45), the peculiar georgraphy of this poem "is distinctly
Anglo-Norman rather than Arthurian".
(10) For this intimate relation between heroes, so common in the
old French heroic and romantic poems, see Jacques Flach, "Le
compagnonnage dans les chansons de geste" in "Etudes
romances dediees a Gaston Paris" (Paris, 1891). Reviewed in
"Romania", xxii. 145.
(11) Here begins one of those long dialogues, where one person is
represented as taking both sides of an argument. This
rhetorical device, so wearisome to modern readers, is used
by Chretien preferably when some sentiment or deep emotion
is to be portrayed. Ovid may well have suggested the
device, but Ovid never abuses it as does the more prolix
mediaeval poet. For the part playing by the eyes in
mediaeval love sophistry, see J.F. Hanford, "The Debate of
Heart and Eye" in "Modern Language Notes", xxvi. 161-165;
and H.R. Lang, "The Eyes as Generators of Love." id. xxiii.
126-127.
(12) For play upon words and for fanciful derivation of proper
names in mediaeval romance literature, see the interesting
article of Adolf Tobler in "Vermischte Beitrage", ii. 211-
266. Gaston Paris ("Journal des Savants", 1902, p.
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