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 life and its works; while dramas like Manfred, Luria, or Erechtheus are little more than splendid collections of passages reflecting the subjective moods of the poet. That great poets who were essentially lyrical should constantly have preferred to tell a story in narrative or dramatic form may be ascribed partly to the influence of old association, and partly to the greater variety which is offered by modes of verse that are not in their essence limited to a few stanzas. Even here, however, it may be remarked, that no one, as a rule, tells an old story again without changing its model for the worse if he deviates from the original. The writers of the Morte d'Arthur were not craftsmen of the highest order, though they understood how to diversify the rather monotonous tale of chivalrous adventure, and were sometimes capable of fine touches. They possessed, however, an instinct of congruity which kept them from anachronisms of manner and anomalies of ethical feeling. They recoiled from the naked story of Geraint and Enid as inappropriate to knightly times; they conceived Vivien as an overfond woman, not as a fin-de-siècle lorette craving for notoriety; and they never dreamed of bringing Arthur to preach morality to the penitent woman who lay before him in tears.

There is perhaps another reason besides a growing failure in the capacity to conceive or work out dramatic situations why the drama in its old form has ceased to be possible, except as a trick or sleight of the imagination. If a change in social relations has made the epic impossible by dwarfing the immediate agency of the individual, a change in manners has robbed the drama of a great deal of its effect. The carnage in Othello, though awful and pitiful even to men of that day, was not improbable.