[Dies.

[Throws herself on the body and kisses it passionately.

[Stabs herself and falls on Asander's body.

Citizens of Cherson bursting in.

[Falls back dead.

Curtain.

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.

SONGS OF TWO WORLDS.

These poems were originally published in three volumes, issued in the years 1872, 1874, and 1875. The following are a few selections from the Press notices which appeared as they were issued.

first series.

"No one, after reading the first two poems—almost perfect in rhythm and all the graceful reserve of true lyrical strength—could doubt for an instant that this book is the result of lengthened thought and assiduous training in poetic forms. These poems will assuredly take high rank among the class to which they belong."—British Quarterly Review, April, 1872.

"If this volume is the mere prelude of a mind growing in power, we have in it the promise of a fine poet.... In 'The Wandering Soul,' the verse describing Socrates has that highest note of critical poetry, that in it epigram becomes vivid with life, and life reveals its inherent paradox. It would be difficult to describe the famous irony of Socrates in more poetical and more accurate words than by saying that he doubted men's doubts away."—Spectator, February 17th, 1872.

"In all this poetry there is a purity and delicacy of feeling which comes over one like morning air."—Graphic, March 16th, 1872.

second series.

"In earnestness, sweetness, and the gift of depicting nature, the writer may be pronounced a worthy disciple of his compatriot, Henry Vaughan, the Silurist. Several of the shorter poems are instinct with a noble purpose and a high ideal of life. One perfect picture, marginally annotated, so to speak, in the speculations which it calls forth, is 'The Organ-Boy.' But the most noteworthy poem is the 'Ode on a Fair Spring Morning,' which has somewhat of the charm and truth to nature of 'L'Allegro' and 'Il Penseroso.' It is the nearest approach to a master-piece in the volume."—Saturday Review, May 30th, 1874.

"This volume is a real advance on its predecessor of the same name, and contains at least one poem of great originality, as well as many of much tenderness, sweetness, and beauty. 'The Organ-Boy' we have read again and again, with fresh pleasure on every reading. It is as exquisite a little poem as we have read for many a day."—Spectator, June 13th, 1874.

"The reception of the New Writer's first series shows that, in his degree, he is one of the poetical forces of the time. Of the school of poetry of which Horace is the highest master, he is a not undistinguished pupil."—Academy, August 11th, 1874.

"The verses are full of melodious charm, and sing themselves almost without music."—Blackwood's, August 1st, 1874.

third series.

"Not unworthy of its predecessors. It presents the same command of metre and diction, the same contrasts of mood, the same grace and sweetness. It cannot be denied that he has won a definite position among contemporary poets."—Times, October 16th, 1875.

"'Evensong' shows power thought, and courage to grapple with the profoundest problems. In the 'Ode to Free Rome' we find worthy treatment of the subject and passionate expression of generous sympathy."—Saturday Review, July 31st, 1875.

"More perfect in execution than either of its predecessors.... The pure lyrics are sweeter and richer. In the 'Birth of Verse' every stanza is a little poem in itself, and yet a part of a perfect whole."—Spectator, May 22nd, 1875.

"If each book that he publishes is to mark as steady improvement as have his second and third, the world may surely look for something from the writer which shall immortalize him and remain as a treasure to literature."—Graphic, June 1st, 1875.

THE EPIC OF HADES.

BOOK II.[*]

"Fresh, picturesque, and by no means deficient in intensity; but the most conspicuous merits of the author are the judgment and moderation with which his poem is designed, his self-possession within his prescribed limits, and the unfailing elegance of his composition, which shrinks from obscurity, exuberance, and rash or painful effort as religiously as many recent poets seem to cultivate such interesting blemishes.... Perhaps the fine bursts of music in Marsyas, and the varied emotions portrayed in Andromeda, are less characteristic of the author than the prompt, yet graceful, manner in which he passes from one figure to another.... Fourteen of these pieces written in blank verse which bears comparison with the very best models make up a thoroughly enjoyable little volume...."—Pall Mall Gazette, March 10th, 1876.

