tumultuous holiday in the open
air,--and you have an epitome of the whole childish, credulous soul of the
Middle Ages. The Normans first brought this type of romance into England,
and so popular did it become, so thoroughly did it express the romantic
spirit of the time, that it speedily overshadowed all other forms of
literary expression.

Though the metrical romances varied much in form and subject-matter, the
general type remains the same,--a long rambling poem or series of poems
treating of love or knightly adventure or both. Its hero is a knight; its
characters are fair ladies in distress, warriors in armor, giants, dragons,
enchanters, and various enemies of Church and State; and its emphasis is
almost invariably on love, religion, and duty as defined by chivalry. In
the French originals of these romances the lines were a definite length,
the meter exact, and rimes and assonances were both used to give melody. In
England this metrical system came in contact with the uneven lines, the
strong accent and alliteration of the native songs; and it is due to the
gradual union of the two systems, French and Saxon, that our English became
capable of the melody and amazing variety of verse forms which first find
expression in Chaucer's poetry.

In the enormous number of these verse romances we note three main
divisions, according to subject, into the romances (or the so-called
matter) of France, Rome, and Britain.[51] The matter of France deals
largely with the exploits of Charlemagne and his peers, and the chief of
these Carlovingian cycles is the _Chanson de Roland_, the national epic,
which celebrates the heroism of Roland in his last fight against the
Saracens at Ronceval. Originally these romances were called _Chansons de
Geste_; and the name is significant as indicating that the poems were
originally short songs[52] celebrating the deeds _(gesta)_ of well-known
heroes. Later the various songs concerning one hero were gathered together
and the _Geste_ became an epic, like the _Chanson de Roland_, or a kind of
continued ballad story, hardly deserving the name of epic, like the _Geste
of Robin Hood_.[53]

The matter of Rome consisted largely of tales from Greek and Roman sources;
and the two great cycles of these romances deal with the deeds of
Alexander, a favorite hero, and the siege of Troy, with which the Britons
thought they had some historic connection. To these were added a large
number of tales from Oriental so