Brittany, fell in this engagement. There were no means, at the time, of taking revenge for this cheek; for after their sudden attack, the enemy dispersed to such good purpose that there was no gaining any trace of the direction in which they should be sought for.” [Illustration: Death of Roland at Roncesvalles----227] History says no more; but in the poetry of the people there is a longer and a more faithful memory than in the court of kings. The disaster of Roncesvalles and the heroism of the warriors who perished there became, in France, the object of popular sympathy and the favorite topic for the exercise of the popular fancy. The _Song of Roland,_ a real Homeric poem in its great beauty, and yet rude and simple as became its national character, bears witness to the prolonged importance attained in Europe by this incident in the history of Charlemagne. Three centuries later the comrades of William the Conqueror, marching to battle at Hastings for the possession of England, struck up _The Song of Roland_ “to prepare themselves for victory or death,” says M. Vitel, in his vivid estimate and able translation of this poetical monument of the manners and first impulses towards chivalry of the middle ages. There is no determining how far history must be made to participate in these reminiscences of national feeling; but, assuredly, the figures of Roland and Oliver, and Archbishop Turpin, and the pious, unsophisticated and tender character of their heroism are not pure fables invented by the fancy of a poet, or the credulity of a monk. If the accuracy of historical narrative must not be looked for in them, their moral truth must be recognized in their portrayal of a people and an age.