A second collection, published in 1833, exhibited a greater scope and variety, but was still in his earlier manner. The studies of feminine types were continued in _Margaret, Fatima, Eleanore, Mariana in the South_, and _A Dream of Fair Women_, suggested by Chaucer's _Legend of Good Women_. In the _Lady of Shalott_ the poet first touched the Arthurian legends. The subject is the same as that of _Elaine_, in the _Idylls of the King_, but the treatment is shadowy, and even allegorical. In _OEnone_ and the _Lotus Eaters_ he handled Homeric subjects, but in a romantic fashion which contrasts markedly with the style of his later pieces, _Ulysses_ and _Tithonus._ These last have the true classic severity, and are among the noblest specimens of weighty and sonorous blank verse in modern poetry. In general, Tennyson's art is unclassical. It is rich, ornate, composite; not statuesque so much as picturesque. He is a great painter, and the critics complain that in passages calling for movement and action--a battle, a tournament, or the like--his figures stand still as in a tableau; and they contrast such passages unfavorably with scenes of the same kind in Scott, and with Browning's spirited ballad, _How we brought the Good News from Ghent to Aix_. In the _Palace of Art_ these elaborate pictorial effects were combined with allegory; in the _Lotus Eaters_, with that expressive treatment of landscape noted in _Mariana_; the lotus land, "in which it seemed always afternoon," reflecting and promoting the enchanted indolence of the heroes. Two of the pieces in this 1833 volume, the _May Queen_ and the _Miller's Daughter_, were Tennyson's first poems of the affections, and as ballads of simple rustic life they anticipated his more perfect idyls in blank verse, such as _Dora_, the _Brook, Edwin Morris_, and the _Gardener's Daughter._ The songs in the _Miller's Daughter_ had a more spontaneous lyrical movement than any thing he had yet published, and foretokened the lovely songs which interlude the divisions of the _Princess_, the famous _Bugle Song_, the no-less famous _Cradle Song_, and the rest. In 1833 Tennyson's friend, Arthur Hallam, died, and the effect of this great sorrow upon the poet was to deepen and strengthen the character of his genius. It turned his mind in upon itself, and set it brooding over questions which his poetry had so far left untouched; the meaning of life and death, the uses of adversity, the future of the race, the immortality of the soul, and the dealings of God with mankind. Thou madest Death: and, lo, thy foot Is on the skull which thou hast made.