'The Princess,' 'Lady Clara Vere,' or 'Amphion.' On the other hand, he understood Tennyson's greatness in a manner that we, who were mostly absorbed by the language, could not share. He understood it as if the poems represented substantial things that were to be considered out of the poems as well as in them. Of the worlds that Tennyson opened in his fragments, he selected one, as I think the finest and most epical, for special admiration, namely, 'Oriana.' He offered the suggestion, and with great force, that the scenery of that matchless 'ballad' is not of Western Europe, but South Russian, or Crimean. He held that 'the Norland whirlwinds' shewed this: and he had other reasons. It was this substantial view of value that afterwards led him to admire ballads, real ballads, so highly. As to Tennyson, I would add that we all had the feeling that after him no farther development was possible: that we were at the end of all things in poetry. In this fallacy Morris shared.
"I spoke of a leadership by Fulford. In reality, neither he nor any one else in the world could lead Morris or Burne-Jones.
"At this time, Morris was an aristocrat, and a High Churchman. His manners and tastes and sympathies were all aristocratic. His countenance was beautiful in features and expression, particularly in the expression of purity. Occasionally it had a melancholy look. He had a finely cut mouth, the short upper lip adding greatly to the purity of expression. I have a vivid recollection of the splendid beauty of his presence at this time.
"It was when the Exeter men, Burne-Jones and he, got at Ruskin, that strong direction was given to a true vocation—'The Seven Lamps,' 'Modern Painters,' and 'The Stones of Venice.' It was some little time
