of Arthur's knights, Gawain. Yvain, Erec, Lancelot, and Perceval,
has been forgotten; whereas posterity has been kinder to his
debtors, Wolfram yon Eschenbach, Malory, Lord Tennyson, and
Richard Wagner. The present volume has grown out of the desire
to place these romances of adventure before the reader of English
in a prose version based directly upon the oldest form in which
they exist.

Such extravagant claims for Chretien's art have been made in some
quarters that one feels disinclined to give them even an echo
here. The modem reader may form his own estimate of the poet's
art, and that estimate will probably not be high. Monotony, lack
of proportion, vain repetitions, insufficient motivation,
wearisome subtleties, and threatened, if not actual, indelicacy
are among the most salient defects which will arrest, and mayhap
confound, the reader unfamiliar with mediaeval literary craft.
No greater service can be performed by an editor in such a case
than to prepare the reader to overlook these common faults, and
to set before him the literary significance of this twelfth-century poet.

Chretien de Troyes wrote in Champagne during the third quarter of
the twelfth century. Of his life we know neither the beginning
nor the end, but we know that between 1160 and 1172 he lived,
perhaps as herald-at-arms (according to Gaston Paris, based on
"Lancelot" 5591-94) at Troyes, where was the court of his
patroness, the Countess Marie de Champagne. She was the daughter
of Louis VII, and of that famous Eleanor of Aquitaine, as she is
called in English histories, who, coming from the South of France
in 1137, first to Paris and later to England, may have had some
share in the introduction of those ideals of courtesy and woman