Abstract
Medieval romance, as developed and practiced in twelfth-century France, was a genre that privileged inter-textual commentary and exchange. An Old French poem might include elements drawn from a large number of Latin and vernacular sources, which were freely combined, modified, and reworked by the poet. Inter-textual references-indeed, wholesale borrowing and adaptation-were common. The poem was valued not for its originality, but for the skill with which disparate elements were combined into a pleasing and artful whole. Thus, Chretien de Troyes freely admits that the subject of his first romance is not original:
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