Heroes in Literature, Part 2: Ogier the Dane

Background
Ogier the Dane (French: Ogier le Danois or Ogier de Danemarche; Danish: Holger Danske) was a widely known and exceptionally popular hero both during the medieval period and later. He was known for being one of Charlemagne's finest knights. The legendary character first appeared in The Song of Roland (c.1100), and is the central hero in La Chevalerie d'Ogier de Danemarche (c.1200). La Chevalerie is a chanson de geste (Old French epic) that details the tale of Ogier the Dane. The form that has survived to the present day was likely composed around 1200 by the poet Raimbert de Paris.


La Chevalerie d'Ogier de Danemarche

According to the poem, Ogier was the son of the Duke of Denmark and a hostage at Charlemagne's court in his youth. His father had neglected his duties to Charlemagne, and as a result Ogier was imprisoned in the fortress of Saint-Omer. Here Ogier met and fell in love with the mother of his son, Baudouinet. Ogier was later knighted for his heroic deeds in a battle against the Saracens to defend Rome. There are several accounts of Ogier's heroism after this, including the tales of how he won his sword (Courtain) and steed (Broiefort).


The story then jumps forward to tell of events concerning his now grown up son Baudouinet. In a pivotal part of the poem, Ogier's son plays chess with Charlemagne's son (Charlot) and wins. Charlot was obviously a pretty sore loser; he became so angry that he struck at Charlot with the chessboard and killed him. Ogier then tried to kill Charlot in an attempt to avenge his son, which resulted in Charlemagne banishing him. 


After a series of other dramatic events (including Ogier's second attempt on Charlot's life) it happened that the Franks had to go to war against a pagan enemy which only Ogier could defeat. When Charlemagne requested his help, Ogier agreed but only on the condition that he was granted permission to murder Charlot beforehand; Charlemagne had to accept in order to save his kingdom. However, when this moment arose God sent a divine message via St. Michael. Ogier was told he must be content with simply giving Charlot a box on the ears! Because of this Ogier was able to turn his unused strength and might on the enemy. During the battle he reportedly killed a giant in single combat, and rescued the daughter of the King of England. The story ends with Ogier's marriage to her.

12C tomb of Ogier and his comrade at the hero's apparent resting place in Meaux, also featuring figures from Carolingian epic (including favourites Bishop Turpin, Roland and Olivier)

Beyond the Epic

Wall painting of Ogier in a church in Denmark

Due to Ogier's popularity, the Chevalerie version of the story was extended with other adventures, such as Roman d'Ogier en alexandrins, c.1335. Another version of the tale of his youth (Les enfances Ogier) was recorded c.1275 by Adenet le Roi and presented to the Queen of France. The story was also published in late fifteenth century Paris, and reissued many times throughout the sixteenth century. However, Ogier's popularity was not restricted to France. He was well known all over Europe, in particular Northern Europe. His story was included in the thirteenth century Old Norse collection of Carolingian narratives, known as the Karlamagnús saga. It is likely that the translation of this was the cause of Ogier's growth in popularity in Sweden and Denmark. He was even featured in two church murals which can be dated to around this time.  A Danish version of his tale was printed in 1534, titled Kong Olger Danskes Krønike. 

Statue at Kronborg Castle, Denmark

By the nineteenth century the hero had become a national symbol of the Danish people. A new version of his story was recounted in the famous fairytale Holger Danske by Hans Christian Anderson (1845). A large statue of Ogier now sits at Kronborg Castle in Denmark.This is to fit with the Danish legend that in a time of great need when the kingdom is threatened by a foreign enemy, Ogier will rise from his sleep and save his country.

• Willem P. Gerritsen and Anthony G. van Melle (eds.), A Dictionary of Medieval Heroes (The Boydell Press: Woodbridge, 2002), see pp. 186-8 for the section on Ogier the Dane.
• Kronborg Castle website

Heroes in Literature, Part One: William of Orange

William of Orange (or Guillaume d'Orange in Old French) is the central hero in a number of chansons de geste, including: Chanson de Guillaume, Enfances Guillaume, Couronnement de Louis, and Aliscans, amongst others. These poems along with others about William's family make up the 'cycle' of chansons known as the Cycle of William of Orange (the other two cycles are known as: The Cycle of the King, and The Cycle of Barons in Revolt).


Perhaps the most well known epic that has William as the hero is the Chanson de Guillaume (The Song of William). It is one of the oldest chansons and was the founding poem of the entire William of Orange cycle. It is likely that it was the popularity of the central hero William that inspired further song-tales of him and his family.

Figure 1. Abbey of Saint-Guilhem-le-Désert

 The fictional character William of Orange has been identified with the historical Count William of Toulouse, a cousin of Charlemagne who was known for his defence of Christian land against Spanish pagans. After the death of his wife William befriended a monk, and later became one himself in Aniane. He founded an abbey in Gellone, which eventually became known as Saint-Guilhem-le-Désert after him. William of Toulouse died on 28 May 812, and was canonised in 1066.

Figure 2. William of Orange?

This image is within the Abbey of Saint-Guilhem-le-Désert (currently housed at The Metrapolitan Museum in new York). It was once believed to depict Daniel in the lions' den, however it has been suggested that it could instead be William of Orange with the lion from his coat of arms (described in various works, including Couronnement de Louis).


