The chansons de geste, Old French for "songs of heroic deeds", are the epic poetry that appears at the dawn of French literature.
Written in Old French by the earliest poets, the trouveres, they typically deal with the martial valour of paladins, heroes from the age of Charles Martel and Charlemagne, and their combats against the Moors and Saracens. To these historical legends, a stiff dose of fantasy is added; giants, magic, and monsters appear among the foes along with Muslims. As the genre aged, the historical and military aspects waned, and the fantastic aspects came to dominate.
The subject matter of the chansons de geste became known as the Matter of France. This contrasted them with the Matter of Britain, dealing with King Arthur and his knights; and the Matter of Rome, which mixed Greek mythology with the tales of Alexander the Great, Julius Caesar, and other figures from classical antiquity who were given mediaeval makeovers as exemplars of chivalry.
The origin of the chanson de geste as a form is much debated. The nineteenth century mediaevalist Gaston Paris believed that they originated in oral epics called cantilenes, which were more or less contemporary with the military events described; and that they were originally composed by bards who followed the courts of kings and military leaders after the custom of Scandinavia and the Celtic world.
Another school of thought, championed by Joseph Bédier, holds that the poems were the invention of the trouvéres themselves, discounting the possibility of Germanic influence in their invention. Bédier also suggests that some of the stories were first invented by monks, who used them to advertise pilgrimage sites by connecting them not only with saints but also by legendary heroes of folklore. Magical relics frequently appear in the tales.
The chansons de geste were composed in monorhyme stanzas. These stanzas are of irregular length, and the rhymes they contain are interspersed irregularly through the ends of each line. While not every line must rhyme, each of the rhymes in any one stanza must be the same. An example from the Chanson de Roland illustrates the technique:
Desuz un pin, delez un eglanter
Un faldestoed i unt, fait tout d'or mer:
La siet li reis ki dulce France tient.
Blanche ad la barbe et tut flurit le chef,
Gent ad le cors et le cuntenant fier.
S'est kil demandet, ne l'estoet enseigner.
(Under a pine tree, by a rosebush, there is a throne made entirely of gold. There sits the king who rules sweet France; his beard is white, with a full head of hair. He is noble in carriage, and proud of bearing. If anyone is looking for the King, he doesn't need to be pointed out.)
The songs were designed to be recited to music by the trouveres, who typically accompanied themselves on the vielle, a mediaeval fiddle played with a bow.
Approximately one hundred of the poems themselves survive, in manuscripts that date from the twelfth to the fifteenth century. Early on, the performers grouped the chansons de geste into three cycles, which revolved around three main characters. Each cycle is named after its chief character, and moreover each cycle has a central theme, such as loyalty to a feudal chief, or the defence of Christianity. The cycles were:
The poems contained a very small and unvaried assortment of characters; the repertoire of valiant hero, the brave traitor, the shifty or cowardly traitor, the Saracen giant, and so forth is one that is easily exhausted. As the genre matured, fantasy elements were introduced. Some of the characters that were devised by the trouveres in this manner include the fairy Oberon, who made his literary debut in the Chanson de Huon de Bordeaux; and the magic horse Bayard, who first appears in the Chanson de Renaud de Montauban. Eventually, in the last chansons de geste, the element of self-parody appears; even the august Charlemagne was not above ridicule.