As for a background of scenery and architecture, it scarcely exists. Deep interest in man and woman seems to have shut out all scenic accessories from the mind of the good old knight. It is always but a step from the castle to the forest, into which the knights-errant plunge, and where most of their adventures take place; and the favorite resting-and jousting-place is by the side of forest springs--or wells, as in the text. We have mention abundant of fair castles, fair valleys, fair meadows, and the like, the adjective "fair" going far to serve all needs of description. But in his human characters, with their loves and hates, jousts and battles, bewitchments and bewilderments, the author takes deep interest, and follows the episodical stories which are woven into the plot with a somewhat too satisfying fulness. In evidence of the dramatic character of many of these episodes we need but refer to the "Idyls of the King," whose various romantic and tragic narratives are all derived from this quaint "old master" of fictitious literature. With all its faults of style and method, the "Morte Darthur" is a very live book. It never stops to moralize or philosophize, but keeps strictly to its business of tale-telling, bringing up before the reader a group of real men and women, not a series of lay-figures on a background of romance, as in his originals. Kay with his satirical tongue, Dinadan with his love of fun, Tristram loving and noble, Lancelot bold and chivalrous, Gawaine treacherous and implacable, Arthur kingly but adventurous, Mark cowardly and base-hearted, Guenever jealous but queenly, Isolde tender and faithful, and a host of other clearly individualized knights and ladies move in rapid succession through the pages of the romance, giving it, with its manners of a remote age, a vital interest that appeals to modern tastes. In attempting to adapt this old masterpiece to the readers of our own day, we have no purpose to seek to paraphrase or improve on Malory. To remove the antique flavor would be to destroy the spirit of the work. We shall leave it as we find it, other than to reduce its obsolete phraseology and crudities of style to modern English, abridge the narrative where it is wearisomely extended, omit repetitions and uninteresting incidents, reduce its confusion of arrangement, attempt a more artistic division into books and chapters, and by other arts of editorial revision seek to make it easier reading, while preserving as fully as possible those unique characteristics which have long made it delightful to lovers of old literature.