and life is so profound that this religious mysticism is oddly regarded as something apart and by itself, not as the application by men to religion of their ordinary way of thinking about anything which moved them at all deeply. "Mr. Morris," said a brilliant critic of this very story, "dreams of certain old mariners of Norway who dream of Gregory, who dreams of some one else, whom he also dreams to be himself: and this two-faced Janus of a dreamer dreams of another dreamer still, who lives on the edge of two worlds, and like the old monk who sat before the Cenacolo, can hardly discriminate between the shadow and the substance." This description is admirably exact; and the attitude of mind so described is the essence of that romantic mysticism from which Morris was recalled by the great imperious voice of the Icelandic epic, yet to which he kept perpetually reverting. It reappears in unqualified dominance in the prose romances of his latest years. In this larger view the influence on him of the epic, were it the Odyssey or the Æneid, the Laxdaela Saga or the Volsunga Saga, was in its nature a perturbing influence, that drew him for a time out of the obit into which finally he swung back.
Besides the abandoned "Aristomenes," several other stories were written for "The Earthly Paradise" which remain unpublished. Three at least of these are complete: two of them, "Orpheus and Eurydice" and "St. Dorothea," belonging to the plan of contents at first drawn out. The third, "The Wooing of Swanhild," though written on the whole in the earlier or romantic manner, may be inferred from its subject, which is one taken from the last chapters of the Volsunga Saga, to belong to the later period of distinct Icelandic influence. A number of others were destroyed by their author. Of "The Fortunes of Gyges" only two pages have
