If emotion recollected in tranquillity were a working definition of poetry, it is in these five years, so busily tranquil after as long a period of stormy emotion, that one might expect to find poetical production the most copious. But the facts are quite the reverse. The latest poems printed in "The Defence of Guenevere" show the author in the full current of imaginative growth, reaching from manner to manner and just on the point (so one might fancy) of mastering a mixed lyrical and dramatic method capable of the most radiant and astonishing effects. For one reason or another, these beginnings were not destined to bear their natural fruit. The cycle of poems from the Trojan War, which had been planned and begun about that time, was fragmentarily continued at Red House, but remained unfinished and was soon wholly laid aside. When he began to write again, after he resumed life in London, the dramatic method was abandoned, and he reappeared to the world, not as a writer of lyrical romances, but as the author of long continuous narrative poems, of which the type was set and the fame assured by the single one first published, "The Life and Death of Jason."
Of the twelve poems which were to make up the Trojan cycle, only six were ever completed; there are imperfect drafts of two more, and of the remaining four no trace is extant. But the full list of the titles is noted down by Morris himself in a manuscript book probably dating from 1857, on a page following a fragment of the unfinished and unpublished "Maying of Guenevere." It is as follows, under the general heading of "Scenes from the Fall of Troy":
1. Helen Arming Paris.
2. The Defiance of the Greeks.
