| Summary: | This thesis aims to demonstrate that the medieval Scottish romances Barbour’s <i>Bruce </i>and Blind Hary’s <i>Wallace</i> and the anonymous Arthurian texts <i>Lancelot of the Laik </i>and <i>Golagros and Gawane</i> belong to the same literary tradition. <i>Rauf Coilyear </i>and <i>Clariodus</i> will also be examined, though less exhaustively, within these parameters. An analysis of the political motivations and literary and philosophical fabric of the works will reveal the similarities between them. These romances will be compared to their paradigmatic counterparts or originals, mainly French, such as Chrétien de Troyes’ <i>Romans </i>(late twelfth century), Joinville’s <i>Viede Saint Louis</i> (1309), Cuvelier’s <i>Chanson de Bertrand de Guesclin </i>(late fourteenth century), or the sources of the Scottish Arthurian works, <i>Lancelot do Lac</i> (1215-25) and the <i>First Continuation of Perceval </i>(early thirteenth century). When pertinent Anglo-Norman, English, Provençal and Catalan works will also be alluded to. This comparison will highlight, on the one hand, the shared <i>topoi</i> characteristic of a broader European tradition; and, on the other, the exclusively Scottish features. The conclusion will elucidate the organic literary and ideological components which constitute the unity of the Scottish romance tradition.
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