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ROMANCE
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ROMANCE , originally a See also:composition written in " Romance" See also:language: that is to say, in one of the phases on which the Latin See also:tongue entered after or during the dark ages. For some centuries by far the larger number of these compositions were narrative See also:fictions in See also:prose or See also:verse; and since the See also:special
Romance " language of See also:France—the earliest so-called—was the See also:original vehicle of nearly all such fictions, the use of the See also:term for them became more and more accepted in a limited sense. Yet for a See also:long See also:time there was no definite See also:connotation of fiction attached to it, but only of narrative See also:story: and the See also:French version of See also: If the Satyricon was ever more than a See also:mass of fragments, it was certainly a romance, though one much mixed with See also:satire, criticism and other things; and the various See also:Greek survivals from See also:Longus to See also:Eustathius always and rightly receive the name. But two things were still wanting which were to be all-powerful in the romances proper—See also:Chivalry and See also:Religion. They could not yet be included, for chivalry did not exist; and such religion as did exist See also:lent itself but See also:ill to the purpose except by providing myths for See also:ornament and perhaps See also:pattern.
A possible origin of the new romance into which these elements entered (though it was some time before that of chivalry de-finitely emerged) has been seen by one of the least hazardous of the speculations above referred to in the See also:hagiology or " See also:Saint's See also:Life," which arose at an See also:early though uncertain See also:period, See also:developed itself See also:pretty rapidly, and spreading over all Christendom (which by degrees meant all See also:Europe and parts of See also:Asia) provided centuries with their See also:chief See also:supply of what may be The
called interesting literature. If the author of On "Saint's the Sublime was actually See also:Longinus, the See also:minister of Life." See also:Zenobia, there is no doubt that examples both sacred and profane of the kind of "fiction " (" See also:imitation" or" See also:representation ") which he deprecated were mustering and multiplying close to, perhaps in, his own time. The See also: Proceeding a little further in the cautious quest—not for the definite origins which are usually delusive, but for the tendencies which avail themselves of opportunities and the opportunities which lend themselves to tendencies--we may See also:notice two things very important to the subject. The one is that as Graeco-Roman See also:civilization began to spread See also:North and See also:East it met, to See also:appearance which approaches certainty, matter which lent itself gladly to " romantic " treatment. The That such matter was abundant in the literature gathering and folk-lore of the East we know: that it was even of matter. more abundant in the literatures and folk-lore of the North, if we cannot strictly be said to know, we may be See also:reason-ably sure. On the other See also:hand, as the various See also:barbarian nations (using the word in the wide Greek sense), at least those of the North, became educated to literature, to " See also:grammar," by classical examples, they found not a few passages in these examples which were either almost romances already or which lent themselves, with readiness that was almost insistence, to romantic treatment. See also:Apollonius Rhodius had made almost a See also:complete romance of the story of See also:Jason and See also:Medea. See also:Virgil had imitated him by making almost a complete romance of the story of See also:Aeneas and See also:Dido: and See also:Ovid, who for that very reason was to become the most popular author of the See also:middle ages early and See also:late, had gone some way towards romancing a See also:great See also:body of See also:mythology. We do not know exactly who first applied to the legendary See also:tale of See also:Troy the methods which the pseudo-Callisthenes and " See also:Julius See also:Valerius " applied to the See also:historical See also:wars of Alexander, but there is every reason to believe that it was done fairly early. In See also:short, during the late classical or semi-classical times and the whole of the dark ages, things were making for romance in almost every direction. ' It would and did follow from this that the thing evolved itself in so many different places and in so many different forms that only a See also:person of extraordinary temerity would put his See also:finger on any given See also:work and say, " This is the first romance," even putting aside the extreme See also:chronological uncertainty of most of