from architecture be allowed) axe-hewn, rather than undulating under the chisel. Nor did he succeed in reconstituting the fine and flexible Middle English metre as a practical form of verse for modern poetry. Morris himself felt that this new poem was both tentative and difficult, and its failure to make any impression on a large audience was received by him with perfect equanimity. It was a thing he had done to please himself, and he thought highly of it, but he did not expect it to please other people to anything like the same degree.
Once more the attempt to produce a volume in a beautifully decorated outward form had to be abandoned. He designed, and cut on wood, borders for the pages of what would have been a very beautiful small quarto. In some copies these were to have been filled in with colours and gilding, so that it would have been another illuminated book, with the text printed, not written. Besides the borders, there were to have been pictures, to which the whole scheme of the book lends itself with special aptness. Some of the scenes are written, as it were, directly for illumination. In the first scene of the play, there is a series of ornate comparisons—Nimrod carved on the high-seat in the hall, Argo woven on the hangings of the guard-room, Mars painted in the window of the council-chamber—which are introduced with exactly the decorative effect of pictures within the great initial letters of a painted book. The transitions, too, from one part of the poem to another call out to be made through some reinforcement of either music or pictures.
"Love is Enough" bears the marks of all the varied sources of romance from which its author had drawn in earlier work, perhaps with the effect of a structure too composite for easy apprehension. The story, at