"It is natural that the favourable reception given to his 'Songs of Two Worlds' should have led the author to continue his poetical exercises, and it is, no doubt, a true instinct which has led him to tread the classic paths of song. In his choice of subject he has not shrunk from venturing on ground occupied by at least two Victorian poets. In neither case need he shrink from comparison. His Marsyas is full of fine fancy and vivid description. His Andromeda has to us one recommendation denied to Kingsley's—a more congenial metre; another is its unstrained and natural narrative."—Saturday Review, May 20th, 1876.

"In his enterprise of connecting the Greek myth with the high and wider meaning which Christian sentiment naturally finds for it, his success has been great. The passage in which Apollo's victory over Marsyas and its effect are described is full of exquisite beauty. It is almost as fine as verse on such a subject could be.... The little volume is delightful reading. From the first line to the last, the high and delicate aroma of purity breathes through the various spiritual fables."—Spectator, May 27th, 1876.

"The blank verse is stately, yet sweet, free, graceful, and never undignified. We confidently believe that our readers will agree with us in regarding this as one of the finest and most suggestive poems recently published. We trust to have, ere long, more poetic work from his hand."—British Quarterly Review, April 1st, 1876.

"The writer has shown himself more critical than his friends, and the result is a gradual, steady progress in power, which we frankly acknowledge.... This long passage studded with graces."—Academy, April 29th, 1876.

BOOKS I. and III. and the COMPLETE WORK.

"In one sense the idea of his Epic is not only ambitious, but audacious, for it necessarily awakens reminiscences of Dante. Not unfrequently he is charmingly pathetic, as in his Helen and Psyche. There is considerable force and no small imagination in the description of some of the tortures in the 'Tartarus.' There is genuine poetical feeling in the 'Olympus.'... We might invite attention to many other passages. But it is more easy to give honest general praise than to single out particular extracts."—Times, February 9th, 1877.

"The whole of this last portion of the poem is exceedingly beautiful.... Nor will any, except critics of limited view, fail to recognize in the Epic a distinct addition to their store of those companions of whom we never grow tired."—Athenæum, March 3rd, 1877.

"We believe that the Epic will approve itself to students as one of the most considerable and original feats of recent English poetry."—Saturday Review, March 31st, 1877.

"Thought, fancy, music, and penetrating sympathy we have here, and that radiant, unnamable suggestive delicacy which enhances the attraction with each new reading."—British Quarterly Review, April, 1877.

"The present work is by far his greatest achievement; the whole tone of it is noble, and portions, more especially the concluding lines, are excessively beautiful."—Westminster Review, April, 1877.

"The work is one of which any singer might justly be proud. In fact, the Epic is in every way a remarkable poem, which to be appreciated must not only be read, but studied."—Graphic, March 10th, 1877.

"We do not hesitate to advance it as our opinion that 'The Epic of Hades' will enjoy the privilege of being classed amongst the poems in the English language which will live."—Civil Service Gazette, March 17th, 1877.

"Exquisite beauty of melodious verse.... A remarkable poem, both in conception and execution. We sincerely wish for the author a complete literary success."—Literary World, March 30th, 1877.

"Will live as a poem of permanent power and charm. It will receive high appreciation from all who can enter into its meaning, for its graphic and liquid pictures of external beauty, the depth and truth of its purgatorial ideas, and the ardour, tenderness, and exaltation of its spiritual life."—Spectator, May 5th, 1877.

"I have lately been reading a poem which has interested me very much, a poem called 'The Epic of Hades.' Many of you may never have heard of it; most of you may never have seen it. It is, as I view it, another gem added to the wealth of the poetry of our language."—Mr. Bright's speech on Cobden, at Bradford, July 25th, 1877.

"In the blank verse of the 'Epic of Hades,' apt words are so simply arranged with unbroken melody, that if the work were printed as prose, it would remain a song, and every word would still be where the sense required it; not one is set in a wrong place through stress of need for a mechanical help to the music. The poem has its sound mind housed in a sound body."—Professor Morley in the Nineteenth Century, February, 1878.

