As much as Gareth and his tale prove to be a template for the effective manipulation of visual lines in the production of masculinity, the surrounding tales indicate that it is not a static model. On the contrary, the methods of making male gender identity visible in “Gareth” provide a common point of departure both narratively and critically for a discussion of the role of vision in the constructions of masculinity undertaken by and for other knights individually and as a community. The extended narratives of Launcelot and Trystram engage the visuality of gender in similar fashion, both employing and elaborating on the cycle of intromissive sightlines and the resultant gender positioning exhibited by Gareth. Indeed, Malory intimately links the narratives of Trystram and Launcelot. Certainly there are several surface characteristics that make them a likely pair in critical discussion. They are the two premier knights of the Arthurian world and consequently portray ideal forms of knightly masculinity. This manifests itself not only in the prowess each displays, but also in their physical attractiveness. Indeed, ladies die for unrequited love of both Launcelot and Trystram. They both also possess a shared love and desire to be in the fellowship of each other. And perhaps most impor tantly, each loves his queen. Isode even notes that “there be within this londe but foure lovers, and that is sir Launcelot and dame Gwenyver, and sir Trystrames and quene Isode” (425.29–31). The two pairs of lovers thus become complementary and invite – almost require – the audience to compare and contrast them and their relationships, to see them commenting on each other. The similarities of their situations can be seen in the parallel episodes that their narratives contain. Although in neither case is the visual acquisition of love emphasized to the extent it is with Gareth – indeed Launcelot's is removed entirely – the relationships between the two pre-eminent knights and their respective queens certainly depend and focus upon visuality and, in particular, visibility. The adulterous and high-profile natures of these relationships intensify the clash between the public and private that love relationships often suffer. This clash introduces a tension between visibility and invisibility.