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 FUND GIVEN IN 1891 BY 
 
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ILLUSTRATIONS OF TENNYSON 
 
FRINTED BY 
 SFOTTISWOODE AND CO., NEW-STRpET SQUARE 
 
Illustrations of Tennyson 
 
 BY .-^ 
 
 JOHN CHURTON COLLINS 
 
 AUTHOR OF ' BOLrNGBROKE ; n. HISTORICAL STUDY ETC. 
 
 Nullum est jam dictum quod non dictum sit prius : 
 Quare sequum est vos cognoscere atque ignoscere 
 Quae veteres factitarunt, si faciunt novi 
 
 Terence : Prol. in Eunuch 
 
 What is borrowed is not to be enjoyed as our own, and it 
 is- the business of critical justice to give every bird of the Muses 
 his proper feather — Dr Johnson 
 
 And well his words become hiui ; is he not 
 A fuU-cell'd honeycomb of eloquence 
 Stor'd from all flowers? 
 
 Tennyson : Ediuhi Morris 
 
 A NEW EDITION 
 
 LONDON 
 
 CHATTO & WINDUS 
 
 1902 
 
no2. 
 
 Aafc^G^"? 
 
PREFACE 
 
 Why so much importance slioulcl be attached to the 
 comparative study of languages, and so Httle to the 
 comparative study of hteratures ; why, in the interpre- 
 tation of the masterpieces of poets, it should be 
 thought necessary to accumulate parallels and illus- 
 trations of peculiarities of syntax and grammar, and 
 not he thought necessary to furnish parallels and 
 illustrations of what is of far greater interest and 
 importance, analogies namely in ideas, sentiments, 
 modes of expression, and the like, whether arising 
 from direct imitation, unconscious reminiscence, or 
 similarity of temper and genius — the compiler of 
 this little volume has never been able to understand. 
 One thing is certain. The poetry of Lord Tennyson 
 has become classical, and is therefore becoming, and 
 will become more and more, a subject of serious 
 study wherever the English language is spoken. An 
 important branch of that study must undoubtedly 
 be an enquiry into the nature and extent of his 
 indebtedness to the writers who have preceded him 
 — must be to compare with their originals the 
 
VI ILLUSTRATIONS OF TENNYSON 
 
 imitations, the analogies, the adaptations, the simple 
 transferences in which his poems notoriously abound. 
 Nor is this aU. No commentary on poetry is more 
 useful, as assuredly no commentary is more interest- 
 ing, than that afforded by poetry itself. How greatly 
 does the JEndi gain by comparison with the Iliad,, the 
 Odys&ey, and the Argonautica, and how greatly do 
 they, in their turn, gain by comparison with the 
 uEneid. The power and beauty of a particular 
 simile in Virgil may impress us to the full without 
 any reference to the corresponding simile in Homer 
 or Apollonius, but to say that our pleasure is not 
 increased by examining them side by side is absurd. 
 It is therefore with this double object, with the 
 object partly of tracing Lord Tennyson's direct 
 imitations and transferences to their sources, and also 
 with the object of simply illustrating his poems by 
 the commentary of parallel passages in writers of his 
 own and other languages, that I have compiled this 
 little volume. I have also had another object in 
 view. To the disgrace of our universities, the study 
 of the litcra humaniores in the x^roper sense of the 
 term has no place in their curricula, so that in the 
 very centres of national culture, while the English 
 and Italian classics have no recognition at aril, the 
 writings of the Greek and Latin classics are regarded 
 so entirely as the monopoly of the philologist that they 
 have almost ceased to have any significance as contri- 
 butions to literature. The consequence has been that 
 
PREFACE vii 
 
 in all our schools a ad colleges where the English 
 classics are a subject of study, the study of them has 
 been severed on principle from the study of the ancient 
 classics and the classics of modern Italy. I thought, 
 therefore, that anything which could contribute to 
 illustrate the essential connection existing between the 
 four leading and master literatures of the world, those 
 namely of ancient Greece and Italy and of modern 
 Italy and England, could not fail to be of service in 
 showing how radically inadequate must be the critical 
 study even of a poet so essentially modern as Lord 
 Tennyson, without constant reference to those litera- 
 tures which have been to him what they have been 
 to his superiors and his peers in English poetry from 
 the Renaissance to the present time. 
 
 It would be absurd and presumptuous to conclude 
 that the analogies which have been traced between 
 the ideas and expressions of Lord Tennyson and those 
 of other poets and writers were in all, or indeed in 
 most cases, deliberate or even conscious imitations. 
 In his own noble words, we moderns are ' the heirs 
 of all the ages.' We live amid wealth as prodigally 
 piled up as the massive and myriad treasure-trove 
 of Spenser's * rich strond,' and it is now almost im- 
 possible for a poet to strike out a thought, or to coin 
 a phrase, which shall be purely original. What con- 
 stitutes Lord Tennyson's glory as a poet, it is no part 
 of the present volume to discuss ; it need hardly be 
 said that had the extent of his indebtedness to his pre- 
 
viii ILLUSTRATIONS OF TENNYSON 
 
 decessors been much greater than it is, it would no 
 more have detracted from that glory than Milton's 
 similar indebtedness to his predecessors detracts from 
 his. It was observed of Virgil that he never fails to 
 improve what he borrows, though Homer was his 
 creditor ; and what is true of Virgil is, as a rule, true 
 of Tennyson — ' nihil tetigit quod non ornavit ' — what 
 he does still betters what is done. 
 
 I offer these illustrations simply as commentaries 
 on works which will take their place beside the 
 masterpieces of classical literature, and which will, 
 like them, be studied with minute and curious dili- 
 gence by successive generations of scholars. A 
 versatility almost without parallel among poets has 
 enabled Lord Tennyson to appeal to all classes. His 
 poetry is the delight of the most fastidious and the 
 most emotional. He touches Burns on one side, and 
 he touches Sophocles on the other. But to the 
 scholar, and to the scholar alone, will his best and 
 most characteristic works become in their full signifi- 
 cance intelligible. By him they will be cherished 
 with peculiar fondness. To him they will be like the 
 enchanted island in Shakespeare — 
 
 Full of echoes, 
 Sounds and sweet airs, that give delight. 
 
 To him it will be a never-ending source of pleasure 
 to study his Tennyson as he studies his Virgil, his 
 Dante, and his Milton. 
 
 It has been thought proper to affix to the passages 
 
PREFACE ix 
 
 quoted from Greek, Latin, and Italian authors literal 
 versions in English prose, though I need hardly say 
 that the points of resemblance between the passages 
 in Tennyson corresponding mth the passages cited 
 from authors in these languages are often necessarily 
 lost in such versions, which can indeed preserve little 
 more than analogies in thought, sentiment, and 
 imagery. For this reason I have not given trans- 
 lations of the passages cited m the chapter which 
 compares the style of Virgil and Tennyson. 
 
 It only remains for me to thank Messrs. Smith, 
 Elder & Co. for allowing me to incorporate in the 
 present volume the greater part of three articles con- 
 tributed by me some years ago to the Cornldll 
 Magazine. 
 
CONTENTS 
 
 CHAPTER PAGE 
 
 I. Introduction — Tennyson and Viegil . . 1 
 
 II. Group I. — Juvenilia . , . . . , 24 
 
 III. „ II. — The Lady of Shalott, etc. , . 35 
 
 IV. „ III. — English Idylls and other Poems . 53 
 V. „ IV. — Enoch Arden and other Poems . C7 
 
 VI. „ V. — The Princess, etc 78 
 
 VII. „ VI.— In Memoriam 92 
 
 VIII. „ VII.— Maud ....... 113 
 
 IX. „ VIII. — Idylls of the King .... 117 
 
 X. „ IX. — The Lover's Tale, Ballads, etc. . 159 
 
 XL „ X. — Later Miscellaneous Poems . . 165 
 
ILLUSTRATIONS OF TENNYSON 
 
 CHAPTEE I 
 
 INTEODUCTION — TENNYSON AND VIRGIL 
 
 Those -who may happen to be acquainted with the 
 Satiir7ialia of Macrobius will remember that among the 
 most pleasing episodes in that interesting work are 
 the two books in which Eustathius and Furius Albinus 
 estimate the extent of Virgil's obligations to his pre- 
 decessors. Eustathius having concluded a long and 
 elaborate review of the passages in the Greek poets of 
 which the great Eoman had availed himself, Furius 
 Albinus proceeds to trace him through Latin literature. 
 He was half afraid, he said, to produce the formidable 
 list of passages appropriated by the poet, because he 
 might be exposing his favourite ' to the censure of the 
 malignant and unlearned.' Eemembering, however, 
 that such parallels as he was about to point out have 
 been common to poets of all ages, and complacently 
 observing that what Virgil condescended to borrow 
 became him much more than the original owner — to 
 say nothing of that owner becoming in some cases 
 immortalised by the theft — Furius plunges into his 
 theme. Between them these Langbaines of the fifth 
 century made Conington very uncomfortable towards 
 
 B 
 
2 ILLUSTRATIONS OF TENNYSON 
 
 the end of the nineteenth. But if their disclosures 
 have materiallj' impaired Virgil's claims to originality, 
 they have illustrated his faultless taste, his nice artistic 
 sense, his dehcate touch, his consummate literary 
 skill. They initiated a new branch of study, they 
 divulged a fruitful secret. 
 
 Without going so far as Harpax in Albumazar, 
 when he says — 
 
 This poet is that poet's plagiary, 
 
 And he a third's till they all end in Homer — 
 
 it is still interesting and necessary to remember that 
 there have appeared in all literatures, at a certain 
 point in their development, a class of poets who are 
 essentially imitative and reflective. They have usually 
 been men ^Dossessed of great natural ability, extensive 
 culture, refined taste, wide and minute acquaintance 
 with the literature which preceded them ; they have 
 occasionally been men endowed with some of the 
 most precious attributes of original genius. The 
 poets of Alexandria, the epic, lyric, and elegiac poets 
 of Kome, are the most striking types of this class in 
 ancient times. Tasso, Gray, and Tennyson are, 
 perhaps, the most striking types in the modern world. 
 In point of diction and expression, and regarded in 
 relation to the mere material on which he works, 
 Milton would also be included in this class of poets. 
 But he is separated from them by the quality of his 
 genius and his essential originality. What he borrows 
 is not simply modified or adapted but assimilated and 
 transformed. In the poets v/ho have been referred 
 to, with the occasional exception of Virgil, what is 
 bprrowed undergoes, as a rule, no such transformation, 
 
TE.XiXYSON Ai\D VIRGIL 3 
 
 They may be compared indeed to skilful horticultm-ists. 
 They natm-aUse exotics. A flower which is the 
 beauty of one region they transplant to another ; and 
 they call art to the assistance of nature. If a blossom 
 be single they double it ; if its hue be lovely it is ren- 
 dered more lovely stUl. The work of such poets has a 
 twofold value : it has — to borrow an expression from 
 the schools — not only an esoteric but an esoteric in- 
 terest. To sit down, for instance, to the study of the 
 Eclogues, the Georgics, and the A^jueid, without being 
 famihar with the illustrative masterpieces of Greek 
 poetry and the fragments of the older Koman literature, 
 would be like travelling through a country, rich with 
 historical traditions and splendid with poetical asso- 
 ciations, without possessing any sense of either. The 
 uncritical spectator might be satisfied with the sen- 
 suous glory of the scenery, the simple loveliness of 
 cloud and landscape, and the thousand effects of 
 contrast and perspective ; but an enlightened man 
 would feel something very like contempt for one who, 
 with the Ilissus and the Mincio whispering at his 
 feet, was sensible only of the natural beauties of the 
 landscape round him. Nature has indeed made one 
 world, Art another. Lord Tennyson has now, by 
 general consent, taken his place among English 
 classics ; he too will have, like Virgil and Horace, 
 like Tasso and Gray, his critics and his commentators ; 
 and, unless I am much mistaken, one of the most 
 important and useful departments of their labour 
 will be that of tracing his obligations to his prede- 
 cessors, of illustrating his wondrous assimilative skill, 
 his tact, his taste, his learning. John de Peyrarede 
 once observed that he knew no task more instructive 
 
4 ILLUSTRATIONS OF TENNYSON 
 
 than to compare Virgil's adaptations of Homer with 
 the original passages— to note what details he rejected, 
 what he added, what he softened , down, what he 
 thought proper to heighten. It was a perpetual study 
 of the principles of good taste. In full confidence that 
 what applies to Virgil in this case applies with equal 
 justice to the work of our Laureatfe, I propose in 
 this little book to inaugurate, so to speak, a branch 
 of Tennysonian research which must necessarily be 
 gradual and cumulative, but which will sooner or 
 later become indispensable to a proper appreciation 
 of his services to art. Every Englishman must be 
 quite as jealous of the fame of the Laureate as our 
 old friend Furius Albinus was of the fame of his 
 beloved Virgil, and I have in truth as little fear as 
 honest Furius of these my illustrations being mis- 
 taken for an insinuation of plagiarism against a poet 
 of whom we are all of us so justly proud. 
 
 Tennyson, then, belongs to a class of poets whose 
 work has a twofold value and interest — a value and 
 interest, that is to say, dependent on its obvious, simple, 
 and intrinsic beauties, which is its exoteric and 
 popular side, and a value and interest dependent on 
 niceties of adaptation, allusion, and expression, which 
 is its esoteric and critical side. To a certain point 
 only he is the poet of the multitude ; pre-eminently is 
 he the poet of the cultured. Nor, I repeat, will his 
 services to art be ever understood and justly appre- 
 ciated till his writings come to be studied in detail, 
 till they are, as those of his masters have been, 
 submitted to the ordeal of the minutest critical 
 investigation ; till the delicate mechanism of his 
 diction shall be analysed as scholars analyse the 
 
Tennyson and virgil 5 
 
 kindred subtleties of Sophocles and Yirgil; till the 
 sources of his poems have been laid bare and the 
 original and the copy placed side by side ; till we are in 
 possession of comparative commentaries on his poema 
 as exhaustive as those with which Orelli illustrated 
 Horace, and Eilfchoif Virgil. His poems must be 
 studied not as we study those of the fathers of song — as 
 we study those of Homer, Dante, Chaucer, Shakespeare 
 — but as we study those who stand firBt in the second 
 rank of poets. In dealing with him we have not to 
 deal with a Homer, but with an Apollonius, not with an 
 Alcseus, but with a Horace — not, that is to say, with a 
 poet of great original genius, but with an accomplished 
 artist, with one whose mastery lies in assimilative skill, 
 whose most successful works are not direct studies from 
 simple nature, but studies from nature interpreted by 
 art. He belongs, in a word, to a school which stands in 
 the same relation to the literature of England as the 
 Alexandrian poets stood to the literature of Greece, 
 and as the Augustan poets stood to the literature of 
 Eome. 
 
 To illustrate what has been said. In the works of 
 the fathers of poetry everything is drawn directly from 
 Nature. Their characters are the characters of real 
 life. The incidents they describe are, as a rule, such 
 incidents as have their counterpart in human ex- 
 perience. When they paint inanimate objects, either 
 simply in detail or comprehensively in groups, their 
 pictures are transcripts of what they have with their 
 own eyes beheld. In description for the mere sake 
 of description they seldom indulge. The physical 
 universe is with them merely the stage on which the 
 tragi-comedy of life is evolving itself. Their language 
 
6 ILLUSTRATIONS OF TENNYSON 
 
 is as a rule plain, simple, impassioned. When they 
 are obscure the obscurity arises not from affectation but 
 from necessity. Little solicitous about the niceties of 
 conception and expression, they are almost free from 
 what the Greeks called KpoKvKB'^iioi (dealing in trifles) 
 and ■^v'xpoT'ns (ambitious conceits). Their object was 
 to describe and interpret, not to refine and subtilise. 
 They were great artists not because they worked con- 
 sciously on critical principles but because they com- 
 muned with truth. They were true to art because 
 they were true to Nature. 
 
 In the school of which we may take Virgil and 
 Tennyson to, be the most conspicuous representatives, 
 a school which seldom fails to make its appearance in 
 every literature at a certain point of its development, 
 all this is reversed. Their material is derived not from 
 the world of Nature, but from the world of Art. The 
 hint, the framework, the method of their most 
 characteristic compositions, seldom or never emanate 
 from themselves. Take their dramatis 'persona. The 
 only powerful portrait in Yirgil is a study from 
 Euripides and Apollonius ; the rest are shadows, mere 
 outlines, suggested sometimes by Homer and some- 
 times by the Greek dramatists. Tennyson's Arthur, 
 Guinevere, Elaine, and Launcelot are, regarded as 
 characters, in no sense of the term creations. De- 
 rived from types which have long been commonplaces 
 in fiction, they add nothing to the gallery of dramatic 
 portraiture. His Ulysses is a study from Dante. 
 His most subtly elaborated character, Lucretius, is 
 the result of a minute and patient study of the D« 
 Rerum Natiird. The archetype for his most charming 
 female creation, Edith, he found in Wordsworth. 
 
TENNYSON AND VIRGIL 7 
 
 His minor heroes and heroines, his Eleanores, his 
 Madelines, his Marianas, are rather embodiments 
 of peculiar moods and fancies than human beings. 
 When Yirgil sits down to write pastorals he reproduces 
 Theocritus with servile fidelity. When he writes 
 didactic poetry he takes Hesiod for his model. When 
 he composes the .Encid he casts the first part in the 
 mould of the Odyssey and the second part in the 
 mould of the Iliad. He is careful also to introduce 
 no episode for which he cannot point to his pattern. 
 So with the Laureate. Tennyson's Idylls axe a series 
 of incidents from the Arthurian Eomances. The plan 
 of the work was suggested partly by Spenser and partly, 
 perhaps, by Theocritus.^ His Enid is from Lady 
 Charlotte Guest's version of the Malinogion. Of his 
 classical studies OEnonc was modelled on the Theo- 
 critean Idylls ; Ulysses and Tithonus on the soliloquies 
 in the Greek Plays. His English Idylls are obviously 
 modelled on Theocritus, Southey, and Wordsworth. 
 In Wordsworth's JSIichael he found a model for Enoch 
 Arden, and in Miss Procter's Homeward Bound the 
 greater part of the plot. His Lady Clare was derived 
 from Miss S. E.Ferrier's novel, The Inheritanee. His 
 In Memoriam was suggested by Petrarch ; his Dream- 
 of Fair Women by Chaucer ; his Godiva by Moultrie ; 
 
 ' The great work of Spenser is, like the Idylls, an elaborate philo- 
 sophical allegory, the central figure of ^vhich is King Arthur ; and it 
 was, like the Idylls, to have contained twelve parts. The minor resem- 
 blances between the two works are important and curious. What 
 Theocritus may have suggested was the idea of substituting a series 
 of idylls for a continuous narrative, of composing an epic on the 
 same principle as painters present hiatory or biography, through a 
 succession of frescoes painted on separate panels. The three poems 
 on Hercules seem to imply that he had intended to deal with the 
 Herculean legends in this manner. 
 
8 ILLUS TRA TIONS OF TENNYSO N 
 
 his Columhus by Mr. Ellis; the women's university 
 in The Princess by Johnson. His Lotos-Eaters is an 
 interpretative sketch from the Odyssey; his Golden 
 Supper is from Boccaccio ; his Dora is the versification 
 of a story by Miss Mitford. His Voyage of Maeldune 
 is adapted from Joyce's Celtic Bomances. 
 
 When Virgil has a scene to describe, or a simile 
 to draw, he betakes him first to his predecessors to 
 find a model, and then proceeds to fill in his sketch. 
 With a touch here and a touch there, now from 
 memory, now from observation, borrowing here an 
 epithet and there a phrase — adding, subtracting, 
 heightening, modifying, substituting one metaphor 
 for another, developing what is latent in suggestive 
 imagery, laying under contribution the wide domain 
 of Greek and Eoman literature — the unwearied 
 artist patiently toils on, till his precious mosaic is 
 without a flaw, till every gem in the coronet of his 
 genius has received the last polish. It has been the 
 pleasing task of a hundred generations of the learned 
 to follow this consummate artist step by step, to dis- 
 cover his gems in their primitive state, and to compare 
 them in that state with the state in which they are 
 when they leave his finishing hand. Such an inves- 
 tigation is little less than an analysis of the principles 
 of good taste, and from such an investigation the poet 
 has infinitely more to gain than to lose. It is the 
 object of this little book to show that much of 
 Tennyson's most valuable work is of a similar cha- 
 racter, that he possesses, like Virgil, some of the finest 
 qualities of original genius, but that his style and 
 method are, like the style and method of the Eoman, 
 essentially artificial and essentially reflective. With 
 
TENNYSON AND VIRGIL g 
 
 both of them expression is the first consideration. If 
 the matter be meagre, the form is always elaborate ; 
 if the ideas are fine, the clothing is still finer. Their 
 composition resembles the sculptm'e described by Ovid 
 ■ — materiem superahat opus — the •workmanship is more 
 precious than the material. There is, it is true, much 
 in the Georgics the charm and power of which cannot 
 be resolved into the impression made on us by rhythm 
 and style, but the charm and power of two-thirds at 
 least of the work depend mainly on expression. So 
 with Maud, but without reservation ; it is a mere 
 triumph of expression, a tou)- de force in elaborate 
 rhythmic rhetoric. One of the most highly finished 
 passages Virgil ever produced was the description of 
 a boy whipping his top ; one of the finest descriptive 
 passages in all Lord Tennyson's writings is the com- 
 parison between the heavy fall of a drunken man and 
 the fall of a wave tumbling on the shore.' 
 
 The diction of both is often so subtly elaborated 
 that it defies analysis. Dissect, for example, the line 
 ' discolor unde auri per ramos auj-a rcfidsit ' (.En. vi. 
 204), and you reduce it to nonsense. Dissect 
 
 There with her milk-white arms and shadowy hair 
 She made her face a darkness, from the king 
 
 (Oziinevere), 
 
 and it becomes unintelligible. When Yirgil wishes to 
 describe a shepherd wondering whether after the 
 lapse of a feio years he will see his farm again, he 
 writes — 
 
 ' See the lines in TIte Zast Touriiavient, beginning — 
 ' Down from the causeway heavily to the swamp 
 Fell, as the crest,' &o. 
 
10 ILLUSTRATIONS OF TENNYSON 
 
 Post aliquot, mea regna videns, mirabor aristas ? 
 
 When Tennyson has occasion to allude to the month 
 of March, he speaks of 
 
 the roaring moon 
 Of daffodil and crocus. 
 
 Their expressions not unfrequently resemble enigmas. 
 A labyrinth becomes in A'irgil 
 
 iter, qua signa sequendi 
 Falleret indeprensus et irromeabilis error ; 
 
 and the life of Christ becomes in Tennyson's phraseo- 
 logy 
 
 the sinless j-ears 
 That breathed beneath the Syrian blue 
 
 [In Mem. Hi.), 
 
 and future ages {id. Ixsvi.) ' the secular abyss to 
 come.' 
 
 Would Virgil describe how ' an adulterer was 
 lying in wait for the conqueror of Asia,' expression is 
 tortured into 
 
 devictam Asiam subsedit adulter {3Sn. xi. 208). 
 
 Would Tennyson describe the chancel of a country 
 church he racks it into 
 
 where the kneeling hamlet drains 
 The chalice of the grapes of God {In Mem. x.). 
 
 Both delight in substituting subtle suggestiveness for 
 simplicity and directness of expression. If Yirgil 
 wishes to tell us that Dido is sleepless he says — 
 
 neque unquam 
 Solvitur in somnos oculisve aut peotore noctem 
 Accipit {Mn. iv. 529-30) ; 
 
TEiYNYSON AXD VIRGIL ii- 
 
 or if he describes a bull angrily butting with his 
 horns it is — 
 
 irasci in corntia tentat {3in. sii. 104). 
 
 If Tennyson would describe the flight of scared 
 deer it is — 
 
 Twinkled the innumerable ear and tail [The BrooTi) ; 
 
 or a gesture of surprise, it is — ■ 
 
 Up went the hnsh'd amaze of hand and eye (Princess). 
 
 So again perfectly commonplace things are presented 
 in a euphuism which borders on the ludicrous. But 
 here between Virgil and Tennyson resemblance ceases. 
 Virgil has never gone further in this stilted euphuism 
 than ' dona laboratae Cereris ' for loaves, or ' Eliadum 
 palmas equarum ' for mares who win the prize at Elis. 
 His delicate good taste would have preserved him 
 from such extravagances as 
 
 the knightly growth that fringed his lips 
 
 (Passing of Arthur) 
 
 for a moustache, or 
 
 azure pillars of the hearth {Princess) 
 
 for ascending smoke, or 
 
 ambrosial orbs (Isabel) 
 for apples. 
 
 In truth this peculiarity of Tennyson's diction is 
 
 much more in the style of Lycophron and Nonnus, 
 
 or in the style of the Precieuses of the Hotel Eam- 
 
 bouillet than on the model of Virgil. Equally un- 
 
 Virgilian and Nonnic are the stilted periphrases 
 
 affected in so many of Tennyson's blank verse poems, 
 
 notably The Princess and the Idylls. Indeed, the 
 
12 ILLUSTRATIONS OF TENNYSON 
 
 simple prose of Malory and Lady Charlotte Guest often 
 undergoes in Tennyson's rendering precisely the same 
 sort of transformation as the simple prose of St. John's 
 Gospel undergoes in the hands of Nonnus. Nonnua 
 finds in St. John's Gospel, iv. 26, Xsysf avrri 'o''\r\<yovi, 
 ' Jesus saith unto her.' This becomes in his paraphrase 
 
 XpidTos afieii^iTO jxdpTvpi fivdco 
 daKTvXov avTo[36r^rov dvauSf t pwl TreXacrcra? 
 
 (Par. in Joliannen, xxxviii. 20) 
 
 (Christ with witness word replied. 
 The self-exclaiming finger placing against the speechless 
 nose). 
 
 So again the simple statement ' when the evening 
 was come ' reappears as 
 
 KOI UKiods lire Kavos dvcSpafie yelrovos op<^vr)S 
 
 [id. Ixiii. 16) 
 (and when the shadowy cone of approaching night spread 
 wide) ; 
 
 while in such phrases as Kiovsiqv ai'fKi]v {Dionysiacs, 
 V. 1), 'pillar'd splendour,' we have the exact counter- 
 part of similar expressions in Tennyson — ' pillar' d dusk 
 of sounding sycamores,' for example. Instances of 
 these peculiarities in the style of Nonnus and Tennyson 
 (they are characteristic of all literatures in their de- 
 cadence, and have been severely commented on by 
 Longinus) might be extended indefinitely. 
 