"I have read the 'Epic of Hades,' and find it truly charming. Its pictures will long remain with me, and the music of its words."—Oliver Wendell Holmes, April, 1884.

THE EPIC OF HADES.

ILLUSTRATED QUARTO EDITION.

"Of Mr. Chapman's illustrations it is pleasant to be able to speak with considerable admiration, not only because they are a fortunate echo of the verse, and represent the feelings and incidents of the 'Epic,' but because of their intrinsic merits. There is in them a fine and high inspiration of an indefinite sort."—Athenæum, March 29th, 1879.

"'The Epic of Hades' is certainly one of the most remarkable works of the latter half of the nineteenth century. Here is an édition de luxe which may possibly tempt the unthinking to search for the jewel within the casket."—World, February 12th, 1879.

"The exquisite aërial feeling of 'Eros and Psyche,'—by far the best of the drawings,—in which the figures seem literally to float in ether. 'Laocoon' is grand and dignified, and all deserve to be noticed with attention."—Graphic, January 25th, 1879.

"These designs of themselves would be of the highest value, and when they are placed, as in this book, by way of illustration of a text which is full of power, their value is not easily estimated. The book ought to be one of the most cherished gifts that any lover of poetry or the pencil could desire."—Scotsman, January 23rd, 1879.

"The author has been most fortunate in his illustrator. The designs are gems of drawing and conception, and the mezzotint is admirably adapted to the style of drawing and subject. This is truly a charming addition to the literary table. It is seldom one sees figure illustrations of such graceful and powerful beauty, and so thoroughly in sympathy with the visionary subjects of the author."—Art Journal, April, 1879.

"'The Epic of Hades' has already won a place among the immortals. The lovely and terrible figures of the Greek mythology have never received a more exquisite consecration than at the hands of the author, who, with the true divination of the poet, has known how to interpret in the modern spirit the profound and pathetic fables of antiquity without vulgarizing by modern affectations their divine simplicity. This beautiful poem appears now in an édition de luxe—a setting not unworthy of such gems. The designs are noteworthy for their tenderness of sentiment and their languid grace."—Daily News, April 2nd, 1879.

GWEN:

A DRAMA IN MONOLOGUE.

"The charm of this beautiful little poem is its perfect simplicity of utterance; its chastened and exquisite grace. There is nothing very new in the incidents or in the characters of this most touching story, except in its unconventional ending, which takes the reader by surprise. The genius of the author has closed an idyll of love and death with a strain of sweet, sad music in that minor key which belongs to remembrance and regret."—Daily News, January 22nd, 1879.

"We have read this new work with the interest arising from the expectations which the author had quickened in us, and with the hope of finding those expectations confirmed. We are not disappointed, for we have here the same selectness of language, the same high, pure tone, the same delicate power of touching the deeper chords of thought and feeling, which have previously won our attention and sympathy."—Literary World, January 17th, 1879.

"At the close of the tale the heart swells with pathos, and the tears all but force their way into the eyes. To turn from the most noteworthy of modern poetry to the verse in which 'Gwen' is written is like turning from a brilliant painting to a fine statue. We are scarcely sensible of want of colour, so refreshed are we by purity of outline. All, indeed, is graceful, good, and poetical work, as pure and limpid in flow as a brook."—Sunday Times, February 2nd, 1879.

"The piece as a whole will repay very attentive perusal, while here and there in it there is a particular choice bit of work. Here, for example, is a fine lyric ... and here a love-song of rare and exquisite beauty."—New York Evening Post, February 20th, 1879.

"Few among the later poets of our time have received such a generous welcome as the author. He has been appreciated not by critics alone, but by the general public.... The charm of 'Gwen' is to be found in the limpid clearness of the versification, in the pathetic notes which tell the old story of true love wounded and crushed. Nothing can be more artistically appropriate or more daintily melodious than the following...."—Pall Mall Gazette, October 8th, 1879.

