looked so indefatigably to meteorological phenomena for the explanation of such an immediate and perpetual motif as the deliverance of the virgin, which is the oldest of literary motifs, and one which can never grow antiquated. It may from time to time become stale from overmuch repetition, and yet it will reappear, adapting itself to all times and surroundings. New romantic types will arise, just as the cowboy has succeeded the corsair.
The Middle Ages cultivated these motifs of a primitive romanticism with a youthful insatiability. Whereas in some higher genres of literature, such as lyrical poetry, the expression of desire and fulfilment became more refined, the romance of adventure always preserved it in its crude and naïve form, without ever losing its charm to its contemporaries. We might have expected that the last centuries of the Middle Ages would have lost their relish for these childish fancies. We are inclined to suppose that Méliador, the super-romantic novel by Froissart, or Perceforest, those belated fruits of chivalrous romance, were anachronisms even in their own day. They were no more so than the sensational novel is at present. Erotic imagination always requires similar models, and it finds them here. In the hey-day of the Renaissance we see them revive in the cycle of Amadis of Gaul. When, a good while after the middle of the sixteenth century, François de la Noue affirms that the novels of Amadis had caused “un esprit de vertige” among his generation—the generation of the Huguenots, which had passed through humanism with its vein of rationalism—we can imagine what must have been the romantic susceptibility of the ill-balanced and ignorant generation of 1400.
Literature did not suffice for the almost insatiable needs of the romantic imagination of the age. Some more active form of expression was required. Dramatic art might have supplied it, but the medieval drama in the real sense of the word treated love matters only exceptionally; sacred subjects were its substance. There was, however, another form of representation, namely; noble sports, tourneys and jousts. Sportive struggles always and everywhere contain a strong dramatic element and an erotic element. In the medieval tournament these two elements had so much got the upper
