In the Middle English verse romance “Richard Coeur de Lyon” King Richard I of England is portayed as feorocious, hyper-violent hero.  Blood-lust fervor is aroused against “sarazins” nost so much for depicting their monstorous acts as by telling of, and inventing, Richard’s mostorous behavior toward them.  Heavenly angels encourage and praise Richard’s cannibalism of his Muslim enemies and the slaughter of thousands with their hands bound behind their backs, acts which reinforce the Muslims barely-human status.  As violent as the Thrid Crusade was, the romance intensifies the violence in its account, providing the English audience with a mythologized heroic figure with superhuman strength and appetite.  This kind of monstorous hero was valorized and was intended to inspire, but not to be emulated fully: his magical parentage and kingly power meant that he was capable of acts more wonderful and more horrific than his subjects.  As the emporer Modard exclaims when Richard tears out with his bare hands the heart of  his lion, “Pis is a deuyl and no man, / Pat Richard has my stronge lyon slawe…/ Kyng jcrystened of most renoun , / Stronge Rychard Coer de Lyoun!” (11. 112013, 117-18).  Richard acts on behalf of his nation, which is also his audience and may take part simply by observing, or hearing of, his acts.