the documents that could be selected for such a position. Except by the most meteoric flights of " higher " criticism we cannot attain to any See also:opinion as to the See also:age and first developed See also:form of such a story as that of Weland and Beadohild (referred to in the Complaint of Deor), which has strong romantic pos-Uncer- sibilities and must be almost of the See also:oldest. The Minty of much more complicated Volsung and Nibelung story, hs See also:order though we may explore to some extent the existence backwards of its Norse and See also:German forms, baffles us beyond certain points in each case; yet this, with the exception of the religious See also:element, is romance almost achieved. And the origin of the great type of the romance that is achieved—that has all elements present and brings them to See also:absolute perfection —the Arthurian legend, despite the immense labours that have been spent upon it and the valuable additions to particular knowledge which have resulted from some of them, is, still more than its own See also:Grail, a quest unachieved, probably a thing unachievable. The longest and the widest inquiries, provided only that they be conducted in any spirit See also:save that which deter-mines to attain certainty and therefore concludes that certainty has been attained, will probably acquiesce most resignedly in the dictum that romance " See also:grew "—that its birthplace is as unknown as the See also:grave of its greatest representative figure. But when it has " grown " to a certain See also:stage we can find it, and in a way localize it, and more definitely still analyse and comprehend its characteristics from their concrete expressions. Approaching these concrete expressions, then, without at first too hard and fast requirements in regard to the validation of the claims, we find in Europe about the 11th cen- G7asses of to (the time is designedly See also:left loose) See also:divers classes source. of what we should now See also:call imaginative or fictitious literature, nearly all (the exceptions are Scandinavian and Old See also:English) in verse. These are: (i) The See also:saints' lives; (ii) the Norse sagas, roughly so-called; (iii) the French chansons de geste; (iv) the Old English and Old German stories of various kinds; (v) perhaps the beginning of the Arthurian See also:cycle; (vi) various stories more or less based on classical legend or history from the tales of Alexander and of Troy down to things like A pollonius of Tyre, which have no classical authority of either kind, but strongly resemble the Greek romances, and which were, as in the case named, pretty certainly derived from members of the class; (vii) certain fragments of Eastern story making their way first, it may be, through See also:Spain by pilgrimages, latterly by the crusades. Now, without attempting to fence off too rigidly the classical from the romantic, it may be laid down that these various classes possess that romantic character, to which we are, by a See also:process of netting and tracking, slowly making our way, in rather different degrees, and a short examination of the difference will forward us not a little in the See also:hunt. With i. (the saints' lives) we have least to do: because by the time that romance in the full sense comes largely and clearly in;.:o view, it has for the most See also:part separated itself off —the legend of St Eustace has become the romance of See also:Sir Isumbras, and so forth. But the See also:influence which it may, as has been said, have originally given must have been continually re-exerted; the romantic-dynamic See also:suggestion of such stories as those of St Mary of Egypt, of St See also:Margaret and the See also:Dragon, of St Dorothea, and of scores of others, is quite unmistakable. Still, in actual result, it See also:works rather more on See also:drama than on narrative romance, and produces the See also:miracle plays. In ii. (the sagas), while a large part of their matter and even not a little of their form are strongly romantic, See also:differences of handling and still more of See also:temper have made some demur to their inclusion under romance, while their final ousting in their own literatures by versions of the all-conquering French romance itself is an See also:argument on the same See also:side. But the Volsung story, for instance, is full of what may be called " undistilled " romance —the See also:wine is there, but it has to be passed through the still—and even in the most domestic sagas proper this characteristic is largely present. It is somewhat less so in iii. (the chansons de geste), at least in the apparently older ones, though here again the comparative absence of romantic characteristics has been rather exaggerated, in consequence of the See also:habit of paying disproportionate and even exclusive See also:attention to the Chanson de See also:Roland. There is more, that is, of romance