Alfred, Lord Tennyson - Delphi Poets Series

by Lord Tennyson Alfred

  Jowett wrote:

  No poem since Shakespeare seems to show equal power of the same kind, or equal knowledge of human nature. No modern poem contains more lines that ring in the ears of men. I do not know any verse of Shakespeare in which the ecstasy of love soars to such a height.

  On the other hand, an anonymous letter, which Tennyson enjoyed repeating, ran thus:

  Sir — I used to worship you, but now I hate you. I loathe and detest you. You beast! So you’ve taken to imitating Longfellow.

  Yours in aversion,

  “ — —”

  “I shall never forget,” his son writes,

  Tennyson’s last reading of “Maud,” on August 24, 1892. He was sitting in his high-backed chair, fronting a southern window which looks over the groves and yellow cornfields of Sussex toward the long line of South Downs that stretches from Arundel to Hastings (his high-domed Rembrandt-like head outlined against the sunset-clouds seen through the western window). His voice, low and calm in everyday life, capable of delicate and manifold inflection, but with “organ tones” of great power and range, thoroughly brought out the drama of the poem.

  “The peculiarity of this poem,” Tennyson said, “is that different phases of passion in one person take the place of different characters”; and the effect of his own recitation was to set this conception in clear relief by showing the connexion and significance of the linked monodies, combined with a vivid musical rendering of a pathetic love-story. The emotional intensity rises by degrees to the rapture of meeting with Maud in the garden, falls suddenly to the depth of blank despair, and revives in an atmosphere of energetic, warlike activity — the precursor of world-wide peace.

  The poem, in fact, strikes all the highest lyrical chords, and we are disposed to think that all of them are by no means touched with equal skill. Possibly, the sustained and perfect execution of such a varied composition would be too arduous a task for any artist. It is difficult for the reader to adjust his mind to the changes of mood and motive which succeed each other rapidly, and often abruptly, within the compass of so short a piece; ranging from the almost melodramatic horror of the opening stanzas to the passionate and joyous melodies of the middle part; sinking into a wild wailing, and closing with the trumpet sounds of war. Yet every one will now acknowledge that some passages in “Maud” are immortal, and that the English language contains none more beautiful than the very best of them.

  The letters in the Memoir are selected from upwards of forty thousand, and at this period we have many of singular interest. One from Mrs. Vyner, a stranger, touched the Poet deeply. Ruskin writes with reserve, as well he might, about the edition of the poems illustrated by Rossetti, Millais, and others:

  I believe, in fact, that good pictures never can be; they are always another poem, subordinate, but wholly different from the poet’s conception, and serve chiefly to show the reader how variously the same verses may affect various minds. But these woodcuts will be of much use in making people think and puzzle a little; art was getting quite a matter of form in book illustrations, and it does not so much matter whether any given vignette is right or not, as whether it contains thought or not, still more whether it contains any kind of plain facts. If people have no sympathy with St. Agnes, or if people, as soon as they get a distinct idea of a living girl who probably got scolded for dropping her candle-wax about the convent-stairs, and caught cold by looking too long out of the window in her bedgown, feel no true sympathy with her, they can have no sympathy in them.

  Elizabeth Barrett Browning sends a warm-hearted letter; and Jowett, who enjoyed giving advice, evidently sat him down readily to reply when Mrs. Tennyson asked whether he could suggest any subjects for poetry:

  I often fancy that the critical form of modern literature is like the rhetorical one which overlaid ancient literature, and will be regarded as that is, at its true worth in after times. One drop of natural feeling in poetry, or the true statement of a single new fact, is already felt to be of more value than all the critics put together.

  Four “Idylls” came out in 1859, to be rapidly and largely taken up by the English public, with many congratulations from personal friends. Thackeray sends, after reading them, a letter full of his characteristic humour and cordiality:

  “The landlord” — at Folkestone—”gave two bottles of his claret, and I think I drank the most, and here I have been lying back in the chair and thinking of those delightful ‘Idylls’; my thoughts being turned to you; and what could I do but be grateful to that surprising genius which has made me so happy?”

