Chrétien de Troyes in the context of "Yvain, le Chevalier au Lion"

As a literary genre, the chivalric romance is a type of prose and verse narrative that was popular in the noble courts of high medieval and early modern Europe. They were fantastic stories about marvel-filled adventures, often of a chivalric knight-errant portrayed as having heroic qualities, who goes on a quest. It developed further from the epics as time went on; in particular, "the emphasis on love and courtly manners distinguishes it from the chanson de geste and other kinds of epic, in which masculine military heroism predominates."

Popular literature also drew on themes of romance, but with ironic, satiric, or burlesque intent. Romances reworked legends, fairy tales, and history to suit the readers' and hearers' tastes, but by c. 1600 they were out of fashion, and Miguel de Cervantes famously burlesqued them in his novel Don Quixote. Still, the modern image of "medieval" is more influenced by the romance than by any other medieval genre, and the word medieval evokes knights, damsels in distress, dragons, and other romantic tropes.

Ywain /ɪˈweɪn/, also known as Yvain and Owain (among many other spellings), is a Knight of the Round Table in the Arthurian legend. Tradition often portrays him as the son of King Urien of Gorre and of either the supernatural figure Modron or the sorceress Morgan. The historical Owain mab Urien, the basis of the literary character, ruled as the king of Rheged in Britain during the late-6th century.

Yvain was one of the earliest characters associated with King Arthur. He was also one of the most popular, starring as the eponymous hero in Chrétien de Troyes' late-12th-century Yvain, the Knight of the Lion and appearing prominently in many later accounts, often accompanied by his fierce pet lion. He remains Urien's son in virtually all literature in which he appears, whereas other Arthurian-legend characters based on historical figures usually lost their original familial connections in romance literature.

Laudine is a character in Chrétien de Troyes's 12th-century romance Yvain, or, The Knight with the Lion. The character is unnamed in the Welsh version of the tale, Owain, or the Lady of the Fountain, but is named as Laudine in both Chrétien's romance and the German adaptation, Iwein by Hartmann von Aue. Known as the Lady of the Fountain, she becomes the wife of the poem's protagonist, Yvain, one of the knights of King Arthur's Round Table, after he kills her husband, but later spurns the knight-errant when he neglects her for heroic adventure, only to take him back in the end.

Chrétien calls her "la dame de Landuc", i.e. the noblewoman in command of the territory and castle of "Landuc", located near a supernatural fountain within the enchanted forest of Brocéliande. The lady Laudine's fountain, which magically generated a powerful storm when its water was poured into a nearby basin, was guarded by her husband, Esclados the Red, until his defeat by Yvain. After learning about his cousin Calogrenant's encounter with Esclados, in which the former was attacked and beaten for using the well to create a storm, Yvain took revenge on behalf of his kinsman by slaying Esclados in single combat. He then followed the mortally wounded warrior back to the castle, where he fell instantly in love with his victim's widow. Though distraught over her husband's death, Laudine was convinced by her vassals (especially her servant and confidante Lunete) to marry Yvain to ensure the protection of her lands.

Guinevere (/ˈɡwɪnəvɪər/ GWIN-ə-veer; Welsh: Gwenhwyfar pronunciation; Breton: Gwenivar, Cornish: Gwynnever), also often written in Modern English as Guenevere or Guenever, was, according to Arthurian legend, an early-medieval queen of Great Britain and the wife of King Arthur. First mentioned in literature in the early 12th century, nearly 700 years after the purported times of Arthur, Guinevere has since been portrayed as everything from a fatally flawed, villainous, and opportunistic traitor to a noble and virtuous lady. The variably told motif of abduction of Guinevere, or of her being rescued from some other peril, features recurrently and prominently in many versions of the legend.

The earliest datable appearance of Guinevere is in Geoffrey of Monmouth's pseudo-historical British chronicle Historia Regum Britanniae, in which she is seduced by Mordred during his ill-fated rebellion against Arthur. In a later medieval Arthurian romance tradition from France, a major story arc is the queen's tragic love affair with her husband's best knight and trusted friend, Lancelot, indirectly causing the death of Arthur and the downfall of the kingdom. This concept had originally appeared in nascent form in Chrétien de Troyes's poem Lancelot, the Knight of the Cart prior to its vast expansion in the prose cycle Lancelot-Grail, consequently forming much of the narrative core of Thomas Malory's seminal English compilation Le Morte d'Arthur. Other themes found in Malory and other texts include Guinevere's usual barrenness, the scheme of Guinevere's evil twin to replace her, and the particular hostility displayed towards Guinevere by her sister-in-law Morgan.

Parsifal (WWV 111) is a music drama in three acts by the German composer Richard Wagner and his last composition. Wagner's own libretto for the work is freely based on the 13th-century Middle High German chivalric romance Parzival of the Minnesänger Wolfram von Eschenbach and the Old French chivalric romance Perceval ou le Conte du Graal by the 12th-century trouvère Chrétien de Troyes, recounting different accounts of the story of the Arthurian knight Parzival (Percival) and his spiritual quest for the Holy Grail.

Wagner conceived the work in April 1857, but did not finish it until 25 years later. In composing it he took advantage of the particular acoustics of his newly built Bayreuth Festspielhaus. Parsifal was first produced at the second Bayreuth Festival in 1882. The Bayreuth Festival maintained a monopoly on Parsifal productions until 1914, however the opera was performed at the Metropolitan Opera in New York in 1903 after a US court ruled that it was legal.

Trouvère (/truːˈvɛər/, French: [tʁuvɛʁ]), sometimes spelled trouveur (/truːˈvɜːr/, French: [tʁuvœʁ]), is the Northern French (langue d'oïl) form of the langue d'oc (Occitan) word trobador, the precursor of the modern French word troubadour. Trouvère refers to poet-composers who were roughly contemporary with and influenced by the trobadors, both composing and performing lyric poetry during the High Middle Ages, but while the trobadors composed and performed in Old Occitan, the trouvères used the northern dialects of France. One of the first known trouvères was Chrétien de Troyes (fl. 1160s–1180s) and the trouvères continued to flourish until about 1300. Some 2130 trouvère poems have survived; of these, at least two-thirds have melodies.

Layamon or Laghamon (UK: /ˈlaɪ.əmən, -mɒn/, US: /ˈleɪ.əmən, ˈlaɪ-/; Middle English: [ˈlaɣamon]) – spelled Laȝamon or Laȝamonn in his time, occasionally written Lawman – was an English poet of the late 12th/early 13th century and author of the Brut, a notable work that was the first to present the legends of Arthur and the Knights of the Round Table in English poetry (the first Arthurian poems were by Frenchman Chrétien de Troyes).

J. R. R. Tolkien valued him as a transmitter of early English legends in a fashion comparable to the role played with respect to Icelandic legend by Snorri Sturluson.