in Aliscans and others of the older class, while Amis and Amiles, which must be of this class in time, is almost a complete romance, blending See also:war, love and religion—See also:salus, See also:venus, virtus—in full degree. The other four classes, the See also:miscellaneous stories from classical, Eastern and See also:European See also:sources, having less corporate or See also:national character, lend themselves with greater ease to the conditions of romantic development; but even so in different degrees. The classical stories have to drop most of their original character and allow something very different to be superinduced before they become thoroughly romantic. The greatest success of all in this way is the story of See also:Troilus and Cressida. For before its development through the successive hands of See also:Benoit de Sainte-More, See also:Boccaccio (for we may drop Guido of the Columns as a See also:mere middleman between Benoit and Boccaccio) and See also:Chaucer, it has next to no classical authority of any kind except the mere names. In the various Alexandreids the element of the marvellous—the Eastern element, that is to say—similarly overpowers the classical. As for the Eastern stories themselves, they are particularly difficult of certain unravelment. The large moral See also:division—such as Barlaam and Josaphat, the Seven See also:Wise Masters in its various forms, &c., comes short of the strictly romantic. We do not know how much of East and how much of See also:West there is in such things as Flore et Blanchefteur or even in Huon of See also:Bordeaux itself. Contrariwise we ought to know, more certainly than apparently is known yet, what is the date and history of such a thing as that story of Zumurrud and See also:Ali Shahr, which may be found partly in See also:Lane and fully in the complete See also:translations of the Arabian Nights, though not in the commoner See also:editions, and which is evidently either copied from, or capable of serving as See also:model to, a Western roman d'aventures itself.
We come, however, much closer to the actual norm itself—closer, in fact, than in any other See also:place save one—in the various stories, English, French, and to a less extent German,l which gradually received in a loose kind of way the technical French term just used, a term npt to be translated without danger. Nearly all these stories were See also:drawn, by the astonishing centripetal tendency which made France the See also:home of all romance between the See also:firth and the 13th centuries, into French forms; - and in most cases no older ones survive. But it is hardly possible to doubt that in such a case, for instance, as Havelok, an original story of English or Scandinavian origin got itself into existence before, and perhaps long before, the French version was retransferred to English, and so in other cases. If, once more, we take our existing English Havelok and its See also:sister See also: Here, however, we at last find all the elements of romance, thoroughly mixed and thoroughly at home, with the result not merely that the actual story becomes immensely popular and widely spread; not only that it receives the greatest actual development of any romantic theme; but that, in a curious fashion, it attracts to itself great See also:numbers of practically See also:independent stories—in not a few cases probably quite independent at first—which seem afraid to present themselves without some tacking on (it may be of the loosest and most accidental description) to the great polycentric cycle, the stages of which gather See also:round See also:Merlin, the Round Table, the Grail and the Guinevere-See also:Lancelot-Mordred See also:catastrophe. All the elements, let it be repeated, are here present: war, love and religion; the characteristic See also:extension of subject in desultory adventure-See also:chronicles; the typical rather than individual character (though the strong individuality of some of the unknown or See also:half-known contributors sometimes surmounts this) ; the admixture of the marvellous, not merely though mainly as part of the religious element; the presence of the chivalrous ideal. The strong dramatic interest of the central story is rather superadded to than definitely evolved from these elements; but they are still present, just as, though more powerfully than, in the weakest of miscellaneous See also:romans d'aventures. A further step in the logical and historical exploration of romance may be taken by regarding the character-and-story classes round which it instinctively groups itself, and which from the intense community of See also:medieval literature—the habit of medieval writers not so much to plagiarize from one another as to take up each after each the materials and the See also:instruments which were not the See also:property of any—is here especially observable. Prominent above every-thing is the See also:world-old