The vogue for prose narrative in the Renaissance derives from some established and some imported forms of literature that are not dissimilar in nature. Established forms included primarily the prose romance (roman de chevalerie), a late-medieval expansion and rendering into prose of earlier chivalric epic. Arthurian material, Tristan and Iseut, the epic adventures of Fierabras, Huon de Bordeaux and others, all fuelled interest in a heroic storyline, often combined with love interest, with a strong central character or characters and a recognisable plot, albeit one that might be convoluted on the way to resolution and contain supernatural as well as realistic elements. This trend was reinforced by the popularity of translated works such as L'Histoire palladienne, Juan de Flores's Flamete (translated by Scève in 1535) or Diego de San Pedro's Prison d'Amors (1526), and Arnalte et Lucenda (1539). The translator of this last work, Herberay des Essarts, went on to even greater success with Amadis de Gaule, which achieved very wide circulation. It was not approved of in all circles: Montaigne speaks slightingly of it, and it provokes outright condemnation in La Noue, along with other Protestant writers. The gradual ‘disgrâce d'Amadis’ has been well studied by Michel Simonin, but the very vehemence of the attacks against it should alert us to its obstinate popularity and enduring appeal: the eight books translated by Des Essarts between 1540 and 1548 initiated a series of twenty-four books in their entirety; and although the series had been published by 1613, editions of individual books were frequently re-printed throughout the period.