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190 to interest critics without rousing their ridicule. When the Pall Mall Gazette, then the great arbiter of cultured opinion, could find little in "Jason" to condemn beyond an "indifference to manners" shown in the passage where "Medea obtains her first interview with Jason by knocking unexpectedly at his chamber door" (instead, we must infer, of sending him a note by the footman), its fortunes with the critics were secured. Morris's name began to be mentioned with respect. People were even led to assume a knowledge of his earlier work of which they were wholly innocent. "No one," observed one of the leading daily newspapers in a eulogistic notice of "The Life and Death of Jason," "acquainted with Mr. Morris's previous volume will be surprised to find that he has again chosen a classical subject." No testimony could be more eloquent than this to the feebleness of the impression made on the public by "The Defence of Guenevere." It may be true that, as another review of "Jason" states, the earlier volume had gradually gained for itself an increasing audience; but that audience even now might be counted by scores or dozens, and the first edition was still not nearly exhausted. With "The Life and Death of Jason" Morris reached real popularity. A second edition (in which numerous corrections were made) was called for almost immediately; and thereafter a steady sale led to successive reprints. The poem received a final revision from the author in the eighth edition, published fifteen years after its original appearance.

Indifferent as Morris habitually was to criticism, the reception which "The Life and Death of Jason" met with was a source of no little encouragement and pleasure, as that of "The Defence of Guenevere" had undoubtedly been chilling, and had even joined