 Again, both Virgil and Tennyson exhaust the 
 resources of rhetoric to add distinction to their diction. 
 Sometimes we have the effect put for the cause. 
 Thus in A'irgil the sword in Dido's breast with the 
 blood seething round it becomes 
 
 Infixum stridit sub pectore vulnua {Mn, iv. 689), 
 
TENNYSON AND VIRGIL 13 
 
 and in Tennyson it is said of the sword, as it flashed 
 
 to the fatal stroke for Iphigenia — 
 
 Tlie bright death quiver'd at the victim's throat 
 
 [Dream of Fair Women). 
 
 Both poets dehght, Hke Sophocles, in expressions which 
 are apparently simple, but which, if interpreted simply, 
 would convey far other meanings than those they are 
 intended to convey. Thus in Virgil, xEneid, x. 161, 
 the words — 
 
 Jam quEerit sidera, opacas 
 Noctis iter — 
 
 signify not what they seem to signify, but ' stars, the 
 road-marks of the shadowy night ' — stars which are 
 directing the course of jSineas's ship during the 
 night. Or, again, the apparently simple expression 
 in .En. vii. SOS- 
 Nam mihi parta quies, omnisque in limine portus — 
 pregnant with suggestive ambiguities, has been the 
 despah* of commentators from Servius to Conington. 
 So in Tennyson a prayer that the poet may have the 
 wisdom to understand that God is wise becomes 
 
 In thy wisdom malie me "wise 
 
 {In Memoriam, Introduction). 
 
 My confident belief in him, in what he would have 
 
 done, becomes 
 
 His credit (In Mem. Ixxx. st. 4), 
 
 and the perplexities and grief of a youth desolated by 
 
 sorrow 
 
 Confusions of a wasted youth {id. Introduction). 
 
 Both delight in subtle suggestiveness. Compare, for 
 example, the line in Dido's address to iEneas — 
 
 I, sequere Italiam ventis, pete legnaper undas 
 
 {^n, iv. 381) ; 
 
14 ILLUSTRATIONS OF TENNYSON 
 
 or still better her dream— 
 
 Semperque relinqui 
 Sola sibi, semper longam incomitata videtur 
 Ire viam, et Tyrios deserta qucerere terra 
 
 (JSn. iv. 4CC sqq.). 
 
 How piercing the pathos ! yet how easily might its 
 full force be missed. Now compare Tennyson's 
 
 Near us Edith's lioly shadow, smiling at the slighter ghost 
 {LocJcsley Hall Sixty Years After), 
 Again : — 
 
 a flying splendoui' . . . 
 Now fired an angry Pallas on the helm, 
 Now set a wrathful Dian's moon on flame 
 
 (Princess, vi.). 
 
 It would be useless to multiply instances of this, for 
 it is of the very essence of their art. 
 
 It is the same with their epithets, which are 
 pregnant with recondite significance. Take, for ex- 
 ample, these two from Virgil (he is speaking of the 
 various trees and shrubs which spring up sponta- 
 neously) : — 
 
 Sponte sua veuiunt camposque et flumina late 
 Curva tenent (Georg. ii. 11, 12) — 
 
 where the epithet ' curva ' cahs up with singular 
 distinctness the trees growing on the banks and 
 marking the windings of the stream. A still better 
 example may bo found in ^Encid, ix. 494-5, where 
 the mother of the slain Euryalus is bursting out into 
 frenzied lamentations over his corpse : — 
 
 In me omnia tela 
 Conjioite, Eutuli, me jirimam absumite ferro ; 
 
 the wonderful force of which epithet is, no doubt, 
 
TEXXVSOX AND VIRGIL 15 
 
 rightly explained by Servius ^ — if she is really to lose 
 her son, for as yet she cannot understand that she 
 has lost him, all on earth will — so thinks she — perish 
 too, and therefore she prays that they \Yill destroy her 
 Hr&t. 
 
 Or take, again, the word ' inimicam,' ^iln. x. 295 — 
 Inimicam 'findite terram — 
 
 where it means not only generally the ' foeman's 
 land,' and the land which hates you, but particularly 
 the land which is in your way — in the way of the ship 
 you are to send ploughing into it. 
 
 So with Tennyson. Take such an epithet as 
 ' doubtful,' in In Mem. Ixi. — 
 
 Yet turn thee to the doubtful shore, 
 ^'here thy first form was made a man. 
 
 Unfold it, and we find it involving three distinct 
 meanings. First, physically picturesque, it presents 
 the earth as seen by glimpses through intervening 
 clouds from an immense height, recalling Shake- 
 speare's ' varying shore 0' the world ; ' secondly, in a 
 metaphysical sense, the earth which fills us with 
 doubt and perplexity ; and thirdly the earth which is 
 itself a riddle and enigma. So too the epithet ' vocal,' 
 in In Mem. Ixiv. — 
 
 While vet beside its vocal springs 
 He play'd at covmsellors and kings. 
 
 Both delight in employing epithets which correspond 
 not to what is expressed in the substantives to which 
 
 ' ' Unusijuisque in propria! salutis desperations credit turn uni- 
 versa etiam posse consumi, unde est quod modo dixit " me primnm," 
 quasi, mortuo Euryalo, omnes'Trojani peritw'i essent.'— SerTJus, acl 
 locum, 
 
i6 ILLUSTRATIONS OF TENNYSON 
 
 they are attached, but to some image or idea impHed 
 or suggested in association. Thus Virgil's ' sceleratas 
 suraere poenas ' {^En. ii. 576), which is of course for 
 ' poenas ex scelerata sumere.' So too {JEn. x. 300) 
 ' spuviantes rates,' ' through the surf,' or ' mid showers 
 of spray,' and ' cacis erramus in undis ' (jEn. iii. 
 200), and {jEn. vi. 543) 'ad impia Tartara mittit,' 
 and again (Mn. vii. 141) — 
 
 Pater omnipotens ter caelo clarus ab alto 
 
 Intonuit ; 
 and 
 
 Bina die sicoant ovis ubera {Eel. ii. 42). 
 
 It is, in fact, an habitual trick of Virgil's style. 
 Nor is it less affected in Tennyson's. ' Melissa shook 
 her doubtful curls ' {Princess, iii.) ; ' the sandy foot- 
 print (id. iii.) ; ' the red fool-fury of the Seine ' (In 
 Mem. cxxvii.) ; ' the bright death quiver'd at the 
 victim's throat ' (Dream of Fair Women) ; ' the windy 
 gleams of March' {Merlin and Vivian); 'the pillar' d 
 dusk of sounding sycamores' {Audley Court); 'a 
 hoary face Meet for the reverence of the hearth ' 
 {Aylmer's Field). But it is useless to multiply in- 
 stances. 
 
 Both are fond of employing epithets which mark 
 and describe some local or temporary peculiarity in 
 natural objects. Thus in Mneid, v. 308-9, Virgil 
 speaks of the olive as ' flava ' : — 
 
 Tres prfemia primi 
 Accipient, flavaqae caput neotentur oHva — 
 
 and the epithet has so much puzzled the commentators, 
 from Servius (who paraphrases it as ' viridi ') down- 
 ward, that they have resorted to various conjectures. 
 But none of them have noticed that the games, for one 
 
TENNYSON AND VIRGIL 17 
 
 of which this olive was to be the prize, took place at the 
 time of year -when the ohve -svas in flower ; ' and the 
 epithet, taken literally, is strictly correct and proper, 
 and signalises a very remarkable and distinctive cha- 
 racteristic of the olive — its yellow pollen, which it sheds 
 so copiously in the flowering season as not only to 
 cover the leaves, trunk, and branches of the tree, but 
 even the ground and neighbouring objects with a 
 yellow dust ' (Henry's A^hieidea, ad locum, verse 309). 
 So with Tennyson. In Tlie Marriage of Gcraint occuv 
 
 the lines — 
 
 Men saw the goodly hills of Somersat, 
 And white sails flying on the yelloiv sea. 
 
 Mr. Swinburne, in an interesting passage in his Essay 
 on Tennyson and 2Iussi.'t, tells us how greatly this 
 description had perplexed him, as he had never seen 
 such a phenomenon. But he adds, ' On the first bright 
 day I ever spent on the eastern coast of England I saw 
 the truth of this touch, and recognised once more with 
 admiring delight the subtle and sure fidelity of that 
 happy and studious hand. There on the dull yellow, 
 foamless floor of dense discoloured sea, so thick with 
 clotted sand that the water looked massive and solid as 
 the shore, the white sails flashed whiter against it and 
 along it as they fled, and I knew once more the truth 
 of what I had never doubted — that the eye and the 
 hand of Tennyson may always be trusted at once and 
 alike to see and to express the truth.' In Pclleas 
 andEttarrc we have another example of this recondite 
 study of natm-al phenomena : — 
 
 It seem'd to Pelleas that the fern without 
 Burnt as a living fire of emeralds — ■ 
 
 an effect which is simply unintelligible, unless we 
 
l8 ILLUSTRATIONS OF TENNYSON 
 
 remember that Pelleas is lying on his back at sunset, 
 with his eye running on a level with the surface of 
 the bracken. But to pass to other points which these 
 subtle and elaborate artists have in common : Both 
 abound in the figures known to grammarians as 
 hypallage, enallage, paronomasia, onomatopoeia, oxy- 
 moron, hyperbaton. Both sedulously cultivate alli- 
 teration and assonance. Both are fond of employing 
 common words in uncommon senses. Virgil's use of 
 'mollis' {Georg. ii. 389; ^E)ieid,ix. 817, &c.) in the sense 
 of restless or shifting ; of ' vexasse ' (Ed. \i. 75), the 
 force of which depends on its derivation ; of ' addita ' 
 for 'infesta' (JEn.yi. 90); of 'bipennis' (id. xi. 135), noi 
 of an axe, but in its original adjectival sense; of 'orare' 
 'for 'loqui' [id. vii. 446); of 'caducus' for 'fallen' 
 (id. vi. 481), are analogous to such expressions in 
 Tennyson as ' glorious ' in In Mem. cxxviii. — 
 
 To fool the crowd with glorious lies ; 
 hrute in id. cxxvii. — 
 
 The iruie earth lightens to the sky ; 
 as ' secret ' in Lotos-Eaters — • 
 
 Where they smile in secret, looking over wasted lands ; 
 as ' pathos ' in Love and Duty — 
 
 Shall sharpest _pai7tos blight us; 
 
 as 'forgetful' (In Memoriam, xxv.) and 'painful' 
 (Palace of Art) in the sense respectively of ' causing 
 forgetfulness ' and ' full of pain.' 
 
 Both largely affect archaisms and the revival or 
 adoption of obsolete or provincial words. Thus 
 Tennyson's 'bight' (Voyage of Maeldime), 'garth' 
 (Enoch Arclen), ' poach' d filth ' (Merlin), ' roky hollow' 
 
TENNYSON AND VIRGIL 19 
 
 (Last Tuurn.), 'dune' {id.), 'agaric' {Gareth and 
 Lynette), 'mawkin' {Princess), 'bosks' {id.), 'byre' 
 (The Victim), and the like, answer to Virgil's * um- 
 bracula' {Eel. ix. 42), 'uri,' a Gallic word {Georg. ii. 
 Z7i),' camuris subcornibus' {Georg. iii. 55), 'cujum' 
 {Eel. iii. 1). As Virgil employs extensively idioms and 
 phrases from the Greek, so Tennyson employs as exten- 
 sively idioms and phrases from both the Greek and tho 
 Latin. Virgil's ' sensit medios delapsus in hostes ' {^ti. 
 ii. 377), ' dederatque comam diffundere ventis ' {id. i. 
 319), 'ventis maria omnia recti' {id. 524), ' addiderat 
 socium, non inferiora secutus ' {id. vi. 170), 'et nunc 
 neqaidqnsLm. fallis dea' {.-FJn. xii. 634), and the like 
 answer to Tennyson's ' strike a sudden hand in mine ' 
 {In Mem. xiv.) ; ' roar from yonder dropping day ' {id. 
 XV.), 'learns her gone and far from home' {id. viii.); 
 'and come ivhatever loves to weep' {In Mem. xviii.) ; 
 ' I see thee xohat thou art ' {Morte d' Arthur) ; 
 
 So may whatever tempest mars 
 Mid-ocean, spare thee {In Mem. xvii.) ; 
 
 just as phrases like 'finish'd to the finger nail' 
 {Edwin Morris) , ' stood foursquare ' {Ode on Wel- 
 lington), ' Sneeze out a full God-bless-you right and 
 left' {Edwin Morris), ' ccok'd his spleen' {Princess, 
 i.), 'laugh'd with alien lips' {id. iv.), are analogous 
 to Virgil's frequent attempts to transplant phrases 
 from the Greek poets into Latin, such as the famous 
 mistranslation from Theocritus (if mistranslation it 
 was) in Eclogue viii. 58, ' omnia vel medium fiant 
 mare,' his similarly ambiguous ' cratera coronant ' 
 {Georg. ii. 528), his ' ut vidi, ut perii' {Eel. viii. 41), 
 his ' clamore incendunt coelum ' {^En. x. 894), and his 
 
 c 2 
 
io ILLUSTRATIONS OF TENNVSON 
 
 frequent Homeric analogues. How Virgil attempted 
 to enrich his language by giving Latin conjunctions 
 the peculiar force and function of G reels, by employ- 
 ing every device of verbal collocation to supply the 
 want of particles, by habitually making the Latin 
 passive serve the j)lace of the Greek middle, and the 
 Latinperfect the place of the Greek aorist, is notorious.' 
 Tennyson has done exactly the same for English. 
 Thus he makes our word ' for ' correspond to the 
 Greek epexegetic ^ap, as at the beginning of The, 
 Coming of Arthur — ' For many a petty king,' &c., where 
 the ' for ' simply opens the narrative ; thus in In 
 Memoriam, xc, ' but ' perhaps answers to the Greek 
 dWd and the Latin at : — 
 
 Ah, dear, but come thou back to me. 
 
 It would be needless to multiply instances. In 
 Li Memoriam, lii., we have an imitation of the pro- 
 phetic present : — 
 
 Abide : thy -wealtli is gather'd in, 
 ^Yllen Time hath sunder'd shell from pearl; 
 
 in id. xxvi. an imitation of the Greek optative : — 
 
 Then might I find, ere yet the morn 
 Breaks hither, &o. 
 
 In Pelleas and Ettarre there is plainly an attempt to 
 imitate the Greek aorist in thefrequentalive sense: — 
 
 ' Milton is fond of the same thing : thus in Par. Lost, i. 318, we 
 have the English ' or ' answering exactly to the Greek n on^i— 
 ' or have ye chosen this place 
 After the toil of battle,' &c. — 
 
 and in id. bk. ii. ' what ' is used for the Latin ' quid ' : — 
 
 ' What sit we, then, projecting peace or war 2 ' 
 
TENNYSON AND VIRGIL 21 
 
 His eyes, 
 Harder and drier than a fountain bed 
 In summer ; thither came the village girls 
 And lingered talking, and they come no more, &c. 
 
 From Virgil Tennyson has learned the magical 
 effect which may be produced by a single word placed 
 for the sake of emphasis out of its proper order in 
 the sentence. There is, perhaps, nothing in the 
 whole of poetry more pathetic than the single word 
 ' Anchisiades ' and its collocation, in the passage (.E«. 
 X. 821) describing the effect of the death of Lausus 
 on ^neas, when, remembering his own father, he 
 remembers that young Lausus was dying on behalf 
 
 of his : — 
 
 At vero ut ^niltvim vidit morientis et era, 
 Ora modis, Anchisiades, pallentia niiris. 
 
 Compare, in Loclisley Hall Sixty Years After, Tenny- 
 son's similar employment of the name Edith : — 
 
 Strong in wiU and rich ia wisdom, Edith, yet so lowly-sweet, 
 Woman to her inmost heart, &c. 
 
 So, too (same poem) : — 
 
 Here we met, our latest meeting — Amy — sixty years ago — 
 She and I. 
 
 In a word, the diction of Tennyson is, in its 
 essential characteristics, as nearly the exact counter- 
 part to that of Virgil as it is possible for verbal 
 expression in one language to be the counterpart of 
 that in another. 
 
 Nor are these the only points of resemblance 
 between them. Both are elaborate artists in onomatO' 
 poeic effect. Virgil's ' Quadrupedante putrem sonitu 
 quatit ungula campum ' {A'^n. viii. 596), his ' Quas 
 aiiimosi Euri assidue franguntque feruntque ' {Georg. 
 
22 ILLUSTRATIONS OF TENNYSON 
 
 ii. 441), his 'Illi inter sese magna vi brachia toUunt 
 In numerum ' {Mn. viii. 458), his ' Insequitur cumulo 
 praeruptus aquas mons' {id. i. 105), his ' Sternitur 
 exanimisque tremens procumbit humi bos ' (ici. v. 
 481), his 'Eadit iter liquidum celeres neque commo- 
 vet alas' («VL 217), his magical lines in Georgic. i. 
 356-9, &c. &c., may be compared with Tennyson's 
 
 I heard the water lapping on the crag, 
 And the long ripple washing in the reeds 
 
 [Morte d' Arthur) ; 
 
 Shock'd like an iron clanging anvil bang'd 
 "With hammers {Princess, v.) ; 
 
 On the bald street breaks the blank day {In Mem, vii.) ; 
 
 The sweep of scythe in morning dew {id. Isxxix.) ; 
 
 Dry clash'd his harness in the icy caves 
 And barren chasms, and all to left and right 
 The bare black cliff olang'd round him, as he based 
 His feet on juts of slippery crag that rang 
 Sharp smitten {Morte d' Arthur). 
 
 There are, of course, similar effects in most poets, 
 and notably in the Homeric poems, but in Virgil and 
 Tennyson they are not only more artificially elabo- 
 rated, but more directly and assiduously sought. 
 The only other poet who has elaborated them as 
 carefully and employed them to the same extent is 
 Milton, the greatest master, perhaps, of onomatopoeic 
 effect in our language. On similarities of temper 
 and genius between the two poets, on their essential 
 seriousness and earnestness, on their strong religious 
 instinct, on their profound sense of the sadness and 
 mystery of human life, on their sensitive sympathy 
 with distress and pain in whatever pitiful form they 
 may assume among breathing things, on their de- 
 
TENA'YSON AND VIRGIL 23 
 
 light in Nature, on their intense patriotism, on their 
 reverence for tradition and prescription, on their 
 contempt for the multitude, on the union in both of 
 the antiquarian and scholar with the poet and philo- 
 sopher, this is not the place to comment. It is the 
 purpose of this little book to illustrate another in- 
 teresting point of resemblance between these poets, 
 the use, namely, ■which they have made of the work 
 of their predecessors — -to show that, as Virgil has, on 
 a very large scale, drawn on the literary wealth of 
 Greece and of his native land, so Tennyson has, on 
 a corresponding scale, drawn not on that wealth 
 merely, but on the wealth which has been accumu- 
 lating since. 
 
 The principle of arrangement which it will be most 
 convenient to follow in this commentary will be to 
 take the poems in the order in which they are grouped 
 in the table of contents to the complete edition of the 
 poet's works published by Macmillan in 1889. Group 
 I. includes the group entitled Juvenilia ; Group II. 
 The Lady of Shalott, and other Poems ; Group III. 
 English Idylls, and other Poems ; Group IV. Enoch 
 Arden, and other Poems ; Group V. The Princess and 
 the miscellaneous poems following; Group VI. In 
 Memoriam; Group VII. 2Iaud; Group VIII. Idylls 
 of the King ; Group IX. The Lover's Tale, Ballads, 
 and ether Poems ; in Group X. may conveniently 
 be placed all the later miscellaneous poems, together 
 with Demetcr and the poems included with it. 
 
24 ILLUSTRATIONS OF TENNYSON 
 
 CHAPTEE II 
 
 GROUP I, — JUVENILIA 
 
 To the Queen. — The fine thought that the throne is 
 Broad-based upon her people's will 
 
 appears to have been suggested by Shelley : — 
 
 Athens diviner yet 
 Gleam'd with its crest of columns, on the will 
 Of man as on a mount of diamond set 
 
 {Ode to Liberty). 
 
 Where Clarihel low lieth : 
 
 The care with which Tennyson has in these and 
 in his later poems collected the musical names of 
 women found in the works of preceding poets is in 
 itself a proof of his discriminating industry. To pass 
 over obvious instances, Claribel is of course either from 
 Spenser {F. Q., book ii. canto iv.) or from The Tempest 
 (act ii. BC. 1) ; Mariana from Measure for Measure ; 
 Madeline from Keats's Eve of St. Agnes. Oriana, 
 derived originally from the Amadis de Gaid, is a 
 favourite name with Fletcher, appearing in The Knight 
 of Media, in The Will Goose Chase, in The Woman 
 Hater; Eosalind, a name coined, so Kirke seems to 
 imply, by Spenser (see his note on The Shepherd's 
 Calendar, eel. i.) and adopted by Lodge and Shake- 
 
JUVENILIA 25 
 
 speare ; Adeline, from Byron's Don Juan (canto xiii. 
 sqq.) ; Fatima is from the Arabian Nights; Melissa 
 (Princess), a name direct from the Greek, the common 
 name of priestesses, and particularly of the priestesses 
 of Demeter ; Camilla (Lover's Talc), from Virgil (jE7i. 
 vii. 803), but long naturalised in English by the 
 Elizabethan novelists and dramatists. 
 In the poem Xothing will Die — 
 
 Nothing will die, 
 
 All things will change — 
 
 we have simply the versification of a commonplace 
 which has been very eloquently expressed by many 
 poets, particularly by Euripides (Fragments of Chry- 
 sijypus), by Empedocles (Frag. lib. i. 35-108), by 
 Lucretius (ii. 990s(2q.),hj Pope (Essay on Man, epist. 
 ii. 13 sqq.), and by Shelley (Adonais, st. 42, 43). -The 
 
 line — 
 
 It will change, but it will not fade — 
 
 is of course an echo of Shelley's 
 
 I change, but I cannot die (The Cloud). 
 In All Things ivill Die we have in the line — 
 
 Every heart this May morning in joyance is beating — 
 
 and in the tone of the whole passage, a reminiscence 
 of Wordsworth's Ode on the Intimations of Immortality , 
 stanza 4, while the ghastly jDicture of death in the 
 
 lines — 
 
 Death is calling ; 
 While I speak to ye 
 The jaw is falling, 
 The red cheek paling, 
 The strong limbs failing. 
 Ice with the warm blood mixing, 
 The eyeballs fixing — 
 
26 ILLUSTRATIONS OF TENNYSON 
 
 calls to mind the same ghastly picture in the Departed 
 Soul's Address to the Body in the Exeter Book. It 
 is a purely Saxon note ; we have it again in The Vision 
 of Sin. 
 
 In Lilian the singular epithet 
 
 When from crimson-threaded lips 
 may be compared with Cleveland's 
 
 Her li^is those threads of scarlet dye 
 "Wherein love's charms and quiver lie 
 
 {Sing-song on Clarinda's Wedding). 
 
 In Isabel the lines — 
 
 liyes 
 
 tended by- 
 Pure vestal thoughts in the translucent fane 
 Of her still spirit — 
 
 may be compared with Shelley's 
 
 And through thine eyes e'en in thy soul I see 
 A lamp of vestal fire burning internally 
 
 [Dedication to ' Revolt of Islam '). 
 
 The laws of marriage charactered in gold 
 Upon the blanched tablets of her heart : 
 
 The originator of this expression appears to have 
 been iEschylus [Prom. 791) : — 
 
 T]v fyypd(j)ov crv iivqjxotriv btKrois cjipevav 
 
 (And this do thou inscribe in the unforgetting tablets of the 
 mind). 
 
 So it passed to the English poets ; see Heywood's 
 
 Within the red-leaved table of my heart 
 
 ( Woman Killed with Kindness), 
 and Shakespeare's 
 
 Thy gift, thy tables are within my brain 
 Pull cbaracter'd with lasting memory 
 
 (Sonnet cxxii.). 
 
JUVENILIA 27 
 
 With respect to Mariana, the poet has himself in- 
 timated by the motto quotation that the suggestion 
 of the poem was a debt to Shakespeare ; but probably 
 the four exquisite lines in which Sappho appears to 
 be describing some Mariana of antiquity were not 
 without their influence on him : — 
 
 de8vK€ fxfu a aekavva 
 Ka\ H'krjlaheSj /xeVat fie 
 vvKTes, napa 6' f'px"" apa, 
 ijd) 6e p.6va Kcircv^oi 
 (The moon has set, and the Pleiades, and it is midnight; the 
 hour too is going hy, but I sleep alone). 
 
 The two beautiful lines — 
 
 Her tears fell with the dews at even, 
 Her tears fell ere the dews wore dried — 
 
 were apparently adapted from two lines, scarcely less 
 beautiful, which indicate the loss poetry has sustained 
 in the destruction of the works of Helvius Cinna : — 
 
 Te matutinus flentem conspexit Eous, 
 
 Te flentem pardlo vidit post Hesperus idem 
 
 (CiNNffi Beliq. ed. Mueller, p. 88) 
 (Thee in tears the star of morn beheld, thee in tears the 
 same star, anon at even, saw). 
 
 The verse in Horace, Odes, II. ix. 10-12, affords a 
 more obvious parallel, but it has not the same flavour:— 
 
 Nee tibi vespero 
 Surgente decedunt amores, 
 Nee rapidum fugiente solem 
 
 (And thy love leaves thee not when vesper rises, nor when 
 it flies the striding smi — or torrid sun). 
 
 TiU cold winds woke the gray-eyed morn : 
 
 From Shakespeare — 
 
 The grey-eyed morn smiles on the frowning night 
 
 (Romeo and Juliet, act ii. sc. 3). 
 
28 ILLUSTRATIONS OF TENNYSON 
 
 In the poem To we have one or two reminis- 
 cences worth noting : — 
 
 Eay-fringed eye-lids of the morn : 
 Cf . Lycidas : — 
 
 Under the openiug eye-lids of the morn. 
 Again : — 
 
 Nor trenchant swords : 
 
 Cf. Shakespeare, Timon of Athens, iv. 3 : — 
 
 Make soft thy trenchant sword. 
 
 Like that strange angel, &c. : 
 
 The allusion is of course to Genesis xxxii. 24-32. 
 
 In the Recollections of the Arahian Nights we have, 
 so far as the tone and style are concerned, little more 
 than an echo of Coleridge's Kuhla Khan and Leivti, 
 with expressions carefully culled from other poets 
 dove-tailed as it were in the fine mosaic of the 
 diction. Thus the beautiful phrase, repeated as the 
 burden of the poem — 
 
 It was in the golden prime 
 Of good Haroun Ahraschid — 
 
 is Shakespeare's 
 
 That cropp'd the golden prime of this sweet prince 
 
 (Bich. III. act i. sc. 2, 248). 
 
 Full of the city's stilly sounds : 
 
 So Shakespeare : — 
 
 The hum of either army stilly sounds 
 
 , [Henry V. prol. act iv.). 
 
