The Middle Ages: KEY IDEAS
Chivalry and Romance
ROMANCE, MEDIEVAL (also called a chivalric romance): In medieval use, romance referred to
episodic French and German poetry dealing with chivalry and the adventures of knights in warfare as
they rescue fair maidens and confront supernatural challenges. The medieval metrical romances
resembled the earlier chansons de gestes and epics. However, unlike the Greek and Roman epics,
medieval romances represent not a heroic age of tribal wars, but a courtly or chivalric period of history
involving highly developed manners and civility, as M. H. Abrams notes. Their standard plot involves a
single knight seeking to win a scornful lady's favor by undertaking a dangerous quest. Along the way,
this knight encounters mysterious hermits, confronts evil blackguards and brigands, slays monsters and
dragons, competes anonymously in tournaments, and suffers from wounds, starvation, deprivation, and
exposure in the wilderness. He may incidentally save a few extra villages and pretty maidens along the
way before finishing his primary task. (This is why scholars say romances are episodic--the plot can be
stretched or contracted so the author can insert or remove any number of small, short adventures along
the hero's way to the larger quest.)
Medieval romances often focus on the supernatural. In the classical epic, supernatural events
originate in the will and actions of the gods. However, in secular medieval romance, the supernatural
originates in magic, spells, enchantments, and fairy trickery. Divine miracles are less frequent, but are
always Christian in origin when they do occur, involving relics and angelic visitations. A secondary
concern is courtly love and the proprieties of aristocratic courtship--especially the consequences of
arranged marriage and adultery.
Scholars usually divide medieval romances into four loose categories based on subject matter:
(1) "The Matter of Rome": stories based on the history and legends of Greco-Roman origin such as the
Trojan War, Thebes, mythological figures, and the exploits of Alexander the Great. The medieval poet
usually creates an anachronistic work by turning these figures into knights as he knew them.
(2) "The Matter of Britain": stories based on Celtic subject-matter, especially Camelot, King Arthur, and
his knights of the round table, including material derived from the Celto-French Bretons and Breton lais.
(3) "The Matter of England": stories based on heroes like King Horn and Guy of Warwick.
(4) "The Matter of France": stories based on Charlemagne, Roland, and his knights.
A large number of such romances survive due to their enormous popularity, including the works of
Chrétien de Troyes (c. 1190), Hartmann von Aue (c. 1203), Gottfried von Strassburg (c. 1210), and
Wolfram von Eschenbach (c. 1210). England produced its own romances in the fourteenth century,
including the Lay of Havelok the Dane and Sir Gawain and the Green Knight. In 1485, Caxton printed the
lengthy romance Le Morte D'Arthur, a prose work that constituted a grand synthesis of Arthurian
legends. Gradually, the poetic genre of medieval romance was superseded by prose works of
Renaissance romance.
Source URL:http://www.web.cn.edu/kwheeler/lit_terms_R.html
Saylor URL: http://www.saylor.org/courses/engl201
© Dr. L. Kip Wheeler (http://www.web.cn.edu/kwheeler
The Middle Ages: KEY IDEAS
Chivalry and Romance
Characteristics of the Medieval Romance
A tale of High Adventure. Can be a religious crusade, a conquest for the knight's liege lord, or the rescue
of a captive lady or any combination.
Characterized by:
1. Medieval romance usually idealizes chivalry
2. Medieval romance idealizes the hero-knight and his noble deeds
3. An important element of the medieval romance is the knight's love for his lady.
4. The settings of medieval romance tend to be imaginary and vague.
5. Medieval romance derives mystery and suspense from supernatural elements.
6. Medieval romance uses concealed or disguised identity.
7. Repetition of the mystical number "3." (Repetitions of the number or multiples of 3)
Characteristics of the Hero-Knight:
1. Birth of a great hero is shrouded in mystery
2. He is reared away from his true home in ignorance of his real parents.
3. For a time his true identity is unknown
4. After meeting an extraordinary challenge, he claims his right
5. His triumph benefits his nation or group.
Arthur himself is a Hero Knight and the events surrounding his rise to power as King is a Medieval
Romance. "The Tale of Sir Gareth" is an excellent example of the Medieval Romance because it contains
all elements. (Some romances do not contain all elements).
This genre is still exciting for people today. The new interest in Stars Wars is wonderful because the first
trilogy (Episodes 4-6) is a perfect contemporary Medieval romance. George Lucas explains how and why
he chose this form in TLC's Great Book Series film, "Le Morte D'Arthur: The Legend of the King." That
video is an excellent resource. Also there is room for a great discussion about other film, comic book or
literary figures (Superman, Batman, Conan and with a stretch-- Indiana Jones).
The Middle Ages: KEY IDEAS
Chivalry and Romance
Knights Code of Chivalry
A knight was expected to have not only the strength and skills to face combat in the violent Middle Ages
but was also expected to temper this aggressive side of a knight with a chivalrous side to his nature.
There was not an authentic Knights Code of Chivalry as such - it was a moral system which went beyond
rules of combat and introduced the concept of Chivalrous conduct - qualities idealized by knighthood,
such as bravery, courtesy, honor, and gallantry toward women.
Knights Code of Chivalry dating back to the Dark Ages.
The Knights Code of Chivalry was part of the culture of the Middle Ages and was understood by all. A
Code of Chivalry was documented in 'The Song of Roland' in the Middle Ages Knights period of William
the Conqueror who ruled England from 1066. The 'Song of Roland' describes the 8th century Knights of
the Dark Ages and the battles fought by the Emperor Charlemagne. The code has since been described
as Charlemagne's Code of Chivalry. The Song of Roland was the most famous 'chanson de geste' and was
composed between 1098-1100, describing the betrayal of Count Roland at the hand of Ganelon, and his
resulting death in the Pyranee Mountains at the hands of the Saracens. Roland was a loyal defender of
his liege Lord Charlemagne and his code of conduct a description of the meaning of chivalry.
A knight was expected to have not only the strength and skills to face combat in the violent era of the
Middle Ages but was also expected to temper this aggressive side of a knight with a chivalrous side to
his nature. There was not an authentic Code of Chivalry as such - it was a moral system which went
beyond rules of combat and introduced the concept of Chivalrous conduct - qualities idealized by
knighthood, such as bravery, courtesy, honor, and gallantry toward women
The Knights Code of Chivalry and the vows of Knighthood
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To fear God and maintain His Church
To serve the liege lord in valor and faith
To protect the weak and defenseless
To give succor to widows and orphans
To refrain from the wanton giving of offence
To live by honor and for glory
To despise pecuniary reward
To fight for the welfare of all
To obey those placed in authority
To guard the honor of fellow knights
To eschew unfairness, meanness and deceit
To keep faith
At all times to speak the truth
To persevere to the end in any enterprise begun
To respect the honor of women
Never to refuse a challenge from an equal
Never to turn the back upon a foe
Of the seventeen entries in the Knights Codes of Chivalry, according to the Song of Roland, at least 12
relate to acts of chivalry as opposed to combat.