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.]

[Footnote 212: 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. 354) points out that Thomas used the
same scene and the play upon the same words "mer", "amer", and "amers"
in his "Tristan" and was later imitated by Gottfried von Strassburg.]

[Footnote 213: According to the 12th century troubadours, the shafts of
Love entered the victim's body through the eyes, and thence pierced the
heart.]

[Footnote 214: For fanciful derivation of proper names, cf. A. Tobler,
"Vermischte Beitrage", ii. 211-266.]

[Footnote 215: Ganelon, the traitor in the "Chanson de Roland", to
whose charge is laid the defeat of Charlemagne's rear-guard at Ronceval,
became the arch-traitor of mediaeval literature. It will be recalled
that Dante places him in the lowest pit of Hell ("Inferno", xxxii. 122).
(NOTE: There is a slight time discrepance here. Roland, Ganelon, and the
Battle of Ronceval were said to have happened in 8th Century A.D., fully
300 years after Arthur and the Round Table.--DBK).]

[Footnote 216: For the ceremonies attendant upon the conferring of
knighthood, see Karl Treis, "Die Formalitaten des Ritterschlags in der
altfranzosischen Epik" (Berlin, 1887).]

[Footnote 217: The "quintainne" was "a manikin mounted on a pivot and
armed with a club in such a way that, when a man struck it unskilfully
with his lance, it turned and landed a blow upon his back" (Larousse).]

[Footnote 218: This conventional attitude of one engaged in thought or
a prey to sadness has been referred to by G.L. Hamilton in "Ztsch fur
romanische Philologie", xxxiv. 571-572.]

[Footnote 219: Many traitors in old French literature suffered the same
punishments as Ganelon, and were drawn asunder by horses ("Roland",
3960-74).]