 The matter of the poem and the imagery are 
 of course simply transferred from the gorgeous de- 
 scription of Harun al Bashid's Garden of Gladness in 
 
JUVENILIA 29 
 
 the story of Nur-al-din Ali and the damsel Anis al 
 Tahs, ' Thh-ty-Sixth Night.' 
 
 In the Ode to Memory we have many illustrations 
 of the care with which the poet has noted and appro- 
 priated the felicitous epithets of his predecessors. 
 The dew-impearled ■winds of dawn : 
 
 This beautiful epithet is transferred from Drayton, 
 who applies it with more propriety to flowers :^ 
 
 Amongst the dainty dew-impearled flowers 
 
 (Ideas, Sonnet liii.). 
 
 The ' Hack earth : ' this is a favourite epithet with 
 the Greek poets; with Homer a stock one. Cf. II. 
 ii. 699 and passim, Sappho {Ode to Aphrodite, 10), 
 Fragments of Alcman (Frag. 60), Pseudo-Anacreon 
 (21 [19] ). The ' ribbed sand ' is Wordsworth's ' as 
 is the ribh'd sea-sand,' stanzas inserted in The Ancient 
 Mariner (part iv.). The 'wattled folds' is Milton's 
 ' the folded flocks penned in their wattled cotes ' 
 {Coimis, 344) . So too the epithet ' amber ' as applied 
 to morning has been similarly applied by Milton 
 (L' Allegro, 61), where he speaks of it as 'robed in 
 flames and amber light.' So in ' storied walls ' we 
 have a felicitous expression originating, perhaps, from 
 Milton's 'storied windows' {II Penseroso, 159), and 
 employed by Pope, ' the trophied arches, storied halls ' 
 {Essay on Man, iv. 303), and by Gray, ' storied urn ' 
 {Elegy, 41). The magnificent epithet 'myriad- 
 minded,' which occurs also in this poem, has a curious 
 history. It was discovered by Coleridge as a phrase 
 fivpiovovs in some Byzantine writer, who applied it to 
 one of the Patriarchs of Byzantium, with sufficient 
 impropriety, no doubt. However Coleridge, in his own 
 
30 ILLUSTRATIONS OF TENNYSON 
 
 phrase, rescued it and applied it to the one man to 
 ■whom it was magnificently appropriate— Shakespeare.' 
 A Character seems to owe something to Wordsworth^ 
 and something to Shakespeare. In Wordsworth's 
 
 One to whose smooth-rubbed soul can cling 
 Nor form nor feeHng, great nor small, 
 
 A reasoning, self-sufficient thing. 
 An intellectual all in all, 
 
 if we have not the germ of the poem we have an 
 excellent commentary, while Shakespeare's fop, Hot- 
 spm-'s speech [Henry IV. Part I. act i. sc. 3), seems 
 to have suggested a touch or two. The epithet 
 ' secretest ' in The Poet is Shakespeare's ' secretest man 
 of blood ' {Macbeth, act iii. sc. 4). So too ' the golden 
 stars.' So in the same poem ' the breathing spring ' 
 is Pope's 
 
 All the incense of the breathing spring [Messiah, 24). 
 
 So in The Sea Fairies ' the ridged sea ' is from Lear 
 
 (act iv. sc. 6), ' horns welk'd and waved like the ridged 
 
 sea.' 
 
 The Dirge, if it does not recall verbally, derives 
 
 obviously its sentiment, colour, and tone from the 
 
 dirge and the lines introductory to the dirge in 
 
 Cymheline. 
 
 Long purples of the dale ; 
 
 Cf. Hamlet, iv. 7 :— 
 
 Daisies, and long purples. 
 
 • ' acTjp jivptdvovs, u, phrase which I have borrowed from a Greek 
 monk, who applies it to a Patriarch of Constantinople. I might 
 have said that I have reclaimed rather than borrowed it : for it seems 
 to belong to Shakespeare da juri singulari et ex privilegio naturcB ' 
 (Coleridge, Biographia Literaria, chap. ix. note). 
 
JUVENILIA 31 
 
 The gold-eyed kingcups fine : 
 Cf. Cymhclinc, ii. 3 : — 
 
 And Tvinljing mary-luds begin 
 To ope their golden eyes. 
 
 In Lore and Death the fine expression — 
 
 What time the mightj' moon was gathering ligld — 
 
 is from Virgil (Georg. i. 427) : — 
 
 Luna revertentGS cum primum coUigit ignes 
 ("What time the moon is first gathering lier rallying fires). 
 
 The use of ' vans ' for ' wings ' — 
 
 Spread his sheeny vans for flight^ 
 
 follows Milton : — 
 
 His sail-broad vans 
 He spreads for flight [Par. Lest, ii. 027-8), 
 
 who in his turn adapted it from Tasso {Ger. Lib. ix. 
 
 60) :— 
 
 Indi spiega al gran volo i vanni aurati 
 
 (Afterwards lie spreads for a great flight his gilded wings). 
 
 In the fragments of Ibycus we have an interesting 
 parallel to the opening stanzas of Elednore ; compare 
 the spirit and images of Tennyson's verses with the 
 following lines : — 
 
 "Eupvakf, y\avKeu)V 'K.apiTWV ^tiXor, 
 KoKKiKopuiV fx€\€drjp.af ae fi£v Kvnpis 
 d t' ayavo^Xicfiapos Tlei&o) pohtoi(7iv 
 ii> apddXLV Spiy^av, 
 
 pvpra re, Kal 'la Ka\ A/;cpuq-oj 
 
 juuXa T€ Kill poBa Kcil Tepetva ^d^va, 
 
 rap-os uijwvos kXvtos updpus ('yelprjaiv arjSovas 
 
 (Fragments of Ibycus) 
 
52 ILLUSTRATIONS OF TENNYSON 
 
 (Euryalus, nurseling of the sweet Graces, care of the fair- 
 haired ones, thee Cypris and mild-eyed Persuasion 
 nourished amid rose-flowers . . . myrtles, and violets 
 and helichvyse, and apples, and roses, and smooth bay- 
 tree, what time the wakeful noisy dawn rouseth up the 
 nightingales). 
 
 The beautiful expression in Acidine — 
 Those dew-lit eyes of thine — 
 is apparently borrowed from Collins's Ode to Pity : 
 And eyes of dewy light. 
 
 How the merry blue-bell jings 
 To the mosses underneath : 
 
 This conceit, hardly worth the stealing, seems to have 
 been appropriated from Shelley : — 
 
 And the hyacinth, purple and white and blue, 
 Which flung from its bells a sweet peal anew 
 Of music [The Sensitive Plant, i.). 
 
 In Margaret — 
 
 The morn 
 
 Moving through a, fleecy night — 
 
 reminds us of Milton, who describes the moon as 
 Stooping through a. fleecy cloud. 
 
 The ballad of Oriana was evidently suggested by 
 the old ballad oi Helen of Kirkconnel, both poems being 
 based on a similar incident, and both being the 
 passionate soliloquy of the bereaved lover, though 
 Tennyson's treatment of the subject is all his own. 
 The expression tears of blood — 
 
 I feel the tears of blood arise 
 
JUVENILIA 33 
 
 recalls Ford, who more cautiously qualifies it, Tis 
 'Pity she's a Whore (act i. so. 1) : — 
 
 Wash every word thou utteresfc 
 In tears (and if 't be possible) of blood. 
 
 The ' full-eail'd verse ' in Elednore recalls Shake- 
 speare's eighty-sixth sonnet — 
 
 The full sail of his great verse ; 
 while the image in the passage describing love^ 
 
 His bow-string slacTcen'd, languid Love 
 Leaning his cheek upon his hand — 
 
 was no doubt suggested by Horace, Odes, III. xxvii. 
 
 66-8 :— 
 
 Aderat querenti 
 Perfidum ridens Venus ct rcinisso 
 Filius arcu 
 
 (And as she complained she saw Venus there treacherously 
 smUing, and Venus's son, too, with unstrung bow). 
 
 The yellow-handed bees : 
 
 Cf. Keats's ' ydloK-girted hccs ' {Endijmion, i.). The 
 whole of the passage beginning 
 
 My heart a charmed slumber keeps — 
 
 is little more than an adaptation of Sappho's incom- 
 parable ode, filtered, perhaps, through the version of 
 Catullus. 
 
 The incident related in the sonnet on Alexander 
 is taken from Arrian, De Exped. Alexandri, lib. iii. 
 chap. iii. and iv. The allusion to the naphtha-pits 
 shows that the poet had been reading Plutarch's Life 
 of Alexander. 
 
 This brings us to the end of the first group, a 
 series of very slight studies, in which the influences 
 
 D 
 
34 ILLUSTRATIONS OF TENNYSON 
 
 most perceptible are, perhaps, the Greek lyric poets, 
 Keats, and Coleridge,^ though they prove how decidedly, 
 even in these early days, Tennyson had formed 
 those habits of careful study and wide reading which 
 ever afterwards distinguished him. As we go on to 
 consider the poems in Group II. we shall see how, 
 as his genius developed, his studious learning and 
 his powers of assimilation grew in proportion. Wider 
 and wider grows the range of his reading, more and 
 more exquisite and consummate the skill with which 
 he uses his materials. 
 
 ' Coleridge was, so fcr as I know, the first English poet who dis- 
 covered the strange effect produced by a flash of prosaic definiteness 
 of detail in the midst of vague and dreamy pomp. Thus in Kubla 
 Khan : — 
 
 Five miles meandering with a mazy motion, 
 Through wood and dale the sacred river ran. 
 
 So Tennyson in Eleanore : — 
 
 Thou wert born, on a summer morn, 
 A mile beneath the cedar-wood ; 
 
 and it is employed habitually in these early poems. It became after- 
 wards, notably in Bossetti, a mere trick. 
 
35 
 
 CHAPTEE III 
 
 GEOrP II. — THE LADY OF SHALCTT, ETC. 
 
 The Lady of Shalott. — A study in fancy from the 
 Arthnrian Eomances, Shalott being a form, through 
 the French, of Astofet. According to Sir Francis 
 Palgrave {Selections from the Lyric Poems of Lord 
 Tennyson, p. 257) the poem was suggested by an 
 Italian romance upon the Donna di Scalotta. On 
 what authority this is said I know not, nor can I 
 identify the romance referred to.' It seems to owe as 
 much to Coleridge as to any one. 
 
 ' Tirra, lirra ' by the river 
 Sang Sir Lancelot : 
 
 A charming onomatopoeia, not coined by Tennyson 
 but by Shakespeare as a variant on the French : — 
 
 The lark that tirra, lirra chants 
 
 (Winter's Tale, act iv. so. 2). 
 
 ' It is possible that the novel which is referred to by Sir F. Palgrave 
 is Novella LXXXI., in a collection of novels entitled Libra di Novelle, 
 printed at Milan in 1804, which tells but very briefly the story of 
 Elaine's love and death. ' Qui conta,' so runs the heading, ' come la 
 Damigella di Scalot mori per amore di Lancialotto di Lac' And this 
 is the more likely as Sir Francis says that the poem was suggested 
 by a novel ' in which Camelot, unlike the Celtic tradition, was placed 
 near the sea.' In this novel it is placed near the sea : ' II mare la 
 guid6 a Camalot, e ristette alia riva.' If this be, as it appears to be, 
 the novel referred to, Tennyson's poem owes nothing to it. 
 
 D 3 
 
3b ILLUSTRATIONS OF TENNYSON 
 
 Mariana in the South has an interesting parallel, 
 so far at least as a lyric poem can be parallel with a 
 poem cast in narrative form, in La Pia, a poem 
 of great power and beauty written by Benedetto 
 Sestini. Sestini founds his poem on the famous 
 passage in the Purgatorio which alludes to the story 
 of La Pia (Purg. v. 133), and he gives us the picture 
 of this hapless wife pining forlorn amid the torrid 
 horrors of the Maremma. The points of resemblance 
 'between Tennyson's poem and Sestini's lie in the 
 position of the two women and in the graphic power 
 with which the sultry landscape surrounding them is 
 described. The singularly beautiful expression — 
 
 Large Ilesper glitter'd on her tears — 
 
 reminds us of Keats's 
 
 No light 
 Could glimmer on their tears {Hyper, bk. ii.). 
 
 In The Two Voices the dialogue, or rather the part 
 filled in it by the voice persuading death, seems to have 
 been suggested by Lucretius (lib. iii. 931-1052) : — 
 
 Or will one beam be less intense 
 
 When thy peculiar difference 
 
 Is cancell'd in the world of sense ? 
 
 Cf. Byron's Lara, canto ii. sect, i., the passage begin- 
 ning, ' And grieve v/hat may,' &c., also West's Ad 
 Ajnicos towards the end, Mitford's Gray, quarto ed, 
 vol. ii. p. 16. 
 
 The lines describing the insensibility of the dead 
 man to the world and all that he left in it — 
 
 His sons grow up that bear his name, 
 Some grow to honour, some to shame,— 
 But he is chiU to praise or blame — 
 
THE LADY OF SHALOTT, ETC. 37 
 
 recall Job xiv. 21 — 
 
 His sons come to honour, and he knoweth it not ; and they 
 are brought low, but he perceiveth it not of them ; 
 
 just as the lines — 
 
 He will not hear the north-wind rave, 
 Nor, moaning, household shelter crave 
 From winter' rains that beat his grave. 
 
 High up the vapours fold and swim : 
 Aboiit him broods the twilight dim : 
 The place he knew forgetteth him — • 
 
 recall the weird and powerful lines of Henry More : — 
 
 Their rotten relics lurk close underground ; 
 
 AVith living wight no sense nor sympathy 
 They have at all : nor hollowing thundering sound 
 
 Of roaring winds that cold mortality 
 
 Can wake, ywrapt in sad Fatality. 
 To horse's hoof that beats his grassie dore 
 
 He answers not : the moon in silency 
 Doth pass by night, and all bedew him o'er 
 "With her cold humid rayes : but he feels not Heaven's power 
 
 (Psychozoia, canto ii. st. 20). 
 
 Again, the lines — ■ 
 
 Moreover, something is or seems. 
 That touches me with mystic gleams. 
 Like glimpses of forgotten dreams — ■ 
 
 Of something felt, like something here ; 
 Of something done I know not where 
 
 (cf. the parallel passages in Tennyson's first sonnet 
 and in The Ancient Sage) — embody what has often 
 found embodiment before. Wordsworth's lines in 
 the Ode on the Intimations of Immortality furnish an 
 interesting illustration : — 
 
38 ILLUSTRATIONS OF TENNYSON 
 
 But there's a tree, of many, one, 
 
 A single field which I have look'd upon ; 
 
 Both of them speak of something that is gone. 
 
 The pansy at my feet 
 
 Doth the same tale repeat. 
 
 Sir Walter Scott in Guy Manncnncj has described 
 the same phenomenon in a more homely way in prose. 
 ' How often,' says Henry Bertram, ' do we find our- 
 selves in society which we have never before met, and 
 yet feel impressed with a mysterious and ill-defined 
 consciousness that neither the scene, the speaker, nor 
 the subject are entirely new — nay, feel as if we could 
 anticipate that part of the conversation which has not 
 yet taken place ' (Guy Mannerincj, ch. xli.). See, 
 too, Shelley's Prose Works for a very remarkable 
 illustration of this {Siyeculations on Metajihysics, v. 4). 
 Human nature must be the same in all ages, and yet 
 I have never met with any allusion to this phenomenon 
 — and I can speak from somewhat extensive reading 
 among the Greek mystics and philosophers — in ancient 
 writers. 
 
 He owns the fatal gift of eyes : 
 
 Cf. Plato, PlicBclo, X. : — 
 
 apa €;^ft aXT^^etaz' Tiva o^j^is re kol okotj toIs dvdpwTroLS, rj rd ye 
 rotavTa Koi ol ttoltjtqI rjp.'ii' del SpvXovcn-i'j on ovt' aKovojx^v aKpLJ^iS 
 ov^ef ovre Spoipev ; 
 
 (Have sight and hearing any truth in them? are they not, as 
 poets are always telling us, inaccurate witnesses?) 
 
 It is hardly necessary to say that the proper com- 
 mentary on the whole of this passage in Tennyson's 
 poem is Plato passim, but the Phceclo particularly ; 
 cf. especially from marginal p. 65 to 68, and again 
 p. 79 ; cf. too Republic, VH. vii, and X. iv.-v, 
 
THE LADY OF SIIALOTT, ETQ 39 
 
 But to proceed. The beautiful line — 
 
 You scarce cotild see the grass for flowers— 
 is an echo of Peele's 
 
 Ye may ne see for peeping flowers the grass 
 
 [Arraignment of Paris, i. 1). 
 
 In The Miller's Daughter the graceful song begin- 
 ning, ' It is the miller's daughter,' is, for the most 
 part, almost an adaptation of a portion of an ode of 
 Eonsard (Odes, bk. iv. ode 26). Compare ' I would 
 be the girdle ' and ' I would be the necklace,' &c., 
 with — 
 
 Je voiidrois estre le riban 
 
 Qui serre ta belle poitrine 
 Je voudrois estre le oarquan 
 
 Qui orne la gorge yvoirine, 
 Je voudrois estre tout autour 
 
 Le coral qui tes levres touohe, 
 Afin de baiser nuict et jour 
 
 Tes belles levres et ta bouche. 
 
 But the original of both is the pretty ode m the 
 Pseudo-Anacreon , 22 (20) : — 
 
 eycb 5' ejoTTTpov f'lqi', 
 
 OTTCOS act BXeiTTjS fJi€' 
 
 eycb xiTo:)V yivoi^rjv^ 
 ona>s del (popjjs /if 
 Kal TaLVLT) 5e ^.aurwVj 
 
 Ka\ crdvbaKov yevoi^rjV 
 fjLovov noaXv TTarei p.€ 
 
 (Would that I were a mirror, that thou mightest be ever 
 gazing at me ; would that I were a tunic, that thou 
 mightest always wear me ; and thy breast-band ; and would 
 I were a sandal; only trample me with thy feet). 
 
 Compare also the two charming epigrams in the 
 
40 ILLUSTRATIONS OF TENNYSON 
 
 Palatine Anthology, \. 83, 84, and the scholion quoted 
 in Athenseus, Deyj. xv. c. 50. 
 
 In Fatima we have another reminiscence of Sappho's 
 great ode, though it owes, perhaps, more to the magni- 
 ficent fragment of Ibycus (Frag, i.) ; but there is one 
 passage which bears a singularly close resemblance to 
 one in the second book of Achilles Tatius's Clitophon 
 and Leucippe, bk. ii. : — 
 
 O Love ! O fire ! once he drew 
 
 With one long kiss my whole soul thro' 
 
 My lips. 
 
 7]de \^v)(rj^ Tapa)(de7(7a tco (fnXrj^Ti TraXAerat, et 5e ^rj rots 
 CTTrXayxvois 7;f SfSf/JcVi), rjKcXovSrjo-ev av (kKVtjdeicTa livw Toit 
 
 (Her soul, distracted by the kiss, throbs, and, had it not 
 been close bound by the flesh, would have followed, drawn 
 upward by the kisses). 
 
 This brings us to Tennyson's first important poem, 
 CEnone ; and here, as might be expected, he draws 
 largely on the classics. It is hardly necessary to say 
 that the poem is in form modelled partly on the 
 Alexandrian idyll — such an idyll, for example, as the 
 second idyll of Theocritus or the Megara or Europa 
 of Moschus — and partly, perhaps, on the narratives in 
 the Metamorphoses of Ovid, to which the opening bears 
 a typical resemblance.' It is possible that the poem 
 may have been suggested by Beattie's Judgment of 
 Paris, which tells the story, and tells it with power 
 and eloquence, on the same lines on which it is told 
 here, though it is not placed in the mouth of (Enone. 
 Beattie's poem opens with an elaborate description of 
 Ida and of Troy in the distance. Paris, the husband 
 
 ' Cf. for example Diana's valley and cave, Met. iii. 155, 
 
THE LADY OF SHALOTT, ETC. 41 
 
 of (Enone, is one afternoon confronted with the three 
 goddesses, who are, as in the present idyll, elaborately 
 delineated as symbolising what they here symbolise ; 
 each makes her speech and offers what each has to 
 offer — worldly dominion, wisdom, sensual enjoyment. 
 The speeches made by them will not, of course, bear 
 comparison with the speeches of Tennyson's goddesses, 
 but the general resemblance between Beattie's work 
 and Tennyson's is certainly striking. The scene is 
 described, more suo, by Apuleius {Met. lib. x. 30-32). 
 But to come to detail : — 
 
 many-fountain'd Ida : 
 
 The epithet is of course Homer's iroXv-jrlha^, his stock 
 epithet for Ida. Cf. Iliad, viii. 47 ; xiy. 283 ; xx. 59, 
 218. The Hne— 
 
 For now the noonday quiet holds the hill — 
 
 is a curiously literal translation of a line in Callimachus, 
 Lavacrum Palladis, 72 — ■ 
 
 (The noonday quiet held the hill) — 
 
 a poem on which Tennyson again draws in his Tire- 
 sias. So 
 
 The lizard with his shadow on the stone 
 Bests like a shadow 
 
 is a detail in the sultry sumqier day, suggested, no 
 doubt, by Theocritus {Idyll vii. 22) — 
 
 dfiKa 5f] Ka\ o'avpos e(p' alp-acTLa'iirL Kadev^ei 
 
 (When, indeed, the very lizard is sleeping on the loose stones 
 of the wall). 
 
 A little later on the line — 
 
 Mine eyes are full of tears, my heart of love — 
 
42 ILLUSTRATIONS OF TEiXXYSON 
 
 is taken almost without alteration from Henry VI, 
 Part II. act ii. scene 3 :— 
 
 Mine eyes are full of tears, my heart of grief. 
 The oharni of married brows : 
 
 This is the (Tvvo(^pvs Kopa, ' the maid of the meeting 
 eyebrows,' of Theocritus {Idyll viii. 72), and the 
 
 (rvvo(ppvy 
 PXecpiipav 'ltvv KeKaivriv (Pseudo-Anacrcon, XV.) 
 
 (The dark arch of brows that meet). 
 
 The whole of the beautiful passage — 
 
 And at their feet the crocus brake like fire, 
 Violet, amaracus, and asphodel, 
 Lotus and lilies. 
 
 And o'er him flow'd a golden cloud, and lean'd 
 Upon him, slo-wly dropping fr a rj rant dew — ■ 
 
 is taken, with one or two additions and alterations in 
 the names of the flowers, from Iliad, xiv. 347-52 
 (with a reminiscence, no doubt, of the gorgeous lines in 
 Par. Lost, bk. iv. 695-702) :— 
 
 Tola-i 5' VTTo \6u3V bla (fyvev i'eod7]\4a TTolrjv, 
 
 XcOTOV 8'' €p(Tr}€VTa, tSe KpoKOV, rjd^ VUKLJ/doV 
 
 77VKVQV Ka\ fln\aK()U 
 
 eVt 6e v€(p€\T]v eaaaPTO 
 
 KokrjV ^pVCTiirjV ' (TTLXTTPal 5' djT enLTTT OV €€p(Tai 
 
 (And beneath them the divine earth caused to spring up 
 fresh new grass, and dewy lotus, and crocus, and hyacinth, 
 thick and soft ; and they were clothed over with a cloud 
 beauteous, golden ; and from it kept falling glittering dew- 
 drops). 
 
 Nor is the happy touch about the crocus breaking 
 like fire original, being little more than an inter- 
 
THE LADY OF SHALOTT, ETC. 43 
 
 pretative version of Sophocles's ■)(pvaavy7]s KpoKos 
 {(Ed. Col. 685), with a memory, perhaps, of Words- 
 worth— 
 
 flowers that set the hills on fire (Ruth). 
 
 The noble sentiment in the Hnes — ■ 
 
 becaiise right is right, to follow right 
 Were wisdom in the scorn of consequence — 
 
 is, of course, a commonplace in Aristotle and other 
 philosophers of antiquity, but it may be interesting 
 to put beside it a passage from Cicero {De Finihits, 
 ii. 14, 45) :— 
 
 Honestum id intelligimus quod tale est nt, detraota omni 
 utilitate, sme ullis prseniiis fructibusve per se ipsmn possit jure 
 laudari 
 
 (We are to understand hj' the truly honourable that whieh^ 
 setting aside all consideration of utihty, may be rightly 
 praised in itself, exclusive of any prospect of reward or 
 compensation). 
 
 The lines — 
 
 I know 
 That wheresoe'er I go by night or day 
 All earth and air seem, only burning fire — 
 
 may be compared with Webster {Duchess of Malfi, 
 act iv. sc. 2) : — 
 
 The heaven o'er my head seems made of molten brass, 
 The earth of flaming sulphur. 
 
 The framework of The Palace of Art, or the 
 suggestion rather for that framework, is to be found 
 in Ecclesiastes ii. 1-17. The picture of Europa— 
 
 Or sweet Europa's mantle blew unolasp'd, 
 From off her shoulder backward borne : 
 From one hand droop'd a crocus : one hand grasp'd 
 The mild bull's golden horn — 
 
44 ILLUSTRATIONS OF TENNYSON 
 
 may be compared with Moschus's picture of her, which 
 appears to have suggested it : — 
 
 fj 8' lip' ecf>fC"fiei'r] Zr)vbs ^oiois fVi viiTois 
 
 Tt] fiev e}(ev ravpov SoXixov Kfpas, iv x^pi- S' uXXtj 
 
 c'uve 7Top(pvp€as koXttov TTTV^as. . . . 
 
 KoXnadrj 8' aifioia-i ntirkos [Idyll ii. 121-5) 
 (Then, seated on the back of the divine bull, with one hand 
 did she grasp the bull's long horn, and with the other she 
 was catching up the purple folds of her garment, and the 
 robe on her shoulders was swelled out). 
 
 See too the beautiful picture of the same scene in 
 Achilles Tatius's Clitophon and Leucippe, lib. i. ad 
 initium. The picture of Homer bears some resemblance 
 to Pope's picture of him in The Temple of Fame, and 
 should be compared with it (Temple, 184-7). The 
 expression ' the first of those who know ' is obviously 
 from Dante — 
 
 Vidi il maestro di color che sanno (Inferno, iv. 131) 
 (I saw the master of those who know). 
 
 The fine expression — 
 
 God, before whom ever lie bare 
 The abysmal deeps of Personality — 
 
 was borrowed evidently from young Hallam's Theo- 
 diccea Novissima : — 
 
 That, indeed [i.e. Eedemption], is in the power of God's 
 election, with whom alone rest the abysmal secrets of personality 
 (Hallam's Bemains, edit. 1834, p. 132j. 
 
