Legends of Charlemagne — Reading Companion
Edition facts
This digital edition of Legends of Charlemagne — Reading Companion is described by source-level measurements including 101,699 words, 7 hr 23 min estimated reading time, and 13 detected text sections.
The text analysis averages about 25.6 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Folklore -- Europe,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Mahomet were called) into France, the conquest of which, if achieved, would have been followed very probably by that of all the rest of Europe, and would have resulted in the banishment of Christianity from the earth. For Christianity was not at that day universally professed, even by those nations which we now regard as foremost in civilization. Great part of Germany, Britain, Denmark, and Russia were still pagan or barbarous.
At that time there ruled in France, though without the title of king, the first of those illustrious Charleses of whom we have spoken, Charles Martel, the grandfather of Charlemagne. The Saracens of Spain had made incursions into France in 712 and 718, and had retired, carrying with them a vast booty. In 725, Anbessa, who was then the Saracen governor of Spain, crossed the Pyrenees with a numerous army, and took by storm the strong town of Carcassone. So great was the terror excited by this invasion, that the country for a wide extent submitted to the conqueror, and a Mahometan governor for the province was appointed and installed at Narbonne. Anbessa, however, received a fatal wound in one of his engagements, and the Saracens, being thus checked from further advance, retired to Narbonne.
In 732 the Saracens again invaded France under Abdalrahman, advanced rapidly to the banks of the Garonne, and laid siege to Bordeaux. The city was taken by assault and delivered up to the soldiery. The invaders still pressed forward, and spread over the territories of Orleans, Auxerre and Sens. Their advanced parties were suddenly called in by their chief, who had received information of the rich abbey of St. Martin of Tours, and resolved to plunder and destroy it.
Charles during all this time had done nothing to oppose the Saracens, for the reason that the portion of France over which their incursions had been made was not at that time under his dominion, but constituted an independent kingdom, under the name of Aquitaine, of which Eude was king. But now Charles became convinced of the danger, and prepared to encounter it. Abdalrahman was advancing toward Tours, when intelligence of the approach of Charles, at the head of an army of Franks, compelled him to fall back upon Poitiers, in order to seize an advantageous field of battle.
Charles Martel had called together his warriors from every part of his dominions, and, at the head of such an army as had hardly ever been seen in France, crossed the Loire, probably at Orleans, and, being joined by the remains of the army of Aquitaine, came in sight of the Arabs in the month of October, 732. The Saracens seem to have been aware of the terrible enemy they were now to encounter, and for the first time these formidable conquerors hesitated. The two armies remained in presence during seven days before either ventured to begin the attack; but at length the signal for battle was given by Abdalrahman, and the immense mass of the Saracen army rushed with fury on the Franks. But the heavy line of the Northern warriors remained like a rock, and the Saracens, during nearly the whole day, expended their strength in vain attempts to make any impression upon them. At length, about four o'clock in the afternoon, when Abdalrahman was preparing for a new and desperate attempt to break the line of the Franks, a terrible clamor was heard in the rear of the Saracens. It was King Eude, who, with his Aquitanians, had attacked their camp, and a great part of the Saracen army rushed tumultuously from the field to protect their plunder. In this moment of confusion the line of the Franks advanced, and, sweeping the field before it, carried fearful slaughter amongst the enemy. Abdalrahman made desperate efforts to rally his troops, but when he himself, with the bravest of his officers, fell beneath the swords of the Christians, all order disappeared, and the remains of his army sought refuge in their immense camp, from which Eude and his Aquitanians had been repulsed. It was now late, and Charles, unwilling to risk an attack on the camp in the dark, withdrew his army, and passed the night in the plain, expecting to renew the battle in the morning.
Accordingly, when daylight came, the Franks drew up in order of battle, but no enemy appeared; and when at last they ventured to approach the Saracen camp they found it empty. The invaders had taken advantage of the night to begin their retreat, and were already on their way back to Spain, leaving their immense plunder behind to fall into the hands of the Franks.
Bulfinch's narrative voice in Legends of Charlemagne moves with a deliberate, almost judicial calm through marvels that would strain credulity in less assured prose. When Astolpho catches the South-wind in a leather bag, the sentence structure remains matter-of-fact: 'the wind rushed from its cavern to resume its daily course, and was caught in the bag, and securely tied up.' The passive construction and the absence of exclamation signal a storyteller who treats the impossible as routine. Yet the same voice can shift into brisk military summary—'With these troops Astolpho reduced all the country to subjection'—compressing campaigns into single clauses. This alternation between leisurely wonder and compressed action gives the prose a distinctive rhythm, one that rewards attention to pacing.
