The Days That Were - Classic Text | Alexandria
"The Days That Were," a contemplative prose work by the Victorian polymath William Morris (1834-1896), stands as a lesser-known yet significant meditation on time, memory, and the pastoral ideals that characterized much of Morris's literary and artistic output. Initially published in 1875 as part of Morris's collected works, this piece exemplifies the intersection between his socialist principles and his romantic vision of medieval craftsmanship and community.
The text emerged during a particularly turbulent period in Morris's life, coinciding with his increasing political radicalization and his deepening interest in traditional crafts and medieval literature. Written in his distinctive prose style, which deliberately echoed medieval romances, "The Days That Were" reflects Morris's growing disillusionment with Victorian industrialization while expressing nostalgia for an idealized pre-industrial past. The work draws upon Morris's experiences at Kelmscott Manor, his beloved country home, which served as both refuge and inspiration for many of his works.
Morris weaves together themes of memory, craft, and social harmony in a narrative that alternates between personal reflection and broader social commentary. The text's structure mirrors the medieval manuscripts he so admired, with careful attention to rhythm and repetition that echoes the craftsmanship he championed through his design work at Morris & Co. Scholarly debate continues regarding the extent to which "The Days That Were" represents an autobiographical account versus a carefully constructed artistic statement about the relationship between past and present.
The work's influence extends beyond its immediate historical context, prefiguring modern environmental concerns and critiques of industrial capitalism. Contemporary readers find renewed relevance in Morris's vision of sustainable craftsmanship and community-centered living. The text continues to inspire discussions about the role of tradition in modern society and the potential for finding balance between technological progress and human-scale production. While less celebrated than Morris's other works, "The Days That Were" remains a fascinating window into the mind of one of Victorian England's most versatile and prophetic voices.
Does this piece truly represent Morris's definitive statement on time and memory, or is it rather a transitional work that bridges his earlier romantic period with his later socialist writings? This question continues to engage scholars and enthusiasts alike, ensuring the text's ongoing significance in Morris studies.