 The sentiment in Lady Clara Vere de Vere — 
 'Tis only noble to be gocd — 
 recalls a line in a famous poem — 
 
 And, to be noble, we'll be good — • 
 (Lines usually attributed to J. G. Cooper. Lewis's Miscell. p. 53), 
 
THE LADY OF SHALOTT, ETC. 45 
 
 and has of course been repeated frequently but it 
 may be worth comparing the following passage in 
 Menander : — 
 
 OS av ev yeyovios y rrj (pvcrei irpos r' dyaSa 
 Kav AWlo-^s fi, firjTip, (uti,v fvyel/ys 
 
 (Menandee, ed. Meineko, p. 191) 
 
 (Whoever has by nature been well disposed to virtue, even 
 though he be an Ethiopian, mother, he is a gentleman). 
 
 See, too, the fragment of the Cnidia (Meineka, p. 98), 
 Juvenal, Sat. viii. 20, and Dante, Convito (Canzone 
 opening Trat. Quart. 101-2) : — 
 
 E genthezza dovunquc virtute ; 
 Ma no virtute ov' ella. 
 
 In The May Queen the phrase — and weirdly vivid 
 
 it is — 
 
 There came a sweeter token when the night and morninj 
 meet — 
 
 is transferred from Mallet's William and Margaret : — 
 
 The silent solemn hour 
 When night and morning meet. 
 
 The Lotos-Eaters is of course founded on the 
 Odyssey, ix. 82 sqq. But the poet has laid other poets 
 under contribution for his enchanting poem, notably 
 Bion, Moschus, Spenser (description of the Idle Lake, 
 Faerie Queene, bk. ii. canto vi.), and Thomson {Castle 
 of Indolence) . Spenser and Thomson are the most 
 potent influences in the poem. Compare, for example, 
 the following verses : — 
 
 Was nought around but images of rest, 
 
 Sleep-soothing groves, and quiet lawns between, 
 
 And flowery beds that slumberous influence kest 
 From poppies breathed and beds of.pleasant green. 
 
46 ILLUSTRATIONS OF TENNYSON 
 
 Meanwhile unnumber'd glittering streamlets play'd 
 
 And hurled everywhere their water's sheen, 
 That as they bicker' d through the sunny glade, 
 Though restless, still themselves a lulling murmur made. 
 
 A pleasant land of drowsihed it was, 
 
 Of dreams that wave before the half-shut eye. 
 
 And of gay castles in the clouds that pass 
 -For ever flushing round a summer sky 
 
 {Castle of Indolence, canto i. st. 3-6), 
 
 Turning to Bion and Mosclius, how exactly parallel 
 are the following passages : — ■ 
 
 AU things have rest, why should we toil alone ? 
 
 Death is the end of life ; ah, why 
 Should life all labour be ? 
 
 CIS Trocrov a SetXol Kafidrcos f<' et? ^Py^ novfv^es J 
 •^v)(a.v S' iixpf- TLVos TTort K€p8ea Kol noTi rlxyai 
 fiakXojxes, ifieipovTcs ad ttoKv jrArJorar liXjico ; 
 Xadojxed^ 7J itpa ndi'Tes ore Oyaroi yevop.eo'Oa 
 )(a)S fipa-)(yv (K Muipas Xd^ofifU xpo^o" 
 
 (BlON, Idyll V. 11-15) 
 
 (For how long, wretched that we are, are we to toil and 
 labour ? How long are we to throw our souls away on 
 greed and toilsome arts, ever yearning after more wealth? 
 Surely, surely we have all forgotten that we are mortal and 
 how short is the span allotted us by Fate). 
 
 Is there any peace 
 In ever climbing up the climbing wave ? 
 
 How sweet it were, hearing the downward stream. 
 
 To watch the emerald-colour'd water falling 
 Through many a v/oven acanthus- wreath divine ! 
 
 Only to hear were sweet, stretch'd out beneath the pine. 
 
THE LADY OF SHALOTT, ETC. 47 
 
 T] KaKov o ypLTTiVs ^a)fi (3lov, CO 8u^os d j/avs 
 
 KCIL TTOI^OS €0-t\ OuXao'fTa 
 
 avrap (fxni -yXvKvs vttvos vtto TrAnrai'Cp [SaSvfpvWa, 
 Ka\ Tvciyas ^lAeoi^t ruv iyyvvev r})(^ov aKovetv 
 a TepTret ^|/■oc^£OIO"a ruv liypLov, oi;;(i Tapdty<j^i 
 
 (MoscHUS, Idyll v.). 
 
 (Evil surely is the fisliei'man's life, whose home is his ship 
 and the sea his toiling-place. But to me sweet is sleep 
 beneath the broad-leaved plane-tree, and may it be my 
 pleasure to hearken to the murmur of the fountain near, 
 which as it mm-murs delights the husbandman, and does 
 not harass him). 
 
 His voice was thin as voices from ilie grave : 
 
 Cf. Theocritus of the voico of Hylas — ■ 
 
 Apaui 8' 'lk(to (pai/d [Idyll xiii.) 
 (Thin came the voice) ; 
 
 and Vu-gil's ghost-voices — 
 
 pars toUere voccm 
 Exiguam {JEn. vi. 492) ; 
 
 and Ovid of the voice of the ghost of Eemus— 
 
 Umbra . . . visa est . . . 
 . . . hsec exiguo murmure verba loqui (Fasti, v. 457). 
 
 Bee, too, Keats's Isabella, xxxvi., of the voice of the 
 ghost of Lorenzo. The lines — 
 
 Hateful is the dark blue sky. 
 Vaulted o'er the dark blue sea — ■ 
 
 remind ub of Virgil's 
 
 Tajdet cceli convexa tueri {^n. iv. 451) 
 
 (Heaven's vavdt is weariness to look upon). 
 
 Is there any peace 
 In ever climbing up the climbing wave ? 
 
48 ILLUSTRATIONS OF TENNYSON 
 
 "VVe have here an interesting illustration of Tenny- 
 son's exact scholarship ; this touch was no doubt 
 suggested .by Virgil's 
 
 conscendi navibus aequor {Mn. i. 381), 
 
 which does not mean, as it is usually explained, 'I 
 embarked upon,' but ' I dimhecl up the sea ' — a splen- 
 didly graphical touch, as Tennyson has seen. Cf. 
 Shakespeare's 
 
 And let the labouring barque climb hills of seas 
 
 {Othello, act ii. sc. 1), 
 
 though the passage in Shakespeare is not really 
 parallel. 
 
 The conclusion of the poem — the picture of the 
 gods of Epicurus — was immediately suggested by 
 Lucretius (iii. 15 sqq.). If the poet has not drawn 
 on the Icaromenippus of Lucian, that inimitable 
 dialogue from chapter xxv. to the end furnishes an 
 excellent commentary on Tennyson's picture of those 
 gods and what they see. 
 
 The Dream of Fair Women was, as the poet 
 himself tells us, inspired by Chaucer's Legend of 
 Good Woinen, though the scheme of the poem bears 
 a close resemblance to the Trionfi of Petrarch. The 
 lines — ■ 
 
 As when a great thought strikes along the brain 
 And flushes all the cheek — ■ 
 
 would certainly seem to have been suggested by a 
 passage in the Homeric Hymn to Hermes : — 
 
 CO? o' oTTOT w/cu foTjjjLa fita <TTtpvoLO nfprjdrjj 
 
 dvepos^ 
 
 ci Se Tc SiinjOaxTiV ait' ucj)da\fjiaiv ajxapvyaL 
 
THE LADY OF SHALOTT, ETC. 49 
 
 (As when a thought passes swiftly through the breast of a 
 man, and the sparkles flash from his eyes). 
 
 With Tennyson's picture of the sacrifice of Iphi- 
 genia should of course be compared the picture of the 
 same scene by iEschykis {Agamemnon, 225-49) and 
 Lucretius (i. 85-100). 
 
 The hright death quiver'd : 
 
 With this may be compared a precisely similar ex- 
 pression (for surely there can be no doubt of the true 
 interpretation, with the parallel afforded by Virgil's 
 use of vulnus) in the Electra of Sophocles, 1395 — 
 
 (With the newly-whetted blood [i.e. instrument that will 
 draw blood] in his hand). 
 
 I would the white cold heavy-pKmging foam, 
 "Whirl'd by the wind, had roU'd me deep below: 
 
 She expresses a similar wish in Iliad, iii. 73-4. 
 
 The skill with which the poet has, in the picture 
 of Cleopatra, given us, as it were in quintessence, 
 Shakespeare's superb creation needs no commentary. 
 One illustration maj' suffice : — 
 
 And the wild kiss, when fresh from war's alarms. 
 
 My Hercules, my Roman Antony, 
 My mailed Bacchus leapt into my arms : 
 
 Cf. Anton, and Cleopatra, act iv. sc. 8 : — 
 
 thou day o' the world ! 
 Chain mine arm'd neck, leap thou, attire and all. 
 Through proof of harness, to my heart, and there 
 Eide on the pants triumphing. 
 
 How hke a glow-worm in the sun is Tennyson's stanza 
 to this ! It is worth noticing that the passage — 
 
50 ILLUSTRATIONS OF TENNYSON 
 
 I died a Queen. The Eoman soldier found 
 Me lying dead, my crown about my brows, 
 
 13 a splendid transfusion of the last lines in Horace's 
 
 Odes, I. xxxvii. : — 
 
 • Invidens 
 
 Privata deduci superbo 
 
 Non humilis mulier triumpho 
 
 (Disdaining to be escorted unqueened, in proud triumph, no 
 grovelling woman she). 
 
 Once, like the moon, I made 
 The ever-shifting currents of the blood 
 According to my humour ebb and flow : 
 
 This appears to have been suggested by Susan Carter's 
 words in Ford's Witch of Edmonton, act ii. sc. 2 : — 
 
 You are the powerful moon of my blood's sea. 
 To make it ebb and flow into my face 
 As your looks change. 
 
 With that she tore her robe apart, and half 
 
 The poHsh'd argent of her breast to sight 
 Laid bare 
 
 is an almost literal translation from the Ileciiha, 
 556:— 
 
 Xa/3oJo-a TTfVXoDf (^ uKpas cVm/jiSof 
 
 i'pPV^^ 
 
 ^aarovs r' i'uei^e arepy^i 6\ cos ayuXfxara^, 
 KuXXio-ra 
 
 (She took lior robes and tore them right from the shoulder, 
 and bared her breasts and bosom, most lovely, as of a 
 statue), 
 
 the ' polish'd argent ' exactly and most happily inteu 
 pnting the idea suggested by uyaXfj-aro?, 
 
THE LADY OF SHALOTT, ETC. 51 
 
 Saw God divide the night with flying flame ; 
 Cf. Horace, Odes, I. xxxiv. £-6 :— 
 
 Diespiter 
 Igni corusoo nubila dividens 
 
 (The Father of the day dividin.-j the storm-clouds with 
 gleaming flame). 
 
 In the verses To J. S. the lines describing tears — 
 
 And tho' mine own eyes fill with dew, 
 Drawn from the spirit thro' the brain — • 
 
 were plainly suggested by the exquisite Alcaic stanza 
 of Gray on tears : — 
 
 lacrymarum fons tenero saoros 
 Duccntium ortus ex animo. 
 
 The singularly beautiful image in the lines — 
 
 His memory long will live alone 
 In all our hearts, as mournful light 
 
 That broods above the fallen sun. 
 And dwells in heaven half the night — 
 
 seems to have been suggested by Henry Vaughan's 
 
 poem — 
 
 Their very memory is fair and bright 
 
 It glows and glitters in ray cloudy breast 
 
 Like stars 
 
 Or those faint beams in which this hill is drest 
 After the sun's remove {Beyond the Veil). 
 
 A passage also from Dryden may be compared : — • 
 
 If I fall 
 I shall be like myself: a setting svm 
 Should leave a track of glory in the skies 
 
 {Bon Sebastian, act i, sc. 1), 
 
52 ILLUSTRATIONS OF TENNYSON 
 
 In the lines from On a Mourner — 
 
 such as those 
 Once heard at dead of night to greet 
 Troy's wandering prince, so that he rose 
 With sacrifice, Sc. — 
 
 the allusion is to Virgil {Mn. iii. 147 sg'^.)- 
 
 The expression in the verses Of old sat Freedom, 
 
 &c.— 
 
 Who, God-Hke, grasps the triple forks — 
 
 is borrowed from the Eomans, being the 'trisulcum 
 fulmen,' or ' trisulci ignes,' or 'trisulca tela' of the 
 Eoman poets. Of. Ovid, Met. ii. 848 ; id. Ibis, 471 ; 
 Seneca,if?;)^wL 190; Thyestes, 1090. 
 The phrase in Love thou thy land — 
 
 Across the brazen bridge of war — 
 is of course Homer's 
 
 eVi TTTo^f'fioLo yf.^upar {II. viii. 549). 
 
53 
 
 CHAPTEE IV 
 
 GEOUP III. ENGLISH IDYLLS, AND OTHEE POEMS 
 
 No poems of Tennyson are more pleasing than bis 
 English Idylls. The honour of having given the first 
 models for these belongs to Southey, who was followed 
 by Wordsworth in Michael and The Brothers. Southey's 
 poems are entitled by him English Eclogues, and were 
 composed between 1797 and 1803. To these poem 
 be prefixes a short note : ' The following Eclogues, I 
 believe, bear no resemblance to any poems in our 
 language. This species of composition has become 
 popular in Germany, and I was induced to attempt it 
 by an account of the German idylls given me in 
 conversation. They cannot properly be styled imita- 
 tions, as I am ignorant of that language at present, 
 and have never seen any translation or specimens in 
 this kind ' (Southey's Poetical Works, 1-vol. edit. p. 
 624). They are eight in number, and are entitled The 
 Old Mansion House, The Grandmother's Tale, Hannah, 
 The Sailor's Mother, The Witch, The Ruined Cottage, 
 The Last of the Family, The Alderman s Funeral. In 
 point of naerit there is no comparison between the 
 richness, grace, and beauty of Tennyson and the 
 bald, flat, and spiritless commonplace of Southey. 
 
Si ILLUSTRATIONS OF TENNYSON 
 
 But how closely Tennyson's Idylls are, in point of 
 form, modelled on Southey's, -will be at once apparent 
 to any one -who will take the trouble to compare 
 them. 
 
 The illustrations of the Morte d'Arilmr will be 
 given in the section on the Idylls of the King. In 
 The Gardener's Daughter we trace the influence of 
 Theocritus. The passage — • 
 
 From tlie woods 
 Came voices of the well-contented doves, &c. — 
 
 is simply a parody of Theocritus {Idyll vii. 139 sqq.), 
 
 just as in the lines — 
 
 all the land 
 
 Smelt of the coining summer — 
 we have a reminiscence of his 
 
 navT' mcrSe!/ depeos fjiuXa itiovos (id. 143) 
 (All savoured of a very rich summer). 
 
 So again in 
 
 The drowsy hours, dispensers of all good 
 
 we have a reminiscence of Id. xv. 104, but see hifra. 
 The physical effect of joy on the spirits so happily 
 
 described in the lines — 
 
 I rose up 
 Full of his bliss, and following her dark eyes 
 Felt earth as air beneath me — 
 
 had been expressed also with equal felicity by Massinger 
 {City Madam, act iii. sc. 3) : — 
 
 I am sublimed. Gross earth 
 Supports me not. I walk on air. 
 
 The whole plot of the poem standing next, Dora, to 
 
ENGLISH IDYLLS, ETC. 55 
 
 the minutest details is taken from a prose story of 
 Miss Mitford's, namely, The Tale of Dora Cresivell 
 {Our Village, vol. iii. pp. 242-253), the only important 
 alterations bemg that of the names : Farmer Creswell, 
 Dora Creswell, Walter Creswell, and Mary Hay, be- 
 coming respectiTely Allan, Dora, William, and Mary 
 Morrison. How carefully the poet has preserved the 
 picturesque touches of his original may be seen by 
 comparing the following t^YO passages : — 
 
 And Dora took the obild and went her way 
 Across the wheat, and sat upon a mound 
 That was unsown, where many poppies grew. 
 
 She rose and took 
 
 The child once more, and sat upon the mound ; 
 And made a Uttle wreath of all the flowers 
 That grew about, and tied it round his hat : 
 
 A beautiful child lay on tlie ground at some little distance, 
 whilst a young girl, resting from the labour of reaping, was 
 twistuig a rustic wreath of enamelled cornflowers, brilliant 
 poppies, snow-white lily-bines, and light fragile harebells, 
 mingled with tufts of the richest wheat-ears, round its hat. 
 
 That the poet's indebtedness to the novel has not 
 been intimated, is due no doubt to the fact that 
 Tennyson, like Gray, leaves his commentators to 
 track /him to his raw material; though why he should 
 have prefixed a preface to The Golden Supper acknow- 
 ledging his debt to Boccaccio, and should have omitted 
 to do so in the case of Dora, it is difficult to under- 
 stand. The author of Our Yillarie has certainly more 
 to gain from the honour than the author of the De- 
 camcrone. 
 
 In Audley Court, the graphic touch, the 
 
 Pillar'd duslc of sounding sycamores, 
 
S6 ILLUSTRATIONS OF TENNYSON 
 
 is from Milton : — 
 
 A 'pillar'' d shade 
 High over-aroh'd {Par. Lost, ix. llOG-7). 
 
 In Edwin Morris, in ' finish'd to the finger-nail,' 
 and ' Sneeze out a full God-bless-you right and left,' 
 ■we have illustrations of what has been referred to 
 before. An odd coincidence in this poem is worth 
 noticing. Edwin Morris's love appears to have pos- 
 sessed Julia's seal — 
 
 She sent a note, the seal an elle vous suit. 
 
 Julia's letter to Don Juan was despatched in an en- 
 velope — 
 
 The seal a sunflower — elle vous suit partout 
 
 {Don Juan, canto i. st. xeviii.). 
 
 For the source of St. Simeon Stylites and a necessary 
 commentary on it see Gibbon's Decline and Fall, eh. 
 xxxvii. (Smith's Gibbon), vol. iv. p. 320. "When the 
 saint, alluding to his mortal body, observes — 
 
 This dull chrysalis 
 Cracks into shining wings — 
 
 we are reminded of Carew's original but ludicrous 
 couplet — 
 
 The soul 
 Broke the outward shell of sin 
 And so was hatch'd a oherubin 
 
 (Caeew's Poems, lix.), 
 
 or still more immediately of Eogers's epigram com- 
 paring man on earth to the inglorious chrysalis, and 
 man after death to the full-fledged butterfly (Rogers's 
 Poem to a Butterfly). 
 
ENGLISH IDYLLS, ETC. 57 
 
 In liovc and Duty, the lines describing the lovers 
 
 parting — 
 
 The summer night, that paus'd 
 Among her stars to hear us ; stars that hung 
 Love-charm'd to listen : all the wheels of Time 
 Spun round in station, but the end had come — 
 
 irresistibly remind us of a similar scene in Words- 
 worth's Vaiidracour and Julia : — 
 
 The galaxy display'd 
 Her fires, that like mysterious pulses beat 
 Aloft, momentous but uneasy bliss : 
 To their full hearts the universe seem'd hung 
 On that brief meeting's slender filament. 
 
 The lines about the hours — 
 
 The slow sweet hours that bring us all things good. 
 The slow sad hours that bring us all things iU, &c. — 
 
 were of course suggested by Theocritus, 7(/. xv. 104-5 : — 
 
 ^(ipSiorat ^aKapcoif 'Qpai (piXai, aWa TroBeLPol 
 fp\0VTai 7rafreo"(jt ^poTols aUt n (^epoiirai 
 
 (Tardiest of the Happy Ones are the beloved Hours, but 
 greatly yearned for do they come, ever bringing some gift 
 for all men). 
 
 The very fine image, which concludes the poem, of 
 Morning driving 
 
 her plough of pearl 
 Far furrowing into light the mounded rack, 
 
 an image repeated with variation in The Princess, iii. — 
 
 Morn in the white wake of the morning star 
 Came furrowing all the orient into gold — 
 
58 ILLUSTRATIONS OF TEXNYSON 
 
 appears to have been suggested by Greene : — 
 
 Seest thou not Lycaon's son, 
 The liAxdy plougJi-swain unto migldy Jove, 
 Hath traced his silver fivrroivs in the heaven? 
 
 (Greene's Orlando Furioso, act i. so. 3.) 
 
 We now come to Ulysses. The germ, the spirit, 
 and the sentiment of this poem are from the twenty- 
 sixth canto of Dante's Inferno. Tennyson has in- 
 deed done httle but fiU in the sketch of the great 
 Florentine. As is usual with him in all cases where 
 he borrows, the details and minuter portions of the 
 work are his own ; he has added grace, elaboration, 
 and symmetry; he has called in the assistance of 
 other poets. A rough crayon draught has been meta- 
 morphosed into a perfect picture. As the resem- 
 blances lie not so much in expression as in the general 
 tone, we will in this case substitute for the original a 
 literal version. Ulysses is speaking : — 
 
 Neither fondness for my son, nor reverence for my aged sire, 
 nor the due love which ought to have gladdened Penelope, 
 could conquer in me the ardour which I had to become experi- 
 enced in the world, and in human vice and worth. I put out 
 into the deep open sea with but one ship, and with that small 
 company which had not deserted me. ... I and my companions 
 were old and tardy when we came to that narrow pass where 
 Hercules assigned his landmarks. ' brothers,' I said, ' who 
 through a hundred thousand dangers have reached the West, 
 deny not to this the brief vigil of your senses that remain, ex- 
 perience of the unpeopled world bej'ond the sun. Consider 
 your origin ; ye were not formed to live like brutes, but to foUow 
 virtue and knowledge.' . . . Night already saw the other pole 
 with all its stars, and ours so low that it rose not from the 
 ocean iloor (Inferno, xxvi. 94-126). 
 
 Now compare the key verses of Tennyson's poem, 
 Ulysses speaks : — 
 
ENGLISH IDYLLS, ETC. 59 
 
 I cannot rest from travel : I will drink 
 Life to the lees : aU times I have enjoy'd 
 Greatly, have suffer'd gi'eatly, both %vith those 
 That loved me, and alone. . . . 
 How dull it is to pause, to make an end ! 
 
 and vile it were 
 
 For some three suns to store and hoard myself, 
 And this gray spirit yearning in desire 
 
 To foUow knowledge 
 
 There lies the port : the vessel piiffs her sail : 
 
 There gloom tlie dark broad seas. Sly mariners, 
 
 Souls that have toil'd, and wrought, and thought with me — 
 
 That ever with a frolic welcome took 
 
 The thunder and the sunshine. . . . 
 
 you and I are old. 
 
 Death closes all : but something ere the end. 
 Some work of noble note, may yet be done. 
 
 Come, my friends, 
 
 'Tis not too late to seek a newer world. 
 Push off . . . for my purpose holds 
 To sail beyond the sunset, and the baths 
 Of all the western stars, until I die. 
 
 In the poem the imitations from Homer and Virgil 
 are too obvious to need specifying. One may be 
 noted : — 
 
 Sitting well in order, smite 
 The sounding furrows, 
 
 from Odyssey, iv. 580, and ix. 104 :— 
 
 e'^^s S' ^^ofievoi noXir/v aXa tvtttov ipiT^oLs 
 
 (And sitting in order they kept smitmg the hoary brine with 
 their oars). 
 
 The reminiscences from Horace, Teucer's speech to 
 his comrades, Odes, I. vii. 24-32, are equally unmis- 
 takable. So too Virgil's pluvias Hyadas, JEn. i. 748, 
 and iii. 516. 
 
6o ILLUSTRATIONS OF TENNYSON 
 
 The style of Tithonus, in diction, tone, and colour 
 alike, is obviously modelled on the soliloquies in the 
 Greek plays, but particularly on those in Sophocles ; its 
 exact counterpart in point of style would probably be 
 the soliloquy of Ajax {Ajax, 645-692 and 815-865), 
 the colour of course being richer, and the rhythm 
 softer and more plaintive. The story is told in the 
 Homeric Hymn to Aphrodite, 218-239. 
 
 Here at the quiet limit of the world : 
 
 vaL€ wap^ wKsavolo porjs, eVi nelpa(ri yairjs (HoM, Hymn, 227) 
 (He dwelt by the ocean stream, at the limits of the earth). 
 
 A white-hair'd shadow roaming like a dream 
 
 is a transfusion of the Homeric 
 
 CTKtrj ('{Ke\us *] Ka\ vveipa (OdlJSS. xi. 208) 
 (Like to a shadow or even a dream). 
 
 The superb image, applied to the horses of Aurora's 
 car, that 
 
 shake the darkness from their loosen'd manes, 
 And beat the twilight into flakes of lire 
 
 has been anticipated by Marston : — 
 
 See the dapple grey coursers of the morn 
 Beat up the light with their bright silver hoofs 
 
 {Antonio and Mellida, Part II. act i. sc. 1). 
 
 The ' saying learnt,' namely that 
 
 The Gods themselves cannot recall iheir gifts, 
 
 is of course an allusion to the vyell-known couplet of 
 Agathon quoted by Aristotle {Ethics N. vi. 2) : — 
 
ENGLISH IDYLLS, ETC. 6i 
 
 ^ovov yap auTOv Koi Seas fXTepia-KeTatj 
 
 (Of this thing alone is oven God deprived — to make undone 
 whatsoever hath been done). 
 
 Cf. too Horace, Odes, III. xxix. 45-48. 
 
 When Ilion Kke a mist rose into tmvers 
 
 is a reminiscence of Milion's Pandemonium : — ■ 
 
 Out of the earth a fabric huge 
 Rose like an exhalation. 
 
 I cartJi in earth forget these empty courts : 
 
 So Stephen Hawes, Pastime of Pleasure, xlv. : — ■ 
 
 When earth in earth hath ta'en his corrupt taste. 
 
 In Locksley Hall the poet seems to have laid many 
 of his brethren under contribution. Early in the 
 poem there is a parallel worth noting perhaps : — 
 
 Love took up the glass of Time, and turn'd it in his glowing hands ; 
 Every moment, lightly shaken, ran itself in golden sands. 
 
 In the poems of that elegant writer of happy trifles, 
 W. E. Spencer, we find a verse — 
 
 What eye with clear account remarks 
 
 The ebbing of his glass, 
 When all its sands are diamond sparks. 
 
 That dazzle as they pass? (Spencbe's Poems, p. 1G6.) 
 
 The magnificent line — 
 
 And our spirits rush'd together at the touching of the lips 
 
 looks like a reminiscence of Guarini's Pastor Fido, 
 act ii. scene 6 : — 
 
63 ILLUSTRATIONS OF TENNYSON 
 
 Ma i oolpi di due labbre innamorate, 
 Quando a ferir si va bocca con hocca, 
 
 ove I' un alma e V altra 
 
 Corre 
 
 (The clash of two enamoured lips when mouth strikes mouth 
 where the one soul and the other meet). 
 