  The Duke of Argyll wrote that Macaulay had been delighted with it, whereupon the Poet responds to his Grace somewhat caustically:

  My dear Duke — Doubtless Macaulay’s good opinion is worth having, and I am grateful to you for letting me know it, but this time I intend to be thick-skinned; nay, I scarcely believe that I should ever feel very deeply the pen-punctures of those parasitic animalcules of the press, if they kept themselves to what I write, and did not glance spitefully and personally at myself. I hate spite.

  Ruskin, on the other hand, is but half pleased; could not quite make up his mind about that “increased quietness of style”; feels “the art and finish in these poems a little more than I like”; wishes that the book’s nobleness and tenderness had been independent of a romantic condition of externals; and suggests that “so great power ought not to be spent on visions of things past, but on the living present.”

  These latter sentences touch upon, or at least indicate, a line of criticism upon the general conception of the “Idylls,” as seen in their treatment of the Arthurian legend, with which, although it may appear inadequate, some of us are not indisposed to agree. Romanticism has been defined, half seriously, as the art of presenting to a people the literary works which can give the greatest imaginative pleasure in the actual state of their habits and beliefs. The “Idylls” adapted the mythical tales of the Round Table to the very highest standard of æsthetic taste, intellectual refinement, and moral delicacy prevailing in cultivated English society. And by that society they were very cordially appreciated. Undoubtedly the figure of Arthur — representing a stainless mirror of chivalry, a warrior king endowed with the qualities of patriotic self-devotion, clemency, generosity, and noble trustfulness, yet betrayed by his wife and his familiar friend, and dying in a lost fight against treacherous rebels — did present a lofty ideal that might well affect a gravely emotional people. Moreover, the poem is a splendidly illuminated Morality, unfolding scenes and figures that illustrate heroic virtues and human frailties, gallantry, chivalric enterprise, domestic perfidy, chaste virginal loves, and subtle amorous enchantments. It abounds also in descriptive passages which attest the close attention of the Poet’s eye and ear to natural sights and sounds, and his supreme art of fashioning his verse to their colours and echoes. In short, to quote from the biography,

  he has made the old legends his own, restored the idealism, and infused into them a spirit of modern thought and of ethical significance; setting his characters in a rich and varied landscape; as indeed otherwise these archaic stories would not have appealed to the world at large.

  This indeed he has done well. And yet it is not possible to put away altogether the modern prejudice against unreality, the sense of having here a vision not merely of things that are past, but of things that could never have been, of a world that is neither ancient nor modern, but a fairy land peopled with knights and dames whose habits and conversation are adjusted to the decorous taste of our nineteenth century. The time has long passed when men could look back on distant ages much as they looked forward to futurity, through a haze of unbounded credulity. Not every one has been able to overcome the effect of incongruity produced by a poem which invests the legendary personages of mediæval romance with morals and manners of a fastidious delicacy, and promotes them to be the embodiment of our own ethical ideals. If, indeed, we regard the “Idylls” as beautiful allegories, we may be content, as their author
was, with the suggestion that King Arthur represents Conscience, and that the poem is “a picture of the different ways in which men looked on conscience, some reverencing it as a heaven-born king, others ascribing to it an earthly origin.” We may then be satisfied with learning, from the Poet himself, that “Camelot, for instance, a city of shadowy palaces, is everywhere symbolic of the gradual growth of human beliefs and institutions, and of the spiritual development of man.” In the light of these interpretations the poem is a beautifully woven tissue of poetic mysticism, clothing the old legend of chivalry with esoteric meaning. We can accept and admire it freely, remarking only that the deeper thoughts of the present generation do not run in an allegorical vein, and that such a vesture, though of the finest texture and embroidery, waxes old speedily. “The ‘Holy Grail,’” said Tennyson, “is one of the most imaginative of my poems. I have expressed there my strong feeling as to the reality of the Unseen”; and truly it is a marvellous excursion into the field of mystical romance. But Tennyson also said that “there is no single fact or incident in the ‘Idylls,’ however seemingly mystical, which cannot be explained as without any mystery or allegory whatever”; and herein lies our difficulty. For, unless they can be read as wholly allegorical, there is an air of unreality about those enchanting pictures, as of scenes and persons that could never have existed anywhere. That Tennyson is a master of the art of veiling the lessons of real life under a fairy story, we know from the subtle symbolism with which he tells, in the “Lady of Shalott,” the tale of sudden absorbing love, hopeless and unregarded, sinking into despair — a true parable, understood of all men and women in all times. But those who have no great skill at deciphering the Hyponoia, the underlying significance, of the “Idylls” may be pardoned for confessing to an occasional feeling of something abstract, shadowy, and spectacular in the company of these knights and dames.

