Cf. F.M. Warren in "Modern Philology", iii. 179-209; iii.
513-539; iv. 655-675. Also M. Wilmotte, "L'Evolution du
roman francais aux environs de 1150" (Paris, 1903). Scenes
from classical and medieval romance were for a long time
favourite subject of portrayal upon cloths and tapestries,
as well as of illuminations for manuscripts.
(36) Various conjectures have been advanced concerning the
significance of this strange adventure and its mysterious
name "La Joie de la cour". It is a quite extraneous
episode, and Tennyson in his artistic use of our hero and
heroine in the Idyl of "Geraint and Enid" did well to omit
it. Chretien's explanation, a little farther on, of "La
Joie de la cour" is lame and unsatisfactory, as if he
himself did not understand the significance of the matter
upon which he was working. Cf. E. Philipot in "Romania",
xxv. 258-294; K. Othmer, "Ueber das Verhaltnis Chrestiens
Erec und Enide zu dem Mabinogion des rothen Buch von
Hergest" (Bonn, 1889); G. Paris in "Romania", xx. 152 f.
(37) The following description of Erec's reception is repeated
with variations at the time of Yvain's entrance in the
"Chastel de Pesme Avanture" ("Yvain", 5107 f.
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