In 1879 the Early English Text Society published its edition of Sir Ferumbras, the first volume in a series collectively entitled ‘The English Charlemagne Romances’. Ten more texts appeared in the series, including both verse romances and prose translations.1 This collective treatment was not given to any other body of works related purely by subject matter – there was no series entitled ‘The English Romances of Antiquity’, or ‘The English King Arthur Romances’, for example, though plenty of texts were available in the Society's publications for either grouping. Intrigued by this unique treatment, we propose to investigate the extent to which the Charlemagne romances may or may not be thought to have a specifically English character.

Very few of the hundred-odd Old French chansons de geste were translated into Middle English. The few Middle English translations made were usually preceded by Anglo-Norman texts, and this pre-selection gives useful hints on what interested audiences in England. Boeve de Hamtoune is obviously insular in content and was indeed originally written in Anglo-Norman rather than continental French, while the didactic chansons Ami et Amile and Florence de Rome could be thought to have universal exemplary appeal, but the third type, chansons of Charlemagne, the French national hero, has been considered a strange choice for Middle English adaptations since they glorify French victories and were mostly translated and copied during the Hundred Years War. However, any claim made by the French Capetian dynasty to be the legitimate successors of Charlemagne was of course available to the English royal house too, given Edward III's claim to the French crown through his maternal grandfather, Philip IV. Therefore, translating the texts into English could be seen as a form of cultural appropriation, echoing the English kings’ claim to France. Furthermore, Charlemagne provides an imperial model for fifteenth-century English kings who were keen to present themselves as Christian Emperors. In this respect it is perhaps a significant observation that the Old French chansons of revolt against Charlemagne are not among the texts translated into Middle English. By contrast, both Fierabras and Otinel, each represented by three separate Middle English romances, are notable narratives of incorporation, focusing on the conversion and assimilation of the eponymous protagonists.