This chapter examines how, in the phenomenological representation of space prevalent in romance, space representation is tied with character perception. Early Middle English Breton lays build upon narrative structures fashioned upon the pattern of the itinerary (as opposed to the map), merging the narrator’s and the hero’s point of view, as in the technique of internal focalisation, while other lays stage several contemporaneous spaces, building a poetic point of view reminiscent of the omniscient narrator. Distinct narrative modalities emerge as a result: the space of adventure (in which space is conjured up as the hero travels) contrasts with tragic space, which highlights the hero’s isolation in the wide world. The poet’s adoption of a dominant viewpoint remains however limited in medieval narratives. Thematically, the narratives show a certain discomfort with the idea of an overarching gaze, as an analysis of the motif of the tower reveals. Instead, romance landscapes prove immersive while narrative and heroic perceptions and representations of space remain intrinsically incomplete and marginal, rather than totalizing.