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came later with Victor Hugo in France, with Heine in Germany.
In the Defence of Guenevere: and Other Poems, published by Mr. William Morris now many years ago, the first typical specimen of aesthetic poetry, we have a refinement upon this later, profounder medievalism. The poem which gives its name to the volume is a thing tormented and awry with passion, like the body of Guenevere defending herself from the charge of adultery, and the accent falls in strange, unwonted places with the effect of a great cry. In truth these Arthurian legends, in their origin prior to Christianity, yield all their sweetness only in a Christian atmosphere. What is
characteristic in them is the strange suggestion of a deliberate choice between Christ and a rival lover. That religion, monastic religion at any rate, has its sensuous side, a dangerously sensuous side, has been often seen: it is the experience of Rousseau as well as of the Christian mystics. The Christianity of the Middle Age made way among a people whose loss was in the life of the senses partly by its aesthetic beauty, a thing so profoundly felt by the Latin hymnwriters, who for one moral or spiritual sentiment have a hundred
sensuous images. And so in those imaginative loves, in their highest expression, the Provencal poetry, it is a rival religion with a [216] new rival cultus that we see. Coloured through and through with Christian sentiment, they are rebels against it. The rejection of one worship for another is never lost sight of. The jealousy of that other lover, for whom these words and images and refined ways of sentiment were first devised, is the secret here of a borrowed, perhaps factitious colour and heat. It is the mood of the cloister taking a new direction, and winning so a later space of life it never anticipated.
Hereon, as before in the cloister, so now in the chateau, the reign of reverie set in. The devotion of the cloister knew that mood thoroughly, and had sounded all its stops. For the object of this devotion was absent or