"The landlord"--at Folkestone--"gave two bottles of his claret, and I think I drank the most, and here I have been lying back in the chair and thinking of those delightful 'Idylls'; my thoughts being turned to you; and what could I do but be grateful to that surprising genius which has made me so happy?" The Duke of Argyll wrote that Macaulay had been _delighted with it_, whereupon the Poet responds to his Grace somewhat caustically: MY DEAR DUKE--Doubtless Macaulay's good opinion is worth having, and I am grateful to you for letting me know it, but this time I intend to be thick-skinned; nay, I scarcely believe that I should ever feel very deeply the pen-punctures of those parasitic animalcules of the press, if they kept themselves to what I write, and did not glance spitefully and personally at myself. I hate spite. Ruskin, on the other hand, is but half pleased; could not quite make up his mind about that "increased quietness of style"; feels "the art and finish in these poems a little more than I like"; wishes that the book's nobleness and tenderness had been independent of a romantic condition of externals; and suggests that "so great power ought not to be spent on visions of things past, but on the living present." These latter sentences touch upon, or at least indicate, a line of criticism upon the general conception of the "Idylls," as seen in their treatment of the Arthurian legend, with which, although it may appear inadequate, some of us are not indisposed to agree. Romanticism has been defined, half seriously, as the art of presenting to a people the literary works which can give the greatest imaginative pleasure in the actual state of their habits and beliefs. The "Idylls" adapted the mythical tales of the Round Table to the very highest standard of æsthetic taste, intellectual refinement, and moral delicacy prevailing in cultivated English society. And by that society they were very cordially appreciated. Undoubtedly the figure of Arthur--representing a stainless mirror of chivalry, a warrior king endowed with the qualities of patriotic self-devotion, clemency, generosity, and noble trustfulness, yet betrayed by his wife and his familiar friend, and dying in a lost fight against treacherous rebels--did present a lofty ideal that might well affect a gravely emotional people. Moreover, the poem is a splendidly illuminated Morality, unfolding scenes and figures that illustrate heroic virtues and human frailties, gallantry, chivalric enterprise, domestic perfidy, chaste virginal loves, and subtle amorous enchantments. It abounds also in descriptive passages which attest the close attention of the Poet's eye and ear to natural sights and sounds, and his supreme art of fashioning his verse to their colours and echoes. In short, to quote from the biography,