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[ 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.]
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[ 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 Chrétien 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.]
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[ 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.]
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[ According to the 12th century troubadours, the shafts of Love entered the victim's body through the eyes, and thence pierced the heart.]
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[ For fanciful derivation of proper names, cf. A. Tobler, "Vermischte Beitrage", ii. 211-266.]