See also:motive of the quest; which, world-old as it is, here acquires a predominance that it has never held before or since. The See also:object takes pretty various, though not quite infinitely various, forms, from the rights of the disinherited See also:heir and the hand or the favour of the heroine, to individual things which may themselves vary from the See also:Holy Grail to so many hairs of a See also:sultan's See also:beard. It may be a friendly See also:knight who is lost in adventure, or a felon knight who has to be punished for his trespasses; a spell of some kind to be laid; a See also:monster to be exterminated; an injured virgin or See also:lady, or an infirm potentate, to be succoured or avenged; an evil See also:custom to be put an end to; or simply some definite adventure or exploit to be achieved. But quest of some sort there must almost certainly be if (as in Sir Launfal, for instance) it is but the recovery of a love forfeited by misbehaviour or mishap. It is almost a sine qua non—the present writer, thinking over scores, See also:nay hundreds, of romances, cannot at the moment remember one where it is wanting in some form or another. It will be observed that this at once provides the amplest opportunity for the desultory concatenation or See also:congregation of incident and episode which is of the very essence intentionally led astray, always liable to be incidentally called off by See also:interim adventures. In many (perhaps most) cases the love interest is directly connected with the quest, though it may be in the way of hindrance as well as of furtherance or See also:reward. The war interest always is so connected; and the religious interest commonly—almost universally in fact—is an in-separable See also:accident. But everything leads up to, involves, eventuates in the fighting. The quest, if not always a directly warlike one, always involves war; and the endless battles have at all times, since they ceased to be the great attraction, continued to be the great obloquy of romance. It is possible no doubt that reports of tournaments and single combats with See also:lance and See also:sword, See also:mace and See also:battle-See also:axe, may be as tedious to some See also:people as reports of See also:football matches certainly are to others. It is certain that the former were as satisfactory in former times to their own admirers as the latter are now. In fact the variety of incident is almost as remarkable as the sameness. And the same may be said, with even greater confidence, of the adventures between the fights in See also:castle and See also: Some of these common forms, however, are more peculiar to medieval times; and some, though not many, allow excursions into abnormalities which, until recently, were tabooed to the modern novelist. Among the former the wickedness of the steward is remarkable, and of course not difficult to See also:account for. The steward or See also:seneschal of romance, with some See also:honour-able exceptions, is as wicked as the See also:baronet of a novel, but here the explanation is not metaphysical. He was constantly left in See also:charge in the absence of his See also:lord and so was exposed to temptation. The extreme and almost Ephesian consolableness of the romance widow can be equally rationalized—and in fact is so in the stories themselves—by the danger of the See also:fief being resumed or usurped in the absence of a male See also:tenant who can maintain authority and See also:discharge duties. While such themes as the usually ignorant See also:incest of son with See also:mother or the more deliberate See also:passion of See also:father for daughter come mostly from very popular early examples—the legend of St See also:Gregory of the See also:Rock or the story of Apollonius of Tyre. The last point brings us naturally to another of considerable importance—the singular purity of the romances as a whole, if not entirely in See also:atmosphere and situation, yet in characlanguage and in See also:external treatment. It suited the tens of purposes of the See also:Protestant controversialists of the romance See also:Renaissance, such as our own See also:Ascham, to throw Proper. discredit upon work so intimately connected with See also:Catholic ceremony and belief as the Morte d'See also:Arthur; and it is certain that the knights of romance did not even take the benefit of that liberal See also:doctrine of the See also:Cursor Mundi which regards even illicit love as not mortal unless it be " with See also:spouse or sib." But if in the romances such love is portrayed freely, and with a certain sympathy, it is never spoken of lightly and is always punished; nor are the pictures of it ever coarsely drawn. In a very wide See also:reading of romance the present writer does not remember more than two or three passages of romance proper Types of story. inci- of romance. Often, nay generally, the conditions, dent. localities