otherwise suspected in him, that of Mrs. Browning. She was then at the height of her popularity, and ranked by many critics as the first of living English poets. That noble passion for truth, purity, and freedom which burns through all her writings, which even now lightens and kindles the tangled wildernesses of "Aurora Leigh," was enough then to excuse all her shortcomings. It even threw a positive fascination over her extraordinary mannerisms and floundering technique. Less than a month before his death, when talking of early days, Morris said that his first poems were imitations of Mrs. Browning. This was, perhaps, a little over-stated, but it expressed a real truth. The slovenly rhymes of his earlier poetry may probably be traced to her influence: and it was through her poetry that he became acquainted a little later with that of her husband, to whom he frankly owned his obligations, and of whom in succeeding years he wrote as "high among the poets of all time, and I scarce know whether first or second in our own."
One other unpublished poem of this year survives. It is of a higher technical quality than those just mentioned, and of the same delicate and refined spiritual beauty. It is here transcribed textually from his own manuscript: in the second line of the first stanza the word leaves is obviously a slip of the pen for some other word, probably ground.
BLANCHE
Bread leaves that I do not know
Grow upon the leaves full low
Over them the wind does blow.
Hemlock leaves I know full well
And about me is the smell
That doth in the spring woods dwell.
