Alexander Smith, whose 'Life Drama' was in every one's hands, and caused an immense sensation; and Owen Meredith (Lytton), in the 'Clytemnestra' volume containing 'The Earl's Return.' Morris was delighted with this, especially with the incident of the Earl draining a flagon of wine, and then flinging it at the head of him that brought it.
"Now Fulford was absorbed in Tennyson. He had a very fine deep voice, and was a splendid reader of poetry. I have listened entranced to his reading of 'In Memoriam.' He read Milton even better: I suppose because there was more to read. His reading of 'Paradise Lost,' Book I., I shall never forget. He had a fine metrical ear, which helped it. No one can tell how Milton lends himself to a good reader. He was also writing much at this time, and would often read his pieces to us. No doubt many of them had a Tennysonian ring, but they were not mere imitation, they were too sincere for that. I should like to add here, as my friend is dead, and in his life never gained fame or profit from literature, that Fulford's influence was for good. He loved moral beauty first of all things, and would not have it put second in poetry or art.
"I have said that we accepted Tennyson in our own ways. The attitude of Morris I should describe as defiant admiration. This was apparent from the first. He perceived Tennyson's limitations, as I think, in a remarkable manner for a man of twenty or so. He said once, 'Tennyson's Sir Galahad is rather a mild youth.' Of 'Locksley Hall' he said, apostrophising the hero, 'My dear fellow, if you are going to make that row, get out of the room, that's all.' Thus he perceived a certain rowdy, or bullying, element that runs through much of Tennyson's work: runs through