 He will hold thee, when his passion shall liave spent its novel 
 
 force, 
 Something better than his dog, a little dearer than his horse 
 
 finds a curious parallel in John Hall Stevenson's 
 stanza {Works, vol. i. p. 39) : — 
 
 As when a squire sees a maiden coy, 
 
 He makes a jointure. 
 And in u fit of joy 
 
 Prefers Iter to a, pointer. 
 
 To decline 
 On a range of lower feelings : 
 
 So the ghost in Hamlet, commenting on Gertrude's 
 similar degradation : — 
 
 To decline 
 Upon a wretch whose natural gifts were poor 
 To those of mine {Hamlet, act v. sc. 5). 
 
 The many-wintered crow : 
 Horace — 
 
 Annosa comix {Odes, III. svii. 13). 
 
 The beautiful expression — 
 
 Such a one do I remember wliom to looTc at luas to love — 
 
 is Burns's more beautiful — 
 
 But to see her was to love her, 
 
 Love but her and love for ever {To Nancy). 
 
 A sorrow's crown of sorrow is remembering happier things 
 
 is, of course, Pante's— ^ 
 
ENGLISH IDYLLS, ETC. 63 
 
 Nessun maggior dolore 
 Che rioordarsi del tempo folioe 
 Nella miseria {Inferno, v. 121-3). 
 
 It has also been appropriated by Chaucer : — ■ 
 
 For of misfortune's sharpe adversite 
 The worste kind of infortmie is this : 
 A man to have been in prosperite 
 And it remember when it passed is 
 
 [Troilus and Creseide, iii. 1025, sqq.) ; 
 
 by Occleve, Proem to Ue Rcgimine Pmicijpum; by 
 Marini, L'Aclonc, canto xiv. st. 110 — 
 
 Che non ha doglia il misero maggiore 
 Che ricordar la gioia entro il dolore ; 
 
 and by Fortiguerra, Ricciardctto, c. xl. st. 83. It is 
 interesting to trace the history of the expression. 
 Dante got it directly from Boethius {De Consul. PMlos. 
 II. Prosa iv.) : — 
 
 In omni adversitate fortune, infelioissimum genus est 
 infortunii fuisse felicem et non esse. 
 
 But no one has expressed it more clearly than Pindar, 
 who, curiously enough, implies that even in his time 
 the sentiment had passed into a proverb : — 
 
 toi't' aviaporarov, KoKa ytvcoo'KnvT^ avciyKa 
 fKTos e'xeiv TrdSa {Pythian, iv. 510-12) 
 
 (They say that this is most grievous, when acquainted with 
 what is good, to be compelled to stand outside it). 
 
 It has found equally precise expression in Thucydides, 
 II. xliv. 5 :— 
 
 KaL AvTTr] ov;^ toi' iiu Tis fxi) 77fipao"d/iel'0? uya£wv CTTepLaKrjTai, dX\' 
 01* av i6a^ ysvqfX€Vos tifpaipedrj 
 
 (And sorrow is felt not for the blessings of which one is 
 deprived without full experience of them, but of that lyhicl; 
 pn§ loses after becorniag accustoined to it), 
 
64 ILLUSTRATIONS OF TENNYSON 
 
 The weird and graphic use of the word ' ej'e ' in — 
 And an eye shall vex thee, looking ancient kindness, &c. — 
 
 forcibly recalls the similarly strange and felicitous 
 use of ojxiia in Sophocles' Electra, 902 : — 
 
 (There strikes upon my soul a famUiar eye). 
 
 The cynical aspiration of the young hero in Lochsley 
 Hall, that he might ' burst all links of habit,' ' take 
 some savage woman who should rear his dusky race,' be 
 ' mated with a squalid savage,' and so get more enjoy- 
 ment than he could hope for ' iu this march of mind,' 
 finds a curious parallel in Beaumont's Philaster, act iv. 
 scene 2 : — 
 
 Oh, that I had been nourish'd in the woods, 
 
 and not known 
 
 The right of crowns, nor the dissembling trains 
 
 Of women's looks 
 
 And then had taken me some mountain girl. 
 Beaten with winds, that might have strew'd my bed 
 With leaves and reeds, and have borne at her big breasts 
 My large coarse issue. This had been a life 
 Free from vexation. 
 
 The fine image of the storm wind — 
 Cramming all the blast before it, in its breast a thunderbolt— 
 
 recalls Tasso's 
 
 Nuova nube di polve ecoo vicina 
 
 Che fulgori in grembo tiene {Gerus. ix. st. 91) 
 
 (Lo, a fresh cloud of dust is near, which carries in its breast 
 thunderbolts). 
 
 Godiva should be. compared with Moultrie's beau-. 
 
ENGLISH IDYLLS, ETC. 65 
 
 tiful poem on the same subject ; it appears to have 
 suggested Tennyson's. 
 
 A very graphic expression in the next poem, The 
 Sleeping Beauty — 
 
 The siUj, star-broider'd coverlid 
 
 JJnto her limhs itself doth mould, — 
 
 has evidently been transferred from Homer {Iliad, 
 xxiv. 163), where he speaks of Priam — 
 
 (Wrapped up in his mantle so closely as to show the contour 
 of his limbs). 
 
 The couplet in the Envoi of Tlie Day Dream — 
 
 For wo are Ancients of the earth, 
 And in the morning of the times — 
 
 is obviously merely a version of Bacon's famous — - 
 
 Antiquitas SECuli, juventus mundi. 
 
 And waves of shadow went over the wheat {Poet's Scnj) : 
 
 Cf. Thomson's 
 
 fresher gale 
 Sweeping with shadowy gusts the holds of corn 
 
 (Summer, 1G55). 
 
 The Lord of Burleigh tells the well-known story of 
 Sarah Hoggins, who married, under the circumstances 
 related in the poem, the Earl of Exeter. She died in 
 1797, sinking, so it was said, under the burden ' of an 
 honour unto which she was not born.' See for more 
 the Times for August 22, 1844. 
 
 The Beggar Alaid was suggested either hy Romeo and 
 Juliet, act ii. scene 1, or by the hne ballad in Percy's 
 Rcliques, Fhst Series, 'jook ii. ballad vi. 
 
 F 
 
66 ILLUSTRATIONS OF TENNYSON 
 
 . The Vision of Sin was evidently suggested by 
 Shelley's Triumph of Life, from which the leading, 
 ideas and much of the imagery have been derived, 
 though Tennyson has narrowed the allegory. In his 
 hands it simply becomes the history of the serement 
 of a human soul through the effects of unbridled 
 profligacy, and finds its best commentary in Byron's 
 lyric ' There's not a joy the world can give.' 
 
6; 
 
 CHAPTEE V 
 
 GROUP IV. ENOCH AKDEN AND OTHER POEMS 
 
 Enoch Ardcn bears the same relation to its proto- 
 types, Southey's English Eclogues, as Wordsworth's 
 Michael bears— the connecting Hnk, so to speak, be- 
 tween the English Idylls and this work being Dora. 
 It is interesting to compare Enoch Arden, and particu- 
 larly the part describing Enoch's return home, with 
 Crabbe's touching story, The Parting Hour. But the 
 framework of a portion, at all events, of the story 
 was evidently suggested by a poem in Miss Adelaide 
 A. Procter's Legends and Lyrics, entitled Homeward 
 Bound. Tennyson has, indeed, often done little more 
 than fill in the sketch given by her. Compare, for 
 example, the passage describing Enoch on the island — 
 
 The mountain wooded to the peak, &c. 
 
 As down the shore he ranged, or all day long 
 Sat often in the seaward-gazing gorge — 
 
 with the passage in which her hero sits brooding on 
 the shore, over memories of his wife and child : — 
 
 Gaunt and dreary ran the mountains 
 "With Hack gorges up the land, 
 t Up to where the lonely desert 
 
 Spreads her burning dreary sand, 
 
 F2 
 
68 ILLUSTRATIONS OF TENNYSON 
 
 In the gorges of the mountains 
 On the plain beside the sea. 
 
 Then I gazed at the great ocean. 
 
 Nor has he forgotten the touch about the largeness of 
 the stars in a tropical sky : — 
 
 And the ghmmering iiars though larger, 
 
 which appears as^ 
 
 Then the great stars that globed themselves in heaven. 
 
 Compare, too, the return home- and the anticipation 
 of again meeting his wife and child : — 
 
 I would picture my dear cottage, 
 See the crackly firewood burn 
 And the two beside it seated. 
 
 The journey, too, through the autumn landscape to 
 his cot tag?, and the picture of Annie with her little 
 family and husband seen in the glow of the ruddy fire 
 — in all this Tennyson simply fills in Miss Procter's 
 
 sketch : — 
 
 It was evening in late autumn 
 
 And the gusty wind blew chill, 
 Autumn leaves were falling round me 
 And the red sun lit the hill. 
 
 She was seated by the fire, 
 In her arms she held a child. 
 
 Smiled on him who stood beside her. 
 He had been an ancient comrade ; 
 
 Not a single word we said 
 While we gazed upon each other, 
 
 He the living, I the dead. 
 
 The beautiful and pathetic touch about the dead child 
 
ENOCH ARDEN, ETC. 69 
 
 was also suggested by Miss Procter's poem, so also the 
 angelic character of Enoch : — ■ 
 
 Nothing of farewell I utter'd, 
 
 Save in broken words to pray 
 That God in His great love would bless her ; 
 * Then in silence pass'd away. 
 
 So, broken-hearted and uncomplaining, in the very 
 sublimity of resignation and self-sacrifice, Miss 
 Procter's hero sets forth and leaves them, consoling 
 himself that the end must come before long : — 
 
 I too shall reach home and rest, 
 I shall find her waiting for nre, 
 "With our baby on her breast. 
 
 Plainly it was on this poem and not on Mrs. Gaskell's 
 Sylvia's Lovers ^ that Enoch Ardeii was founded. In 
 the details of the poem there are no reminiscences or 
 parallels sufficiently striking to be worth pointing out. 
 The general cast and style of the idyll of The Brook 
 remind us closely of Wordsworth's Brothers. In the 
 charming lyric inserted there are two interesting little 
 parallels, one with Burns's Halloween, and the other 
 with the well-known Italian inscription on a sun-dial. 
 Burns's lines are as charming as Tennyson's : — 
 
 Whyles owre a linn the burnie plays 
 
 And thro' the glen it wimpl't, 
 Whyles round a rooky scaur it strays, 
 
 WTiyles in a weU it dimpl't ; 
 Whyles glitter'd to the nightly rays 
 
 Wi' bickerin dancin dazzle, 
 Whyles cookit underneath the braes 
 
 Below the spreading hazel {Hallotveen, st. 25). 
 
 ' Though, curiously enough, the name of the ship in which Enoch 
 sailed, the Good Fortune, is identical with the name of the ship in 
 which Mrs. Gaskell's mariner makes his voyage. 
 
70 ILLUSTRATIONS OF TENNYSON 
 
 Men may come and men may go 
 But I go on for ever : 
 
 lo vado 6 vengo ogni giorno, 
 Ma tu andrai senza ritorno. 
 
 In Aylmer's Field the line — 
 
 Pity, the violet on the tyrant's grave — 
 
 is, of course, an allusion to the passage in which 
 Suetonius tells us that there were those who placed 
 flowers on Nero's grave, hated though he was : — 
 
 Et tamen non defuerunt qui per longum tempus vernis 
 sestivisque floribus tumulum ejus ornarent (hh. vi. ad fin.) 
 
 (Nevertheless there were not wanting people who continued 
 for along time to deck his grave with flowers of the spring 
 and summer). 
 
 In Sea Dreams, the lines — 
 
 my poor venture but a fleet of glass 
 Wreok'd on a reef of visionary gold — 
 
 may be compared with Pindar (Fragment 136, edit. 
 Schneidewin) : — 
 
 TreXayei S' fV TToXv^pvcroio nXovrnv 
 7rdvT€s tVa veop.ev ^If^vdij irpos aKTav 
 
 (And on a sea rich in golden wealth we all alike go sailing 
 towards a beach of delusion) — 
 
 which is indeed a commentary on the whole passage 
 in Tennyson's poem. 
 
 A useful and indeed necessary commentary on 
 Lucretius, which stands next, will be a collection of 
 the passages in the De Eerum Natura itself, and in 
 the other Greek and Eoman classics on which the 
 poet has drawn. The anecdote, sufficiently horrible 
 aud repulsive, on which the poem ig founded, is to be 
 
ENOCH ARDEN, ETC. 71 
 
 found in Jerome's additions to the Eusehian Chronicle 
 under the year b.c. 94 — 
 
 Titus Lucretius poeta nascitur; postea amatorio pooulo in 
 furorem versus, cum aliquot libellos per intervalla insanise coii- 
 Bcripsisset, quos postea Cicero emendavit, propria se manu 
 interfecit anno Eetatis xliii. 
 
 (Titus Lucretius the poet is born : afterwards when driven 
 mad by a love philtre, and after he had composed, in the 
 intervals of his insanity, several books, which Cicero after- 
 wards revised, he committed suicide in the forty-third year 
 of his age). 
 
 That the name of the woman who administered the 
 philtre was Luciha, and that she was the poet's wife, 
 rests, I beheve, on the authority of a single sentence 
 ascribed to Seneca, but not to be found in the works 
 of either of the Senecas : — 
 
 Livia virnm suum oocidit queni nimis oderat, Luctlla suum 
 quern nimis amaverat 
 
 (Livia murdered her husband whom she hated excessive!}-, 
 and Luciha murdered hers whom she had loved exces- 
 sively). 
 
 See Bayles's Dictionary, sucticle L^icretins. None of the 
 editors of Lucretius whom I have consulted, not even 
 Monro, throw any light on this mysterious quq;t^ 
 tion of Bayles's.' 
 
 It seem'd 
 A void was made in Nature ; all her bonds 
 Crack'd ; and I saw the flaring atom-streams 
 And torrents of her myriad universe 
 Euining along the illimitable inane : 
 
 ' This distinguished scholar has plenty to say about the use of is 
 or es in the accusative plural of words ending in ium in the genitive 
 plural, but not one word does he say about the legend -which inspired 
 Tennyson's poem. 
 
72 ILLUSTRATIONS OF TENNYSON 
 
 The posBibility, or rather ultimate certainty, of this 
 dissolution is repeated over and over again in Lucretius. 
 See lib. i. 1101-1110, the passage Tennyson was here 
 thinking of (cf. too Kb. ii. 47-48). 
 
 The magnificent word ' ruining ' in this sense is 
 
 from Milton : — 
 
 Hell saw 
 Heaven ruining from Heaven (Par. Lost, vi. 8G7). 
 
 Milton in using it thus anglicised it from the Italian 
 ' ruinando.' Marini, L'Adone, cant. i. st. 36, employs 
 it in this sonse : — 
 
 Buinando dal eterea mole. 
 
 Fly on to clash together again, and make 
 Another and another frame of things 
 For ever : 
 
 For this doctrine of the perpetual reciprocity of 
 analysis and synthesis, of dissolution and re-creation, 
 see ii. 999-1022, v. 828-836. 
 
 As the dog 
 With inward yelp and restless fore-foot plies 
 His function of the woodland ; 
 
 This was suggested by a passage in lib. iv. 990-5 : — 
 
 Venantumque canes in moUi saepe quiote 
 Jactant crura tamen subito, vocesque repente 
 Mittunt, et crebro redducunt naribus aura's 
 
 (And the dogs of hunters often in soft repose throw about 
 their legs and suddenly utter cries and repeatedly snuff the 
 air with their nostrils). 
 
 Tennyson has omitted one graphic touch, the 're- 
 peatedly snuffing the air,' but he has substituted 
 another not less graphic, the ' inward yelp,' 
 
ENOCH ARDEN, ETC. 73 
 
 The . . . genial heat 
 Of Nature, when she strikes tliro' the thick blood 
 Of cattle, and light is large, and lambs are glad 
 Nosing the mother's udder, and the bird 
 Makes his heart voice amid the blaze of flowers : 
 
 In these lines Tennyson has caught the one joyous 
 note of Lucretius, his intense and keen delight in 
 Nature, as rapturous as Shelley's. The passages 
 which here find their echo are in lib. i. 6-20 ; id. 252- 
 261, the particular touches being — 
 
 Perculsae corda tua vi (13) 
 (With their hearts smitten by thy power) ; 
 
 Placatumque nitet diffusa lumine coelum (9) 
 (And propitiated heaven gleams with outspread light) ; 
 
 Per pabula lasta 
 Corpora depontmt, et candens laoteus humor 
 Uberibus manat distentis : hinc nova proles 
 Artubus inlirmis teneras lasciva per herbas 
 Ludit, lacte mero mantes peronlsa novellas (257-261) 
 
 ([The cattle] lay their bodies down about the joy-giving 
 pastures, and the white milky moisture streams from the 
 distended udders : and so a new brood with weakly limbs 
 sports playfully over the soft grass, their young minds 
 smitten with the love of pure mOk). 
 
 The Gods, who haunt 
 The lucid interspace of world and world. 
 Where never creeps a cloud, or moves a wind, 
 Nor ever faUs the least white star of snow : 
 
 Apparet divum numen sedesque quietas 
 Quas neque concutiunt venti nee nubila nimbis 
 Aspergunt neque nix, acri concreta pruina, 
 Cana cadens violat, semperque innubilus tether 
 Integit (iii. 18-22) 
 
 (The divinity of the Gods is revealed and their peaceful seats, 
 
74 ILLUSTRATIONS OF TENNYSON 
 
 which neither winds shake nor clouds drench with rain, nor 
 snow, hardened by piercing frost, htirts with its hoary fall : 
 but ever does a cloudless sky invest them). 
 
 LucretiuB was, of course, himself drawing on Odyssey, 
 
 vi. 42 sqq. 
 
 My master held 
 That Gods there are, for all men so believe : 
 
 The reference here is to Diogenes Laertius, Life of 
 
 Epicurus, ch. xxvii., which is the letter of Epicurus to 
 
 Menoeceus. 
 
 I prest my footsteps into his : 
 
 Literally from Lucretius : — 
 
 Inqne tuis nunc 
 Ficta pedum pono pressis vestigia signis (iii. 3-4) 
 
 (And in thy traces I now plant my own footsteps firmly 
 fixed). 
 
 Since he never sware, 
 Except his wrath were wreak'd on v/retched man, 
 That he would only shine among the dead 
 Hereafter ; tales ! for never yet on earth 
 Could dead flesh creep, or bits of roasting ox 
 Moan round the spit : 
 
 The references are to Odyssey, xii. 383 sqq. and id. 
 
 394-6. 
 
 And here he glances on an eye new-born, 
 And gets for greeting but a wail of pain : 
 
 Miscetur funere vagor 
 Quem pueri tollunt visentes luminis oras 
 
 (lib. ii. 570-7) 
 
 (With the funeral wail is blended the cry which young 
 children raise when they enter the borders of light). 
 
 Cf. too King Lear, act iv. scene 6 : — 
 
 "When we are born we cry that we are come 
 To this great stage of fools. 
 
ENOCH ARDEX, ETC. 75 
 
 Not thankful that his troubles are no more : 
 
 The allusion is to lib. iii. 900-905. 
 
 Or lend an ear to Plato where ho says, 
 That men like soldiers may not quit the post 
 Allotted by the Gods : 
 
 Plato, Phcedo, vi. : — 
 
 0)5 ei/ TLVi (jipovpa ij^i^v oi ufBpanrot kol ov det 6/) €aVTov e/c TavTrjs 
 Xv'eii' ovb' ajTOOiSpauKfi!' 
 
 (SVe men are as it were on jjuard, and a man ought not, 
 indeed, either to free himself from it nor ought he to run 
 away), 
 
 though (fypovpd is here generally taken as meaning 
 a prison.' Cf. with this passage Spenser, Faerie 
 
 Qucenc, I. is. 41 : — 
 
 The term of life is limited, 
 Ne may a man prolong, nor shorten it ; 
 The soldier may not move from watchful sted 
 Nor leave his stand untill his captaine bed. 
 
 The lines — 
 
 How should the mind, except it loved them, clasp 
 These idols to herself? — 
 
 contain with the passage that follows an allusion to 
 the images or emanations which, according to 
 Lucretius, matter is always throwing off. The proper 
 commentary on the passage is nearly the whole of the 
 fourth book of the original. 
 
 ' So Professor Jowett takes it (Translation of Plato, vol. i. p, 434) ; 
 but, with due deference to so great an authority, I cannot but think 
 4hat Tennyson's interpretation is the correct one. Plato seems to be 
 alluding to a saying of Pythagoras to which Cicero refers, De 
 Senectute, sect. 73, ' Vetatque Pythagoras injussu imperatoris, id est 
 Dei, de prsesidio et statione vitse decedere.' See too Ttisc. Disp. i. 74. 
 And Plato's own expression toS Sk Beoj TdrroyTos, Apologxj, xxviii., may 
 certainly be cited in corroboration. It is difficult to see the propriety 
 of the word airo^iipifTKiiv if the word (ppovpa means a prison. 
 
76 ILLUSTRATIONS OF TENNYSON 
 
 But who was he that in the garden snared 
 Picus and Faunus, rustic Gods ? 
 
 This is a singular illustration of the various learning 
 ■which Tennyson so often displays. The allusion 
 is plainly to Ovid's Fasti, iii. 291-328, where Egeria 
 instructs Numa to ensnare Picus and Faunus, that 
 they may show him how the thunderholts of Jupiter 
 may be averted. 
 
 And here an Oread — how the sun deliglits 
 To glance and shift about her slippery sides : 
 
 It is impossible not to notice here the felicity with 
 which the poet, in adopting, has interpreted a singular 
 epithet in Horace. The line 'Vultus nimiiim luhricus 
 aspici ' {Odes, I. xix. 8) has been interpreted by many 
 generations of commentators as a face too dangerous to 
 be gazed upon. But there is surely no reason why the 
 epithet should not be explained as meaning a face volup- 
 tuously symmetrical, a face over which the eyes slip 
 and wander, as it were, because in its rounded smooth- 
 ness they find no particular feature on which to pause. 
 Dante, it may be noticed, uses a similar expression, 
 but with reference to dazzling {Purg. viii. 34-5) : — 
 
 Ben discerneva in lor la testa bionda, 
 Ma nelle facce V ocohio si smarria 
 
 (Quite clearly did I discern in them the fair head, but in 
 their faces the eye wandered about [or went astray]).' 
 
 Tennyson's lines enable us to understand the force 
 and propriety of the expression. A poet is, after all, 
 the best commentator on a poet. 
 
 A satyr, a satyr, see, 
 Follows ; but him I proved impossible : 
 
 ' This may be fanciful ; perhaps the word only means ' was be- 
 wildered ' or ' got lost,' like ' smarrito volto,' Purg. xiz. 14. 
 
ENOCH ARDEN, ETC. r7 
 
 See lib. ii. 700 sqq. for the proof alluded to. 
 
 No larger feast than under plane or pine, &o. r 
 Almost a translation of lib. ii. 29-33. 
 
 Heliconian honey in living words : 
 An allusion to the beautiful passage lib. i. 934 sqq. 
 These hllnd heginnings : 
 
 The 
 
 2>rimordia cceca (i. 110-3). 
 
 For the whole of this passage see ii. 999-1032 quoted 
 above, and ii. 872-885, and id. 1048-1066. 
 
 The very sides of the grave itself shall pass, 
 Vanishing : 
 
 Denique non monimenta viriim delapsa videmus ? (v. 311) 
 
 (Then, too, do we not see the monuments of men crumbling 
 to pieces ?) 
 
 A touch in the description of the suicide of Lucretius 
 was evidently suggested by Virgil's description of the 
 suicide of Dido : — 
 
 Thus — thus : the soul flies out and dies in the air : 
 Sic, sic, juvat ire sub umbras {^n. iv. CCO) — 
 
 the repetition of the ' thus ' and the ' sic ' marking 
 the infliction of the successive stabs. 
 
78 ILLUSTRATIONS OF TENNYSON 
 
 CHAPTER VI 
 
 GEOUP V. — THE PRINCESS, ETC. 
 
 The suggestion of the idea of The Prhicess may have 
 come from Johnson's liasselas, chap. xHx. : — 
 
 The Princess thought that of all sublunary things laiowledgo 
 v/as the best : she desired first to learn all sciences, and then 
 purposed to found a college of learned ■women in which she 
 would preside. 
 
 It may have been suggested as a sort of reversed 
 counterpart to Shakespeare's Love's Labour's Lost, or 
 as an allegory corresponding to Spenser's Artegal and 
 Eadigund, Faerie Queene, bk. v. cantos iv.-vi. In any 
 case it should be carefully compared with the latter, 
 as the moral and the teaching are identical ; both 
 being refutations of the theory advanced in the fifth 
 book of Plato's RepiiUic. As might be expected in a 
 work so exquisitely elaborated in point of style, we 
 find an unusual number of reminiscences and adapta- 
 tions. 
 
 SECTION I 
 
 And coolc'd his spleen : 
 This is an Homeric phrase : — 
 
 eVi I'rjva-l XO'^O" 6vfiakye'a iT(cr<T(i {II. iv. §13) 
 (At the ships he cooks his heart-grieving spleen). 
 
THE PRINCESS, ETC. 79 
 
 Cf., too, Iliad, i. 81, and Aristotle, Ethics, IV. V. 10 : — 
 
 eV avT(3 de 77t'i^ai ttjv dpyrjv ^poi^ov Set 
 (To digest internally one's wrath takes time). 
 The lines — 
 
 A wind arose and rush'd upon the South, 
 
 And shook the songs, the whispers, and the shrieks 
 
 Of the wild woods together ; and a Voice 
 
 Went with it, ' Follow, follow, thou shalt win ' — 
 
 are like an echo of Shelley's lines — 
 
 A wind arose among the pines- and shook 
 The clinging music from their boughs, and then 
 Low, sweet, faint sounds like the farewell of ghosts 
 Were heard, ' O follow, follow, follow me ! ' 
 
 (Prometheus Unbound, ii. 1). 
 
 So, too, the lines — 
 
 But bland the smile that like a wrinkling wind 
 On glassy water drove his cheek in lines — 
 
 appear to be a reminiscence of 
 
 O'er the visage wan 
 Of Athanase, a ruffling atmosphere 
 Of dark emotion, a swift shadow ran 
 Like wind upon some forest-bosom'd lake, 
 Glassy and dark. 
 
 The simile — 
 
 As when a field of corn 
 Bows all its Gars before the roaring East — 
 
 is, with the substitution of East for West, from Homer, 
 II. ii. 147-8: — 
 
 a3s d' ore KLvrjajj Z€<pvpos (Badv "Ki^iov, e\6uiv 
 y^dlSpos, ^Tratyl^cov, ini t' TjpveL d(rra^ve<T(rLV 
 (As when the west-wind tosses a deep cornfield, rushing 
 down with furious blast, and it bows with aU its ears). 
 
