Abstract
Jean Froissart’s Melyador belongs to the tradition of courtly chivalric romances. In the most faithful fashion, this romance stages four large tournaments upon which rest the whole work’s architecture and love intrigues. Studying these conventional pieces shows that they replicate and take on the theme’s inherent share of stereotypes, although they also transcend these stereotypes and turn them into a mode of aesthetic renewal. The stereotypical nature of the tournament episodes is indeed both generalized and reduced to its essence, while it is very stylized to the point of bestowing lyrical and circular dimensions to the episodes. Thus, in Melyador, the time of the chivalric performance meets up in a very original fashion with the poetical dimension of the work.
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