "; "..e fu poi di Mainetto, cioè di Carlo; e con spada uccise Carlo lo re Bramante, e chiamavasi Durindarda.. Per questa spada Galiziella col cuore feminile ebbe piatà del re Galafro..", Boni ed. & Barberino (1951), pp. 12–13, Mattaini ed. & Barberino (1957), p. 422.
  16. ↑ "Come Galiziella donò Durindarda a Almonte", Boni ed. & Barberino (1951), p. 13.
  17. ↑ Appearing first in Marathon , Durandal was initially introduced as an antagonist, his self-awareness causing him to collude with the enemy Pfhor when the player attempts to disable his access to important systems pertaining to the UESC Marathon. Beginning in Marathon 2: Durandal , the eponymous artificial intelligence becomes an ally with the player and the S'pht, a slave race of the Pfhor that was freed in the previous game, as he believes the S'pht homeworld of Lh'owon can give him insight into escaping the ultimate death of the universe and become a god like the Jjaro, a race of advanced extraterrestrials that have since disappeared. In the final installment, Marathon Infinity , as a consequence of the reality hopping abilities of both the technology of the Jjaro and the W'rkncacnter, an eldritch being once imprisoned within the sun of the S'pht System that was freed when the Pfhor destroyed the sun, Durandal can serve as either an ally or an enemy to the player.

