[29] Page 113.

[30] “Sir Edward Burne-Jones told me that Morris would have liked the faces in his pictures less highly finished, and less charged with the concentrated meaning or emotion of the painting . . . and he thought that the dramatic and emotional interest of a picture ought to be diffused throughout it as equally as possible.  Such, too, was his own practice in the cognate art of poetry; and this is one reason why his poetry affords so few memorable single lines, and lends itself so little to quotation” (Mackail’s “Life of William Morris,” vol. ii., p. 272).

[31] “Hopes and Fears for Art,” p. 79.

[32] Ibid., p. 83.

[33] See vol. i., pp. 241-43.

[34] Vide supra, p. 153.

[35] “A Short History of English Literature,” p. 783.

[36] “Recollections of Rossetti,” vol. ii., p. 42.

[37] “King Arthur’s Tomb.”

[38] 0ne of these, “The Haystack in the Floods,” has a tragic power unexcelled by any later work of Morris.

[39] Saintsbury, p. 785.

[40] “King Arthur’s Tomb.”

[41] “Rapunzel.”

[42] “King Arthur’s Tomb.”

[43] Ibid.

[44] “Rapunzel.”

[45] “Golden Wings.”

[46] See “Sir Galahad,” “The Chapel in Lyoness,” “A Good Knight in Prison.”

[47] See “Jason,” Book xvii., 5-24, and the Envoi to “The Earthly Paradise.”

[48] Some of Morris’ sources were William of Malmesbury, “Mandeville’s Travels,” the “Gesta Romanorum,” and the “Golden Legend.”  “The Man Born to be King” was derived from “The Tale of King Constans, the Emperor” in a volume of French romances ("Nouvelles francaises en prose du xiii.ieme Siecle,” Paris, 1856) of which he afterwards (1896) made a prose translation.  The collection included also “The friendship of Amis and Amile”; “King Florus and the Fair Jehane”; and “The History of Over Sea”; besides “Aucassin and Nicolete,” which Morris left out because it had been already rendered into English by Andrew Lang.

[49] His Vergil’s “Aeneid,” in the old fourteener of Chapman, was published in 1876.

[50] Vide supra, p. 315.

[51] Mackail, i., p. 168.

[52] Lang’s translation.

[53] See vol. i., pp. 190-92.

[54] The “Grettis Saga” (1869); the “Voelsunga Saga” (1870); “Three Northern Love Stories” (1875).

[55] These, in order of publication, were “The House of the Wolfings” (1889); “The Roots of the Mountains” (1890); “The Story of the Glittering Plain” (1891); “The Wood Beyond the World” (1894); “The Well at the World’s End” (1896); “The Water of the Wondrous Isles” (1897); and “The Sundering Flood” (1898).

[56] Morris became so intolerant of French vocables that he detested and would “fain” have eschewed the very word literature.

[57] This collection is made up of Swinburne’s earliest work but is antedated in point of publication by “The Queen Mother, and Rosamond” (1861) dedicated to Rossetti; and “Atalanta in Calydon” (1865).  “Poems and Ballads” was inscribed to Burne-Jones.