 The beauty of this simile had struck Milton, who has 
 also borrowed it [Par. Lost, iv, 980-1). 
 
8o- ILLUSTRATIONS OF TENNYSON 
 
 SECTION II 
 
 In shining draperies, headed like a star, 
 Her maiden babe : 
 
 So Homer of Astyanax : — 
 
 'EKToplSrjv aymrr^Tov iikiyKiov airrfpl KoKa 
 (Hector's loved son, like unto a beautiful star). 
 
 It is worth noticing that the only beauty in Hobbes's 
 translation of the Iliad is his version of this passage :^ 
 
 And, like a star, upon her bosom lay 
 His beautiful and shining golden head. 
 
 The Lady Psyche's lecture reminds us of the discourse 
 of the learned lady in Prior's Alma : — 
 
 This world was once, &c. 
 
 then the monster, then the man. 
 
 Thereupon she took 
 
 A bird's-e3'e-view of all the ungracious past. 
 Glanced at the legendary Amazon, . . . 
 Appraised the Lycian custom, . . . 
 Ban down the Persian, Grecian, Eoman lines 
 Of empire 
 
 till warming with her theme 
 
 She fulmined out her scorn of laws Salique 
 And little-footed China, touch'd on Mahomet 
 With much contempt, and came to chivalry. 
 
 Now let us listen to Prior's learned dame : — 
 
 She kindly talk'd at least three hours 
 Of plastic forms and mental powers. 
 Described our pre-existing station 
 Before this vile terrene creation. 
 And, lest I should be wearied, madam, 
 To cut things short, came down to Adam. 
 
THE PRINCESS, ETC. 8i 
 
 From whence, as fast as she was able. 
 She drowns the world, and bnilds up Babel. 
 Through Syria, Persia, Greece she goes. 
 And takes the Romans in the close 
 
 (Alma, canto i. 891). 
 
 The Lady Psyche has the advantage of having a 
 particular purpose in view, but Prior's satire is as fine 
 as Tennyson's, and much less wearisome than Tenny- 
 son's strained artificiality. 
 
 The ingenious simile in which the sudden collapse 
 of a speaker is compared to the sudden collapse of a 
 
 sail — 
 
 till as when a boat 
 Tacks, and the slacken'd sail flaps, &c. — ■ 
 
 may be compared to an image something similar in 
 
 Dante : — 
 
 QuaU dal vento le gonfiate vela 
 Caggiono avvolte, poiohe 1' alber fiacca 
 
 {Inferno, canto vii. 13-14) 
 
 (As sails swelled by the wind fall entangled when the mast 
 gives way). 
 
 The incident of the wounded stag^ 
 
 In gentler days, your arrow- wounded fawn 
 Came flying while you sat, &c. — 
 
 seems to be a reminiscence of Silvia's wounded stag 
 in the beautiful passage in Virgil's seventh ^Eneid, 
 483-504. 
 
 SECTION III 
 
 In the song with its burden — 
 
 Sleep, my little one, sleep, my pretty one, sleep — 
 
 we have, of course, a reminiscence of Alcmena's lullaby 
 in Theocritus, xxiv. 7-9 : — 
 
 G 
 
83 ILLUSTRATIONS OF TENNYSON 
 
 evder' e/^a I3pi<j)€a y\vK€pbv /cat eyipo'tp.ov vjtpov, 
 fvder' e'fia ^j/V}(u, &0. 
 
 (Sleep, my little ones, a sweet and lightsome sleep. Sleep, 
 soul of mine). 
 
 Morn in the white wake, &o. : 
 See illustration in note on Love and Duty. 
 
 The thiclc-leaved platans : 
 Cf. Moschus, Idyll v. : — 
 
 vTrb 7rXaTai^u> /Sa^u^i/XXw 
 (Under the thick-leaved plane). 
 
 Our weakness somehow shakes the shadoiu, Time : 
 The expression is from Wordsworth — - 
 
 Death, the skeleton, 
 And Time, the shadow [Yeiv Trees). 
 
 Consonant chords that shiver to one note : 
 
 Cf. Izaak Walton's Life of Bonne: — • 
 
 It is most certain that two lutes, being both strung and tuned 
 to an equal pitch, and then one being played upon, the other that 
 is not touched, being laid upon a table at a fit distance, will, like 
 an echo to a trumpet, warble a faint, audible harmony in answer 
 to the same tune. 
 
 The crane, I said, may chatter of the crane, 
 The dove may murmur of the dove, but I, 
 An eagle, clang an eagle to the sphere : 
 
 An obvious imitation of Theocritus, Idijll ix. 31 : — 
 
 TtTTi^ piV TtTTiyi ipiXoSy fJiVp^aKL 5c' fivpfij^, 
 
 ipr^Kes S' Lprj^Li/- e'/iif 6' d Mwtra kol &ji5a 
 
 (Cicala is dear to cicala, and ant to ant, and hawks to hawks, 
 but to me the Muse and song). 
 
 Cf., too, id., Idyll X. 30-31; and Virgil, Eclog. ii, 
 63-04. 
 
THE PRINCESS, ETC. 83 
 
 She speaks 
 A Memnon smitten with tlie morning smi : 
 
 The allusion is to Pausaims, lib. i. 42, ad ineJ. 
 
 Settled in her eyes 
 The green malignant light of coming storm : 
 
 Nothing could form a better commentary than this 
 on the real meaning of Homer's jXavKiocov as applied 
 to an angry lion : — 
 
 yXavKiooiv 6' Wvs (^iptrai jiivei (Iliad, xx. 172), 
 
 and the Pseudo-Hesiod's — 
 
 yKavKiocDv 8' ocraois Seivuv {Scutum AcJiillis, 430), 
 
 also of an angry lion ; and possibly of Pindar's 
 
 ykavKoi SpuKovres {Olymp. viii. 49) ; 
 
 and so, too, Oppian, Cynegetica, iii. 70, of the eyes of 
 the pard. In all these passages the word 7Xau/<:os has 
 not, I submit, its ordinary meaning of simply ' gleam- 
 ing ' or ' flashing ' as of the sea, or of ' blue ' or ' grey,' 
 or ' blue-grey,' nor has it any connection with its ordi- 
 nary application to the eyes of Pallas Athene ; it is the 
 peculiar whity green glint flashing from the eye of an 
 enraged animal — lion, tiger, cat, or pard — and Tenny- 
 son exactly expresses its meaning. For the precise 
 shade of colour see Nonnus, TJionys. v. 178, who applies 
 it to the rjreen gleam of the smaragdus or emerald : — 
 
 yXavK^i^ »5e 'hlSni )(\ouovcra jxapuybov. 
 
 SECTION lY 
 The casement slowly grows a glimmering sciuare : 
 
 Cf. Leigh Hunt, Hc7v and Lcander, canto ii. ad fin. — ■ 
 
 a 2 
 
84 ILLUSTRATIONS OF TENNYSON 
 
 And when the casement at the dawn of light 
 Began to show a square of ghastly white. 
 
 The line- 
 Dear as remember'd kisses after death — 
 
 is obviously suggested by Mosohus, Idyll iii. 69-70. 
 
 Stared with great eyes and laujVA with alien lips 
 is literally, of course, from Odyssey, xx. 347 : — 
 
 ol 5' ijbr] yvad^olai yeXcocoi' aXkorpioiai. 
 
 Horace has forestalled Tennyson in borrowing the 
 same phrase. Sat. II. iii. 72. 
 
 And play the slave to gain the tyranny : 
 
 So Tacitus of Otho : — 
 
 Omnia serviliter pro dominatione {Hist. i. oh. 3G) 
 
 (Doing all things like a slave for the sake of dominion). 
 
 He has a solid base of temperament, 
 But as the water-lily starts and slides 
 TJpon the level in little pufs of wind 
 Though anchor' d to the bottom — such is he : 
 
 This felicitous and picturesque simile is one of 
 Tennyson's many debts to Wordsworth : — 
 
 A thing 
 Subject ... to vital accidents ; 
 And, like the water-lily, lives and thrives, 
 Whose root is fix'd in stable earth, whose head 
 Floats on the tossing waters (Excursion v. ad med.). 
 
 Whose hvaiiis arc in their hands and in ihcir heels: 
 
 This very vigorous expression is from Longinus, or 
 from the author of the I)c Haloncso, from whom 
 Longinus apparently quotes it : — 
 
 61 iJ-Tj Tuv iyKif^aXov Iv rais nrepvais KaraTrewaTrjfxivov (j)opHT( 
 {De S^ib. xxxviii.) 
 
THE PRINCESS, ETC. 85 
 
 . (Unless you carry your brains next to the ground in yottr 
 heels). 
 The words of the author of the De Haloneso arc — 
 
 fOTfp u/jEis Tov iyni^oKov iv Tois Kporat^ois , Ka\ fi!] iv rals 
 irripvais KaTaTre-narqjievov Kpopelre (De Hal.) 
 
 (If you have a brain in your temples and not nest to the 
 ground in your heels). 
 
 It was probably a proverb, and Libanius {Arg. ad Orat.) 
 censures it for its silliness {svrjOss tl vofii^srai) ; and 
 as an illustration of this it was probably cited l)y 
 Longinus. 
 
 SECTION V 
 
 Their morions, wash'd loith morninj : 
 
 A beautiful expression in which Tennyson had been 
 anticipated by Browning, who describes Florence as — 
 
 Washed by the 7norning water-gold [Old Pictures at Florence). 
 
 The fine simile in which Ida's unshaken firmness is 
 compared to a pine vexed and tried by storm was 
 evidently suggested by the simile in which A'irgil com- 
 pares ^neas under similar circumstances to an oak 
 {^En. ii. 441 sqq.). 
 
 As comes a pillar of electric cloud : 
 
 With this graphic description of the progress of a 
 thunderbolt compare Lucan's equally graphic descrip- 
 tion of the same thing, Pharsalin, i. 152-158. 
 
 SECTION VI 
 
 In the song ' Home they brought her warrior 
 dead,' which opens this section, we have a very in- 
 teresting illustration of the skill with which Tennyson 
 
86 ILLUSTRATIONS OF TENNYSON 
 
 transmutes into his own precious metal the less re- 
 fined ore of other poets. It is just possible that the 
 suggestion for this song came from Thorpe's version 
 of the First hay of Giuhun, prepared for the press in 
 1856, but not published till 1866. In this lay it is 
 told how Gudrun sat over the corpse of Sigurd, burst- 
 ing with sorrow but unable to weep. 
 
 No sigh she uttered, nor with her hands beat, nor wailed as 
 other women. Jarls came forward of great sagacity, from her 
 sad state, of mind to divert her. Gudrun could not shed a tear. 
 Sat there noble wives of jarls, adorned with gold, before Gndrun ; 
 each of them told her sorrows, the bitterest she had known. . . . 
 But Gudrun could not shed a tear, such was her affliction for 
 her dead consort. . . . Then said GuUrond, Giuki's daughter, 
 ' Little canst thou, my fosterer, wise as thou art, with a young 
 wife fittingly talk.' The king's body she forbade to be longer 
 hidden. She snatched the sheet from Sigurd's corse, and turned 
 his cheek towards his wife's knees. ' Behold thy loved one, lay 
 thy mouth to his lip as if thou would'st embrace the living 
 prince.' Gudrun upon him cast one look. . . . And a flood of 
 tears fell to her knees (Thoepe's Edda of Sceinund the Learned, 
 pp. 89-91). 
 
 It will be seen that Tennyson has altered the legend : 
 what in his version brings tears to Gudrun is not the 
 sight of her lord's dead face, but the sight of her 
 child. For this suggestion he seems to have been 
 indebted to Sir Walter Scott. Compare the folbwing 
 passage from The Lay of the Last Minstrel (canto i. 
 stanza 9) : — 
 
 O'er her warrior's bloody bier 
 The ladye dropp'd nor flower nor tear, 
 Until, amid her sorrowing clan, 
 Her son lisp'd from the nurse's knee 
 
THE PRINCESS, ETC. 87 
 
 Then fast the mother's tears did seek 
 To dew the infant's kindling cheek. 
 
 Curiously enough, the climax of the piece — the sudden 
 and passionate resolve on the part of the bereaved 
 parent to live for the child — closely resembles a passage 
 in Darwin's once celebrated episode of Eliza in the 
 Botanic Garden. There the mother has been slain in 
 war, and the young husband, distracted wiLh grief, 
 has abandoned himself to despair ; but on his two 
 little children being presented to his sight, exclaims, 
 like Tennyson's heroine — 
 
 These bind to earth — for these I pray to live 
 
 (Loves of the Plants, canto iii. 2G9-326). 
 
 SECTION VII 
 
 The magnificent simile — 
 
 As one that climbs a peak to gaze 
 O'er land and main, and sees a great black cloud 
 Drag inward from the deeps, a wall of night 
 Blot out the slope of sea from verge to shore, 
 
 And quenching lake by lake, and tarn by tarn 
 Expunge the world — 
 
 is taken literally from Iliad, iv. 275 : — 
 
 ws 5' or' (1770 (jKoiTirii clde ve(pos aiTvuXos o.vr^p, 
 £p^6ij.€i^(iv Kara ttovtov VJTO Z€<pvpQiO-.LCO^S, 
 rm 5e t' avev6^v iuvTi, jxiKavT^pov, rjvre nttro-a, 
 (f}aLi'eT^ lov Kara ttovtov, tiyei 5e r^ XaiXawa ttoXXtjv 
 
 (As when a goatherd from some hill peak sees a cloud coming 
 across the deep with the blast of the West wind behind it ; 
 and to him, being as he is afar, it seems blacker, even as 
 pitch, as it goes along the deep, bringing a great whirlwind). 
 
 Compare, too, Lucretius (vi. 256 sqq.), who has imi- 
 
88 ILLUSTRATIONS OF TENNYSON 
 
 tated the same simile ; it is curious that Monro should 
 not have noticed this. The passage beginning — 
 
 Come down, maid, from yonder mountain height — 
 
 is a splendid illustration of Tennyson's method. 
 Taking the framework from Theocritus, he wreathes 
 round, beneath, and over it such a wealth of original 
 ornament that it is barely discernible; but barely 
 discernible it supports the work. The passage on 
 which this ' small sweet Idyl ' is modelled is the 
 Cyclops' invocation to Galatea {Idyll xi. 20-79) ; but 
 in the details one touch only has been directly imitated 
 
 from the original : — 
 
 Leave 
 The monstrous ledges there to slope : 
 
 Tav yKavaJav hi daXacrcrav i'a ttotI ^epaov opfxBciv (1. 43) 
 (Leave the hlue sea to roll against the land). 
 
 But it is the note of Theocritus, not of this idyll alone, 
 but of Id. iii., of the song of Battus in Id. x., just as 
 the repetition of ' sweet ' is precisely the 
 
 aSet' a tpaii/a ras Truprios, dbii to nvevpa' 
 ddv de ^03 fiocrxos yapverai, &C. (Idyll viii.) 
 
 (Sweet is the voice of the heifer, sweet her breath, sweet, too, 
 the voice of the calf). 
 
 The moan of doves in immemorial elms 
 
 is Virgil's 
 
 Nee gemere aeria cessabit turtur ah ulmo 
 
 {Eel. i. 58). 
 
 The whole passage is a marvellous illustration of 
 Tennyson's power of catching and rendering in English 
 the charm of the best and sweetest Greek pastoral 
 poetry — of preserving the very honquet— 
 
THE PRINCESS, ETC. 8g 
 
 as having clasp'd a rose 
 Within the palm, the rose being ta'en away 
 The hand retains a little breath of sweet, 
 Holding a full perfume of his sweet guest. 
 
 In the miscellaneous poems -which follow The 
 Princess there are not many reminiscences and 
 parallels. The vigorous phrase in The Third of 
 February — 
 
 to dodge and palter with a public crime — 
 
 is Shakespeare's 
 
 Dodge 
 And palter in the shifts of baseness 
 
 {Antony and Cleopatra, act iii. so. 9). 
 
 In the Ode on the Death of the Duke of Wellington 
 it is impossible not to feel that the poet owes something 
 to the fine panegyrics of Claudian — particularly the 
 De Laudibus Stilieho7iis. There is one curious co- 
 incidence in this poem with a passage about Stilicho 
 in Claudian's De Bello Getico : — 
 
 good gray head which all men knew : 
 
 Sideris instar 
 Emicuit Stilichcnis apex, et cognita fulsit 
 Canities (De Bello Get. 458-GO). 
 
 The beautiful expression ' apple-cheek'd ' in The 
 
 Islet — 
 
 A bevy of roses apple-cliceVd — 
 
 is from Theocritus — 
 
 ;^' d fjLcikoTTaprjos 'Ayai'a (Idyll xxvii.) 
 (And apple-cheeked Agave) ; 
 
 and the lines — 
 
 For Saxon or Dane or Norman we, 
 Teuton or Celt, or whatever we be, 
 "\Ye are each all Dane in our welcome of thee — 
 
90 ILLUSTRATIONS OF TENNYSON 
 
 recall the exquisite adulation of Martial enumerating 
 the various nations which welcome Csesar home : — 
 
 Vox diversa sonat populorum, est vox tamen una 
 Cum verus patriaa dioeris esse pater 
 
 (i>e 8j)ectaculia, epig. iii.). 
 
 The exquisitely felicitous expression in The Daisy— 
 
 By hays, the peacocVa necTt in hue — 
 
 if not suggested by Southey's lines in Madoc, finds in 
 them an excellent illustrative commentary : — 
 
 One glowing green expanse 
 Save where along the bending line of shore 
 Such hue is throion, as when the peacoch's necTc 
 Assumes its proudest tint of amethyst 
 Embathcd in emerald glory {Madoo in Wales, xiii.). 
 
 The rich Vu-gilian rustic measure 
 Of Lari Maxunie : 
 
 An allusion, of course, to Georgics (lib. ii. 159 sqq.). 
 
 In the two magnificent stanzas entitled Will we 
 are strongly reminded both of Horace and Virgil, as 
 well as of Daniel. 
 
 For him nor moves the loud world's random mock, 
 Nor aU Calamity's hugest waves, &c., 
 
 were plainly suggested by the famous lines which 
 begin the third ode of the third book of Horace's Odes, 
 and perhaps owe something to the grand poem of 
 Daniel, addressed to the Countess of Cumberland. 
 The verses which follow — 
 
 "Who seems a promontory of rock. 
 That, compass'd round with turbulent sound 
 In middle ocean meets the surging shock 
 Tempest-buffeted — 
 
THE PRINCESS, ETC. 91 
 
 arc obYicr.£ly imitated from A'irgil {JEn. x. 693) : — 
 
 Ille velut rupes vastum qiiae prodit in aequor 
 Obvia ventortim furiis, expostaque ponto 
 Tim ounctam atque minas perfert ccelique marisque 
 Ipsa immota manens 
 
 (He like a rock which juts out into the mighty deep, exposed 
 to the rage of the wind and braving the sea, bears all the 
 violence and menace of heaven and ocean, itself all un- 
 moved). 
 
 See, too, the parent simile (Iliad, xv. 618 sqq.). 
 
 The idea in the Httle poem (a metaphysical plati- 
 tude) — 
 
 Flower in the crannied wall, 
 
 if I could understand 
 
 A\Tiat you are, root and all, and all in all, 
 I should know what God and man is — 
 
 is expressed by Donne (Sermons, Alford edit. vol. iv. 
 p. 61) :- 
 
 Everj- worm in the grave, lower, every weed upon the grave 
 is an abridgment of all. 
 
 But the best commentary is Plotinus (Enncad. III. ii. 
 1):- 
 
 TO fiepos 7rap4)(€TaL oXoi/, kol irav uvrco (piXop- ov ;^a)p:[r^ez' aXXo 
 QTT tiWov, ouSe erepQV yfy^VTjjxivov fxoi/oj/ kqi tcop oXXmi* aTre^ej'O)- 
 ^lepov 
 
 (A part exhibits the whole and the whole is friendly to itself, 
 not separated one part from the other nor become another 
 alone and estranged from others). 
 
92 ILLUSTRATIONS OP TENNYSON 
 
 CHAPTEE VII 
 
 GROUP VI. — IN MEJIorjAM 
 
 With the exception of Gray's poems there is probably 
 no poem in our language so loaded with reminis- 
 cences so skilfully and exquisitely assimilated as In 
 Memoriam. If ever there was a poet who might say 
 
 with Horace — 
 
 Ego apis Matins) 
 More modoque 
 Grata carpentis thyma per laborem 
 Plurimum . . . operosa . . . 
 Carmina fingo 
 
 (Like the bee of Matina feeding with endless toil on the 
 sweet thyme, what I compose I compose with elaborate 
 care) — 
 
 it would surely be the poet of In Memoriam. 
 
 In illustrating this work it may be well to com- 
 ment first on the general scheme of the whole com- 
 position, secondly on the versification, and thirdly 
 to illustrate it in detail. The general scheme of the 
 work appears to have been suggested by the series of 
 sonnets and canzoni dedicated by Petrarch to the 
 memory of Laura de Sade. Tennyson, it is true, 
 strikes deeper chords, and embraces a far wider range 
 of subjects than Petrarch ; his themes and his treat- 
 ment alike are at once more subtle, more profound, and 
 
IN MEMORIAM 93 
 
 more complex. But the main lines on -^'hich his work 
 runs are the lines on which Petrarch's sonnets and 
 canzoni run. In ninety-eight short poems the 
 Italian poet reiterates, now in tones of tempered 
 grief, now of rapturous gratitude or pensive grateful 
 retrospect, the truth so well put by his English pupil — 
 
 'Tis better to have loved and lost 
 Than never to have loved at all. 
 
 He tells how his earthly love for an earthly object, 
 fertile with temporal blessings though it was, has by 
 death become transformed and purified. The poems 
 composing In Mcmoriam appear to fall into four 
 cycles — the first extending from Section i. to Section 
 xsx. ; the second from xxxi. to Ixxviii. ; the third 
 from Ixxix. to cv. ; and the fourth from cvi. to 
 the end. In the first the note is simple elegy, the 
 expression of grief and the sense of loss, and has its 
 direct counterpart in Petrarch. The poems in the 
 second cycle are occupied for the most part in specu- 
 lations on the solemn and awful problems which 
 death and life, the Creator and the world, present and 
 suggest to a thoughtful man of the present day. Of 
 this there is nothing in Petrarch, who, being a devout 
 Catholic, sees all clear in the light of Eevelation. 
 The poems in the third cycle, for the most part 
 lyric expressions of personal feeling, records of happy 
 memories of the dead friend, and of the consciousness 
 of his spiritual presence, have their exact counterpart 
 in Petrarch. In the fourth cycle there is much 
 of course which has nothing corresponding in the 
 Bonnetti and canzoni, but there is much also which 
 does correspond, as in such sections as cxv., cxvi., 
 
94 ILLUSTRATIONS OF TENNYSON 
 
 cxxi., cxxx., which are purely Petrarchian. But 
 the similarity really conaists in the identity of the 
 central truth, that in Love's hands are the keys of 
 Paradise. The object of Petrarch's affection and 
 'sorrow, etherealised by death, becomes identified with 
 the Madonna, and the canzone to her who 
 
 Di sol vestita, 
 Coronata di stelle, al sommo Solo 
 Piaoesti si che 'n te sua luce ascoBO 
 
 closes the poems. So with the work of Tennyson it 
 opens with mere threnody, it closes with the vision of 
 
 That God, which ever lives and loves, 
 
 One God, one law, one element, 
 
 And one far-off divine event. 
 To which the whole creation moves. 
 
 The influence of Petrarch indeed suffuses the whole 
 poem as it suffuses the Elecjy of Gray. 
 
 Much has been written about the peculiar stanza 
 form employed in In jllemoriam, and it has usually 
 been stated that the scheme of its metre was borrowed 
 from Ben Jonson, Underwoods, xxxix., or Catiline, chorus 
 in act XX. I am not aware whether any poet in our 
 language prior to Ben Jonson has employed this stanza 
 in octosyllabics, but it was certainly not Jonson's inven- 
 tion, as it is commonlj'- employed by the French poets 
 of the fifteenth century, and Puttenham (1589) includes 
 it in his scheme of metres. Art of EnijJishPoesie (edit. 
 Arber), pp. 99 and 101. However this may be, it must 
 be obvious to any one who has any ear that the rough 
 and jolting verses of Jonson, so singularly deficient 
 in rhythm and cadence, supposing they did suggesi 
 the stanza, could have suggested nothing but the bald 
 outline. Jonson's rhythm holds about the same relation 
 
IN MEMORIAM 95 
 
 to the matchless mechanism of Tennyson's stanza, as 
 the hexameters of the Iliad hold to the hexameters of 
 The Courtshi}} of Miles Standisli. It is not unlikely that 
 the peculiarly beautiful caesura effect and fall of cadence, 
 which characterise Tennyson's measure, are to be 
 numbered among his many debts to Wordsworth — see 
 The Affliction of Margaret. This poem, though not in 
 the quatrain employed by Tennyson, has exactly the 
 same cadence and the same peculiar rhytlimic effect. 
 Take for example these verses : — 
 
 Alas ! tho fowls of heaven have wings, 
 And blasts from heaven will aid their flight. 
 Again : — 
 
 My apprehensions come m crowds, 
 I dread the rustling of the grass, 
 The very shadows of the clouds 
 
 Have power to shake me as they pass. 
 
 But it seems probable that the measure, the bint of 
 
 the cadence, and indeed the whole cast of the metre, 
 
 have been taken from a very rare volume,^ scarcely 
 
 known even to professed students of our early poetry 
 
 — the occasional verses of Lord Herbert of Cherbury, 
 
 the brother of George Herbert. Some of Herbert's 
 
 stanzas are so similar to In Memoriam, that even a 
 
 nice ear might excusably mistake one or two of them for 
 
 the Laureate's. They occur in a piece entitled An 
 
 Ode upon the Question, ichetlier Love should continue 
 
 for ever : — 
 
 Oh ! no, beloved, I am most sure 
 
 These virtuous habits wc acquire. 
 
 As being with the sonl entire, 
 Must with it evermore endure. 
 
 ' These poems have been edited by the present writer for Messrs. 
 Chatto & Windus. 
 
96 ILLUSTRATIONS OF TENNYSON 
 
 Else should our souls in vain elect, 
 And vainer yet were Heaven's laws, 
 "When to an everlasting cause 
 
 They give a perishing effect. 
 
 Not here on earth, then, nor above. 
 
 Our good affections can impair ; 
 
 For where God doth admit the fair. 
 Think you that He excludeth love ? 
 
 These eyes again thine eyes shall see. 
 These hands again thine hands enfold. 
 And all chaste blessings can be told 
 
 Shall with us everlasting be. 
 