  FitzGerald, after reading the “Holy Grail,” writes (1870) to Tennyson:

  The whole myth of Arthur’s Round Table Dynasty in Britain presents itself before me with a sort of cloudy Stonehenge grandeur. I am not sure if the old knights’ adventures do not tell upon me better touched in some lyrical way (like your “Lady of Shalott”) than when elaborated into epic form. I never could care for Spenser, Tasso, or even Ariosto, whose epic has a ballad ring about it.... Anyhow, Alfred, while I feel how pure, noble, and holy your work is — and whole phrases, lines, and sentences of it will abide with me, and, I am sure, with men after me — I read on till the “Lincolnshire Farmer” drew tears from my eyes. I was got back to the substantial rough-spun Nature I knew; and the old brute, invested by you with the solemn humour of Humanity, like Shakespeare’s Shallow, became a more pathetic phenomenon than the knights who revisit the world in your other verse. There! I cannot help it, and have made a clean breast.

  If the extreme realism of some modern writers has been rightly condemned as truth divorced from beauty, we may say that it has been by his skill in maintaining their indissoluble union that Tennyson’s best work shows its peculiar strength and has earned its enduring vitality. He excels in the verisimilitude of his portraiture, in the authentic delineation of character, preserving the type and developing the main lines of thought and action by imaginative insight, with high artistic fidelity in details. I venture to anticipate that his short monodramatic pieces in blank verse — his studies from the antique, like “Ulysses” and “Tithonus,” and his poems of English life, breathing the true idyllic spirit, like the “Gardener’s Daughter” and “Aylmer’s Field” — will sustain their popularity longer than the Arthurian Idylls. Nor can some of us honestly agree with the unqualified praise bestowed by high authority (as the Memoir testifies) on “Guinevere,” where the scene between the king and the queen at Almesbury, with all its elevation of tone and purity of sentiment, is not very far from a splendid anachronism. But the epilogue “To the Queen,” which closes the Arthurian epic, brings us back to modern thought and circumstance by its ringing protest against faint-heartedness in English politics.

  The “Northern Farmer,” written in 1861, was at that time a novelty in form and subject. It gave a strong lead, at any rate, to that school of rough humorous versification, largely relying on quaint turns of ideas and phrases, on racy provincial dialect and local colouring generally, which has since had an immense success in the hands of minor artists. We may take it to have begun, for the last century, with the Biglow Papers. This form of metrical composition has latterly spread, as a species of modern ballad, to the Indian frontier and the Australian bush, but has little or no place in any language except the English. Such character sketches, taken direct from studies of rude life, have been always common in popular comic song, yet I believe that no first-class poet, after Burns and before Tennyson, had turned his hand to this kind of work; nor has anything been since produced upon the artistic level of the first “Northern Farmer.” “Roden Noel,” writes Tennyson, “calls the two ‘Northern Farmers’ photographs; but I call them imaginative” — as of course they are, being far above mere exact copies of some individual person.

  There are some very readable impressions de voyage gathered out of journals of tours made about this time (1860) in France and England, and the letters maintain their high level of interest. Upon the death of Macaulay, Tennyson writes to the Duke of Argyll:

  I hardly knew him: met him once, I remember, when Hallam and Guizot were in his company. Hallam was showing Guizot the Houses of Parliament, then building, and Macaulay went on like a cataract for an hour or so to those two great men, and, when they had gone, turned to me and said, “Good morning; I am happy to have had the pleasure of making your acquaintance,” and strode away. Had I been a piquable man I should have been piqued: but I don’t think I was, for the movement after all was amicable.

