Abstract: Nodier reinvents the romance genre by combining it with the violence of history and the question of evil. Under his pen, romance is no longer a naive, sentimental or “troubadour” genre; melancholic and frenetic, it takes on the color of the era to express the disarray of the postrevolutionary generation. This article aims to situate Nodier in the landscape of the novelists of the time and to question the role of the romances that he inserts into Le Peintre de Saltzbourg and Jean Sbogar.
