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persons and objects are not rhetorical or lengthy, but are precise, lively and colourful. His portraits of feminine beauty, though they follow the typical patterns of description, nevertheless provide variety in their details. Chrétien even had the rare audacity to make one of his heroines (Lunete in
The Knight with the Lion
), abrunette rather than a blonde! Even more striking in their variety, however, are the portraits of ugliness: the physical ugliness of the wretched maiden with her torn dress and the grotesque damsel on her tawny mule in
The Story of the Grail
, the churlish herdsman in
The Knight with the Lion
, or the psychological ugliness of Meleagant.
    Chrétien also excels in his descriptions of nature – of the plains, valleys, hills, rivers and forests of twelfth-century France and England. Natural occurrences such as the storm in Brocéliande forest early in
The Knight with the Lion
, followed by the sunshine and singing of birds, or the frightening dark night of rain the maiden later rides through in search of Yvain, are vividly evoked in octosyllabic verses of pure lyric quality. Castles, such as that of Perceval’s tutor Gornemant of Gohort, perched on their rocky promontories above raging rivers, with turrets, keeps and drawbridges, are all in the latest style of cut-stone construction. Gawain’s Hall of Marvels in
The Story of the Grail
has ebony and ivory doors with carved panels, while the one into which Yvain pursues the fleeing Esclados the Red is outfitted with a mechanized portcullis. In
Erec
in particular Chrétien treats with consummate skill the activities, intrigues, passions, and colour of contemporary court life. This romance is filled with lavish depictions of garments, saddles and trappings, and ceremonies that give proof of his keen attention to detail and his pleasure in description. Justly famous is the elaborate description of Erec’s coronation robe (ll. 6698–763), on which four fairies had skilfully embroidered portrayals of the four disciplines of the quadrivium: Geometry, Arithmetic, Music and Astronomy. His depiction of the great hall and Grail procession in
The Story of the Grail
is filled with specific details, which are richly suggestive and create an aura of mystery and wonder. In his descriptions, as in much of what he writes, Chrétien tantalizes us with details that are precise yet mysterious in their juxtapositions. He refuses to explain, and in that refusal lies much of his interest for us today. His artistry is one of creating a tone of wonder and mystification. What is Erec’s motivation? Why does Enide set off on the quest in her best dress? Did Lancelot consummate his love with Guinevere? What is the significance of Yvain’s lion? What is the mystery of the Grail Castle? In his prologue to
Erec and Enide
, Chrétien hints at a greater purpose behind his story than simple entertainment, but he deliberately refuses to spell out that purpose. And near the end of the romance, as Erec is about to recount his own tale for King Arthur, Chrétien significantly refuses to repeat it, telling us in words that apply equally well to all his romances:
    Mes cuidiez vos que je vos die
quex acoisons le fist movoir?
Naie, que bien savez le voir
et de ice et d’autre chose,
si con ge la vos ai esclose. [ll. 6432–36]
    [But do you expect me to tell you the reason that made him set out? No indeed, for you well know the truth of this and of other things, just as I have disclosed it to you.]
    All the answers we may require, Chrétien assures us, are already embedded within the
bele conjointure
he has just opened out before us with such consummate artistry. In considering these details one must resist the temptation to seek an allegorical or symbolic interpretation for each one. Borrowing constantly from a reserve of symbols, Chrétien, like his contemporary listener or reader, would have been aware of the symbolic potential of certain