a never-ending series of amorous adventures and dangerous quests.
Rather than unqualifiedly attribute to Chretien this important
literary convention, one should bear in mind that all his poems
imply familiarity on the part of his readers with the heroes of
the court of which he speaks. One would suppose that other
stories, told before his versions, were current. Some critics
would go so far as to maintain that Chretien came toward the
close, rather than at the beginning, of a school of French
writers of Arthurian romances. But, if so, we do not possess
these earlier versions, and for lack of rivals Chretien may be
hailed as an innovator in the current schools of poetry.

And now let us consider the faults which a modern reader will not
be slow to detect in Chretien's style. Most of his salient
faults are common to all mediaeval narrative literature. They
may be ascribed to the extraordinary leisure of the class for
whom it was composed--a class which was always ready to read an
old story told again, and which would tolerate any description,
however detailed. The pastimes of this class of readers were
jousting, hunting, and making love. Hence the preponderance of
these matters in the literature of its leisure hours. No detail
of the joust or hunt was unfamiliar or unwelcome to these
readers; no subtle arguments concerning the art of love were too
abstruse to delight a generation steeped in amorous casuistry and
allegories. And if some scenes seem to us indelicate, yet after
comparison with other authors of his times, Chretien must be let
off with a light sentence. It is certain he intended to avoid
what was indecent, as did the writers of narrative poetry in
general. To appreciate fully the chaste treatment of Chretien
one must know some other forms of mediaeval literature, such as