apogee, and it was not until the thirteenth that
it manifested the first symptoms of decay.

"_Li maus est moult want_" exclaims the author of _Godfrey de Bouillon_,
and he adds, sadly, "_Tos li biens est fines_."

He was more correct in speaking thus than was the author of _Saint
Alexis_ in his complainings, for the decadence of chivalry actually
commenced in his time. And it is not unreasonable to inquire into the
causes of its decay.

_The Romance of the Round Table_, which in the opinion of prepossessed
or thoughtless critics appears so profoundly chivalrous, may be
considered one of the works which hastened the downfall of chivalry. We
are aware that by this seeming paradox we shall probably scandalize some
of our readers, who look upon these adventurous cavaliers as veritable
knights. What does it matter? _Avienne que puet_. The heroes of our
_chansons de geste_ are really the authorized representatives and types
of the society of their time, and not those fine adventure-seeking
individuals who have been so brilliantly sketched by the pencil of
Cretien de Troyes.

It is true, however, that this charming and delicate spirit did not
give, in his works, an accurate idea of his century and generation. We
do not say that he embellished all he touched, but only that he
enlivened it. Notwithstanding all that one could say about it, this
school introduced the old Gaelic spirit into a poetry which had been
till then chiefly Christian or German. Our epic poems are of German
origin, and the _Table Round_ is of Celtic origin. Sensual and light,
witty and delicate, descriptive and charming, these pleasing romances
are never masculine, and become too often effeminate and effeminating.
They sing always, or nearly so, the same theme. By lovely pasturages
clothed with beautiful flowers, the air full of birds, a young knight
proceeds in search of the unknown, and through a series of adventures
whose only fault is that they resemble one another somewhat too closely.

We find insolent defiances, magnificent duels, enchanted castles, tender
love-scenes, mysterious talismans. The marvellous mingles with the
supernatural, magicians with saints, fairies with angels. The whole is
written in a style essentially French, and it must be confessed in
clear, polished, and chastened language--perfect!

But we must not forget, as we said just now, that this poetry, so
greatly attractive, began as early as the twelfth century to be the mode