<P> The French chanson gave rise to the Old Spanish tradition of the cantar de gesta . </P> <P> The chanson de geste was also adapted in southern (Occitan - speaking) France . One of the three surviving manuscripts of the chanson Girart de Roussillon (12th century) is in Occitan, as are two works based on the story of Charlemagne and Roland, Rollan a Saragossa and Ronsasvals (early 12th century). The chanson de geste form was also used in such Occitan texts as Canso d'Antioca (late 12th century), Daurel e Betó (first half of the 13th century), and Song of the Albigensian Crusade (c. 1275) (cf Occitan literature). </P> <P> In medieval Germany, the chansons de geste elicited little interest from the German courtly audience, unlike the romances which were much appreciated . While The Song of Roland was among the first French epics to be translated into German (by Konrad der Pfaffe as the Rolandslied, c. 1170), and the German poet Wolfram von Eschenbach based his (incomplete) 13th century epic Willehalm (consisting of seventy - eight manuscripts) on the Aliscans, a work in the cycle of William of Orange (Eschenbach's work had a great success in Germany), these remained isolated examples . Other than a few other works translated from the cycle of Charlemagne in the 13th century, the chansons de geste were not adapted into German, and it is believed that this was because the epic poems lacked what the romances specialized in portraying: scenes of idealized knighthood, love and courtly society . </P> <P> In the late 13th century, certain French chansons de geste were adapted into the Old Norse Karlamagnús saga . </P>

The shift from chansons de geste to romances reflect