simile of the hunter! Of all transplantation from the modern to the
ancient, tempered nevertheless with antiquity, their great listed Duel
stands foremost. Take it, with all the circumstances that introduce it.
Whilst the kinsmen are fighting, Theseus rides up, "pulled out a sword,
and cried, Ho!" This is the language of the 14th century, and the western
side of Europe. But he swears by "mighty Mars," that the first who strikes
another stroke shall lose his head. Both are liable to death. Palamon for
having broken prison, and Arcite, because his avoiding Athenian ground on
pain of death was an original condition of his liberation. Theseus'
challenge to them, "Tell me who ye are that are so bold as to fight here
without judge or officer," is the manner of the poet's day. In the time of
Theseus, fighting in a wood near Athens was free to all the world.

What saves them? The interposition of the ladies! Queen, princess, court
and all, who think it a pity two gallant young "gentil men" of "gret
estat" shall die, and all for love. The duke is moved; for pity soon melts
in a "gentil herte." And he appoints a regular Tournament--that at the
year's end they shall meet, each bringing a hundred knights, and fight it
out. He pledges himself 'upon his troth, and as he is a knight,' that he
who shall slay his adversary, or 'out of listes him drive,' shall have
Emelie to wife.

The lists are--from the hint of antiquity--a regular Amphitheatre, a mile
about--walled, and the seats in steps to the height of sixty paces. Art
and wealth have been lavished in making the field worthy of the fight.
Over the Eastern gate is an altar and an "Oratorie" to Venus--over the
Western, to Mars--on the North side is one to Diana. The description of
the three Fanes is of surpassing power. Among the portraitures in that of
Mars is the Suicide, for whom the relater, poet or knight, forgets himself
in his vivid conception, and says that he _saw it_.

The allies of the two knights are both classically and romantically
chosen. With Palamon comes "Licurge, the grete king of Trace." That is
classical. With Arcite "the grete Emetrius, the king of Inde." That is
romantic. The persons of the two kings are described at large, with great
strength and fecundity of painting. And here again, in the way of art, the
contrast is admirably sustained and effective. Licurge is the older, more
uncouth, and giant-like. The youthful Emetrius is more splendid and
knightly. Bo