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diff --git a/old/61764-0.txt b/old/61764-0.txt deleted file mode 100644 index 7a44076..0000000 --- a/old/61764-0.txt +++ /dev/null @@ -1,1665 +0,0 @@ -Project Gutenberg's Tennyson, by G. K. Chesterton and Richard Garnett - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Tennyson - -Author: G. K. Chesterton - Richard Garnett - -Release Date: April 6, 2020 [EBook #61764] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK TENNYSON *** - - - - -Produced by Tim Lindell, Chuck Greif and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - - -[Illustration: ALFRED TENNYSON - -_Photograph by -The London Stereoscopic Co._] - - - - - TENNYSON - - - BY - - G. K. CHESTERTON - - AND - - DR. RICHARD GARNETT, C.B. - - - WITH NUMEROUS ILLUSTRATIONS - - - NEW YORK - - JAMES POTT AND COMPANY - - LONDON - - HODDER AND STOUGHTON - - - PRINTED BY - HAZELL, WATSON AND VINEY, LD. - LONDON AND AYLESBURY - ENGLAND. - - - - -LIST OF ILLUSTRATIONS - - - PAGE - -ALFRED TENNYSON _Frontispiece_ - -THE BROOK AT SOMERSBY 1 - -AN EARLY PORTRAIT OF TENNYSON 2 - -SOMERSBY RECTORY, LINCOLNSHIRE (where Alfred Tennyson was born) 3 - -LOUTH 4 - -SOMERSBY CHURCH 4 - -ALFRED TENNYSON (from the painting by Samuel Laurence) 5 - -TENNYSON’S MOTHER 6 - -BAG ENDERBY CHURCH 6 - -ALFRED TENNYSON, 1838 7 - -OLD GRAMMAR SCHOOL, LOUTH 7 - -ARTHUR H. HALLAM (from the bust by Chantrey) 8 - -ALFRED TENNYSON (from the medallion by Thomas Woolner, R.A.) 9 - -THE LADY OF SHALOTT 10 - -THE PALACE OF ART 11 - -ALFRED TENNYSON (from the bust by Thomas Woolner, R.A.) 12 - -MARIANA IN THE SOUTH 13 - -STOCKWORTH MILL 14 - -CLEVEDON CHURCH 14 - -GERAINT AND EDYRN 15 - -IN MEMORIAM (“Man dies: nor is there hope in dust”) 16 - -IN MEMORIAM (“Ring out, wild bells, to the wild sky”) 17 - -LADY TENNYSON 18 - -HORNCASTLE (the home of Emily Sellwood) 19 - -GRASBY CHURCH 20 - -CHAPEL HOUSE, TWICKENHAM (Tennyson’s first home after his marriage) 20 - -ELAINE 21 - -ALFRED TENNYSON (1867) 22 - -ALFRED TENNYSON (from a portrait by G. F. Watts, R.A., 1859) 23 - -ALFRED TENNYSON (from the chalk drawing by M. Arnault) 24 - -FARRINGFORD (Tennyson’s residence at Freshwater) 25 - -TENNYSON (about 1871) 26 - -MERLIN AND VIVIEN 27 - -FACSIMILE OF TENNYSON’S MANUSCRIPT, “CROSSING THE BAR” 28 - -GLADE AT FARRINGFORD (from a water-colour drawing by Mrs. Allingham) 29 - -FRESHWATER 30 - -FRESHWATER BAY 30 - -GUINEVERE 31 - -ALFRED TENNYSON 32 - -TENNYSON’S LANE, HASLEMERE 33 - -ALDWORTH (Tennyson’s home near Haslemere) 33 - -TENNYSON’S MEMORIAL, BEACON HILL, FRESHWATER 34 - -ALFRED TENNYSON (from a portrait by G. F. Watts, R.A.) 35 - - - - - TENNYSON - - -[Illustration: - - _From a photo by Messrs. Carlton & Sons, Horncastle_ - -THE BROOK AT SOMERSBY] - -It was merely the accident of his hour, the call of his age, which made -Tennyson a philosophic poet. He was naturally not only a pure lover of -beauty, but a pure lover of beauty in a much more peculiar and -distinguished sense even than a man like Keats, or a man like Robert -Bridges. He gave us scenes of Nature that cannot easily be surpassed, -but he chose them like a landscape painter rather than like a religious -poet. Above all, he exhibited his abstract love of the beautiful in one -most personal and characteristic fact. He was never so successful or so -triumphant as when he was describing not Nature, but art. He could -describe a statue as Shelley could describe a cloud. He was at his very -best in describing buildings, in their blending of aspiration and -exactitude. He found to perfection the harmony between the rhythmic -recurrences of poetry and the rhythmic recurrences of architecture. His -description, for example, of the Palace of Art is a thing entirely -victorious and unique. The whole edifice, as - -[Illustration: AN EARLY PORTRAIT OF TENNYSON - -Rischgitz Collection] - -described, rises as lightly as a lyric, it is full of the surge of the -hunger for beauty; and yet a man might almost build upon the description -as upon the plans of an architect or the instructions of a speculative -builder. Such a lover of beauty was Tennyson, a lover of beauty most -especially where it is most to be found, in the works of man. He loved -beauty in its completeness, as we find it in art, not in its more -glorious incompleteness as we - -[Illustration: - - _From a photo by Messrs. Carlton & Sons, Horncastle_ - -SOMERSBY RECTORY, LINCOLNSHIRE - -Where Alfred Tennyson was born, on Sunday, August 6th, 1809] - -find it in Nature. There is, perhaps, more loveliness in Nature than in -art, but there are not so many lovely things. The loveliness is broken -to pieces and scattered: the almond tree in blossom will have a mob of -nameless insects at its root, and the most perfect cell in the great -forest-house is likely enough to smell like a sewer. Tennyson loved -beauty more in its collected form in art, poetry, and sculpture; like -his own “Lady of Shalott,” it was his office to look rather at the -mirror than at the object. He was an artist, as it were, at two removes: -he was a splendid imitator of the splendid imitations. It is true that -his natural history was exquisitely exact, but natural history and -natural religion are things that can be, under certain circumstances, -more unnatural than anything in the world. In reading Tennyson’s natural -descriptions we never seem to be in physical contact with the earth. We -learn nothing of the coarse good-temper and rank energy of life. We see -the whole scene accurately, but we see it through glass. In Tennyson’s -works we see Nature indeed, and hear Nature, but we do not smell it. - -[Illustration: LOUTH - -(Reproduced from “The Laureate’s Country,” by kind permission of Messrs. -Seeley & Co., Ltd.)] - -[Illustration: - - _From a photo by Messrs. Carlton & Sons, Horncastle_ - -SOMERSBY CHURCH] - -But this poet of beauty and a certain magnificent idleness lived at a -time when all men had to wrestle and decide. It is not easy for any -person who lives in our time, when the dust has settled and the -spiritual perspective has been restored, to realise what the entrance of -the idea of evolution meant for the men of those days. To us it is a -discovery of another link in a chain which, however far we follow it, -still stretches back into a divine mystery. To - -[Illustration: ALFRED TENNYSON - -_From the painting by Samuel Laurence_ - -Rischgitz Collection] - -many of the men of that time it would appear from their writings that it -was the heart-breaking and desolating discovery of the end and origin of -the chain. To them had happened the most black and hopeless catastrophe -conceivable to human nature; they had found a logical explanation of all -things. To them it seemed that an Ape had suddenly risen to gigantic -stature and destroyed the seven heavens. It is difficult, no doubt, for -us - -[Illustration: TENNYSON’S MOTHER] - -[Illustration: - - _From a photo by Messrs. Carlton & Sons, Horncastle_ - -BAG ENDERBY CHURCH] - -in somewhat subtler days to understand how anybody could suppose that -the origin of species had anything to do with the origin of being. To us -it appears that to tell a man who asks who made his mind that evolution -made it, is like telling a man who asks who rolled a cab-wheel over his -leg that revolution rolled it. To state the process is scarcely to state -the agent. But the position of those who regarded the opening of the -“Descent of Man” as the opening of one of the seals of the last days, is -a great deal sounder than people have generally allowed. It has been -constantly supposed that they were angry with Darwinism because it -appeared to do something or other to the Book of Genesis; but this was a -pretext or a fancy. They fundamentally rebelled against Darwinism, not -because they had a fear that it would affect Scripture, but because they -had a fear, not altogether unreasonable or ill-founded, that it would -affect morality. Man had been engaged, through innumerable ages, in a -struggle with sin. The evil within him was as strong as he could cope - -[Illustration: ALFRED TENNYSON, 1838 - -From an early Daguerreotype - -(Reproduced from “Tennyson: a Memoir,” by kind permission of Messrs. -Macmillan & Co., Ltd.) - - _Engraved by G. J. Stodart_] - -[Illustration: OLD GRAMMAR SCHOOL, LOUTH - -The original building, now no longer in existence, where Tennyson was -sent to school at the age of seven - -(Reproduced from “The Laureate’s Country,” by kind permission of Messrs. -Seeley & Co., Ltd.) - - _From a drawing by E. Hull_] - -with--it was as powerful as a cannonade and as enchanting as a song. But -in this struggle he had always had Nature on his side. He might be -polluted and agonised, but the flowers were innocent and the hills were -strong. All the armoury of life, the spears of the pinewood and the -batteries of the lightning, went into battle beside him. Tennyson lived -in the hour when, to all mortal appearance, the whole of the physical -world deserted to the devil. The universe, governed by violence and -death, left man to fight alone, with a handful of myths and memories. -Men had now to wander in polluted fields and lift up their eyes to -abominable hills. They had to arm themselves against the cruelty of -flowers and the crimes of the grass. The first honour, surely, is to -those who did not faint in the face of that confounding - -[Illustration: - - _From the bust by Chantrey_ - -ARTHUR H. HALLAM - -(Reproduced from Hallam’s “Remains,” by kind permission of Mr. John -Murray)] - -cosmic betrayal; to those who sought and found a new vantage-ground for -the army of Virtue. Of these was Tennyson, and it is surely the more to -his honour, since he was the idle lover of beauty of whom we have -spoken. He felt that the time called him to be an interpreter. Perhaps -he might even have been something more of a poet if he had not sought to -be something more than a poet. He might have written a more perfect -Arthurian epic if his heart had been as much buried in prehistoric -sepulchres as the heart of Mr. W. B. Yeats. He might have made more of -such poems as “The Golden Year” if his mind had been as clean of -metaphysics and as full of a poetic rusticity as the mind of William -Morris. He might have been a greater poet if he had been less a man of -his dubious and rambling age. But there are some things that are greater -than greatness; there are some things that no man with blood in his body -would sell for the throne of Dante, and one of them is to fire the -feeblest shot in a war that really awaits decision, or carry the meanest -musket in an army that is really marching by. Tennyson may even have -forfeited immortality: but he and the men of his age were more than -immortal; they were alive. - -[Illustration: - - _From the medallion by Thomas Woolner, R.A._ - -ALFRED TENNYSON - -(Reproduced from “Tennyson’s Poems,” by kind permission of Messrs. -Macmillan & Co., Ltd.)] - -Tennyson had not a special talent for being a philosophic poet, but he -had a special vocation for being a philosophic poet. This may seem a -contradiction, but it is only because all the Latin or Greek words we -use tend endlessly to lose their meaning. A vocation is supposed to mean -merely a taste or faculty, just as economy is held to mean merely the -act of saving. Economy means the management of a house or community. If -a man starves his best horse, or causes his best workman to strike for -more pay, he is not merely unwise, he is uneconomical. So it is with a -vocation. If this country were suddenly invaded by some huge alien and -conquering population, we should all be called to become soldiers. We -should not think in that time that we were sacrificing our unfinished -work on Cattle-Feeding or our hobby of fretwork, our brilliant career at -the Bar or our taste for painting in water-colours. We should all have a -call to arms. We should, however, by no means agree that we all had a -vocation for arms. Yet a vocation is only the Latin for a call. - -[Illustration: THE LADY OF SHALOTT - -_From a drawing by W. Holman Hunt_ - -(Reproduced from “Tennyson’s Poems,” by kind permission of Messrs. -Macmillan & Co., Ltd.)] - -In a celebrated passage in “Maud,” Tennyson praised the moral effects of -war, and declared that some great conflict might call out the greatness -even of the pacific swindlers and sweaters whom he saw around him