If we take a survey of the poem, we shall recognize in its conception a harmonious plan and a certain unity of action, which, as in most of the romances, is founded on the hero and the interest he affects us with (See Ten Brink, _Engl. Literat._, I. p. 317). In the centre of the action is placed Torrent’s love of Desonelle; for all the various combats that he undertakes against dragons and giants, against the prince of Arragon and King Calamond, are undertaken solely to gain him Desonelle. Even his expedition against the infidels and the fighting with his son are designed by Providence to make him find again his lost love. Halliwell (Preface, p. vii), therefore, is not right in deeming the romance ‘a rambling poem of adventures without much plot.’ The length and tediousness of the episodes may have prevented him from recognizing the unity of the whole. At the same time, however, it must be admitted that the poem cannot rank with the masterpieces of romantic poetry written in the same metre, like _Amis and Amiloun_, _Ipomadon_, _Kyng of Tars_, _Octavian_, either in the invention of plot or in the dissection of passions. The diction is so swelled with stereotyped phrases, and so surfeited with trivialities, that we may justly suppose the poem to have been composed at a period when romantic poetry had passed its best time, and had begun to decay. As to the authorship of the poem, it was probably composed by a monk. It is an easy thing to show peculiarities in the course of the story which are essentially monkish. As the romance begins and ends with a benediction, in the same way each deed and each adventure of the hero is introduced and finished by long prayers. Moreover, the poet points frequently to a direct interposition of Heaven (ll. 675, 1568, 1948); he describes the anguish and sorrow that Desonelle feels about her children’s baptism (ll. 1892-1896 and 2074-76); he mentions emphatically Communion and Confession (1272 and 2139), Masses (756 and 813); he finally praises the Emperor for founding churches and abbeys (l. 2658). On the other side, we find very few of those marks which characterize the works of minstrels: the poet seldom predicts the fates of his heroes to excite the attention of his auditors; he mentions only by the way the performances of the gleemen, and nowhere speaks of the rewards that they get.