and other circumstances of the quest are half known, or all but unknown, to the knight, and he is sometimes (that is to say before the later part of the 15th century) which could be called obscene by any See also:fair See also:judge. And the term would have to be somewhat strained in reference even to these. The contrast with the See also:companion divisions of fabliaux and farces is quite extraordinary; and nearly as See also:sharp as that between Greek tragedy on the one hand and Greek See also:comedy or satiric See also:play on the other. It is brought out for the merely English reader in Chaucer of course, but in him it might have been studied. In the immense corpus of known or unknown French and English writers (the Germans are not quite so particular) it comes out with no possibility of deliberation and with unmistakable force. The history of the forms in which romance presents itself follows a sufficiently normal and probable course. The oldest are always—save in the single case of part of the Arthurian division, in which we probably possess none of the actually oldest, and in some of the division of Antiquity which had a long line of predecessors in the learned See also:languages—the shortest. They become lengthened in a way continued and exemplified to the present moment by the tendency of writers to add sequels and episodes to their own stories, and made still more natural by the fact that these poems were in all or almost all cases recited. " Go on " is the most natural and not the least common as well as the most complimentary form of " See also:Bravo !" and the reciter never seems to have said " no " to the compliment. In not a few cases—Huon of Bordeaux, Ogier the Dane, See also:Guy of See also:Warwick, are conspicuous examples—we possess the same story in various stages; and can see how poems, perhaps originally like King Horn of not more than a couple of thousand lines or even shorter in the 13th century, grew to See also:thirty, See also:forty, fifty thousand in the 15th. The transference of the story itself from verse to prose is also—save in some particular and still controverted instances—regularly traceable and part of a larger and natural See also:literary See also:movement. While, also naturally enough, the pieces become in time See also:fuller of conversation (though not as yet often of conversation that advances the story or heightens its interest), of descriptive detail, &c. And in some groups (notably that of the remark-able Amadis division) a very great enlargement of the See also:pro-portion and degradation of the character of the marvellous element appears—the wonders being no longer mystical, and magical only in the See also:lower sense. And so we come to the particular characteristics of the kind or kinds in individual examples. Of these the English reader Charac- has a matchless though late instance in the Morte teristic d'Arlhur of See also:Malory, a See also:book which is at once a corpus examples. and a pattern of romance in See also:gross and in detail. The fact that it is not, as has been too often hastily or ignorantly asserted, a mere compilation, but the last of a singular See also:series of rehandlings and redactions—conducted with extra-See also:ordinary though for the most part indistinctly traceable See also:instinct of See also:genius—makes it to some extent transcend any single example of older date and more isolated composition. But it displays all the best as well as some of the less See also:good characteristics of most if not all. Of the commonest kind—the almost pure roman d'aventures itself—the Gareth-Beaumains episode (for which we have no See also:direct original, French or English, though Lybius Disconus and I pomedon come near to it in different ways) will give a fair example; while its presentation of the later chapters of the Grail story, and the intertwisted plot and continuing catastrophe of the love of Lancelot and Guinevere, altogether transcend the usual See also:scope of romance pure and simple, and introduce almost the highest possibilities of the romantic novel. The way in which Malory or his immediate authorities have extruded the tedious wars round the " Rock of the See also:Saxons," have dropped the awkward episode of the false Guinevere, and have restrained the uninteresting exuberance of the See also:continental wars and the preliminary struggles with the See also:minor See also:kings, keeps the reader from contact with the duller sides of romance only. Of the real variety which rewards a persistent reader of the class at large it would be impossible to present even a See also:miniature hand-See also:index here; but something may be done by See also:sample, which will not be mere sample, but an integral part of the exposition. No arbitrary separation need be made between French and English; because of the intimate connexion between the two. As specially and symptomatically noteworthy the