in the -Commercial age. He dreamed, he said, that if-- - -... The battle-bolt sang from the three-decker out on the foam, - Many a smooth-faced, snub-nosed rogue would leap from his counter or till, - And strike, were it but with his cheating yard-wand, home. - -Tennyson lived in the time of a conflict more crucial and frightful -than any European struggle, the conflict between the apparent -artificiality of morals and the apparent immorality of science. A ship -more symbolic and menacing than any foreign three-decker hove in sight -in that time--the great, gory pirate-ship of Nature, challenging all the -civilisations of the world. And his supreme honour is this, that he -behaved like his own imaginary snub-nosed rogue. His honour is that in -that hour he despised the flowers and embroideries of Keats as the -counter-jumper might despise his tapes and cottons. He was by nature a -hedonistic and pastoral poet, but he leapt from his poetic counter and -till and struck, were it but with his gimcrack mandolin, home. - -[Illustration: THE PALACE OF ART - -_From a drawing by Dante Gabriel Rossetti_ - -(Reproduced from “Tennyson’s Poems,” by kind permission of Messrs. -Macmillan & Co., Ltd.)] - -[Illustration: ALFRED TENNYSON - -A marble bust, copied by Miss Grant from the original, sculptured from -life in 1857 by Thomas Woolner, R.A. - -Rischgitz Collection] - -Tennyson’s influence on poetry may, for a time, be modified. This is the -fate of every man who throws himself into his own age, catches the echo -of its temporary phrases, is kept busy in battling with its temporary -delusions. There are many men whom history has for a time forgotten to -whom it owes more than it could count. But if Tennyson is extinguished -it will be with the most glorious extinction. There are two ways in -which a man may vanish--through being thoroughly conquered or through -being thoroughly the Conqueror. In the main, the great Broad Church -philosophy which Tennyson uttered has been adopted by every one. This -will make against his fame. For a man may vanish as Chaos vanished in -the face of creation, or he may vanish as God vanished in filling all -things with that created life. - - G. K. CHESTERTON. - - - - - TENNYSON AS AN INTELLECTUAL FORCE - - -[Illustration: MARIANA IN THE SOUTH - -_From a drawing by Dante Gabriel Rossetti_ - -(Reproduced from “Tennyson’s Poems,” by kind permission of Messrs. -Macmillan & Co., Ltd.)] - -It is easy to exaggerate, and equally easy to underrate, the influence -of Tennyson on his age as an intellectual force. It will be exaggerated -if we regard him as a great original mind, a proclaimer or revealer of -novel truth. It will be underrated if we overlook the great part -reserved for him who reveals, not new truth to the age, but the age to -itself, by presenting it with a - -[Illustration: STOCKWORTH MILL - -(Reproduced from “The Homes and Haunts of Alfred, Lord Tennyson,” by -kind permission of Mr. George G. Napier and Messrs. James Maclehose & -Sons)] - -[Illustration: CLEVEDON CHURCH - -Where the remains of Arthur Hallam were finally laid to rest on January -3rd, 1834. - -(Reproduced from “The Homes and Haunts of Alfred, Lord Tennyson,” by -kind permission of Mr. George G. Napier and Messrs. James Maclehose & -Sons)] - -miniature of its own highest, and frequently unconscious, tendencies and -aspirations. Not Dryden or Pope were more intimately associated with -their respective ages than Tennyson with that brilliant period to which -we now look back as the age of Victoria. His figure cannot, indeed, be -so dominant as theirs. The Victorian era was far more affluent in -literary genius than the periods of Dryden and Pope; and Tennyson -appears as but one of a splendid group, some of whom surpass him in -native force of mind and intellectual endowment. But when we measure -these illustrious men with the spirit of their age, we perceive -that--with the exception of Dickens, who paints the manners rather than -the mind of the time, and Macaulay, who reproduces its average but not -its higher mood--there is something as it were sectarian in them which -prevents their being accepted - -[Illustration: - - _From a drawing by Louis Rhead_ - -GERAINT AND EDYRN - -(Reproduced from the Illustrated Edition of “Idylls of the King,” by -kind permission of Messrs. Macmillan & Co., Ltd.)] - -[Illustration: - - _From a drawing by A. Garth Jones_ - -IN MEMORIAM - -“Man dies: nor is there hope in dust” - -(Reproduced from the Caxton Series Edition of Tennyson’s “In Memoriam,” -by kind permission of Messrs. George Newnes, Ltd.)] - -as representatives of their epoch in the tidiest sense. In some -instances, such as Carlyle and Browning and Thackeray, the cause may be -an exceptional originality verging upon eccentricity; in others, like -George Eliot, it may be allegiance to some particular scheme of thought; -in others, like Ruskin and Matthew Arnold, exclusive devotion to some -particular mission. In Tennyson, and in him alone, we find the man who -cannot be identified with any one of the many tendencies of the age, but -has affinities with all. Ask for the composition which of all -contemporary compositions bears the Victorian stamp most unmistakably, -which tells us most respecting the age’s thoughts respecting itself, -and there will be little hesitation in naming “Locksley Hall.” - -[Illustration: - - _From a drawing by A. Garth Jones_ - -IN MEMORIAM - -“Ring out, wild bells, to the wild sky” - -(Reproduced from the Caxton Series Edition of Tennyson’s “In Memoriam,” -by kind permission of Messrs. George Newnes, Ltd.)] - -Tennyson returns to his times and what he has received from them, but in -an exquisitely embellished and purified condition; he is the mirror in -which the age contemplates all that is best in itself. Matthew Arnold -would perhaps not have been wrong in declining to recognize Tennyson as -“a great and powerful spirit” if “power” had been the indispensable -condition of “greatness”; but he forgot that the receptive poet may be -as potent as the creative. His cavil might with equal propriety have -been aimed at Virgil. In truth, Tennyson’s fame rests upon a securer -basis than that of some greater