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 sources; and in the exuberant imagination of
the latter we see the influence which the Saracens--those nimble wits who
gave us our first modern sciences and who still reveled in the _Arabian