CONCLUSION: GENERAL DESCRIPTION OF TIRANT LO BLANCH The Catalan romance of chivalry, _Tirant lo Blanch_, may be described as a composite historical novel with a hero of a composite historical character. From the beginning of the work to the end of the William of Warwick episode the scenes are laid in England, and were it not for the fact that Martorell describes a Moorish invasion as taking place in that kingdom, we should be obliged to say that the atmosphere is absolutely English. However, after Tirant’s return to the continent, a purely Catalan or Aragonese spirit pervades the romance to the very end. The names of other countries may be given as the scenes of Tirant’s activities, but the Catalan heart and mind are always in evidence. The author’s direct experience and his intimate acquaintance with the history of his country find expression at every favorable opportunity. Whatever is described or narrated bears a pronounced Catalan stamp. Tirant’s relief expedition to Rhodes is based on the siege of that place in 1444, but the manner in which he succeeded in reaching the castle was copied from Roger de Flor’s successful attempt to relieve Messina. The expedition of the King of France against the infidels is based on the crusades of Louis IX; yet the way that it ravaged the shores of Turkey was very similar to the manner in which the vessels of King Jaime, King Peter’s predecessor, devastated the shores of Africa. Tirant’s activities in the service of the Emperor of Constantinople are based on the Catalan-Aragonese expedition to the East under the leadership of Roger de Flor, but it cannot be forgotten that the English romance, _Guy of Warwick_, has left strong and indisputable traces in this part of the work. The conquest of Barbary is based on the experiences of the kings of Aragon with the Saracens of northwestern Africa, but, in making use of these historical elements, Martorell absolutely disregards their chronological order. According to these historical data, Tirant’s military career begins in the middle of the fifteenth century and ends incongruously in the early years of the fourteenth. The hero is made up of elements taken from Guy of Warwick, Richard of Beauchamp, Roger de Flor, Saint Louis, Peter the Second of Aragon and others. It is clear that Martorell had no intention of singing the praises of Roger de Flor or of any other historical personage. In fact it seems that he attempts to disguise and conceal the historical elements. If he had adhered to these elements too closely, he would by that very act have deprived himself of the liberty of proceeding with his composition as he pleased.