poets, for acquaintance with him will -always be indispensable to the history of thought and culture in -England. What George Eliot and Anthony Trollope are for the manners of -the period, he is for its mind: all the ideas which in his day chiefly -moved the elect spirits of English society are to be found in him, -clothed in the most exquisite language, and embodied in the most -consummate form. That they did not originate with him is of no -consequence whatever. We cannot consider him, regarded merely as a poet, -as quite upon the level of his great immediate predecessors; but the -total disappearance of any of these, except Wordsworth, would leave a -less painful blank in our intellectual history than the disappearance of -Tennyson. - -[Illustration: - - _From the portrait at Aldworth by G. F. Watts, R.A._ - -LADY TENNYSON] - -[Illustration: - - _From a drawing by E. Hull_ - -HORNCASTLE - -The home of Emily Sellwood, afterwards Lady Tennyson - -(Reproduced from “The Laureate’s Country,” by kind permission of Messrs. -Seeley & Co., Ltd.)] - -Beginning, even in his crudest attempts, with a manner distinctly his -own, he attained a style which could be mistaken for that of no -predecessor (though most curiously anticipated by a few blank-verse -lines of William Blake), and which no imitator has been able to rival. -What is most truly remarkable is that while much of his poetry is -perhaps the most artificial in construction of any in our language, and -much again wears the aspect of bird-like spontaneity, these contrasted -manners evidently proceed from the same writer, and no one would think -of ascribing them to different hands. As a master of blank verse -Tennyson, though perhaps not fully attaining the sweetness of Coleridge -or the occasional grandeur of Wordsworth and Shelley, is upon the whole -the third in our language after Shakespeare and Milton, and, unlike -Shakespeare and Milton, he has made it difficult for his successors to -write blank verse after him. - -[Illustration: _From a photo in the possession of the Rev. A. W. -Workman, Vicar of Grasby_ - -GRASBY CHURCH] - -Tennyson is essentially a composite poet. Dryden’s famous verses, grand -in expression, but questionable in their application to Milton, are -perfectly applicable to him: save that, in making him, Nature did not -combine two poets, but many. This is a common phenomenon at the close of -a great epoch; it is almost peculiar to Tennyson’s age that it should -then have heralded the appearance of a new era; and that, simultaneously -with the inheritor of the past, perhaps the most original and -self-sufficing of all poets should have appeared in the person of Robert -Browning. A comparison between these illustrious writers would lead us -too far; we have already implied that Tennyson occupies the more -conspicuous place in literary history on account of his representative -character. - -[Illustration: CHAPEL HOUSE, TWICKENHAM - -Tennyson’s first settled home after his marriage - -Rischgitz Collection] - -The first important recognition of Tennyson’s genius came from Stuart -Mill, who, partly perhaps under the guidance of Mrs. Taylor, evinced - -[Illustration: - - _From a drawing by Gustave Doré_ - -ELAINE - -(Reproduced from “Illustrations to Tennyson’s ‘Idylls of the King,’” by -kind permission of Messrs. Ward, Lock & Co.)] - -[Illustration: _From a photograph in 1867 by Mrs. Julia Margaret -Cameron_ - -ALFRED TENNYSON - -(Reproduced by permission of Mr. J. Caswall Smith)] - -about 1835 a remarkable insight into Shelley and Browning as well as -Tennyson. In the course of his observations he declared that Tennyson -needed to be a great poet was a system of philosophy, to which time -would certainly conduct him. If he only meant that Tennyson needed “the -years that bring the philosophic mind,” the observation was entirely -just; if he expected the poet either to evolve a system of philosophy -for himself or to fall under the sway of some great thinker, he was -mistaken. Had Tennyson done either he might have been a very great and -very interesting poet, but he could not have been the poet of his age; -for the temper of the time, when it was not violently partisan, was -liberally eclectic. There was no one great leading idea, such as that of -evolution in the last quarter of last century, so ample and so -characteristic of the age that a poet might become its disciple without -yielding to party what was meant for mankind. Two chief currents of -thought there were; but they were antagonistic, even though Mr. -Gladstone has proved that a very - -[Illustration: _From the portrait in the possession of Lady Henry -Somerset, painted by G. F. Watts, R.A., in 1859_ - -ALFRED TENNYSON] - -exceptional mind might find room for both. Nothing was more -characteristic of the age than the reaction towards medieval ideas, -headed by Newman, except the rival and seemingly incompatible gospel of -“the railway and the steamship” and all their corollaries. It cannot be -said that Tennyson, like Gladstone, found equal room for both ideals in -his mind, for until old age had made him mistrustful and querulous he -was essentially a man of progress. But his choice of the Arthurian -legend for what he intended to be his chief work, and the sentiment of -many of his most beautiful minor poems, show what attraction the -mediæval spirit also possessed for him; nor, if he was to be in truth -the poetical representative of his period, could it have been otherwise. -He is not, however, like Gladstone, alternately a mediæval and a modern -man; but he uses mediæval sentiment with exquisite judgment to mellow -what may appear harsh or crude in the new ideas of political reform, -diffusion of education, mechanical invention, free trade, and colonial -expansion. The Victorian, in fact, - -[Illustration: - - _From the chalk drawing by M. Arnault in the National Portrait - Gallery_ - -ALFRED TENNYSON - -Rischgitz Collection] - -[Illustration: - - _From a photo by Messrs. F. Frith & Co., Reigate_ - -FARRINGFORD - -Tennyson’s residence at Freshwater] - -finds himself nearly in the position of the Elizabethan, who also had a -future and a past; and, except in his own, there is no