"The poem is, as a whole, tender, simple, chaste in feeling, and occasionally it rises to a lyrical loftiness of sentiment or grows compact with vigorous thought."—New York "Nation", March 27th, 1879.

"The writer has gained inspiration from themes which inspired Dante; he has sung sweet songs and musical lyrics; and whether writing in rhyme or blank verse, has proved himself a master of his instrument. He knows, like all true poets, how to transmute what may be called common into the pure gold of poetry."—Spectator, July 26th, 1879.

THE ODE OF LIFE.

"The 'Ode of Life' ought to be the most popular of all the author's works. People flock to hear great preachers, but in this book they will hear a voice more eloquent than theirs, dealing with the most important subjects that can ever occupy the thoughts of man."—Westminster Review, July, 1880.

"The many who have found what seemed to them of value and of use in the previous writings of the author, may confidently turn to this, his latest and, in his own view, his most mature work. It is full of beauty of thought, feeling, and language."—Daily News, April 8th, 1880.

"Full of exquisite taste, tender colour, and delicate fancy, these poems will add considerably to the reputation of their author."—Sunday Times, April 25th, 1880.

"The author is one of the few real poets now living. Anything at once more sympathetic and powerful it would be difficult to find in the poetry of the present day."—Scotsman, May 11th, 1880.

"Next to the 'Epic of Hades,' it is his best work."—Cambridge Review, May 19th, 1880.

"Here is one standing high in power and in fame who has chosen a nobler course.... The experiment is successful, and though we must not now discuss the laws to which the structure of an ode should conform, we rank the poem in this respect as standing far above Dryden's celebrated composition, but below the Odes of Wordsworth on Immortality and of Milton on the Nativity, which still remain peerless and without a rival."—Congregationalist, May 1st, 1880.

"A high devout purpose and wide human sympathy ennoble all the writer's work, and his clear language and quiet music will retain his audience."—Nineteenth Century, August, 1880.

"In all that respects technical points, certainly the most finished work we have yet had from the author's hand, and here and there the phrasing is exquisite. For ambitious aims, and for art which so far has justified those aims, for elevation and refinement, these poems are in advance of any of the author's former works."—British Quarterly Review, July, 1880.

"Any notice of recent poetry would be inadequate without a reference to the 'Ode of Life.' The only fault we have to find with this really remarkable effort—a sort of expansion of Wordsworth's famous Ode—is that it is rather too long for its ideas; but it possesses power, sweetness, occasional profundity, and unmistakable music. It is, when all is said and done, a true 'Ode,' sweeping the reader along as the ode should do, and

'Growing like Atlas, stronger for its load.'

It appears to us to bring definite proof that the writer's pretensions have not been over-stated."—Contemporary Review, February, 1881.

SONGS UNSUNG.

"Some of the more important pieces make almost equal and very high demands alike on my sympathy and my admiration, and I hope you may long be enabled to cherish the enviable gift of finding utterance for Truths so deep in forms of so much power and beauty."—Letter from Mr. Gladstone, November, 1883.

"The reader of his former work will probably commence this volume with considerable expectations. Nor will he be altogether disappointed, although he will probably wish that Mr. Morris had given the world more of his exquisite classical workmanship."—Fortnightly Review, November, 1883.

"'The New Creed' is, in some respects, his most striking achievement. The poem is one well suited to his mind, but we are not aware that he has ever before written anything at once so impressive, so solemn, and so self-restrained. The last two lines have all the happy energy of the highest poetry."—Spectator, November 10th, 1883.

"In reading it one feels constantly 'How worthy this book would be of beautiful illustrations!'"—Academy, November 24th, 1883.

"The volume is full of the sweet fruits of a large experience; a profound study of the many problems of life; a clear insight into human nature; and the book as a whole ranks among the best gifts which the press has in recent years bestowed upon us."—Leeds Mercury, November 21st, 1883.