I'll end this post with a small extract from the Chanson de Guillaume, which in my opinion is one of the finest of the Old French epics. This extract has Count William bravely arriving to the battlefield with back-up; persevering with the fight against the odds (a key theme throughout the poem): 

     The Count set off with Sir Girart and leading

     Knights fully armed and thirty thousand liegemen

     To Archamp field and Desramed the Heathen;

     They journeyed through the cold night air, unspeaking

     Till break of dawn and light of day appearing;

     When they arrived at Archamp on the seaboard,

     The Moor had won; the French were fled or beaten;

     (. . .)

     A league or more they'd ridden from the beaches,

     When William the Count rode up to meet them

     With well-armed knights and thirty thousand liegemen,

     One half of whom were very keen to greet them

     With blows of iron to show their strength of feeling!

     They cried: "Mountjoy!" and moved to strike them fiercely;

     Those Pagan lords were helpless to receive them:

     They had no arms to counter blows or deal them;

     They turned in flight towards the shore, retreating

     Inside their ships and sundry other sea-craft;

     They seized their arms and roused themselves to wield them.

Sources Used

• Figure 2 is from William P. Gerritsen and Anthony G. van Melle (eds.), trans. by Tanis Guest, A Dictionary of Medieval Heroes: Characters in medieval Narrative Traditions and Their Afterlife in Literature, Theatre and the Visual Arts (The Boydell Press: Woodbridge, 2008), p. 134; see also pp. 132-6.

• The extract of Chanson de Guillaume is from Michael Newth (trans.), Heroes of the French Epic:Translations from the Chansons de Geste (The Boydell Press: Woodbridge, 2005), p. 77; see also pp. 31-142.

• ‘The Coronation of Louis’, in Joan M. Ferrante (trans.), Guillaume d’Orange: Four Twelfth-Century Epics (Columbia University Press: Chichester, 2001), pp. 63-139.

• ‘The Song of William’, trans. by Muir, Lynette, in Glanville Price (ed.), William, Count of Orange: Four Old French Epics (J.M.Dent & Sons Ltd.: 1975), pp. 131-203.

Raoul of Cambrai

The old French epic known as Raoul of Cambrai, belongs to a genre of poems known as the chansons de geste (meaning 'songs of deeds' or 'songs of war'). Of the numerous chansons that survive today the majority of their manuscripts date from around the twelfth century. However it is highly likely that the poems themselves are much older and were preserved through oral history.

Entertainers called jongleurs would have sung or chanted the poems to a number of people. As they were written in the vernacular, this suggests that they would have been performed or read for the entertainment of a lay audience. Jongleurs also performed other forms of poetry, juggled, mimed, played instruments, and even did acrobatic tricks! They were often thought to be untrustworthy, and belonged to the lowest level of medieval society. As they relied upon the generosity of their audience for their pay, this would show that what they performed would have been the popular form of entertainment at that time. The chansons de geste in particular were highly popular.

Traditionally these epic poems have been arranged by their content into three main cycles. These are: the Cycle of the King, the Cycle of William of Orange, and the Cycle of Barons in Revolt (or revolting barons!). Raoul of Cambrai is a superb example from the last of these cycles.

The poem (along with many other chansons) is set during the reign of Louis IV of France, the son of Charlemagne. It weaves a tale of feudal ties and vengeance, which culminates in Raoul being killed by his vassal Bernier at the end of the first section. It would seem that the poem is most likely fictional, however it is possible that there are some historical links to it.


Despite the fact that Raoul of Cambrai is an epic poem and therefore some aspects would have been exaggerated, it is still a superb source for gaining an insight into the late twelfth century (the period in which the surviving version was written). One area in which it would be of use is to the study of knighthood. For example:

'On the next day the praiseworthy Count Raoul knighted Bernier and invested him with the best arms on which he could lay his hands. He put a strong well burnished hauberk on his back and laced a golden helmet on his head. Then he girded the sword with which he was knighted to his side and Bernier straight away mounted his good warhorse.

As soon as Bernier was mounted on his horse every one could see what a good knight he had become. He seized his gold banded shield and held the sharp lance with its pennon fastened by five golden nails in his hand. Then he charged forward on his horse and returned to his place again. There were many knights in the square and they said one to another: "How well he looks in his arms. Even if he is the son of an unwed mother, he must still be of rich and noble birth".' 1

This passage from Raoul of Cambrai tells us a great deal about the ceremony of knighting, and also ideals of being a good knight. For example, that care was taken to describe Bernier's extravagant equipment shows that this was a very important ceremony - and an occasion to be proud of. Due to the expense of this equipment it is also indicative of the growing association between knighthood and the nobility in this period, despite the fact that Bernier was a bastard. Weapons, armour and warhorses did not come cheap, and especially not the lavish examples described above!

This is just one example of the use of this fantastic source. The tale it tells can also help historians gain an insight into many other themes, such as: contemporary ideas about noble society, ideals of the family, the relationship between lords and vassals - the list could go on! And not only is this useful, but it also makes an excellent read! 

1 'Raoul de Cambrai, An Old French Epic', trans. Jessie Crosland, revised by Richard Abels, USNA 1993 at 

http://www.deremilitari.org/resources/sources/cambrai.htm

Sources Used:

• Duggan, Joseph J., '1095 - The Epic', in Denis Hollier (ed.), A New History of French Literature (Harvard University Press: 1994), pp.18-23
• Kaeuper, Richard W.,Chivalry and Violence in Medieval Europe (Oxford University Press: Oxford, 2006)
• Newth, Michael, Heroes of the French Epic: Translations from the Chansons de Geste (The Boydell Press: Woodbridge, 2005)