For that which the worker winneth shall then be his indeed,
Nor shall half be reaped for nothing by him that sowed no seed.
O strange new wonderful justice! But for whom shall we
gather the gain?
For ourselves and for each of our fellows, and no hand shall
labour in vain.
Then all Mine and all Thine shall be Ours, and no more
shall any man crave
For riches that serve for nothing but to fetter a friend for a
slave.
The tremendous sincerity that induced an artist so sensitive to the proper uses of his art to press it into the service of a cause to which he had linked his life is in itself a justification of the result. The higher qualities of his imagination may be momentarily set aside, but the thing is nevertheless afire; it burns with conviction. The optimism that disgusts us is the optimism that is not in direct relation to effort. The sacrifices that Morris was making to his socialism in the practical conduct of his life were reflected quite clearly in the spirit of these poems and quickened it. It is said that this poetry was written for the occasion, but it must be remembered that the occasion was one knit into the very fibre of the poet's being. A curious poem which belongs to this group is 'The God of the Poor,' the first draft of which was written about 1870 or earlier. A simple story of allegorical cast, telling of the overcoming of the oppressor of the people, Maltete, by their deliverer Boncoeur, it is interesting as showing a definite attitude in the poet's mind towards these problems years before he sought actively to deal with them.
In the second of the groups of which I speak are six or seven poems that deal with some particular rather than general aspect of life. 'Hope Dieth: Love Liveth' and 'Error and Loss' touch remote, though essential, aspects of the psychology of love, if I may use the phrase, with a subtlety that was one of Browning's peculiar distinctions. The endurance of love when everything, even hope, is lost, and the pathos of the defeat of love's end by mere chance, have never been handled with greater poignancy and insight. 'Of The Three Seekers' lacks this depth of vision, and states rather than convinces, though there is that habitual simplicity of Morris in the statement that gives it its own value. In 'Drawing Near the Light' we have lyrical expression of a universal mood drawn into contact with a particular state. It may be quoted in full—
Lo, when we wade the tangled wood,
In haste and hurry to be there,
Nought seem its leaves and blossoms good,
For all that they be fashioned fair.
But looking up, at last we see
The glimmer of the open light,
From o'er the place where we would be:
Then grow the very brambles bright.
So now, amidst our day of strife,
With many a matter glad we play,
When once we see the light of life
Gleam through the tangle of to-day.
There is here a suggestion of the application of Morris's whole poetic vision to the concrete affairs of his socialism that found its supreme achievement in the three magnificent poems, 'The Message of the March Wind,' 'Mother and Son' and 'The Half of Life Gone.' In these poems the contemplation of life amid the conflicting currents that spring from a particular phase in the evolution of civilization rather than from the fundamental sources of humanity is lifted into the highest regions of poetry. They stand apart from, though not above, the rest of Morris's work, and are indirectly an emphatic vindication of his general method. What that method was we have examined already, but in these poems he gave final proof that if he chose to bring his art into superficial and obvious relation with the localized conditions of his time he could do so as admirably as any man. That with the consciousness of this power in himself he deliberately chose the other method in the great mass of his work is the reply to his critics who suggest that he turned away from his own time in his art because he was not stirred to any real imaginative understanding of it.
'The Message of the March Wind' is the complete expression of the central tenet of his socialistic creed. The poet—or the speaker—is keenly responsive to the things that Morris held to be alone of worth in life. He is among the green beauty of earth in the springtide; the woman he loves with him. They have wandered