— Ch. 1 · Origins And Evolution —
Chivalric romance.
~5 min read · Ch. 1 of 6
In the early 13th century, romances shifted from verse to prose. This change marked a turning point in how stories were told across Europe. Originally written in Old French and Old Occitan, these narratives spread into Middle English, Old Spanish, and Middle High German. The earliest forms relied on rhyme and meter, but by the late medieval period, prose became dominant. Thomas Malory's Le Morte d'Arthur exemplifies this shift, compiling earlier Arthurian material into a cohesive prose work. Earlier epics like the Chanson de Geste focused on martial heroism, while romances introduced love and courtly manners as central themes. Chrétien de Troyes played a key role in this evolution, blending adventure with psychological depth. His Lancelot, Knight of the Cart devoted unprecedented attention to emotional conflict alongside physical quests. By the end of the 14th century, many French and English romances combined courtly love with marriage plots, as seen in Sir Degrevant and Sir Torrent of Portyngale. In Scandinavia, the genre took root through translations of French chansons de geste, evolving into indigenous prose riddarasögur or chivalric sagas. Queen Euphemia of Rügen commissioned the Eufemiavisorna in the early fourteenth century, marking Sweden's entry into the tradition. These works preserved the spirit of romance even as they adapted to local tastes.
Thematic Cycles
Medieval authors grouped most romances under three thematic cycles: the Matter of Rome, the Matter of France, and the Matter of Britain. Jean Bodel first described these categories in the 12th century within his epic Song of the Saxons. The Matter of Rome centered on Alexander the Great and the Trojan War, often drawing from classical sources like Ovid and Virgil. Tales such as Apollonius of Tyre reflected pagan origins while incorporating Christian elements. The Matter of France featured Charlemagne and Roland, emphasizing feudal loyalty and heroic adventure rather than romantic entanglements. In The Song of Roland, Roland does not think of his betrothed during battle, highlighting the genre’s initial focus on martial duty. The Matter of Britain revolved around King Arthur and the Knights of the Round Table, eventually incorporating the quest for the Holy Grail. This cycle became the exemplar of true love, influencing later writers who claimed courtly love reached its peak at Arthur’s court. Some tales existed outside these cycles, including King Horn, Robert the Devil, and Ipomadon. Scholars sometimes group recurring plots together, such as the Constance cycle or the Crescentia cycle, though these do not share characters or settings. Despite their diversity, all romances were understood to fall within one of these three overarching frameworks.