 For if no use of sense remain 
 When bodies once this life forsake, 
 Or they could no delight partake. 
 
 Why should they ever rise again ? 
 
 Let then no doubt, Celinda, touch, 
 Much less your fairest mind invade ; 
 Were not our souls immortal made. 
 
 Our equal loves can make them such. 
 
 In illustrating In Memoriam in detail, it may be 
 well to group the sections according to the cycles 
 indicated above. 
 
 CYCLE I. : PEOLOGUE TO XXX 
 
 The noble verses which open In Memoriam are 
 obviously a transfusion, so to speak, of some verses of 
 Lord Herbert's brother, George Herbert, who appears 
 to be a favourite with the Laureate. A comparison 
 of Herbert's first stanza with the opening of Ten- 
 nyson's poem will at once illustrate the fine art of 
 the latter poet and the peculiar manner in which he 
 has, more or less unconsciously no doubt, availed 
 himself of his predecessor's poem. 
 
IN ME MORI AM 97 
 
 Strong Son of God, Immortal Love, 
 
 Thine are these orbs of light and shade ; 
 
 Thou madest life in man and brute ; 
 
 Thou madest Death ; and lo, thy foot 
 Is on the skull which thou hast made : 
 
 Immortal Love, Author of this great frame, 
 
 Sprung from that beauty which can never fade. 
 
 How hath man paroell'd out Thy glorious name. 
 And thrown it on the dust which Thou hast made 
 
 (Hekbekt JjOvc) ; 
 
 ■Whether I fly with angels, fall with dust, 
 Thy hands made both, and I am there. 
 
 (Id., Tlie Temper, 26, 27). 
 And thou hast made him : thou art just {In Mem.) : 
 And God has promised : He is just (Heebeet, The Discharge). 
 Our little systems have their day, 
 
 And Thou, Lord, art more than they (In Mem.) : 
 
 Lord, though we change. Thou art the same 
 
 (Heebebt, Whit- Sunday). 
 
 The lines, applying to Love — 
 
 Whom we, that have not seen thy face, 
 By faith, and faith alone, embrace. 
 Believing where we cannot prove — 
 
 recall Byron : — 
 
 Love, no habitant of earth thou art, 
 An unseen seraph, we believe in thee 
 
 [Ghilde Harold, canto iv. st. cxxi.). 
 
 That mind and soul according well 
 May make one music : _ 
 
 That so thy favours granting my request. 
 They and my mind may chime (IIcr.BEET, Denial). 
 
 u 
 
98 ILLUSTRATIONS OF TENNYSON 
 
 Our wills are ours, we know not how; 
 Our wills are ours, to make them thino : 
 
 The best commentary on this is the whole of the 
 third canto of Dante's Paradiso. 
 
 Confusions of a wasted youth : 
 
 This curious use of the word has been anticipated by 
 Vaughan the Silurist : — 
 
 These dark confusions that within me nest (Dressing). 
 
 Him who sings 
 To one clear harp in divers tones : 
 
 The poet alluded to is Goethe/ though there is no 
 reference to any particular passage, but to his general 
 teaching. But compare St. Augustine : — 
 
 De yitiis nostris scalam nobis facimus si vitia ipsa calcamus 
 (Serm. clxxvi. in edit. Migne, tom. xxxviii. p. 2082). 
 
 Of., too, Longfellow's well-known poem Tlie Ladder of 
 St. Augustine. 
 
 O, not for thee, the glow, the bloom, 
 Who changest not in any gale (ii.) 
 
 of the yew tree ; cf. Pliny, Nat. Hist. lib. xvi. c. 40 : — 
 
 Non enim onincs florent et sunt tristes quaedam, qumque non 
 sentiunt gaudia annorum 
 
 ' Lord Tennyson, in a letter addressed to u, Mr. Baron in July 
 1380, and published by that gentleman in the Christian Worldt 
 August 17, 1882, writes : ' As far as I can recollect, I referred to 
 Goethe.' The compiler of this volume has been informed by friends 
 who have the honour of knowing Lord Tennyson, that be is in the 
 habit of giving the same reply to those who ask him to explain the 
 Reference, 
 
JN ME MORI AM 99 
 
 (For they do not all bear flowers, and some are sombre, and 
 such as have no experience of the joys of the years). 
 
 Bat perhaps ' gaudia annorum ' mean only flowers. 
 
 A use in measured language lies ; 
 The sad mechanic exercise. 
 Like dull narcotics, numbing pain (v.) : 
 
 Cf. Donne, Triple Fool : — 
 
 I thought if I could draw my pams 
 
 Through rhyme's vexation I should them allay, 
 
 Grief brought to niimbers cannot be so fierce. 
 
 One writes, that ' Other friends remain,' 
 That ' Loss is common to the race.' 
 
 That loss is common would not make 
 My own less bitter (vi.) : 
 
 The aUusion is to Hamlet, act i. scene 2, and how 
 admhably has Tennyson expressed in this poem all 
 that Hamlet implied without expressing : — 
 
 Queen. Thou know'st 'tis common ; all that live must die, 
 Passing through nature to eternity. 
 Hamlet. Ay, madam, it is common. 
 
 Xever morning wore 
 To evening, but some heart did break {id.): 
 
 Nee nox ulla diem neque noctem aurora secuta est 
 QuiE non audierit mixtos vagitibus a;gri 
 Ploratus {Lucretius, ii. 578-80) 
 (Nor did any night ever follow day nor morning night that 
 heard not wailings mingled with the sickly infant's cries). 
 
 Drops in his vast and wandering grave {id.) : 
 
 To seek the empty vast and wandering air 
 
 (Shakespeare, Rich. III. act i. sc. S). 
 
loo ILLUSTRATIONS OF TENNYSON 
 
 With Section viii. may be compared Crabbe's 
 Lover's Journey, and the magnificent hnes in Young's 
 
 Night Thoughts, i. : — 
 
 The disenchanted earth 
 Lost all her lustre. Where her ghttering towers, 
 Her golden mountains where ? — All darken'd down 
 To naked waste, a dreary vale of tears. 
 The great magician's dead. 
 
 "With Section ix. should be compared Horace, Ode iii. 
 lib. i., and Theocritus, Idyll viii. 53 sqq., which plainly 
 inspired it. 
 
 The iine epithet applied to a cloud, that 
 onward drags a labouring breast (xv.) 
 
 has been anticipated by Marlowe {Dr. Faustus, ad 
 
 finevi) : — 
 
 Into the entrails of j'on labouring cloud. 
 
 In xvi. the lines about the unhappy bark — 
 
 That strikes by night a craggy shelf 
 And staggers blindly ere she sink — 
 
 find an interesting illustration in Napier's description 
 of the Battle of Albuera, Hist, of the Pen. War, Book 
 ■ xii. : — 
 
 The Fusileer battalions struck by the iron tempest reeled 
 and staggered lilce sinMng ships. 
 
 In xvii. again may be traced the inspiration of 
 Theocritus, Horace, and perhaps Petrarch. 
 
 And from his ashes may be made 
 The violet of his native land (xviii.) : 
 
 Cf. Persius, Sat. i. 39 :— 
 
 Nunc non e tumulo fortunataque favilla 
 Nascentur violae ; 
 
 and Shakespeare, Hamlet, v. 1 :^ 
 
IN MEMORIAM loi 
 
 And from her fair and unpolluted flesli 
 May violets spring. 
 
 My lighter moods are like to these, 
 But there are other griefs within (xx.) 
 
 (and cf., too, Section xlix.) : apparently suggested by 
 Shakespeare : — 
 
 My grief Hes all within, 
 And these external manners of lament 
 Are merely shadows to the unseen grief 
 That swells with silence in the tortured soul 
 
 (Bic/i. n?]. 
 
 Section xxii. has an exact counterpart in Petrarch's 
 forty-seventh sonnet (In Mortc). 
 
 The Shadow cloab'd from head to foot, 
 "Who keeps the keys of aU the creeds (xxiii.) : 
 
 Cf. Milton, Par. Lost, ii. 665 sqq. for a commentary 
 on the first line, and Pope's — 
 
 Wait the Great Teacher Death (Essay on Man, Epist. i. 92) 
 
 for an illustration of the second. But it is the re- 
 petition of an idea which Sir Thomas Browne has in 
 his Religio Medici thrown into many forms. 
 
 And Thought leapt out to wed with Thought 
 Ere Thought could wed itself with Speech (ib.) : 
 
 More simply Pope :— 
 
 When thought meets thought ere from the lips it part 
 
 (Eloisa to Ahelard). 
 
 No lapse of moons can canker Love, 
 Whatever fickle tongues may say (xxvi.) : 
 
 Love's not Time's fool (Shakespeaee, Sonnet cxvi.). 
 
102 ILLUSTRATIONS OF TENNYSON 
 
 'Tis better to have loved and lost 
 Than never to have loved at all (xxvii.) : 
 
 Of the many illustrations of this sentiment let two 
 
 suffice : — 
 
 'Tis better to have been left than never to have been loved 
 (CoNGEEVE, Way of the World, ii. 2) ; 
 
 and Thackeray, Pendennis, vol. i. ch. vi. : — 
 
 It is best to love wisely, no doubt, but to love foolishly is 
 better than not to be able to love at all. 
 
 CYCLE IT. : XXXI.-LXXVIII 
 
 An admirahle commentary on the teaching em* 
 bodied in Section xxxiii. will be found in Bishop 
 Butler's Durham Charge, in which he points out the 
 necessity of ' the keeping up as well as we are able 
 the form and face of religion with decency and reve- 
 rence. The form of religion may, indeed, be where 
 there is little of the thing itself, but the thing itself 
 cannot be preserved among mankind without the 
 form.' 
 
 The meanings of the homeless sea (xxxv.) : 
 
 This beautiful line is partly from Horace, Odes, II. 
 
 XX. — 
 
 Visam gementis littora Bospori 
 
 (I shall go to see the shores of the moaning Bosporus), 
 
 and partly from Shelley — 
 
 The thunder and the hiss 
 Of homeless streams (Alastor). 
 
 The sound of that forgetful shore (xxxv.) : 
 
 This unusual use of the word is found in Milton : — 
 
I.y ME MORI AM ic3 
 
 The sleepy drench 
 01 \hxX forgetful lake (Far. Lost). 
 
 An excellent commentary on xxxvi. is found in Cran- 
 mer's Vvords in his Preface to his Bible : — 
 
 For the Holy Ghost hath so ordered and attempered the 
 Scriptures that in them as well publicans, fishers, shepherds, 
 may find their edification as great doctors their erudition. 
 
 The very pretty expression — 
 
 Make April of her tender eyes (xl.) — 
 
 appears to have been suggested by Shakespeare : — 
 
 The April's in her eyes, it is love's spring. 
 And these the showers to bring it on 
 
 (Antonij and, Cleopatra, act iii. so. '2). 
 
 In Section 1. it may be remarked that nothing could 
 better illustrate the essential differences between the 
 poetry of the post-Eevolution time and that of the 
 eighteenth century, than to compare these verses with 
 Tickell's invocation to the spirit of Addison, Elegy on 
 the Death of Addison ; see the passage beginning ' Oh 
 if sometimes thy spotless form descend.' 
 
 My words are only words, and moved 
 Upon the topmost froth of thought (Iii.) : 
 
 From Persius — 
 
 Summa delumbo saliva 
 Hoc natat in labris {Sat. i. 104) 
 
 (This emasculate stuff floats on the topmost froth of the lips). 
 
 The lines in Section liv. — 
 
 That nothing walks with aimless feet ; 
 That not one life shall be destroy'd, &o. — 
 
 embody one of Wordsworth's great doctrines : — 
 
164 ILLUSTRATIONS OF TENNYSON 
 
 'Tis Nature's law 
 That none the meanest of created things, 
 Or forms created the most vile and brute, 
 The dullest or most noxious, should exist 
 Divorced from good, a spirit and pulse of good, 
 A life and soul, to every mode of being 
 Inseparably link'd (The Old Cumherland Beggar). 
 
 And ' Ave, ave, ave,' said, 
 ' Adieu, adieu ' for evermore (Ivii.) : 
 
 The funeral adjuration of the Romans — ■ 
 
 Atque in perpetuum frater ave atque vale (Catullus, ci. 10) — 
 
 and so frequently in inscriptions ; see Orelli's collection 
 passim. There is an expression in section Ivi. which 
 deserves commentary : — 
 
 Dragons of the prime, 
 That tare each other in their slime, 
 
 This is, or might be, an excellent illustration of 
 Tennyson's careful learning, though possibly the 
 poet had no notion of the singular propriety of his 
 expression. The ' slime ' is the Trporspr] IXvs — Horace's 
 'princeps limus ' (Odes, I. xvi. 13), the primeval mud 
 out of which all things were formed at the beginning, 
 when all was fluid and unconcocted. See ApoUonius 
 Rhodius, Argon, iv. 675 : — 
 
 Tolovs Koi TrpoTeprjs e^ iKvos i0\d<TTr](Tev 
 ^6q)V aiiTTjj . , 
 
 oil 5c TTG) d^oKeoLO ^oKals t6(tov rjiXioLO 
 iKjiaSas ali/Vfievr] 
 
 (Such creatures Earth herself produced out of the primeval 
 mud, when as yet she was not made solid by the thirsty 
 air, and had not as yet got moisture from the raya of the 
 scorching sun). 
 
IN MEMORIAM 105 
 
 Thy marble iriglit in darli appears (Ixvii.) : 
 
 Cf. Shakespeare, Sonnet sliv. : — 
 
 Are darkly bright, axe bright in darh directed. 
 
 Sleep, Death's twin-brother (Ixviii.) : 
 
 So Iliad, xiv. — 
 
 €vS* "Yttvoj fTv^i^XrjTo KaaiyvTjTa Qavdroto 
 (Where he met with Sleep, Death's brother) ; 
 
 BO Virgil, ^?i. vi. 278 — 
 
 Leti consaBguineus Sopor ; 
 and Shelley — 
 
 Death and his brother. Sleep {Queen Mob, 2). 
 
 In shadowy thoroughfares of thought (Ixx.) 
 
 was obviously suggested by that weird and pregnant 
 line in Sophocles, (Ed. Tyr. 67 — 
 
 TToXXas 6' obovi iXSovra (ppovriSos n^dpois 
 (Having traversed many paths in the wanderings of thought), 
 
 on which Shelley so admirably comments in a note 
 quoted by Mrs. Shelley in her prefatory remarks on 
 
 the Prometheus Unbound. 
 
 Death has made 
 His darkness beautiful with thee (Isxiv.) : 
 
 Exactly Petrarch's — 
 
 Non pu6 morte il dolce viso amaro ; 
 Ma '1 dolce viso, dolce puo far morte 
 
 {Sonnet Ixxx.). 
 The breeze of song (Ixsv.) : 
 Pindar's phrase — 
 
 ovpos Zfivav {Pythian, iv. 5) 
 
 (The breeze of songs). 
 
io6 ILLUSTRATIONS OF TENNYSON 
 
 With the whole of Ixxvi. should be compared the 
 magnificent passage in Dante's Purtjatorio, 91-117, 
 ■which plainly inspired tliis fine section as well as the 
 third stanza, one of the grandest Tennyson ever 
 wrote, in Section Isxiii. The opening words — 
 
 Take wings of fancy, and ascend — 
 
 are from Petrarch, Sonnet Isxxii. : — 
 
 Volo con r ali de' pensieri al cielo. 
 
 A good commentary on 
 
 Where all the starry heavens of space 
 Are sharpen'd to a needle's end 
 
 will be found in Shalfespeare, Cymbelinc, act i. 
 scene 4 : — 
 
 till the diminution 
 Of space had pointed Mm as sharp as a needle. 
 
 Section Ixxviii. exactly answers in its general pur- 
 port to Petrarch's twenty-fifth sonnet {In Morte di 
 Donna Laura). Cf. especially 
 
 E certo ogni mio studio in quel temp' era 
 Pur di sfogare il doloroso core 
 In qualche modo, non d' acquistar fama. 
 Pianger cercai, non giii del pianto onore 
 
 (And certainly all my desire at that time was merely to case 
 in any way my troubled heart, not to win fame. I sought 
 to weep, not at all the glory of weeping). 
 
LY MEMORIAM 107 
 
 CYCLE ni. : LXXIX.-CV 
 Labiirniims, drojiping-wells of fire (Ixxxiii.) : 
 Cf. Cooper's simpler expression — 
 
 Laburnum rieli 
 In streaminQ gold (Task, vi. 149); 
 
 compare too a similarly vivid pictm-e of the arbute in 
 Calpurnius Siculus, a poet to whose exquisite touches 
 of natural description no critic, so far as I know, has 
 
 done justice : — 
 
 Ab isdem ssepe cavernis 
 AiD'ca cum croceo creverunt arbuta ninibo 
 
 (Eclog. vii. 71-2). 
 
 In Ixxxv. we have one of the most purely Petrarchian 
 of Tennyson's poems ; compare it with Sonnet xlii. 
 
 But Smiimer on the steaming floods ; 
 
 Compare the whole passage, again purely Petrarchian, 
 with Sonnet xi. So too the latter part of the section 
 corresponds exactly in tone, spirit, and sentiment, with 
 the divine sixth canzone. While the lines — 
 
 The great Intelligences fair 
 That range above oiir mortal state — • 
 
 find their commentary in Dante's Convito, ii. 5 : — 
 
 Li movitori di quello (Cielo) sono sustanze separate da 
 materia, cioe Intelligenze, le quali la volgare gente chiamano 
 AngeU 
 
 (The movers of that third (heaven) are substances separated 
 from matter, that is Intelligences, which the common people 
 caU angels). 
 
 Section Ixxxvi. is purely Petrarchian. Section 
 Ixxxviii. is as nearly the counterpart of a very beautiful 
 
io8 ILLUSTRATIONS OF TENNYSON 
 
 sonnet attributed to Dante as it is possible for a poem, 
 not a mere translation, to be. See the sonnet com- 
 mencing 'Ora che '1 mondo s' adorna,' Fraticelli's 
 Opere minori di Dante, vol. i. p. 226. 
 
 The dust and din and steam of town (Ixxxix.) : 
 Cf. Horace's 
 
 rummn at opes strepitumque Eomfe {Odes, III. xxix. 12). 
 
 In Section xc. compare the beautiful story in Lord 
 Lytton's Pilgrims of the Rhine (ch. viii. ' The Soul in 
 Purgatory '). 
 
 Flits by the seor-blue bird of March (xci.) : 
 
 Compare, in one of the most beautiful fragments of 
 Greek poetry extant — 
 
 d'KiTr6p(pvpos i'iapos upvts (Fragments of Alcman, 2C) 
 (The sea-purple bird of spring). 
 
 Section xciv. gives as it were in essence Jeremy 
 Taylor's sermon on the Return of Prayer, Golden 
 Grove Sermons, serm. iv. 
 
 There lives more faith in honest doubt, 
 Believe me, than in half the creeds (xcvi.) : 
 
 This was Hume's remark : ' To be a philosophical 
 sceptic is in a man of letters the first step to becoming 
 a sound believing Christian ' {Dialogues concerning 
 Natural Religion, part xii. ad Jin.). 
 
 From Section xcix. to ci. we have again the pure 
 Petrarchian note. Compare particularly Petrarch's 
 forty-second and forty-fourth sonnets ; while the 
 allegorical vision in ciii. is exactly on the model of 
 similar poems in Dante and Petrarch. Compare, for 
 example, one, the third canzone of Petrarch. 
 
IN MEMORIAJM 109 
 
 And came on that which is, and caught 
 The deep pulsations of the world, 
 Ionian music measuring out, &c. (xcv.) ; 
 
 ' That which is ' is the to ovtws ov, ultimate reality. 
 An excellent commentary on the whole of this passage 
 will be found in lamhlichus's Life of Pythagoras ; of. 
 particularly the passage in chapter xv. : — 
 
 appTjra tlvl kol SucrfTTti'Oi^roj Sei6rT]TL ^poifiei/os ifTjrevi^e Tas a/cous", 
 KCUTOV ifoiiv evrjpeiSe rals p-ernpaiats tov Koa-pov (Xvp(f)<ovLais, ivaKovoav^ 
 tiii evicjiaive, pdvos avTos Koi avvie)s rrjg KaduXiKrjs twv (r(paipcov /cat 
 Toiv Kar' avras Kivovpivinv airrepav dppovias re kol o-vvcoSias^ 
 :Tkr)pi(TT€p6v Ti rcoi/ OvTjTuiv Ko). KaTaKop€(7Tepov peKos <p6€yyop€vr]Si 
 &c. {Vita Pythag. xv., edit. Kiessling, pp. 135- C) 
 
 (By the aid of a certain ineffable divinity hard to understand 
 he applied eagerly Ms ears and fixed his understanding on 
 the sublime harmonies of the world ; he alone hearing and 
 understanding, so it seemed, the universal harmony and 
 consonance of the spheres and of the stars which are moved 
 through them, and which produce a fuller and intenser 
 melody than any mortal sounds). 
 
 Or ev'n for intellect to reach 
 Thro' memory that which I becanie : 
 
 Compare Dante, Paradiso, xxxiii. 55-57 : — 
 Da quinci innanzi il mio veder fu maggio 
 Che il parlar nostro, cli' a tal vista cede, 
 E cede la memoria a tanto oltraggio 
 (From henceforth my seeing was greater than our speech, 
 which at such a vision gives way, and the memory gives 
 way at so great excess). 
 
 AMien the lesser wain 
 Is twisting round the polar star (ci.) 
 
 finds illustration in Sophocles, Trachinice, 130 : — 
 
 (ipKTOV 
 
 (rTpo<f>ahes (ceXfV^ot 
 (The twisting ways of the Wain). 
 
no ILLUSTRATIONS OF TENNYSON 
 
 CYCLE IV. : CVI. TO END 
 
 Section cvii. is an adaptation of the thirty- foixrth 
 fragment of Alcseus : — 
 
 i'et fjiiv 6 Zeis, ix. 8' ipdva fxtyas 
 Xilliav, itiTTayacriv 5' vharav puat. 
 
 TTvp, iv 8e Kipvais oivov dcpsi^ims 
 
 (Zeus is raining ; and from the heaven mighty is the storm, 
 and the running streams have frozen : away with the 
 winter, pile on the fire, and (mix) in the mixing-bowls, and 
 unsparingly too, the honey-sweet wine) ; 
 
 and of Horace's imitation, Odes,'l. ix. 1-8. 
 
 In cxiv. for the distinction between linowledge and 
 wisdom — a favourite one with the poet, see Love and 
 Duty (' The drooping flower of knowledge changed to 
 fruit Of wisdom'), and Locksley Hall ('Knowledge 
 comes, but wisdom lingers ') — compare Cowper, Task, 
 vi. 88-99 :— 
 
 Knowledge and wisdom, far from being one, 
 Have ofttimes no connection : knowledge dwells 
 In heads replete with thoughts of other men ; 
 Wisdom in minds attentive to their own. 
 Knowledge, a rude unprofitable mass, 
 The mere materials with which ^\lsdom builds. 
 Till smooth'd, and squared, and fitted to its place. 
 Does but encumber when it should enrich. 
 Knowledge is proud that he has learn'd so much ; 
 AYisdom is humble that he knows no more. 
 
 Cf. too the saving of Heraclitus — 
 
 ■noXvpaBirj vuuv ou fiiScicrKci (DlOG. LaeET. ix. 1). 
 
 Compare also an interesting chapter in Aulus Gellius, 
 
IN ME MORI AM iii 
 
 Nodes Att. lib. xiii. c. 8, and Milton, Par. Reg. iv. 
 320 sgg. See too Quaiies, Job Militant, Meditation xi. 
 7-42. 
 
 In Section cxv. we have the pure Petrarchian note 
 again, though it recalls directly Dante's sonnet re- 
 ferred to before. 
 
 In cxxii. the lines — 
 
 To feel once more, in placid awe, 
 The strong imagination roll 
 A sphere of stars about my soul — 
 
 find an interesting commentary in George Fox's 
 Journal, where, describing one of his ecstasies, he 
 says — 
 
 One morning, as I was sitting by the fire, a great cloud came 
 over me. . . . And it was said, ' All things come by nature : ' and 
 the elements and stars came over me, so that I was in a moment 
 quite clouded with it {Journal sub ann. 1048, Leeds edit. vol. i. 
 p. 104). 
 
 The hrute earth lightens to the sky (cxxvii.) : 
 Horace's — 
 
 Bruta tellus (Odes, I. xxxiv. 9). 
 
 The epithet had been transferred into English before 
 by Milton {Camus, 797) : 
 
 And the lirutc earth would lend her nerves. 
 
 To fool the crowd with glorious lies (oxxviii.) ; 
 
 Transferred apparently from Crashaw — 
 
 Gilded dunghills, glorious lies (To Mistress M. B.). 
 
 Thy voice is on the rolling air ; 
 .... I soem in star and flower 
 To feel thee some diffusive power 
 . . . mix'd with God and Nature thou (cxxx.) : 
 
112 ILLUSTRATIONS OF TENNYSON 
 
 Borrowed from the divine passage in Shelley's 
 Adonais : — 
 
 He is made one with Nature ; there is heard 
 
 His voice in all her music 
 
 He is a presence to be felt and known 
 In darkness and in light, from herb and stone 
 Spreading itself where'er that Power may move 
 Which has withdrawn his being to its own 
 
 (Adonais, slii.). 
 
 And touch with shade . . . 
 
 With tender gloom the roof (Epilogue) : 
 
 An exquisite expression adapted perhaps from Thom- 
 son : — 
 
 A certain tender gloom o'erspread 
 
 (Castle of Indcl. canto i. st. Ivii.). 
 
 The magnificent stanza which concludes the 
 poem — 
 
 That God which ever lives and loves, 
 
 One God, one law, one element, 
 
 And one far-off divine event, 
 To which the whole creation moves — 
 
 may be compared with a not less magnificent passage 
 in the fragments of Cicero's De Bcpuhlicd : — 
 
 Nee erit alia lex Eomse, alia Athenis, alia nunc, alia posthac ; 
 sed et omnes gentes, et omni tempore, una lex et sempiterna et 
 immutabilis continebit ; unusque erit quasi magister et imperator 
 omnium — Deus (Fragments of De Bepublicd, lib. iii.) 
 
