Page:The Waning of the Middle Ages (1924).djvu/89

Rh It would thus be unjust to regard as factitious or superficial the religious elements of chivalry, such as compassion, fidelity, justice. They are essential to it. Yet the complex of aspirations and imaginings, forming the idea of chivalry, in spite of its strong ethical foundation and the combative instinct of man, would never have made so solid a frame for the life beautiful if love had not been the source of its constantly revived ardour.

These very traits, moreover, of compassion, of sacrifice, and of fidelity, which characterize chivalry, are not purely religious; they are erotic at the same time. Here, again, it must be remembered that the desire of bestowing a form, a style, on sentiment, is not expressed exclusively in art and literature; it also unfolds in life itself: in courtly conversation, in games, in sports. There, too, love incessantly seeks a sublime and romantic expression. If, therefore, life borrows motifs and forms from literature, literature, after all, is only copying life. The chivalrous aspect of love had somehow to make its appearance in life before it expressed itself in literature.

The knight and his lady, that is to say, the hero who serves for love, this is the primary and invariable motif from which erotic fantasy will always start. It is sensuality transformed into the craving for self-sacrifice, into the desire of the male to show his courage, to incur danger, to be strong, to suffer and to bleed before his lady-love.

From the moment when the dream of heroism through love has intoxicated the yearning heart, fantasy grows and overflows. The first simple theme is soon left behind, the soul thirsts for new fancies, and passion colours the dream of suffering and of renunciation. The man will not be content merely to suffer, he will want to save from danger, or from suffering, the object of his desire. A more vehement stimulus is added to the primary motif: its chief feature will be that of defending imperilled virginity—in other words, that of ousting the rival. This, then, is the essential theme of chivalrous love poetry: the young hero, delivering the virgin. The sexual motif is always behind it, even when the aggressor is only an artless dragon; a glance at Burne-Jones’s famous picture suffices to prove it.

One is surprised that comparative mythology should have