  Then follows an account, by Mrs. Bradley, of a visit to Farringford, with “its careless ordered garden close to the ridge of a noble down”; and at the end of the Memoir is an appendix containing, among other things, Arthur Hallam’s striking critical appreciation of “Mariana in the South,” a poem which must be ranked as a masterpiece by all exiled Englishmen who have dreamt of their native breezes and verdure, under the blinding glare and intolerable heat of a tropical summer. Mr. Aubrey de Vere has contributed a reminiscence describing the effect produced upon himself and others by the poems of 1832-45, with a dissertation upon their style and philosophic significance. And in this manner the course and circumstances of the Poet’s life are set out, with much taste and regard for proportionate value of the materials for those singularly untroubled years through which he rose steadily from straitened means in youth to comparative affluence in middle age, and from distinction among a group of choice spirits to enduring fame as the greatest of poets born in the nineteenth century.

  When, in 1864, Tennyson returned with “Enoch Arden” to the romance of real life among his own people, the poem was heartily welcomed, and sixty thousand copies were speedily sold. Spedding declared it to be the finest story he had ever heard, and added (in our opinion quite rightly) that it was “more especially adapted for Alfred than for any other poet.” Yet the plot, so to speak, of this pathetic narrative is as ancient as the Odyssey, for it rests upon a situation that must have been common in all times of long and distant voyaging, when men disappeared across the seas, were not heard of for years, and their wives were counted as widows. A well-known sailor’s ditty tells in rude popular rhymes the same story of the wandering mariner’s return home, to find himself forsaken and forgotten; and it frequently occurs in the folklore of the crusades. The first title in the proof-sheets of the “Enoch Arden” volume was “Idylls of the Hearth,” and here, says his biographer,

  he writes with as intimate a knowledge, but with greater power (than in 1842), on subjects from English life, the sailor, the farmer, the parson, the city lawyer, the squire, the country maiden, and the old woman who dreams of her past life in a restful old age.

  No great poet, in fact, has travelled fo
r his subjects so little beyond his native land; and so his best descriptive work shows the painter’s eye on the object, with the impressions drawn fresh and at first hand from Nature, as in the poetry of primitive bards who saw things for themselves. His letters and notes teem with observations of wild flowers and wild creatures, of wide prospects over sea and land; and even when he followed Enoch Arden into the world that was to himself untravelled, he could surprise those who knew it by his rendering of tropical scenery.

  A very good account, by the late Mr. Locker-Lampson, of his tour through France and Switzerland with Tennyson in 1869, has preserved for us the flavour of his table and travelling talk upon literature, and occasionally upon religious problems. Into the philosophical or metaphysical abyss he did not let down his plummet very far; he recognized the limits of human knowledge, and for the dim regions beyond he accepted Faith as his guide and comforter. In regard to the poets—”As a boy,” he said, “I was a great admirer of Byron, so much so that I got a surfeit of him, and now I cannot read him as I should like to do.” Probably this habit of premature and excessive indulgence in Byron has blunted many an eager admirer’s appetite, and has had something to do with the prevailing distaste for him, wherein we think that he has fallen into unmerited neglect. Of Shelley Tennyson said that there was “a great wind of words in a good deal of him, but that as a writer of blank verse he was perhaps the most skilful of the moderns. Nobody admires Shelley more than I once did, and I still admire him.” For Wordsworth’s “Tintern Abbey” he had a profound admiration; yet even in that poem he thought “the old poet had shown a want of literary instinct,” and he touched upon some defects of composition; but he ended by saying emphatically that Wordsworth’s very best is the best in its way that has been sent out by moderns. He told an anecdote of Samuel Rogers. “One day we were walking arm and arm, and I spoke of what is called Immortality, and remarked how few writers could be sure of it. Upon this Rogers squeezed my arm and said, ‘I am sure of it.’”