age in which -Tennyson would have felt himself more at home than in the age of -Elizabeth. He does, indeed, in “Maud” react very vigorously against -certain tendencies of the age which he disliked; but this is not in the -interest of the mediæval or any other order of ideas incompatible with -the fullest development of the nineteenth century. If the utterance here -appears passionate, it must be remembered that the poet writes as a -combatant. When he constructs, there is nothing more characteristic of -him than his sanity. The views on female education propounded in “The -Princess” are so sound that good sense has supplied the place of the -spirit of prophecy, which did not tabernacle with Tennyson. “In -Memoriam” is a most perfect expression of the average theological temper -of England in the nineteenth century. As in composition, so in spirit, -Tennyson’s writings have all the advantages and all the disadvantages -of the golden mean. - -[Illustration: - - _From a photo by Mrs. Julia Margaret Cameron_ - -TENNYSON (ABOUT 1871) - -(Reproduced by permission of Mr. J. Caswall Smith)] - -By virtue of this golden mean Tennyson remained at an equal distance -from revolution and reaction in his ideas, and equally remote from -extravagance and insipidity in his work. He is essentially a man of the -new time; he begins his career steeped in the influence of Shelley and -Keats, without whom he would never have attained the height he did--a -height nevertheless, in our opinion, appreciably below theirs, if he is -regarded simply as a poet. But he is a poet and much else; he is the -interpreter of the Victorian era--firstly to itself, secondly to the -ages to come. Had even any poet of greater genius than himself arisen in -his own day, which did not happen, he would still have remained the -national poet of the time in virtue of his universality. Some personal -friends _splendide mendaces_ have hailed him as our greatest poet since -Shakespeare. This is absurd; but it is true that no other poet since -Shakespeare has produced a body of - -[Illustration: - - _From a drawing by George W. Rhead_ - -MERLIN AND VIVIEN - -(Reproduced from the Illustrated Edition of “Idylls of the King,” by -kind permission of Messrs. Macmillan & Co., Ltd.)] - -[Illustration: A FACSIMILE TENNYSON’S MANUSCRIPT, “CROSSING THE BAR” - -(Reproduced from “Tennyson: A Memoir,” by kind permission of Messrs. -Macmillan & Co., Ltd.)] - -poetry which comes so near to satisfying all tastes, reconciling all -tendencies, and registering every movement of the intellectual life of -the period. Had his mental balance been less accurately poised, he might -have been the laureate of a party, but he could not have been the -laureate of the nation. As an intellectual force he is, we think, -destined to be powerful and durable, because the charm of his poetry -will always keep his ideas before the popular mind; and these ideas -will always be congenial to the solid, practical, robust, and yet tender -and emotional mind of England. They may be briefly defined as the -recognition of the association of continuity with mutability in human -institutions: the utmost reverence for the past combined with the full -and not regretful admission that - - The old order changes, giving place to new, - And God fulfils Himself in many ways; - -the conception of Freedom as something that “broadens down, from -precedent to precedent”; veneration for “the Throne unshaken still,” so -long as it continues “broad-based upon the People’s will,” which will -always be the case so long as - - Statesmen at the Council meet - Who know the seasons. - -[Illustration: - - _From a water-colour drawing by Mrs. Allingham_ - -THE GLADE AT FARRINGFORD - -(Reproduced by kind permission of the Artist)] - -Philosophically and theologically, Tennyson is even more conspicuously -the representative of the average English mind of his - -[Illustration: - - _From a photo by Messrs. F. Frith & Co., Reigate_ - -FRESHWATER] - -[Illustration: - - _From a photo by Messrs. F. Frith & Co., Reigate_ - -FRESHWATER BAY] - -day. Not that he is a fusion of conflicting tendencies, but that he -occupies a central position, equally remote from the excesses of -scepticism and the excesses of devotion. This position he is able to -fill from his relation to Coleridge, the great exponent of the _via -media_: not, as in former days, between Protestantism and Romanism, but -between orthodoxy and free thought. Tennyson cannot, indeed, be termed -Coleridge’s intellectual heir. As a thinker he is far below his -predecessor, and almost devoid of originality; but as a poet he fills up -the measure of what was lacking in Coleridge, whose season of -speculation hardly arrived until the season of poetry was past. Tennyson -was but one of a band of auditors--it might be too much to call them -disciples--of the sage who, curiously enough, had himself been a -Cambridge man, and who, short and unsatisfactory as had been his -residence at that seat of learning, - -[Illustration: - - _From a drawing by Gustave Doré_ - -GUINEVERE - -(Reproduced from the “Illustrations to Tennyson’s ‘Idylls of the King,’” -by kind permission of Messrs. Ward, Lock & Co.)] - -[Illustration: - - _From a photo by Barraud_ - -ALFRED TENNYSON] - -[Illustration: - - _From a photo by the Graphotone Co._ - -TENNYSON’S LANE, HASLEMERE] - -[Illustration: - - _From a photo by the Graphotone Co._ - -ALDWORTH - -Tennyson’s home near Haslemere] - -seemed to have left behind him some invisible influence destined to -germinate in due time, for all his most distinguished followers were -Cantabs. Such another school, only lacking a poet, had flourished at -Cambridge in the seventeenth century, and now came up again like -long-buried seeds in a newly disturbed soil. The precise value of their -ideas may always be matter for discussion; but they exerted without -doubt a happy influence by - - Turning to scorn with lips divine - The falsehood of extremes. - -providing religious minds reverent of the past with an alternative to -mere mediævalism, and gently curbing Science in the character she -sometimes assumes of “a wild Pallas of the brain.” When the natural -moodiness of Tennyson’s