famous pair—perhaps the most famous of all—Guy of Warwick and Bevis of See also:Hampton, should not be taken. For, with the exception of the separation of Guy and Felise in the first, and some things in the character of Josiane in the second, both are some-what spiritless concoctions of stock matter. Far more striking than anything in either, though not consummately supported by their context, are the bold opening of Blancandin et l'orgueilleuse d'amour, where the See also:hero begins by,kissing a specially proud and prudish lady; and the See also:fine scenes of fight with a supernatural foe at a grave to be found in Amadas et Idoine. Reputation and value coincide more nearly in the charming See also:fairy story of Parthenopex de See also:Blois and the See also:Christian-Saracen love romance of Flore (Florice and other forms) et Blanchefleur. Few romances in either language, or in German, exhibit the pure adventure story better than See also:Chrestien de See also:Troyes's See also:Chevalier au See also:Lyon, especially in its English form of Ywain and See also:Gawain; while the above-mentioned Lybius Disconus (Le Beau Deconnu) makes a good pair with this. For originality of form and phrase as well as of spirit, if not exactly of incident, Gawain and the See also:Green Knight stands alone; but another Gawain story (in French this time), Le Chevalieur aux deux epees, though of much less force and See also:fire, exceeds it in length without sameness of adventure. Only the poorest romances—those ridiculed by Chaucer in Sir Thopas—which form a small minority, lack striking individual touches, such as the picture of the See also:tree covered with torches and carrying on its See also:summit a heavenly See also:child, which illuminates the huge expanse of Durmart le Gallois. The various forms of the Seven Wise Masters in different European languages show the attitude of the Western to the Eastern fiction interestingly. The beautiful romance of Emare is about the best of several treatments of one of the exceptional subjects classed above—the unnatural love of father for daughter, while if we turn to German stories we find not merely in the German variants of Arthurian themes, but in others a See also:double portion of the mystical element. French themes are constantly worked up afresh—as indeed they are all over Europe—but the Germans have the See also:advantage of drawing upon not merely Scandinavian traditions like those which they wrought into the Nibelungen Lied and See also:Gudrun, but others of their own. And both in these and in their dealings with French they some-times show an amount of story-telling See also:power which is rare in French and English. No handling of the See also:Tristan and Iseult story can compare with Gottfried's; while the famous Der arme Heinrich of See also:Hartmann von Aue (the original of See also:Longfellow's See also:Golden Legend) is one of the greatest triumphs and most charming examples of romance, displaying in almost the highest degree possible for a story of little complexity all the best characteristics of the thing. What, then, are these characteristics? The account has now been brought to a point where a reasoned resume of it will give as definite an See also:answer as can be given. Even yet we may with advantage interpose a See also:consideration of the answer that was given to this question universally (with a few dissidents) from the Renaissance to nearly the See also:summary end of the 18th century and not infrequently since; of opinion while it is not impossible that, in the well-attested re- and fact. volutions of See also:critical thought and See also:taste, it may be given again. This is that romance on the whole, and with some flashes of better things at times, is a jumble of incoherent and mostly ill-told stories, combining sameness with extravagance, out-raging See also:probability and the See also:laws of imitative form, childish as a See also:rule in its See also:appeal to adventure and to the supernatural, immoral in its See also:ethics, barbarous in its See also:aesthetics, destitute of any See also:philosophy, representing at its very best (though the ages of its lowest appreciation were hardly able even to consider this) a necessary stage in the See also:education of half-civilized peoples, and embodying some interesting legends, much curious folk-lore and a certain amount of distorted historical See also:evidence. On Development. the other hand, for the last See also:hundred years and more, there have been some who have seen in romance almost the highest and certainly the most charming form of fictitious creation, the See also:link between See also:poetry and religion, the literary embodiment of men's dreams and desires, the appointed nepenthe of more sophisticated ages as it was the appointed pastime of the less sophisticated. Between these opposites there is of course See also:room for many middle positions, but few of