Old French Romances, Done into English — Context and Discussion

Morris's Archaic Diction and Narrative Cadence

Morris's translation choices create a consistent, formal register that sets these romances apart from modern prose. Phrases like 'Now leaveth the tale to tell of the knight, and returneth to telling of King Florus' echo the oral formulaic style of medieval storytelling. The repeated use of 'saith the tale' and 'now turneth' establishes a rhythmic, almost liturgical pace. This is not a transparent translation; it is a deliberate stylistic performance.

Consider the description of Queen Florus's distress: 'she was exceeding heavy of heart, because she had had no child by her lord.' The inversion ('had she had') and the adjective 'exceeding' are not accidental—they signal a world where emotion is expressed through formal, measured language. Morris's diction forces the reader to slow down, to attend to each word as if it were part of a ritual. This is especially effective in dialogue, where characters speak in balanced, courteous exchanges: 'Dame,' said the good man, 'my prayer shall avail but little, but if it please God.'

The Role of the Narrator and Shifts in Perspective

The narrator in these romances is an active presence, frequently interrupting to guide the reader's attention. The phrase 'Now leaveth the tale to tell of the knight, and returneth to telling of King Florus' is a clear example of this technique. It creates a sense of oral performance, as if the storyteller is physically turning from one thread to another. This narrative voice also makes explicit judgments: 'Now turned the knight to amendment, and was all whole'—the word 'amendment' carries moral weight, implying a correction of character.

Jacobs's introduction notes that these tales were originally part of a 'little crimson clad volume' and that Morris's versions had appeared in limited Kelmscott Press editions. The editorial note here is that the translation itself becomes a kind of performance, with the narrator's voice acting as a bridge between the medieval source and the Victorian reader. The shifts in perspective—from the knight's broken oath to the queen's barrenness—are managed with a formal, almost ceremonial detachment that heightens the emotional stakes.

Pacing and the Use of Repetition in Key Scenes

The pacing in these romances is deliberate, often relying on repetition to build tension. In the excerpt concerning Queen Florus, the same phrase 'the good man' appears multiple times in close succession, reinforcing the hermit's role as a moral anchor. The queen's repeated pleas—'I pray thee to pray to God for me'—create a litany of desperation. Morris preserves this repetition, refusing to vary the language for the sake of elegance.

Similarly, the barons' ultimatum is delivered with stark simplicity: 'they would go and dwell otherwhere; for in no case would they that the realm should be without an heir.' The repetition of 'would' and the bluntness of the threat contrast sharply with the queen's more elaborate speech. This juxtaposition of registers—the barons' bluntness versus the queen's courtly deference—creates a subtle shift in pace, quickening the narrative as the conflict escalates. Morris's translation captures these shifts without smoothing them over.

Readers approaching these romances should attend to the rhythm of Morris's sentences as much as to the plot. The translation rewards those who read aloud, allowing the archaic cadences to settle. Jacobs's introduction provides useful context, but the tales themselves are best experienced as performances—stories meant to be heard, not merely scanned. Let the formal language carry you; the emotional weight lies in the spaces between the words.

That rainy afternoon, the archaic cadence of Morris’s romances felt like eavesdropping on a distant, formal world. Its earnest chivalry lingered, and I found myself wondering how that same devout intensity might sound in a modern voice. Later, by pure chance, I picked up The Three Cities Trilogy: Lourdes, Complete — Story, Setting & Ideas, and the longing felt oddly familiar.