previous in French literature with which we are acquainted. The
poem is an episodical romance in the biography of an Arthurinn
hero, with the usual amount of space given to his adventures.
"Cliges" apparently connects a Byzantine tale of doubtful origin
in an arbitrary fashion with the court of Arthur. It is thought
that the story embodies the same motive as the widespread tale of
the deception practised upon Solomon by his wife, and that
Chretien's source, as he himself claims, was literary (cf. Gaston
Paris in "Journal des Savants", 1902, pp. 641-655). The scene
where Fenice feigns death in order to rejoin her lover is a
parallel of many others in literary history, and will, of course,
suggest the situation in Romeo and Juliet. This romance well
illustrates the drawing power of Arthur's court as a literary
centre, and its use as a rallying-point for courteous knights of
whatever extraction. The poem has been termed an "Anti-Tristan",
because of its disparaging reference to the love of Tristan and
Iseut, which, it is generally supposed, had been narrated by
Chretien in his earlier years. Next may come "Lancelot", with
its significant dedication to the Countess of Champagne. Of all
the poet's work, this tale of the rescue of Guinevere by her
lover seems to express most closely the ideals of Marie's court
ideals in which devotion and courtesy but thinly disguise free
love. "Yvain" is a return to the poet's natural bent, in an
episodical romance, while "Perceval" crowns his production with
its pure and exalted note, though without a touch of that
religious mysticism which later marked Wolfram yon Eschenbach's
"Parzival". "Guillaime d'Angleterre" is a pseudo-historical
romance of adventure in which the worldly distresses and the
final reward of piety are conventionally exposed. It is
uninspired, its place is difficult to determine, and its