Huntington Manuscript 6422, folios 1094 (see William Morris Archive, http://morrisarchive.lib.uiowa.edu/transcription-loveisenough)

Page numbers for the published versions are to the 1873 Love Is Enough edition (LE) and vol. 24 of The Collected Works of William Morris (CW). Sydney Cockerell was Morris’s assistant at the Kelmscott Press.

Draft 1 Folios 1a-1e. These are small white folded pages with many corrections, marked at the top in Sydney Cockerell’s hand, “Love Is Enough, pp. 1-16 in printed book/early draft.”

These are early versions of the opening frame: this includes the conversation between the lovers Giles and Joan as they witness the coming of the Emperor and Empress, the royal couple’s comments on the actors, and two songs by “Music.” The latter are an introductory nine-line song, “Love is enough, though the world be awaning” [a-waning in the printed version] and a partial draft of the first full lyric, “Love is Enough, have no thought for the morrow” (in CW, sts. 1-3 and 6), with a later-omitted stanza between 3 and 6).  These folios correlate with CW 3-12, with an extra omitted 5-line passage at the end which begins, “O rejoice for this even all sorrow is hidden,” likely an early unused stanza for a song by “Music” (1e).  

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Draft 2 Folios 2, 4, 5, 5v, 6a. On large white paper, marked “lyrics” in Sydney Cockerell’s hand, with what seems likely Cockerell’s numbering for 2, 4, and 7 (with the number 5 also on p. 7, on lined paper and seemingly an insertion from an earlier notebook), and 8. This is clearer than draft 1, though with corrections. Folios 2-6 seem to be early drafts for five songs by Music of varying lengths, later discarded.

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Draft 3 Folios 6b-7, 8, 8v continue on from draft 2, and on the same paper, but seem an entirely new section. This is a discarded early draft with corrections; f. 7 is an inserted lined page from an earlier notebook, with its retained pagination of 5 pencilled in below the regular page no. Set “Before the gate of King Ph City--,” the draft seems disjointed: Pharamond politely dismisses his retainers Gregory and Oliver, Bertha appears briefly in a single speech to say how anxious she is in a new land, and Pharamond seems intent on returning to battle. All this is interrupted by a song, “Would now I were wending” (f. 7), followed by what seems an earlier draft of the same poem (f. 8). The tale then returns to Pharamond’s account to Oliver of his 5-year long dream, in which he had experienced a brief garden meeting with a maiden who had then departed, and whom, despite the distractions of warfare, he has returned to seek. The presence of Gregory suggests a relationship with drafts 4C and 8B.

Draft 4 Folios 10-38v. On large white paper, marked “Early draft” in Cockerell’s hand. This seems at least a second draft, though not a fair copy, with corrections and brackets to draw together short sections of the different speeches. It correlates roughly with pp. 15-61 in the 1873 LE with gaps, and pp. 12-43 in CW, with gaps. 

38. 10 and 10va are drafts for pp. 15-16 in LE and 12-13 in CW, in which the figure of Love speaks, with a section of f. 14v continuing his speech, LE 52, CW 38. F. 10vb then skips to pp. 53-54 in LE, 37-38 in CW, also spoken by Love, and in ff. 11-16 the narrative returns to pp. 17-36 in LE, 14-20 CW. Ff. 15 and 15v also contain an omitted passage, which begins, “Thy words stay my speech” and ending at the bottom of 15v, “Thou knowest that of late ye strove with my longing.” Folio 19 contains a draft for Music’s song, “Love is enough: draw near and behold me,” LE 50, CW 36. This is the first time that a draft for a final version of a song is incorporated into a text.

Draft 4B Folio 21. On blue paper, draft of song by Music, with corrections. In Cockerell’s hand, “pp. 66-67 Variant.” Correlates with LE 66-67, CW 47.

At this point Draft 4 continues on with folios 22-38v (37v and 38 are missing) on white paper, correlating with LE 70-134, CW 48-89, with omitted and excised passages and jumps. In all, this seems the fullest, if still incomplete, draft of what seems at least two removes from a final version/fair copy.

1. 22b contains unused lines from a speech by Pharamond; f. 22v contains omitted lines possibly spoken by Love or Music; ff. 25 and 25v contain omitted lines spoken by Oliver and Bertha/Azalais; the wording of speeches in the final frame differs greatly from the final version.

Draft 4C Folios 27b-27v, on white ruled paper, contain a later-omitted scene set “In the garden of Gregory’s homestead,” with characters King Pharamond, Oliver, and Gregory, in which Gregory welcomes his guests and Pharamond talks to Oliver.

Draft 5 Folios 39-47, on white paper, draft for a scene with Pharamond and Bertha, mostly later omitted, with the exception of a short passage by Bertha in 39 (CW 61). The tale continues with speeches by the King, Oliver, and various bystanders, who remember the King’s former deeds of valor, Bertha, who recounts her life as a shepherdess and hopes the King may benefit from visiting her simple cottage, and the captain of a ship on which they embark for a northern land.

Draft 5B Folio 48, on white paper. Seems an appended 3 line fragment spoken by Pharamond.

Draft 6A, B, and C Folios 50-64 (f. 49 is blank) on blue paper, containing three discarded variants of an early scene in which Pharamond describes his situation to Oliver.

6A The first is ff. 50-52v. At top of f. 50, Cockerell has written “p. 31 variant” [that is, this is a variant of the scene from LE pp. 31-49, CW 23-35]. This is an earlier draft with brackets indicating paired rhymes and units.  F. 53 is blank.

6B The second is ff. 54-63, in near fair copy. Cockerell has written at top of f. 54, “p. 31 in printed book, variant” [that is, of LE pp. 31-49, CW 23-35]. The folios are double numbered, 54-63 and prior numbers 9-17. Oliver seems unhappy that Pharamond wishes to leave his former active life, and Pharamond defends his choices. F. 64 is blank.

6C Folios 65-74a, near fair copy, with Cockerell’s note, “p. 31 in Printed book-- variant No 2,” on blue paper, titled “Scene, in the King’s garden—King Pharamond, Master Oliver.” Much of draft not used in final version, with the exception of ff. 65-67, a near fair draft correlating with printed version (LE 31-34, CW 23-24). Emphasizes Oliver’s love for his master, their closeness, and Pharamond’s ambivalence about his new course of action. F. 74a contains a discarded song for Music.

Draft 7 Folios 74b-75, blue paper, rough draft, seems an early scene with speech by Pharamond. F. 76 is blank.

Draft 8A Folios 77-83. Folio 77 is labelled in Cockerell’s hand, “pp. 81--in printed book variant”, near-fair draft on blue paper, earlier draft for scene of the meeting between Bertha and the King, who is described as a metalsmith. The interspersed songs by Music are retained in the final version. 

Draft 8B Folios 84-94, white ruled paper, with alternate nos. 35-45. This seems a near-fair copy of another version of the love scene between Bertha and the King, with side interventions from Oliver and a countryman, Gregory (who also appears in drafts 3 and 4C). The king is a metalworker, and when asked, assures Gregory that he can also craft silver. 

Likely Chronological Order of Composition:

Early drafts: 2, 3, 5, 5B, 6A, 7

Middle or later: 1, 4, 4B, 6B, 6C, 8A, 8B

Missing: fair copy for printer