References

Citations

  1. ↑ "La mort de Roland". Bulletin du Société des sciences, lettres & arts de Bayonne. MCMXXVII (1, 2). fontispiece. 1847.
  2. ↑ Sayers tr. (1957) , p. 38
  3. ↑ Lejeune (1950), p. 158.
  4. 1 2 3 Warren, Michelle R. (1993). Excalibur, an Arthurian Artifact. Stanford University. p. 254, note 43. ISBN   9780816634910.
  5. ↑ Bellamy (1987), p. 272, note 14, citing Lejeune (1950) , p. 158.
  6. ↑ Rohlfs, Gerhard (1936). "Was bedeutet der Schwertname Durendal?". Archiv für das Studium der neueren Sprachen. CLXIX: 57–64.
  7. 1 2 Place, Edwin B. (1949), "Once more Durendal", Modern Language Notes, 64 (3): 161–, doi:10.2307/2909019, JSTOR   2909019
  8. ↑ Bellamy (1987), p. 273.
  9. ↑ Cox (1871), pp.  339–340.
  10. ↑ Stengel (1900), p. 248–249, laisse 175
  11. ↑ "E Durendal, cum ies bone et saintisme!/ En l'oriet punt asez i ad reliques: La dent saint Perre e del sanc saint Basilie / Et des chevels mun seignor saint Denise,/ Del vestement i ad sainte Marïe.)", vv. 2344-48 [10]
  12. 1 2 Moncrieff (1920) , pp. 76–77, laisse CLXXIII
  13. ↑ Ross, D. J. A. (1980). "Old French". In Auty, Robert (ed.). Traditions of Heroic and Epic Poetry. Vol. 1. London: Modern Humanities Research Association. p. 126. ISBN   0-900547-72-3.
  14. ↑ Chalmers, Rebecca (2013). "Chanson de Roland, la". Encyclopedia of Medieval Literature. Routledge. pp. 87–88. ISBN   9781136594250.
  15. ↑ Jenkins (1929), p. 142.
  16. ↑ Stengel (1900), p. 204–205, laisse 144
  17. ↑ "Marsilie.. /Siet el cheval qu'il apelet Gaign..Puis prent la teste de Jurfaleu le blund.. filz al rei Marsiliun", etc., vv. 1889-1909 [16]
  18. ↑ Moncrieff (1920) , pp. 62–63, laisse CXLIV
  19. ↑ Geddes tr. (1920) , pp. lix, 78–79 (laisse CXLIV)
  20. 1 2 Moncrieff (1920), p. 74, laisse CLXVIII
  21. ↑ v. 2259 [20]
  22. ↑ Stengel (1900), pp. 241, laisse 170
  23. ↑ Burgess tr. (2015), laisse 168
  24. ↑ "quatre perruns i ad de marbre faiz)", v. 2268 [22] "four great marble blocks"; [23] "four terraces, of marble wrought" [20]
  25. ↑ Moncrieff (1920), p. 74, laisse CLXIX
  26. ↑ vv. 2274–84 [25]
  27. 1 2 Stengel (1900), p. 246, laisse 174;
  28. ↑ Moncrieff (1920), pp. 75–76, laisse CLXXII
  29. ↑ "Rollanz ferit el perrun de sartanie)" vv. 2312ff [27] [28]
  30. 1 2 Rivers, Kenneth T.; Bishop, Morris Gilbert, eds. (2005). "Chanson de Roland". Survey of French Literature, Volume 1: The Middle Ages and the Sixteenth Century. Translated by Chamard, Henri [in French]. Hackett Publishing. p. 20. ISBN   9781585104291.
  31. ↑ Chamard, Henri, tr., Chanson de Roland, Laisse 172, in modern French, excerpted in with notes in English by Rivers&Bishop2005. [30]
  32. ↑ "vals de Morïane", etc. vv. 2318–21 [27]
  33. ↑ Moncrieff (1920) , p. 77, laisse CLXXIV
  34. ↑ Cox, George William (1871). Popular Romances of the Middle Ages. London: Longmans, Green, and Co. p.  340. Archived from the original on 6 July 2009. ([https://books.google.com/books?id=MzIOAAAAIAAJ 1886 ed.\)
  35. 1 2 3 4 Keller, Hans-Erich (1995). "King Cycle". In Kibler, William W.; Zinn, Grover A.; Earp, Lawrence (eds.). Medieval France: An Encyclopedia. New York: Garland. pp. 964–65. ISBN   9780824044442.
  36. ↑ Paris ed. (1875), p. 310, n4.
  37. 1 2 3 Voretzsch, Karl [in German] (1976) [1931]. Introduction to the Study of Old French Literature. Genéve: Slatkine. p. 187.
  38. 1 2 Mainet IVa, vv. 24–41, Paris ed. (1875) , p. 328–329
  39. 1 2 Barber (2020), p. 10.
  40. ↑ Mainet IVa, vv. 28–29, Paris ed. (1875) , p. 328 and n2.
  41. ↑ Paris ed. (1875), p. 328, n2.
  42. ↑ Kroeber & Servois edd. (1860), p. 20, vv. 648–9 gives ms. b reading, and endnote p. 192 gives the ms. a reading.
  43. 1 2 Depping, Georges-Bernard (1847). Wayland Smith: A Dissertation on a Tradition of the Middle Ages. Translated by Elizabeth Kinnear. William Pickering. p. liii.
  44. 1 2 Farrier (2024) "E. Karel ende Elegast", §Karel ende Elegast to *Chanson de Basin
  45. 1 2 Settegast, Franz (1904). Quellenstudien zur galloromanischen epik. O. Harrassowitz. p. 27.
  46. 1 2 3 Voretzsch (1925)[1905] [47] and English tr. (1931) [37]
  47. 1 2 Voretzsch, Karl [in German] (1925) [1905]. Einführung in das Studium der altfranzösischen Literatur (3 ed.). Halle (Saale): Niemeyer. p. 230.
  48. ↑ Voretzsch's translator characterizes Karlmeinet as Dutch, [37] but Voretzsch's original work clearly separates Karlmeinet as niederrheinische and Karel ende Elegast as niederländische. [47] It appears that medieval Low Rhenish or Low Franconian defies categorization of either Middle High or Middle Low German, hence often treated as Middle Dutch
  49. ↑ Morgan (2009), pp. 113, 143.
  50. ↑ Classen (2021), p. 73.
  51. ↑ Rooth, Erik [in German] (1976). Zur Sprache des Karlmeinet. Heidelberg: Carl Winter Universitätsverlag. p. 56. ISBN   9783533025108.
  52. ↑ Classen (2021), p. 75.
  53. ↑ Keller ed. (1858), pp. 37–38.
  54. ↑ Karl Meinet, A26, 25ff. [53]