temperament is considered, the prevalent -optimism of his ideas, both as regards the individual and the State, -appears infinitely creditable to him. These are ideas natural to sane -and reflecting Englishmen, unchallenged in quiet times, but which may be -obscured or overwhelmed in seasons of great popular excitement. The -intellectual force of Tennyson is perhaps chiefly shown in the art and -attractiveness with which they are set forth; even much that might have -appeared tame or prosaic is invested with all the charms of imagination, -and commends itself to the poet equally with the statesman. Tennyson is -not the greatest of poets, but appreciation of his poems is one of the -surest criteria of poetical taste; he is not one of the greatest of -thinkers, but agreement with his general cast of thought is an excellent -proof of sanity; many singers have been more Delphic in their -inspiration, but few, by maxims of temperate wisdom, have provided their -native land with such a Palladium. - - RICHARD GARNETT. - -[Illustration: _From a photo by Messrs. F. Frith & Co., Reigate_ - -TENNYSON’S MEMORIAL, BEACON HILL, FRESHWATER] - - - - - BIOGRAPHICAL NOTE - - -[Sidenote: =Somersby Rectory, the birthplace of Alfred Tennyson= - -_see page 3_] - - Alfred Tennyson was born on Sunday, August 6th, 1809, at Somersby, - a village in North Lincolnshire between Horncastle and Spilsby. His - father, the Rev. Dr. George Clayton Tennyson, Rector of Somersby, - married in 1805 Elizabeth Fytche, daughter of the Vicar of Louth, - in the same county; and, of their twelve children, Alfred was the - fourth. - -[Illustration: - - _From a portrait by G. F. Watts, R.A._ - -ALFRED TENNYSON - -Rischgitz Collection] - -[Sidenote: =Somersby Brook= - -_see page 1_] - -He always spoke with affectionate remembrance of his early home: of the -woodbine trained round his nursery window; of the mediæval-looking -dining-hall, with its pointed stained-glass casements; of the pleasant -drawing-room, lined with bookshelves and furnished with yellow -upholstery. The lawn in front of the house, where he composed his early -poem, “A Spirit Haunts the Year’s Last Hours,” was overshadowed on one -side by wych-elms, on the other by larch and sycamore trees. On the -south was a path bounded by a flower-border, and beyond “a garden -bower’d close” sloping gradually to the field at the bottom of which ran -the Somersby Brook - - That loves - To purl o’er matted cress and ribbed sand, - Or dimple in the dark of rushy coves, - Drawing into his narrow earthen urn - In every elbow and turn, - The filtered tribute of the rough woodland. - -The charm and beauty of this brook haunted the poet throughout his life, -and to it he especially dedicated, “Flow down, cold rivulet, to the -sea.” Tennyson did not, however, attribute his famous poem, “The Brook,” -to the same source of inspiration, declaring it was not addressed to any -stream in particular. - -[Sidenote: =Tennyson’s Mother= - -_see page 6_] - -Tennyson was exceedingly fortunate in the environment of his childhood -and the early influence exercised by his parents. His mother was of a -sweet and gentle disposition, and devoted herself entirely to the -welfare of her husband and her children. Her son is said to have taken -her as a model in “The Princess”; and he certainly gave a more or less -truthful description of this “remarkable and saintly woman” in his poem -“Isabel”:-- - - Locks not wide-dispread, - Madonna-wise on either side her head; - Sweet lips whereon perpetually did reign - The summer calm of golden charity. - -[Sidenote: =Somersby Church= - -_see page 4_] - -Tennyson’s father was a man of marked physical strength and stature, -called by his parishioners “The stern Doctor.” In 1807 he was appointed -to the living of Somersby, and that of the adjoining village of Bag -Enderby, and this position he held until his death, on March 16th, 1831, -at the age of fifty-two. He was buried in the old country churchyard, -where “absolute stillness reigns,” beneath the shade of the rugged -little tower. In his time the roof of the church was covered with -thatch, as were also those of the cottages in its immediate vicinity. - -[Sidenote: =Bag Enderby Church= - -_see page 6_] - -The livings of Somersby and Bag Enderby were held conjointly, service -being conducted at one church in the morning and at the other in the -afternoon. Dr. Tennyson read his sermons at Bag Enderby from the quaint -high-built pulpit, Alfred listening to them from the squire’s roomy pew. - -[Sidenote: =Louth= - -_see page 4_] - -[Sidenote: =The Grammar School, Louth= - -_see page 7_] - -At the age of seven Tennyson was sent to school at Louth, a market-town -which may fairly lay claim to having been a factor of some importance in -his early life. His maternal grandmother lived in Westgate Place, her -house being a second home to the young Tennysons. The old Grammar School -where Alfred received the early portion of his education is now no -longer in existence. Tennyson’s recollections of it and of the Rev. J. -Waite, at that time the head-master, were not pleasant. “How I did hate -that school!” he wrote later. “The only good I got from it was the -memory of the words _Sonus desilientis aquæ_, and of an old wall covered -with wild weeds opposite the school windows.” - -Tennyson’s first connected poems were composed at Louth, and in this -town also his first published work saw the light, appearing in a volume -entitled “Poems by Two Brothers,” issued in 1827 by Mr. J. Jackson, a -bookseller. The two brothers were Charles and Alfred Tennyson. - -After a school career which lasted four years, Alfred returned to -Somersby to continue his studies under his father’s tuition. This course -of instruction was supplemented by classics at the hands of a Roman -Catholic priest, and music-lessons given him by a teacher at Horncastle. - -In 1828 Charles and Alfred Tennyson followed their elder brother -Frederick to Trinity College, Cambridge. They began their university -life in lodgings at No. 12, Rose Crescent, moving later to Trumpington -Street, No. 57, Corpus Buildings. Of his early experiences of life at -Cambridge, Alfred wrote to his aunt: “I am sitting owl-like and solitary -in my rooms (nothing between me and the stars but a stratum of tiles). -The hoof of the steed, the roll of the wheel, the shouts of drunken Gown -and drunken Town come up from below with a sea-like murmur.... The -country is so disgustingly level, the revelry of the place so -monotonous, the studies of the University so uninteresting, so much -matter of fact. None but dry-headed, calculating, angular little -gentlemen can take much delight in them.” - -[Sidenote: =Arthur Hallam (from the bust by Chantrey)= - -_see page 8_] - -It was at Trinity College that Tennyson first made the acquaintance of -Arthur Hallam, youngest son of the historian, whose friendship so -profoundly influenced the poet’s character and genius. “He would have -been known if he had lived,” wrote Tennyson, “as a great man, but not as -a great poet; he was as near perfection as mortal man could be.” - -[Sidenote: =The Lady of Shalott= - -_see page 10_] - -In February 1831 Tennyson left Cambridge without taking a degree, and -returned to Somersby, his father dying within a month of his arrival. -From this time onward Hallam became an intimate visitor at the Rectory, -and formed an attachment for his friend’s sister Emily. In July 1832 -Tennyson and Hallam went touring on the Rhine, and at the close of the -year appeared the volume of “Poems by Alfred Tennyson,” which contained, -amongst others, “The Lady of Shalott,” “The Miller’s Daughter,” “The -Palace of Art,” “The Lotos Eaters,” and “A Dream of Fair Women.” - -“Well I remember this poem,” wrote Fitzgerald, with reference to “The -Lady of Shalott,” “read to me, before I knew the author, at Cambridge -one night in 1832 or 3, and its images passing across my head, as across -the magic mirror, while half asleep on the mail-coach to London ‘in the -creeping dawn’ that followed.” - - There she weaves by night and day - A magic web with colours gay. - She has heard a whisper say, - A curse is on her if she stay - To look down to Camelot. - She knows not what the curse may be, - And so she weaveth steadily, - And little other care hath she, - The Lady of Shalott. - -The idea of “Mariana in the South” came to Tennyson as he was - -[Sidenote: =“Mariana in the South”= - -_see page 13_] - -travelling between Narbonne and Perpignan. Hallam interpreted it to be -the “expression of desolate loneliness.” - - Till all the crimson changed, and past - Into deep orange o’er the sea, - Low on her knees herself she cast, - Before Our Lady murmur’d she; - Complaining, “Mother, give me grace - To help me of my weary load,” - And on the liquid mirror glow’d - The clear perfection of her face. - -[Sidenote: =Stockworth Mill= - -_see page 14_] - -Of these earlier poems none added more to Tennyson’s growing reputation -than “The Miller’s Daughter.” It was probably written at Cambridge, and -the poet declared that the mill was no particular mill, or if he had -thought of any mill it was that of Trumpington, near Cambridge. But -various touches in the poem seem to indicate that the haunts of his -boyhood were present in his mind. - -Stockworth Mill was situated about two miles along the banks of the -Somersby Brook, the poet’s favourite walk, and might very well have -inspired the setting of these beautiful verses. - - I loved the brimming wave that swam - Thro’ quiet meadows round the mill, - The sleepy pool above the dam, - The pool beneath it never still. - The meal-sacks on the whiten’d floor, - The dark round of the dripping wheel, - The very air about the door - Made misty with the floating meal. - -[Sidenote: =The Palace of Art= - -_see page 11_] - -In the volume of 1832, several stanzas of “The Palace of Art” were -omitted, because Tennyson thought the poem was too full. “‘The Palace of -Art,’” he wrote in 1890, “is the embodiment of my own belief that the -Godlike life is with man and for man.” - -Amongst the “marvellously compressed word pictures” of this poem is the -beautiful one of our illustration on page 11. - - Or in a clear-wall’d city on the sea, - Near gilded organ-pipes, her hair - Wound with white roses, slept St. Cecily; - An angel look’d at her. - -[Sidenote: =Clevedon Church= - -_see page 14_] - -On the 15th of September, 1833, Arthur Hallam died suddenly at Vienna. -His remains were brought to England, and laid finally to rest in the old -and lonely church beside the sea at Clevedon, on January 3rd, 1834. - - When on my bed the moonlight falls, - I know that in thy place of rest - By that broad water of the west - There comes a glory on the walls. - -[Sidenote: =“In Memoriam”= - -_see pages 16, 17_] - -Tennyson’s whole thoughts were absorbed in memories of his friend, and -he continually wrote fragmentary verses on the one theme which filled -his heart, many of them to be embodied seventeen years later in the -completed “In Memoriam.” - -[Sidenote: =The home of Emily Sellwood, at Horncastle= - -_see page 19_] - -In 1830 Tennyson first met Emily Sellwood, who twenty years later became -his wife. Horncastle was the nearest town to Somersby, and in the -picturesque old market-square stood the red-brick residence of Mr. Henry -Sellwood, a solicitor. The young Sellwoods being much of the same age as -the Tennysons, a friendship sprang up between the two families, which in -later - -[Sidenote: =Grasby Church= - -_see page 20_] - -years ripened into a double matrimonial relationship. In 1836, Charles -Tennyson, the poet’s elder brother, married Louisa, the youngest -daughter of Henry Sellwood. In the previous year he had succeeded to the -estate and living of Grasby, taking the surname of Turner under his -great-uncle’s will. At his own expense he built the vicarage, the church -and the schools; and on his death, in 1879, Grasby descended to the Poet -Laureate. It was at his brother’s wedding that the bride’s sister, -Emily, was taken into church by Alfred Tennyson, but no engagement was -recognised between them until four or five years later, and their -marriage did not take place until 1850. It was solemnised at Shiplake -Church on June 13th, the clergyman who officiated being the poet’s -intimate friend, the Rev. Robert Rawnsley. - -In the April of the same