these will be occupied safely and inexpugnably by those who do not take heed of the following conclusions. Romance, beyond all question, enmeshes and retains for us a vast amount of story-material to which we find'little corresponding in ancient literature. It See also:lays the See also:foundation of modern prose fiction in such a fashion that the mere working out and See also:building up of certain features leads to, and in fact involves, the whole structure of the modern novel (q.v.). It antiquates (by a sort of See also:gradual " taking for granted ") the classical See also:assumption that love is an inferior motive, and that See also:women, though they " may be good sometimes " are scarcely See also:fit for the position of principal personages. It See also:helps to See also:institute and ensure a new unity—the unity of interest. It admits of the most extensive variety. It gives a scope to the See also:imagination which exceeds that of any known older literary form. At its best it embodies the new or Christian morality, if not in a Pharisaic yet in a Christian fashion, and it establishes a See also:concordat between religion and See also:art in more ways than this. Incapable of exacter definition, inclining (a danger doubtless as well as an advantage) towards the vague, it is nevertheless comprehensible for all its vagueness, and, informal as it is, possesses its own form of beauty—and that a See also:precious one. These characteristics were, if perceived at all by its enemies in the period above referred to, taken at their worst; they were perceived by its champions at the turn of the See also:tide and perhaps exaggerated. From both attitudes emerged that distinction between the " classic " and the " romantic " which was referred to at the beginning of this article as requiring notice before we conclude. The crudest, but it must be remembered the most intentionally crude (for See also:Goethe knew the limitations of his saying), is that " Classicism is See also:health; Romanticism is disease." In a less question-begging proposition of single terms, classicism might be said to be method and romanticism See also:energy. But in fact sharp distinctions of the kind do much more harm than good. It is true that the one tends to order, lucidity, proportion; the other to freedom, to See also:fancy, to caprice. But the See also:attempt to reimpose these qualities as absolutely distinguishing marks and labels on particular works is almost certain to See also:lead to See also:mistake and disaster, and there is more than mere See also:irony in the person who defines romance as " Something which was written between an unknown period of the Dark Ages and the Renaissance, and which has been imitated since the later part of the 18th century." What that something really is is not well to be known except by reading more or less considerable sections of it—by exploring it like one of its own forbidden countries. But something of a See also:sketch-See also:map of that See also:country has been attempted here. To illustrate and reinforce the above, see in the first place articles on the different national literatures, especially French and Icelandic; as also the following: Classical or Pseudo-Classical SubjeCIS.—APOLLONIUS OF TYRE; LONGUS; See also:HELIODORUS; See also:APULEIUS; TROY; See also:THEBES; See also:CAESAR, JULIUS; ALEXANDER THE GREAT; See also:HERCULES; JASON; See also:OEDIPUS; VIRGIL. Arthurian Romance.—ARTHUR; GAWAIN; See also:PERCEVAL; LANCE-See also:LOT; MERLIN; TRISTAN; ROUND TABLE; GRAIL; and the articles on romance writers such as Malory, Wolfram von Eschenbach, Chretien de Troyes, Gottfried of See also:Strassburg, &c. French Romance—See also:CHARLEMAGNE; See also:GUILLAUME D'See also:ORANGE; DOON DE MAYENCE; OGIER THE DANE; ROLAND; RENAUD DE See also:MONTAUBAN (Quatre fils Aymon); HUON OF BORDEAUX; GIRART DE See also:ROUSSILLON; AMISETAMILES; See also:MACAIRE; PARTONOPEUS DE BLOTS; See also:ROBERT THE See also:DEVIL; FLORE AND BLANCHEFLEUR; GARIN LE LOHERAIN; RAOUL DE See also:CAMBRAI; GUILLAUME DE PALERME; See also:ADENES LE Rol; BENOIT DE SAINTE-MORE, &C. Anglo-See also:Norman, Anglo-Danish, English Romance.—BEvIS OF HAMPTON; HORN; HAVELOK; GUY OF WARWICK; See also:ROBIN See also:HOOD; MAID MARIAN. German.--See also:NIBELUNGENLIED ; See also:ORTNIT ; See also:DIET RICH OF See also:BERN ; See also:WOLF-See also:DIETRICH; See also:HELDENBUCH; See also:WALTHARIUS; GUDRUN; See also:HILDEBRAND, See also:LAY OF; See also:RUODLIEB. See also:Northern.—See also:SIGURD ; See also:WAYLAND ; See also:HAMLET ; See also:EDDA. Spanish.—AMADIS DE GAULA. ariOUS.—REYNARD; ROMAN DE LA See also:ROSE; See also:GRISELDA and kindred stories; See also:GENEVIEVE OF See also:BRABANT; GESTA ROMANORUM; BARLAAM AND JOSAPHAT; SEVEN WISE MASTERS; MAELDUNE, VOYAGE OF. Additional information and CommentsThere are no comments yet for this article.
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