“Thus lived they silently together, neither saying aught to the other of their estate. Then came, at last, the time when the Child of the Sea, as I now tell you, understood within himself that he might take arms, if any there were that would make him a knight. And this he desired, because he considered that he should thus become such a man and should do such things, as that either he should perish in them, or, if he lived, then his lady should deal gently with him. And with this desire he went to the King, who was in his garden, and, kneeling before him, said, ‘Sire, if it please you, it is now time that I should be made a knight.’ And the king said, ‘How, Child of the Sea, do you already adventure to maintain knighthood? Know that it is a light matter to come by it, but a weighty thing to maintain it. And whoso seeks to get this name of knighthood and maintain it in its honor, he hath to do so many and such grievous things, that often his heart is wearied out; and if he should be such a knight, that, from faint-heartedness or cowardice, he should fail to do what is beseeming, then it would be better for him to die than to live in his shame. Therefore I hold it good that you wait yet a little.’ But the Child of the Sea said to him, ‘Neither for all this will I fail to be a knight; for, if I had not already thought to fulfil this that you have said, my heart would not so have striven to be a knight.’”[372] [372] Amadis de Gaula, Lib. I. c. 4. Other passages of quite a different character are no less striking, as, for instance, that in which the fairy Urganda comes in her fire-galleys,[373] and that in which the venerable Nasciano visits Oriana;[374] but the most characteristic are those that illustrate the spirit of chivalry, and inculcate the duties of princes and knights. In these portions of the work, there is sometimes a lofty tone that rises to eloquence,[375] and sometimes a sad one full of earnestness and truth.[376] The general story, too, is more simple and effective than the stories of the old French romances of chivalry. Instead of distracting our attention by the adventures of a great number of knights, whose claims are nearly equal, it is kept fastened on two, whose characters are well preserved;--Amadis, the model of all chivalrous virtues, and his brother, Don Galaor, hardly less perfect as a knight in the field, but by no means so faithful in his loves;--and, in this way, it has a more epic proportion in its several parts, and keeps up our interest to the end more successfully than any of its followers or rivals. [373] Lib. II. c. 17. [374] Lib. IV. c. 32. [375] See Lib. II. c. 13, Lib. IV. c. 14, and in many other places, exhortations to knightly and princely virtues.