This paper compares and contrasts two significant medieval literary works: the morality play Everyman and the epic poem The Song of Roland. Both texts use the framework of good versus evil to deliver moral and religious lessons to their readers, yet they differ substantially in genre, tone, and narrative approach. The paper examines how each work reflects the values of its time, particularly regarding Christian faith, chivalry, and mortality. It also evaluates the distinct literary styles of each text, noting that Everyman employs humor and natural dialogue while The Song of Roland maintains an elevated, solemn tone throughout.
This paper introduces, discusses, and analyzes two medieval works of anonymous authorship: Everyman and The Song of Roland. Specifically, it compares and contrasts the two texts, illustrating their commonalities and their distinct differences.
Both of these medieval manuscripts are extremely important historically. They give the reader a deeper understanding of medieval times — from the chivalry and bravery in The Song of Roland to the moral concerns of the era in Everyman. Both works use different forms of writing to deliver their significant messages, and both carry lessons they hope readers will internalize and act upon in their own lives.
Everyman is known as a morality play. This genre of fifteenth-century writing urged readers to examine their own morals and beliefs and ensure they were aligned with those the church and state deemed correct. As such, morality plays were often highly promoted by church and state, yet were still widely read by the general population. These works employed heroic characters while also teaching upright moral lessons, so that readers would come away with a sharper sense of any ethical dilemma they might be facing. In the case of Everyman, the lead character is a man confronting death — a circumstance so common in the fifteenth century, from any number of causes, that the theme clearly resonated. How Everyman deals with mortality is the central theme of the work, and the message to readers was plain: death could come at any moment, and they should live their lives accordingly.
The Song of Roland is not a morality play but an epic poem, yet it too carries a message for its readers. While epics were not necessarily sanctioned by the church or state, they still advocated lofty and heroic ideals and offered moral lessons. In Roland's case, the poem is a tragic account of the destruction of Charlemagne's forces by a Muslim army in Spain. The poem glorifies the knights who went to fight in the Crusades against Islam, celebrates Christianity, and aims to teach readers both the glory of chivalry and the glory of fighting for one's religious beliefs. Both works rely strongly on religion as a basis for their themes and lessons, and both employ the simple "good versus evil" plot to convey their messages. In The Song of Roland, it is Christians versus Muslims; in Everyman, it is Death versus God. The moral is straightforward: live a good life, or evil will befall you and yours.
Everyman's lead character represents every person of his time. He is summoned by Death to appear before his lord's court and account for what he has done with his life. As he prepares for this perilous journey, he seeks friends and companions to accompany him. What he discovers is who his true friends really are, as opposed to those who merely offer him lip service. When he needs them most, his friends desert him — as does his wealth. He learns, however, that he cannot take any of them to the grave; he can only bring the good deeds he has performed. Yet when Death arrives, Good Deeds is weak and sickly, unable to stand because of the weight of his sins:
"Here I lie, cold in the ground. / Thy sins hath me sore bound, / That I cannot stir" (Child 85).
The lesson is, of course, that his earthly possessions — represented by characters such as Goods and Fellowship — are far less important than the good he has done if he is seeking salvation.
The Song of Roland centers on Roland, a brave and mighty knight who serves his king, Charlemagne. He is the ideal knight — courageous in battle and in death, and fiercely loyal to his liege and his faith. He even dies perfectly, carried to heaven by angels. His uncle, however, continues to mourn him and vows to avenge his death:
"Roland's heroism, death, and Charlemagne's grief"
"Contrasting tone, humor, and prose style"
The Second Shepherds' Play, Everyman, and Other Early Plays. Ed. Child, Clarence Griffin. Boston: Houghton Mifflin Company, 1910.
The Song of Roland. Trans. Scott-Moncrieff, C. K. 1st ed. Ann Arbor, MI: University of Michigan Press, 1959.
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