year, on the death of Wordsworth, Tennyson had -been offered the poet-laureateship, to which post he was appointed on -November 19th, owing chiefly to Prince Albert’s admiration for “In -Memoriam.” - -[Sidenote: =Lady Tennyson= - -_see page 18_] - -Lady Tennyson became the poet’s adviser in literary matters. “I am proud -of her intellect,” he wrote. She, with her “tender, spiritual nature,” -was always by his side, cheerful, courageous, and a sympathetic -counsellor. She shielded his sensitive spirit from the annoyances and -trials of life and “her faith as clear as the heights of the June-blue -heaven” helped him in hours of depression and sorrow. - -[Sidenote: =Chapel House, Twickenham= - -_see page 20_] - -Chapel House, Twickenham, was the poet’s first settled home after his -marriage, and he resided in it for three years. It was here his “Ode on -the Death of the Duke of Wellington” was written, and the birth of his -son Hallam took place in this house on August 11th, 1852. - -[Sidenote: =Farringford, Tennyson’s residence at Freshwater= - -_see page 25_] - -In 1853, whilst staying in the Isle of Wight, Tennyson heard that the -residence called Farringford was to let at Freshwater. He decided to -take the place on lease, but two years later purchased it out of the -proceeds resulting from “Maud,” which was published in 1855, and -Farringford remained his home during the greater part of each year for -forty years, and here he wrote some of his best-known works. - -“The house at Farringford,” says Mrs. Richmond Ritchie in her _Records_, -“seemed like a charmed palace, with green walls without, and speaking -walls within. There hung Dante with his solemn nose and wreath; Italy -gleamed over the doorways; friends’ faces lined the passages, books -filled the shelves, and a glow of crimson was everywhere; the oriel -drawing-room window was full of green and golden leaves, of the sound of -birds and of the distant sea.” - -[Sidenote: =The Glade at Farringford= - -_see page 29_] - -The grounds of Farringford are exceedingly beautiful and picturesque. On -the south side of the house is the glade, and close by - - The waving pine which here - The warrior of Caprera set. - -Referring to Farringford in his invitation to Maurice, Tennyson wrote-- - - Where far from noise and smoke of town - I watch the twilight falling brown - All round a careless order’d garden, - Close to the ridge of a noble down. - -The ridge of the down in question constituted the poet’s favourite walk, -and - -[Sidenote: =Freshwater Bay= - -_see page 30_] - -the scenery which he encountered round Freshwater Bay might well have -been represented in the opening verse of “Enoch Arden”-- - - Long lines of cliff breaking have left a chasm; - And in the chasm are foam and yellow sands. - -[Sidenote: =Freshwater Village= - -_see page 30_] - -Inland the road leads to the little village of Freshwater, in which the -erection of a number of new houses evoked from the poet the lines-- - - Yonder lies our young sea-village--Art and Grace are less and less: - Science grows and Beauty dwindles--roofs of slated hideousness! - -[Sidenote: =Alfred Tennyson= - -_see pages 22 and 26_] - -Opposite these villas stands an ivy-clad house at that time occupied by -Mrs. Julia Cameron, the celebrated lady art-photographer, two of whose -effective portraits of Tennyson appear on pages 22 and 26. - -[Sidenote: =“The Idylls of the King”= - -_see pages 15, 21, 27, 31_] - -[Sidenote: =Aldworth= - -_see page 33_] - -In the autumn of 1859, “The Idylls of the King” were first issued in -their original form, being four in number: Enid, Vivien, Elaine, and -Guinevere, and from their publication until the end of Tennyson’s life -his fame and popularity continued without a check. During the next few -years the poet spent much time in travelling, but in 1868 he laid the -foundation-stone of a new residence, named Aldworth, about two miles -from Haslemere, which became his second home-- - - You came, and look’d and loved the view - Long-known and loved by me, - Green Sussex fading into blue, - With one grey glimpse of sea. - -[Sidenote: =Tennyson’s Lane= - -_see page 33_] - -On the way from Haslemere to Aldworth, it is necessary to cross a rough -common covered with whin bushes to reach the long winding lane which was -named Tennyson’s Lane. This was the poet’s favourite walk when living in -the neighbourhood. - -[Sidenote: =Tennyson’s Memorial, Beacon Hill, Freshwater= - -_see page 34_] - -Tennyson died on Thursday, October 6th, 1892, and was buried in the -Poets’ Corner, Westminster Abbey, next to Robert Browning, and near the -Chaucer monument. Against the pillar close by the grave has been placed -Woolner’s well-known bust. The monument erected to the memory of the -poet on Beacon Hill, near Freshwater, was unveiled by the Dean of -Westminster on August 6th, 1897. - -[Sidenote: =Alfred Tennyson (from the painting by Samuel Laurence)= - -_see page 5_] - -With regard to the portraits of Tennyson reproduced in these pages, -perhaps those of chief interest in addition to the Cameron photographs -already referred to are the paintings by Samuel Laurence, executed about -1838, and the three-quarter length by G. F. Watts, now in the possession -of Lady Henry Somerset. Of the former Fitzgerald wrote: - -“Very imperfect as Laurence’s portrait is, it is nevertheless the _best_ -painted portrait I have seen; and certainly the _only_ one of old days. -‘Blubber-lipt’ I remember once Alfred called it; so it is; but still the -only one of old days, and still the best of all, to my thinking.” - -[Sidenote: =Alfred Tennyson (from the painting by G. F. Watts in 1859)= - -_see page 23_] - -The Watts portrait, according to Mr. Watts-Dunton, possesses “a certain -dreaminess which suggests the poetic glamour of moonlight.” The same -writer asserts that “while most faces gain by the artistic halo which a -painter of genius always sheds over his work, there are some few, some -very few faces that do not, and of these Lord Tennyson’s is the most -notable that I have ever seen among men of great renown.” - - - - - -End of Project Gutenberg's Tennyson, by G. K. 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