and classicalism and rhetoric, admirable as are some of the results they have produced, were just the two things that Morris could not bear. In the scheme of "The Earthly Paradise" as it stands, the two corner stones are the Greek and the northern epic cycles, the two greatest bodies of imaginative narration which the world has produced. The stories which he chose out of both are told by Greeks and by Norsemen of the later Middle Ages, in the form in which they would then have been imagined and in the manner which, to his mind, was the best of all manners. But alongside of these great fountainheads were other sources, European and Oriental; and for these also, subject to the same conditions, a place is found by simple and probable devices. Among the adventurers who had started on the search for eternal youth are Laurence the Swabian, who knows the mediæval chronicles, and Nicholas the Breton, who is familiar with the French epics. Rolf himself, the Norseman who heads the expedition, had spent his youth at Byzantium, where his father was an officer of the Varangian Guard, and in that meeting-place of East and West has heard the stories which became familiar to Europe later through the Arabian Nights. The field of story thus laid open was in fact almost too large, was at all events too large to be fully utilized. Oriental sources were but little drawn upon. The Persian heroic cycle, which Morris placed next in interest after the epics of Greece and Scandinavia, is left wholly untouched; and a single story, that of "The Man who never Laughed again," was taken with much hesitation from the Arabic. Even in dealing with purely European sources much was set aside, including the whole immense mass of the Arthurian cycle. The Breton who sails in search of the Earthly Paradise dies on the voyage; and the
