only occupy a secondary place, because erotic poetry is only fit to beautify life and to serve as a source of inspiration and imitation, in so far as it takes for its themes, not sexual intercourse itself, but the possibility of happiness, the promise, desire, languor, expectation. Only thus will it be capable of expressing all the different shadings of love, and of treating it equally from the sad and from the merry side. By introducing into love's domain the concepts of honour, courage, fidelity, and all the other elements of moral life, it will be of far greater æsthetic and ethical value. The Roman de la Rose, by combining the passionate character of its sensuous central theme with all the elaborate fancy of the system of courtly love, satisfied the needs of erotic expression of a whole age.
In this veritable treasure-house of amorous doctrine, ritual and legend, systematic and complete, the encyclopedic spirit of the thirteenth century had poured itself out, as it did in the sterner work of a Vincent of Beauvais. The extraordinary influence of the book could not but be heightened by its ambiguous nature. The work of two poets of different trends of thought, it joined—it would be more correct to say it juxtaposed—the courtly conception of love and sensual cynicism of the most daring kind. Texts could be found in it for all purposes.
Guillaume de Lorris had given it charm of form and tenderness of accent. The background of vernal landscape, the bizarre and yet harmonious imagery of allegorical figures, are his work. As soon as the lover has approached the wall of the mysterious garden of love, the allegorical system is unfolded. Dame Leisure opens the gate for him, Gaiety conducts the dance, Amor holds by the hand Beauty, who is accompanied by Wealth, Liberality, Frankness, Courtesy and Youth. After having locked the heart of his vassal, Amor enumerates to him the blessings of love, called Hope, Sweet Thought, Sweet Speech, Sweet Look. Then, when Bel-Accueil, the son of Courtesy, invites him to come and see the roses, Danger, Malebouche, Fear and Shame come to chase him away. The dramatic struggle commences. Reason comes down from its high tower, and Venus appears upon the scene. The text of Guillaume de Lorris ends in the middle of the crisis.
Jean Chopinel, or Clopinel, or de Meun, who finished the