"There is not one of these 'Songs Unsung' which does not deserve to be read and re-read."—Glasgow Herald, November 16th, 1883.

"In Mr. Morris's new volume we recognize the old qualities which are so dear to his wide circle of admirers."—Daily News, December 4th, 1883.

"We may safely predict as warm a welcome for the new volume as has been accorded to its predecessors."—Ecclesiastical Gazette, November 15th, 1883.

"Those who have followed Mr. Morris's career will be pleased to find that his poetic grasp, his argumentative subtlety, his tenderness of sympathetic observation, his manly earnestness, are as conspicuous and impressive as before."—Mr. Bayne, in the Helensburgh Times.

"The reputation earned by the author's books has been such as few men in a century are permitted to enjoy. Beginning with the first volume, it has gone on increasing."—Liverpool Mercury, November 9th, 1883.

"For ourselves we dare hardly say how high we rank Mr. Morris. This last volume is deserving of highest praise. In some of its contents no living poet, to our mind can surpass him."—Oxford University Herald, March 8th, 1884.

"The gems of this volume, to our mind, are some of the shorter poems, which are full of melody and colour, saturated with lyrical feeling, and marked by that simplicity without which no poem of this class can be called great."—British Quarterly Review, January, 1884.

"The writer is never diffuse or vague or pointless, both his road and the end of it are always in view."—New York Critic, January 19th, 1884.

"In one sense 'Songs Unsung' is more typical of Mr. Morris's genius than any of his previous works. There is in them the same purity of expression, the same delicate fancy, the same mastery of technique, and withal the same loftiness of conception."—Scotsman, December 22nd, 1883.

"In some respects we must award him the distinction of having a clearer perception of the springs of nineteenth-century existence than any of his contemporaries.... What could be more magnificent than the following conception of the beginning of things...."—Whitehall Review, October, 1883.

"Mr. Morris has always that picturesque power which limns in a few words a suggestive and alluring picture of nature or of life evoking the imagination of the reader to supplement the clear and vigorous work of the poet."—New York Christian Union, February, 1884.

"No lover of poetry will fail to make himself possessed of this volume from the pen of one who has made for himself so high and distinctive a place among modern writers."—Manchester Examiner, January 31st, 1884.

"After making every possible deduction, 'Songs Unsung' is a noble volume, and ought to be received by those who, like ourselves, believe in the necessary subordination of art to morality with profound gratification."—Freeman, April 18th, 1884.

"We have quoted enough to show that this book has genuine merit in it, merit in poetry, merit in philosophy, and, we may add, merit in religion. Lewis Morris takes the 'new and deeper view of the world' of which Carlyle now and then caught sunny glimpses. He sings in sweet and measured Tennysonian strains of philosophy what Darwin and Herbert Spencer teach in prose; without the informing glow of the imagination. There are living poets greater than Lewis Morris, but of the younger race of poets he is foremost."—The Inquirer, April 5th, 1884.

"The hold which a poet who writes with such intense seriousness of purpose and such passionate earnestness gains upon his generation is far stronger and more lasting than if his sole attempt were to stimulate or to satisfy the sense of the beautiful. All the things of which we wish that poetry should speak to us, have voice given to them in the song of this glorious singer."—South Australian Advertiser, March 24th, 1884.

"As a whole this volume, while charming anew the poet's former admirers, should win for his genius a wider acquaintance and appreciation."—Boston Literary World, February 23rd, 1884.

"Mr. Morris has the invaluable gift of recognizing and being in full sympathy with the current ideas and feelings of the time. The broad humanitarianism, the genuine sympathy with the sufferings of the poor and unfortunate, characteristic of our age, is one of the most attractive features of his poetry, and to the revival of the feeling for classical beauty, which may be looked upon as a collateral branch of the 'æsthetic' movement, he owes more than one charming inspiration.... To sum up. Mr. Morris's volume is likely to add to his reputation. It is healthy in tone, and shows no decline of the varied qualities to which the author owes his widespread reputation."—Times, June 9, 1884.