he wrote to Palgrave, who had suggested some alterations, this estimate
of his own merits and defects,--

"I am really very much obliged to you for your letter. I think the
printing has made too much progress to allow of dealing with any of the
long things now; I have left 'Merope' aside entirely, but the rest I
have reprinted. In a succeeding edition, however, I am not at all sure
that I shall not leave out the second part of the 'Church of Brou.' With
regard to the others, I think I shall let them stand--but often for
other reasons than because of their intrinsic merit. For instance, I
agree that in the 'Sick King in Bokhara' there is a flatness in parts;
but then it was the first thing of mine dear old Clough thoroughly
liked. Against 'Tristram,' too, many objections may fairly be urged; but
then the subject is a very popular one, and many people will tell you
they like it best of anything I have written. All this has to be taken
into account. 'Balder' perhaps no one cares much for except myself; but
I have always thought, though very likely I am wrong, that it has not
had justice done to it; I consider that it has a natural _propriety_ of
diction and rhythm which is what we all prize so much in Virgil, and
which is not common in English poetry. For instance, Tennyson has in the
_Idylls_ something dainty and _tourmenté_ which excludes this natural
propriety; and I have myself in 'Sohrab' something, not dainty, but
_tourmenté_ and Miltonically _ampoullé_, which excludes it.... We have
enough Scandinavianism in our nature and history to make a short
_conspectus_ of the Scandinavian mythology admissible. As to the shorter
things, the 'Dream' I have struck out. 'One Lesson' I have re-written
and banished from its pre-eminence as an introductory piece. 'To
Marguerite' (I suppose you mean 'We were apart' and not 'Yes! in the
sea') I had paused over, but my instinct was to strike it out, and now
your suggestion comes to confirm this instinct, I shall act upon it. The