Between Huon of the Horn (1951) and Rogue Reynard (1947), I almost wonder if Andre Norton had some thought of making a career, or at least part of one, translating or adapting medieval texts. The two are very close in structure, style, and storyline. Huon seems a little less stiff and a little more comfortable with its yea-verily-and-forsooth prose, but it’s still a fair plod to get through.
The two texts (I won’t call them novels) share quite a few elements. Rulers with anger-management issues holding councils and demanding the presence of nobles who have stayed home for Reasons—bad ones for Reynard, justifiable for Huon. Royal favorites murdered both accidentally and intentionally. Royal messengers subjected to a range of adventures and tortures, and sometimes a combination of both. Impossible demands and impossible quests, and wicked villains scheming to destroy the moral and the good.