The Voice of the Compiler
Bulfinch writes as a mediator, not a bard. He frequently inserts phrases like 'as Archbishop Turpin asserts' or 'wonderful to relate,' creating a layered narration that distances the reader from the marvels even as it presents them. This editorial stance is consistent: he reports the miracle of horses created from rolling pebbles with the same even tone he uses for diplomatic negotiations. The effect is that of a Victorian gentleman calmly annotating a wild manuscript. The voice rarely rises in pitch; when it does, it is through understatement—'This difficulty the saint had foreseen'—rather than dramatic emphasis. Readers attuned to narrative stance will notice how Bulfinch's composure shapes the reception of the fantastic.
Pace and the Compression of Time
The excerpts show a marked contrast between extended descriptive passages and rapid chronological leaps. Astolpho's preparations—mounting the winged horse, consulting St. John, catching the wind—unfold in a measured, step-by-step manner. But once the army is assembled, the narrative accelerates: 'Astolpho thus suddenly found himself supplied with an excellent corps of cavalry.' The word 'suddenly' does real work here, signaling a shift from patient explanation to summary. Similarly, the transition from the siege of Biserta back to the camp at Arles is handled with the formulaic 'We must now return to...' This device, common in medieval romance, allows Bulfinch to cut between storylines without apology, creating a rhythm of lingering and leaping that defines the book's pacing.
Recurring Structural Patterns
Several structural habits recur in the excerpts. One is the use of paired adversatives: 'but his honor forbade him to do this while his former friends were in distress.' Such constructions create a moral hinge, turning the narrative toward internal conflict. Another pattern is the three-step escalation: a problem is stated, a supernatural solution is provided, and the solution is executed with surprising ease. The capture of the wind, the creation of horses, and the proposal of single combat all follow this arc. Bulfinch also relies on the phrase 'we must now return to' to manage multiple plot threads, a technique that gives the prose a deliberate, almost architectural feel. These repeated moves give the book a consistent internal logic, even when the events themselves are fantastical.
Readers will find that Bulfinch's prose rewards attention to its small, deliberate choices—the placement of 'suddenly,' the use of 'we must now return,' the calm reporting of the impossible. The narrative voice is less a transparent window onto medieval legend than a crafted persona, one that shapes the material through its own steady rhythms. Approaching the book as a study in narrative management, rather than as a simple collection of tales, reveals the quiet artistry of Bulfinch's editorial hand.
Bulfinch’s Charlemagne moves at a gallop, all clashing steel and oaths, yet the quiet moments—the paladins resting between battles—always felt truest to me. That same unhurried rhythm lives in Domestic folk-lore — Text and Context, where the small rituals of home carry their own weight. I found myself missing both worlds long after the pages closed.
-
Angela Bell - 1 month ago
Legends of Charlemagne offers a fascinating glimpse into the heroic tales of one of history's most legendary figures. The stories are rich with adventure, chivalry, and moral lessons, and they are told with a grandeur that befits the subject. The translation is elegant and preserves the epic nature of the original texts. This book is a wonderful resource for those interested in medieval literature or the Carolingian legends, and it's a pleasure to read. -
Benjamin David Travis - 4 weeks ago
This collection retells the classic stories of Charlemagne and his paladins with a respectful but somewhat academic tone. The tales are historically interesting and well-researched, offering a solid introduction to the legends. However, the archaic language might be a hurdle for some readers, and the pacing can be slow at times. It's a good book for history enthusiasts, but not the most accessible for casual readers. -
Daniel Decker - 3 weeks ago
Legends of Charlemagne is a tedious read. The stories are filled with repetitive battles and lengthy descriptions that make the narrative drag. The characters lack depth, and the moralizing tone feels outdated. While it's a classic, the translation and presentation here neither modernize the text nor provide enough scholarly commentary to make it engaging. Only die-hard fans of medieval history might find some value, but for most readers, it's a bore.
Before you leave, reflect on the book
Use these questions to collect your thoughts before moving on.
Gabriel Green
3 weeks ago