"[G] Four Arthurian Romances" - читать интересную книгу автора (DeTroyes Chretien)

deed performed because of the courteous ideals of chivalry. The
debt of our own social code to this literature of courtesy and
frequent self-sacrifice is perfectly manifest.

What Chretien's immediate and specific source was for his
romances is of deep interest to the student. Unfortunately, he
has left us in doubt. He speaks in the vaguest way of the
materials he used. There is no evidence that he had any Celtic
written source. We are thus thrown back upon Latin or French
literary originals which are lost, or upon current continental
lore going back to a Celtic source. This very difficult problem
is as yet unsolved in the case of Chretien, as it is in the case
of the Anglo-Norman Beroul, who wrote of Tristan about 1150. The
material evidently was at hand and Chretien appropriated it,
without much understanding of its primitive spirit, but
appreciating it as a setting for the ideal society dreamed of but
not realised in his own day. Add to this literary perspicacity,
a good foundation in classic fable, a modicum of ecclesiastical
doctrine, a remarkable facility in phrase, figure, and rhyme and
we have the foundations for Chretien's art as we shall find it
upon closer examination.

A French narrative poet of the twelfth century had three
categories of subject-matter from which to choose: legends
connected with the history of France ("matiere de France"),
legends connected with Arthur and other Celtic heroes ("matiere
de Bretagne"), and stories culled from the history or mythology
of Greece and Rome, current in Latin and French translations
("matiere de Rome la grant"). Chretien tells us in "Cliges" that
his first essays as a poet were the translations into French of
certain parts of Ovid's most popular works: the "Metamorphoses",
the "Ars Amatoria", and perhaps the "Remedia Amoris". But he
appears early to have chosen as his special field the stories of
Celtic origin dealing with Arthur, the Round Table, and other
features of Celtic folk-lore. Not only was he alive to the
literary interest of this material when rationalised to suit the
taste of French readers; his is further the credit of having
given to somewhat crude folk-lore that polish and elegance which
is peculiarly French, and which is inseparably associated with
the Arthurtan legends in all modern literature. Though Beroul,
and perhaps other poets, had previously based romantic poems upon
individual Celtic heroes like Tristan, nevertheless to Chretien,
so far as we can see, is due the considerable honour of having
constituted Arthur's court as a literary centre and rallying-
point for an innumerable company of knights and ladies engaged in
a never-ending series of amorous adventures and dangerous quests.
Rather than unqualifiedly attribute to Chretien this important
literary convention, one should bear in mind that all his poems
imply familiarity on the part of his readers with the heroes of
the court of which he speaks. One would suppose that other