  55. ↑ Classen (2021), p. 80.
  56. ↑ Classen (2021), p. 81.
  57. ↑ Mainet IVa, vv. 19–20, Paris ed. (1875), p. 328 and commentary, p. 310
  58. ↑ Paris ed. (1875), p. 310.
  59. ↑ Keller ed. (1858), pp. 78–79.
  60. ↑ Helm ed. (1976), p. 162, Galosevele, v. 3332; Affeleir, v. 3343
  61. ↑ Keller ed. (1858), p. 80.
  62. ↑ Karl Meinet, A54, 12–37 (Galosevele, l. 20, Affeleir, l. 31); [59] [60] var. Golosebele, A55, 29 [61]
  63. 1 2 3 Classen (2021), p. 83.
  64. ↑ Cf. commentary, Keller ed. (1858) , p. 837
  65. ↑ Keller ed. (1858), p. 114.
  66. ↑ Karl Meinet, A78, 57. [65]
  67. ↑ Keller ed. (1858), p. 118.
  68. ↑ Karl Meinet, A81, 57, 19–25ff (Durendart, l. 29, var. Durendarde, l. 41; Durendar, 82, 50). [67]
  69. ↑ Helm tr. (1999), pp. 63–64.
  70. ↑ Aforementioned Morant and Euert/Everhart fall victim to Durendart, to Charlemagne's grief. (A86, 51–87). [63]
  71. ↑ Keller ed. (1858), p. 134.
  72. ↑ Karl Meinet, A96, 7–29 (Durendarde, l. 12). [71]
  73. ↑ Classen (2021), p. 88.
  74. ↑ Helm tr. (1999), p. 70.
  75. ↑ Settegast (1904), p. 82.
  76. ↑ Webber, Ruth H. (2013). "Roncesvalles, Cantar de". In Gerli, E. Michael (ed.). Medieval Iberia: An Encyclopedia. New York: Routledge. p. 720. ISBN   9781136771613.
  77. 1 2 A. M. E. (November 1917). "(Review) Fragmento de Roncesvalles. Un nuevo cantar de gesta español del siglo XIII.... Don Ramón Menéndez Pidal". Hispania. 1. American Association of Teachers of Spanish and Portuguese: 37–39. JSTOR   331158.
  78. ↑ Menéndez Pidal ed. (1917), p. 105.
  79. ↑ Burt, John R. (Spring 1989). "A Note on the Honor Theme in the Cantar de Roncesvalles". Romance Notes. 29 (3): 201. JSTOR   43802031.
  80. ↑ Menéndez Pidal ed. (1917), p. 110.
  81. ↑ Menéndez-Pidal, Gonzalo (1910). Romancero español. New York: Hispanic Society of America. p. 24.
  82. ↑ Arellano, Ignacio [in Spanish] (2002). Comedias burlescas del siglo de oro. Vol. III. Iberoamericana Vervuert. p. 77.
  83. ↑ Dana, Charles E. (1907). "Swords and Swordsmanship". Proceedings of the Numismatic and Antiquarian Society of Philadelphia. 23. Philadelphia: Numismatic and Antiquarian Society of Philadelphia: 65.
  84. ↑ Moncrieff (1920) , pp. 75–76, laisse CLXXII
  85. ↑ Brault (1978), p. 443, note 16
  86. 1 2 Morgan (2009), p. 144.
  87. ↑ Kroeber & Servois edd. (1860) , pp. 20–21, vv. 638–659
  88. ↑ Barber (2020), pp. 12–13.
  89. ↑ Barber (2020), pp. 11–12.
  90. ↑ Aspremont v. 15, Newth tr. (1989), p. 3; Brandin ed. (1919), p. 1: "Durendal le trencant".
  91. ↑ Meyer, Paul, ed. (1890). "Fragment d'Aspremont conservé aux archives du Puy-de-Dôme, suivi d'observations sur quelques manuscrits du même poème". Romania. 19: 216. (google) (in French)
  92. ↑ Image[s] of Cod. Bodmer 11＠e-codices
  93. ↑ Aspremont @ Arlima
  94. ↑ Paris ed. (1875), p. 328.
  95. ↑ vv. 5749–5755, Brandin ed. (1919–1921) , 1: 184, Newth tr. (1989) , pp. 138–139
  96. ↑ vv. 6075–80, Brandin ed. (1919–1921) , 1: 194, Newth tr. (1989) , pp. 146–147
  97. ↑ Barberino, L'Aspramonte I, x, 6–10; cfr. III, LX, 4.
  98. ↑ da Barberino, L'Aspramonte I, xi, 4
  99. ↑ Boni ed. & Barberino (1951) , p. 347 (Notes to Durindarda)
  100. ↑ Boni ed. & Barberino (1951) , p. 350–351 (Notes to Galiziella)
  101. ↑ da Barberino, L'Aspramonte III, xxxviii, 7
  102. ↑ Ross (2004) , pp. 508–509: Bk III, Canto I.
  103. 1 2 de Veyrières, Louis (1892). "L'épée de Roland à Roc-Amadour". Bulletin de la Société scientifique, historique et archéologique de la Corrèze. 14: 139–43.(in French).
  104. ↑ Walsh, William Shepard (1915). Heroes and Heroines of Fiction. Philadelphia: J. B. Lippincott. p. 264.
  105. 1 2 3 "Lot: l'épée Durandal volée à Rocamadour était une copie sans valeur, si ce n'est symbolique". Actu Lot. 2 July 2024. Retrieved 7 July 2024.(in French)
  106. ↑ Caro, Ina (1996). The Road From the Past: Traveling Through History in France . San Diego: Harcourt Brace & Co. pp.  106–07. ISBN   0-15-600363-5.
  107. ↑ Aldebert, Mayeul (2 July 2024). "Rocamadour: Durandal, la légendaire épée de Roland, a été volée". Le Figaro. Retrieved 3 July 2024.(in French).
  108. ↑ Bertoni, Laetitia (3 July 2024) [1 July 2024]. "Disparition d'une légende à Rocamadour: Durandal, l'épée du chevalier Roland, a été volée, une enquête est en cours". La Dépêche.(in French).
  109. ↑ "Zyuranger Monsters List Two". SuperSentai.com.

General bibliography

Primary sources

(Chanson de Roland)
(Other French)
(Italian)
(German)

CITEREFKeller_ed.1858

(Spanish)

Secondary sources

  • Bellamy, James A. (1987), "Arabic names in the Chanson de Roland: Saracen Gods, Frankish swords, Roland horse, and the Olifant", Journal of the American Oriental Society, 107 (2): 267–277, doi:10.2307/602835, JSTOR   602835
  • Lejeune, Rita (1950), "Les noms d'épées dans la Chanson de Roland", Mélanges de linguistique et de littérature Romances, offerts à Mario Roques, Paris, pp. 149–66
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