 (And there shall not be one law at Eome, another at Athens, 
 one law now, another afterwards, but the same law ever- 
 lasting and imchangeable will bind aU nations at all times, 
 and there will be one common Master and Buler of alj^ 
 God). " 
 
U-i 
 
 CHAPTEE VIII 
 
 GROUP VII. MAUD 
 
 And now we come to Maud. In Dvyd.en''s Miscellanies 
 there is a very remarkable experiment in broken 
 rhythm, describing the meeting of two lovers in 
 Bedlam. The verse is so modulated as to express, 
 and express it does with exquisite skill, exalted emo- 
 tion under various phases, surging now in climactic 
 fury, now calmed and tempered, as images, terrible 
 or placid, present themselves to minds rolling rudder- 
 less as it were on the waves of passion. It seems 
 more than probable that this fragment suggested to 
 Tennyson the more elaborate rhythmic scheme of 
 Maud. And this is the more likely, as the rhythm 
 and metric mechanism of the garden song in Maud 
 is little more than an echo with certain minor varia- 
 tions of a stanza here employed. Compare with 
 stanzas i., ii., iii., v., vi., vii., ix., the following stanza 
 of Dryden's : — 
 
 Shall I miirry the man I love ? 
 
 And shall I conclude my pEns ? 
 Now bless'd be the powers above, 
 
 I feel the blood leap in my veins, 
 With a lively leap it began to move 
 
 And the vapours leave my brains. 
 
114 ILLUSTRATIONS OP TENNYSON 
 
 Compare the whole fragment — it is entitled ' Of a 
 Scholar and his Mistress, who, being crossed by their 
 friends, fell mad for one another ' (Dryden's Works, 
 Globe Edit. p. 384). It need hardly be said that to 
 institute any serious comparison between Dryden's 
 fragment and Maud would be as absurd as to insti- 
 tute any serious comparison between Milton's Comus 
 and George Peele's Old Wives' Tale. But it is 
 assuredly worth noticing that in a rhythmic experi- 
 ment of singular interest Tennyson has been antici- 
 pated by a brother poet in his own language. 
 
 In Maud the reminiscences from other poets are 
 very few indeed, fewer than in any of his longer 
 poems. 
 
 Do we move ourselves, or are moved by an unseen hand at a 
 
 game 
 That pushes us off from the board (Part I. iv. 5) : 
 
 These lines appear to have been suggested by Mr. 
 Fitzgerald's version of the Euhaiydt of Omar, where 
 men are described as — 
 
 Impotent pieces of the game He plays 
 Upon this chequer-board of nights and days ; 
 Hitlier and thither moves and checks and slays, 
 And one by one back in the closet lays. 
 
 Brought to understand 
 A sad astrology, the boundless plan 
 That makes you tyrants in your iron skies, &o. 
 
 (I. xviii. 4) : 
 The sad grand note of Lucretius : — 
 
 Nam cum suspicimus magni cselestia mundi 
 Templa, super stellisque micantibus aethera fixmn, 
 Et venit in mentem solis lunaeque viarum, 
 Tunc aliis oppressa malis in pectora Qura 
 
MAUD 115 
 
 lUa quoque oxpergefaotum caput erigere infit, 
 Ne quiE forte deuin nobis immensa potestas 
 Sit, &o. (X>e Bcr. Nat. v. 1204 sqq.) 
 
 (For when we gaze tip at the celestial regions of the great 
 universe, and ether firm fixed above the glittering stars, and 
 turn our thoughts to the courses of the sun and inoon, then 
 into our hearts, bowed with other ills, that fear also begins 
 to rear up its awakened head, namely that we may haply 
 find the power of the Gods to be without limit, &c.). 
 
 Ah Christ, that it were possible 
 
 For one short hour to see 
 
 The souls we loved, that they might tell us 
 
 What and where they be (Part II. iv. 3) : 
 
 The aspiration of the Duchess in Webster : — 
 
 that it were possible we might 
 
 But hold some two days' conference with the dead; 
 From them I should learn somiewhat, I am sure, 
 
 1 never shall know here {Duchess of Malfi, act iv. sc. 2). 
 
 In the picture of peace in Part III. 2, one touch — 
 And the cobweb woven across the cannon's throat — 
 
 may have been suggested by Bacchylides, who enume- 
 rates among the signs of peace the cobwebs in the 
 handles of the shields : — 
 
 iv de cTLSapodeTocs TTopTra^tv aiOav 
 apa)(^vav littqX neXovrai 
 
 (And in the iron-woven shield-handles are the looms of tawny 
 spiders) ; 
 
 or more likely by Theocritus, xvi. 96 : — 
 
 apiixvia 8' els 07t\' apd)(vai 
 XeTrra dcaarTjaan'TO 
 
 (And over armour may spiders spin fine their webs). 
 
 A comparison between the section (II. ii.) de- 
 scribing the shell, and the beautiful epigram in 
 
 I 2 
 
ii6 ILLUSTRATIONS OF TENNYSON 
 
 Callimachus (Epig. v.) describing the shell of the 
 nautilus, is worth suggesting as an illustration of 
 interesting points of similarity and difference between 
 Alexandrian poetry and our own, between Callimachus 
 and Tennyson. Both have in common a certain 
 daintiness and grace of style and touch, and both 
 affect sedulously the same artificial simplicity. Both 
 appear to regard natural objects, and to regard them 
 deliberately, as material out of which, if such an ex- 
 pression may be used, poetical capital may be made. 
 But the modern poet has what the ancient has not, 
 a penetrating sense of the mystery of this, as of every 
 other natural phenomenon, and a power of suffusing 
 the presentation of such phenomena with sentiment. 
 It is, however, in their treatment of flowers that the 
 difference, not simply between Callimachus and Tenny- 
 son, but between the Greek poets generally and poets of 
 the Wordsworthian and Tennysonian schools, is most 
 strikingly illustrated. Of a Greek poet it may, in a 
 sense, be said, as it was said of Peter Bell, that 
 
 A primrose by a river's brim 
 A yellow primrose was to him, 
 And it was nothing more. 
 
 Even in the elaborate passages cited by Athenaeus 
 (xv. 30, 31) from the Cyprian Poems and the Georgics 
 of Nicander, there is the same absence of fancy and 
 sentiment as there is in Homer and Theocritus. 
 "When Wordsworth wrote — 
 
 To me the meanest flower that blows can give 
 Thoughts that do often lie too deep for tears — ■ 
 
 he enabled us to estimate the distance which in this 
 respect separates the moderns from the Greeks. 
 
117 
 
 CHAPTEE IX 
 
 GEOUP VIII. — IDYLLS OF THE KING 
 
 Of all popular poets Tennyson most needs a com- 
 mentator. He has had the good fortune to be a 
 favourite with the crowd, but it may be doubted 
 •whether half his beauties are either relished or per- 
 ceived by them. They read him as intelligent school- 
 boys read Virgil. They follow the story, they are 
 struck by particular passages, which they learn by 
 heart and think very fine ; they admire what they 
 suppose to be the simplicity of his diction ; and they 
 dwell with pleasure on such of his touches of natural 
 description as may happen to appeal to them. But 
 they go no further, and in going no further they are 
 losers themselves, and the poet loses too. It has 
 been already said — and what has been said has been 
 illustrated at length — that the poetry of Tennyson 
 is, even in its minutest details, of an essentially 
 reflective character ; that his great achievements lie, 
 not in original conceptions, but in elaborate v/ork- 
 manship, in assimilative skill. To discover what he 
 has assimilated, on what he has worked, is the first 
 duty of one who would properly appreciate his poetry. 
 Of esthetic criticism as applied to the Laureate's 
 
ii8 ILLUSTRATIONS OF TENNYSON 
 
 poetry, the world has aheady had more than enough, 
 and aesthetic criticism is, perhaps, in the present 
 state of Tennysonian study, of infinitely less value 
 than analytical. 
 
 In the following section it is no part of my 
 purpose to enter into a comparative study of the 
 Idylls and of the sources from which they have been 
 drawn, but simply to illustrate the nature and extent 
 of Tennyson's indebtedness to his predecessors. Of 
 the eleven Idylls, Enid, Elaine, Gareth and Lynette, 
 and The Passing of Arthur, are simply adaptations 
 from Malory's Komance and the ISIabinogion, while 
 of the remaining seven, the Holy Grail and Pelleas 
 and Ettarre draw largely on Malory ; the Coming of 
 ArthiLr was suggested by him; so were Balin and 
 Balan, Merlin and Vivien. The Last Tournament 
 and Guinevere have nothing corresponding to them 
 in Malory. 
 
 In the Dedication to the Queen, the fine image in 
 the lines — 
 
 thro' all this tract of years 
 Wearing the white flower of a blameless life, 
 
 In that fierce light luhich beats upon a throne, 
 And hlacltens every blot — 
 
 appears to have been suggested by a passage in 
 Alexandre Dumas, Vicomte de Bragelonne, where, 
 speaking of Louis XIV., he says — 
 
 II a du sourric toutes ses humiliations, toutes ses genes au 
 grand jour, au soleil impitoyable de la royaute, place noyee de 
 lumiere, oil toute tdche parait une fange sordide {Vicom.te de 
 Bragelonne, edit. Masque et Cie., p. 398, chapter entitled ' La 
 Tentateur '), 
 
IDYLLS OF THE KIXG 119 
 
 r/ie Coxing of Arthur is moulded, though with 
 important additions, alterations, and modification, out 
 of the first three books of the Morte d' Arthur. Gareth 
 and Lynette is, with certain additions and alterations, 
 pieced together from Malory's seventh book. The 
 introduction, however, as far as the passage where 
 Gareth asks his boon, is the poet's own invention. 
 From that point the narrative follows with more or 
 less fidelity the prose story. As it advances diver- 
 gences appear. The history becomes complicated 
 with an elaborate allegory within an allegory, much 
 darker and more troublesome than the darkest and 
 most troublesome in Spenser's epic. In the poem 
 we have four combats for the deliverance of the lady 
 m the Castle Perilous, in the prose story seven. In 
 the prose story the knights who engage in fight 
 figure respectively as the Black, Green, Ked, and Blue 
 Knights : in the poem they become the Morning Star, 
 the Noonday Sun, the Evening Star ; the Blue Knight 
 having no counterpart. Malory's Bed Knight of the 
 Ked Lands, who is the last to be encountered, appears 
 in the poem as Death. For the semi-comic incident 
 which results in the apparition of the blooming boy; 
 the reader has to thank the poet. Of reminiscences 
 of other poets there are not many in this Idyll. The 
 picture of Old Lot — • 
 
 Lo, where thy father Lot beside the hearth 
 Lies hke a log, and all but Bmoulder'd out — 
 
 was no doubt suggested by that of old Laertes in the 
 Odyssey. The blaze-bickering shield of the Knight of 
 
 the Noonday Sun — 
 
 As if the flower, 
 That blows a globe of after arrowlets, 
 
120 ILLUSTRATIONS OF TENNYSON 
 
 Ten thousand fold had grown, flash' d the fierce shield, 
 All sun ; and Gareth's eyes had flying blots 
 Before them : 
 
 This was of course suggested by Ariosto's 
 
 Seudo mortal che, coma pria 
 Si scopre, il suo splendor si gli occhi assalta, 
 La vista toUe e tanto occupa i sensi, 
 Che come morto rimaner conviensi 
 
 {Orland. Fur. iii. st. 67) 
 
 (The deadly shield which, as soon as it is imcovered, its 
 splendour so assails the ej'es, takes away the sight, and so 
 seizes the senses that one must needs become as dead) ; 
 
 but it owes something to Yirgil, ^Ere. x. 271 — 
 
 Vasios umbo vomit aureus ignes 
 
 (The shield's golden boss vomits mighty flames). 
 
 But as the cur 
 Pluckt from the cur he fights with, ere his cause 
 Be oool'd with fighting, follows, being named, 
 His owner, but remembers all, and growls 
 Bemembering : 
 
 Graphic, but how inferior to Ariosto's simile of the 
 fighting curs : — 
 
 Come soglion talor dui can mordenti, 
 O per invidia, o per alto odio mossi, 
 Avvicinarsi digrignando i denti. 
 Con occhi biechi, e piu che bracia rossi; 
 Indi a' morsi venir, di rabbia ardenti 
 Con aspri ringhi e rabbuffati dossi 
 
 {Orl. Fur. ii. 5) 
 
 (As sometimes two vicious curs, incited either by envy or 
 deep-seated hate, wiU draw nigh one another, snarling and 
 grinning, with eyes asquint and burning redder than a live 
 coal, afterwards on fire with rage will come to biting, grin- 
 ning savagely and with backs all ruffled up). 
 
IDYLLS OF THE KING 121 
 
 The fine touch — 
 
 Up like fire he started — 
 
 recalls Milton, Far. Lost, iv. 813 : — 
 
 Up he starts, as when a spark 
 Lights on a heap of nitrous powder ; 
 
 or perhaps more immediately by the line- 
 Sprang upward, Hke a pyranaid of fire {id. ii. 1013). 
 
 The fine simile where Gareth's adversary is com- 
 pared to a buoy at sea, which dips and springs, but 
 never sinks in spite of winds and waves rolling over 
 it, may possibly have been suggested by a simile in 
 Lycophron, where Ulysses is compared to a cork in 
 the sea with the winds and waves rolling over but not 
 sinking it : — 
 
 eorat, Trap' aXKov 5' dWof, ag nevKrjs KXti'So? 
 ^vKTTjs (TTpo(3T]Tus (beWov ivBpo^aKcov TTVOatS 
 
 (Cassandra, edit. Potter, x. 755-C). 
 
 Ariliur's liarp tho' summer-wan, 
 In counter motion to the clouds : 
 
 The same phenomenon was noticed and described 
 by Lucretius : — 
 
 Splendida signa videntur 
 Lahier adversum nuhes (iv. 445-G). 
 
 But one of the most interesting illustrations of 
 Tennyson's method of dealing with his raw material 
 is to be found in Eiiid. Here we can follow him 
 step by step; here we can study in detail the dis- 
 tinctive features of his art. The story itself is to be 
 found in the MaUnorjion. That charming collection 
 of tales was translated in 1838 by Lady Charlotte 
 Guest, and it is of Lady Charlotte's translation that 
 
122 ILLUSTRATIONS OF TENNYSON 
 
 Tennyson has availed himself. To give something of 
 an allegorical significance to the character of Geraint 
 and to make the story bear on the main action of his 
 epic, Tennyson assigns the departure of Geraint from 
 Arthur's Court, not to any anxiety on the part of the 
 young man to return to his aged father and his 
 troubled realm, but to a desire to sever Enid from 
 communication with Guinevere, whose guilty love for 
 Launcelot was noiv beginning lo be suspected. 
 
 And many there were who accompanied Geraint, and never 
 was there seen a fairer host journeying towards the Severn. . . . 
 And for a long time he abode at home, and he began to shut 
 himself up in the chamber of his wife, and he 'took no delight in 
 anything besides, insomuch that he gave tip the friendship of his 
 nobles together with his hunting and his amusements. 
 
 In Tennyson's versification of this the effect of the 
 five repetitions of the word ' forgetful ' — 
 
 Forgetful of the falcon and the hunt, 
 Forgetful of the tilt and tournament, 
 Forgetful, &o. — 
 
 has often been deservedly admired. We may notice, 
 however, that it would seem to be an echo from a 
 similarly effective iteration in Keats's Isahella: — 
 
 And she forgot the stars and moon and sun, 
 And she forgot the blue above the trees. 
 
 And she forgot the dells where waters rttn, 
 And she forgot the chilly autumn breeze. 
 
 And there was murmuring and scoffing concerning him 
 among the inhabitants of the palace on account of his relinquish- 
 ing so completely their companionship for the love of his wife. 
 And when Erlin heard these things he spoke unto Enid, and 
 inquired of her whether it was she that had caused Geraint to 
 act thus. ' Not I,' said she ; ' there is nothing more hateful to me 
 than this.' And she was very sorrowftil : 
 
IDYLLS OF THE KING 123 
 
 And by and by the people, when they met 
 In twos and threes, or fuller companies, 
 Began to scoff and jeer and babble of him 
 As of a prince whose manhood was all gone, 
 And molten down in mere uxoriousness. 
 And this she gather'd from the people's eyes : 
 This too the women who attired her head. 
 To please her, dwelling on his boundless love, 
 Told Enid, and they sadden'd her the more. 
 
 This last is one of those delicate and thoughtful 
 touches which Tennyson seldom misses an opportu- 
 nity for introducing. 
 
 And one morning in the summer time they were vipon their 
 couch. And Enid was without sleep in the apartment, which 
 had windows of glass. And the sun shone upon the couch ; and 
 the clothes had slipped from off Geraint's arms and breast, and 
 he was asleep. Then she gazed upon the marvellous beauty of 
 his appearance, and she said, ' Alas, and am I the cause that 
 these arms and this breast have lost their glory ? ' And as she 
 said this the tears dropped from her eyes. And the tears she 
 shed and the words she had spoken wolse him. 
 
 In this clear and beautiful picture the onty feature 
 which awaited development lay in the figure of Ge- 
 raint ; here and here only expansion was needed ; 
 here and here only expansion is found : — 
 
 At last it chanced that on a summer morn 
 
 (They sleeping each by either) the new sun 
 
 Beat through the blindless casements of the room 
 
 And heated the strong warrior in his dreams. 
 
 Who moving cast the coverlet aside 
 
 And bared the knotted column of his throat, 
 
 The massive square of his heroic breast. 
 
 And arms on which the standing muscle sloped. 
 
 And Enid woke and sat beside the couch. 
 Admiring him, and thought within herself, 
 Was ever man so grandly made as he ? 
 
124 ILLUSTRATIONS OF TENNYSON 
 
 and bowing over him, 
 
 Low to her own heart piteously she said : 
 
 ' Am I the cause, I the poor cause that men 
 Beproach you, saying all your force is gone ? 
 
 me, I fear that I am no true wife.' 
 
 Half inwardly, half audibly she spoke. 
 And the strong passion in her made her weep 
 True tears upon his broad and naked breast, 
 And these awoke him. 
 
 The words which raise Geraint's suspicion are not 
 found in the Eomance. In the Eomance — and we are 
 not quite sure that the poet has in this case improved 
 upon it — Geraint is represented as realising the 
 ignoble state into which he had sunk, and as thinking 
 it not improbable therefore that his wife might have 
 her eyes on a worthier mate. He resolves to show 
 her that he still is what he was when he won her love. 
 Abruptly ordering her to clothe herself in her meanest 
 dress, and after making a few necessary preparations, 
 the two set out in quest of adventures. In the 
 Laureate's version this meanest dress is defined. It 
 is the dress in which Geraint first found her apparelled 
 when he raised her from poverty to splendour. This 
 happy touch enables the poet to relate by way of epi- 
 sode the history of his hero and heroine — their court- 
 ship and marriage, their early happy days with Arthur 
 and Guinevere.' At this point, then, which is in the 
 Eomance the middle portion, we must, in tracing 
 the story as represented by Tennyson, turn to what 
 are, in the Eomance, the opening pages, for the poet 
 has in true epic fashion begun in inediis rebus. The 
 
 ' Compare the space filled by the episode in the Pdeus and Thetis 
 of Catullus. 
 
IDYLLS OF THE KING 125 
 
 story as told in the Mahinogion and as told by 
 Tennyson is substantially the same. Occasionally he 
 follows the prose story with minute fidelity of detail, 
 as for example in the description of Geraint : — 
 
 The rider was a fair-headed j'outh, and a golden-hilted sword 
 was at his side, and round him was a scarf of blue purple, at each 
 corner of which was a golden apple : 
 
 For Prince Geraint, 
 Late also, wearing neither hunting-dress 
 Nor weapon, save a golden-hilted brand, 
 
 A purple scarf, at either end whereof 
 There swung an apple of the purest gold, 
 Sway'd round about him ; 
 
 or in the meeting with the surly dwarf, where he 
 merely versifies the prose paragraph. One happy 
 touch the poet has introduced which is worth noticing. 
 When the Eomance tells how the dwarf struck Geraint 
 'so that the blood coloured the scarf he wore,' it 
 adds : ' Then Geraint put his hand upon the hilt of 
 his sword, but he took counsel with himself and con- 
 sidered that it would be no vengeance for him to slay 
 the dwarf, and to be attacked unarmed by the armed 
 knight.'' This becomes in Tennyson's poem — 
 
 His quick instinctive hand 
 Caught at the hilt as to abolish him. 
 But he, from his exceeding manfulness 
 And pure nobility of temperament, 
 Wroth to be wroth at such a worm, refrain'd. 
 
 It would be tedious to follow the story step by step, 
 but it may not be uninteresting to note how careful 
 the poet is, as he treads closely in the tracks of his 
 origiaal, to seize every opportunity for introducing 
 a picturesque touch. Thus, 
 
126 ILLUSTRATIONS OF TENNYSON 
 
 They went along a fair and even and lofty ridge of ground 
 
 becomes 
 
 They elimh'd upon a fair and even ridge 
 And show'd themselves against the sky. 
 
 The simple statement ' and they were poHshing shields 
 and burnishing swords, and washing armour and 
 shoeing horses,' reappears as 
 
 Everywhere 
 Was hammer laid to hoof, and the hot hiss 
 And hustling whistle of the youth who scour'd 
 His master's armour. 
 
 The ' tattered garments ' of old Yniol become ' fray'd 
 magnificence, Once fit for feasts of ceremony.' The 
 ' when the dawn arose ' of the Romance becomes 
 ' When the pale and bloodless east began To quicken 
 to the sun.' The words ' And at a little distance from 
 the town he saw an old palace in ruins, wherein was 
 a hall that was falling to decay ; and when he came 
 near the palace he saw but one chamber, and a bridge 
 of marble leading to it,' have been expanded into one 
 of the most exquisite pieces of descriptive writing we 
 ever remember to have met with. In the account 
 of Geraint's visit to Yniol the Ln.ureate has occasionally 
 departed slightly from the story. For Enid's song he 
 had of course no hint ; nor, again, is the speech in 
 which Yniol relates the injuries he has received from 
 the Sparrow-hawk translated from any corresponding 
 speech in the j)rose story. Both of these additions 
 are undoubtedly improvements. But there is one 
 addition which might surely have been spared. ' " I 
 will engage if I escape from the tournament to love 
 the maiden as long as I live, and if I do not escape 
 she shall remain unsullied as before." " Gladly will I 
 
IDYLLS OF THE KING 127 
 
 permit thee," said the hoary-headed man.' This is 
 simple and natural, and this Tennyson versifies, but 
 carefully adds that old Yniol went to consult his wife 
 on the subject. 
 
 Mother, a maiden is a tender thing, 
 
 And best by her that bore her understood. 
 
 ere thou go to rest, 
 
 Tell her, and prove her heart toward the prince. 
 
 This certainly trembles on bathos, and bathos of a 
 pecuharly repulsive kind. It degrades Yniol and it 
 degrades Enid. It disenchants us. It transfers us 
 suddenly from the poetry of the past into the flattest 
 prose of the present ; it conjures up in Enid the image 
 of a conventional English young lady, it conjures 
 up in Yniol a conventional English father — both of 
 them, no doubt, in real life, very estimable per- 
 sonages, but both of them entirely out of place in 
 heroic poetry, or, indeed, in poetry of any kind. 
 These concessions to petty conventionality are un- 
 fortunately only too common in the Laureate's 
 writings. We find him, for example, in Elaine going 
 out of his way to inform us that when his heroine 
 visited Sir Launcelot she was escorted by her brother, 
 and that regularly, as the night approached, she re- 
 tired to her friends in the neighbouring town. How 
 much more natural, how much more manly, is 
 honest Malory : — 
 
 So this maiden never went from Sir Launcelot, but watched 
 him day and night, and did such attendance there was never 
 Woman did more kindlier for man than she. 
 
 Nothing is so coarse as false delicacy. 
 
 It is very rarely that Tennyson allows his prose 
 
r28 ILLUSTRATIONS OF TENNYSON 
 
 original to excel his poetical version in picturesqueness, 
 but in Geraint's contest with the Sparrow-hawk the 
 prose narrative is certainly superior to the Idyll. 
 The lines — 
 
 Then each, dishorsed and drawing, lash'd at each 
 So often and with such blows, that all the crowd 
 
 Wonder'd 
 
 And twice they breathed, and stiU 
 
 The dew of their great labour, and the blood 
 
 Of their strong bodies flowing, drain'd their force — 
 
 are graphic and are Virgilian ; but the original — 
 
 And they fought on foot with their swords until their arms 
 struck sparks of fire like stars from one another, and thus they 
 continued fighting until the blood and sweat obscured the light 
 from their eyes — 
 
 is far more spirited. For what follows — Enid's 
 trouble about her faded dress, her dream, Geraint's 
 long speech to the mother of his betrothed — the poet 
 has drawn on his own invention. This brings us to 
 the second part, and here the Idyll again closely 
 follows the Komance, taking it up at the point where 
 the episode broke it off : — 
 
 And he desired Enid to mount her horse and to ride forward 
 and to keep a long way before him. 'And whatsoever thou 
 niayest see, and whatsoever thou mayest hear,' said he, 'do 
 thou not turn back. And ujiless I speak to theo, say not thou 
 one word : ' 
 
 ' I charge thee ride before, 
 Ever a good way on before ; and this 
 I charge thee, on thy duty as a wife, 
 Whatever happens, not to speak to me, 
 No, not a word.' 
 
 And they set forward. And he did not choose the pleasantest 
 and most frequented road, but that which was the wildest 
 and most beset by thieves and robbers and venomous animals : 
 
IDYLLS OF THE KLYG 129 
 
 They past 
 The marches and by bandit-haunted holds, 
 Gray swamps and pools, jvaste places of J]he hern. 
 And -wildernesses, perilous paths, they rode. 
 
 These and the lines which follow — let the reader turn 
 to them — are fine illustrations of Tennjson's power of 
 expanding a rough sketch into a finished picture. 
 
 And they saw four armed horsemen come forth from the 
 forest. When the horsemen had beheld them, one of them said 
 to the others, ' Behold, here is a good occasion for us to capture 
 two horses and armour and a lady likewise : for this we shall 
 have no difiioulty in doing against j'onder single knight who 
 hangs his head so pensively and heavily : ' 
 
 But when the fourth part of the day was gone. 
 Then Enid was aware of three tall knights 
 
 On horseback, wholly arm'd 
 
 And heard one crying to his fellow, ' Look, 
 Here comes a laggard hanging down his head. 
 Who seems no bolder than a beaten hound. 
 Come, we 'ivill slay him and wiU have his horse 
 And armour, and his damsel shall be ours.' 
 
 And Enid heard this discom-se. ' The vengeance of Heaven 
 be upon me if I would not rather receive my death from his 
 hand than from the hand of any other, and though he should 
 slay me, yet wUl I speak to him.' So she waited for Geraint 
 until he came near her. ' Lord,' said she, ' didst thou hear the 
 words of these men concerning thee ? ' Then he lifted up his 
 eyes and looked at her angrily : ' Thou hadst only,' said he, 'to 
 hold thy peace, as I bade thee ; I wish but for silence, and not 
 for warning. And though thou should'st desire to see my defeat 
 and my death, yet do I feel no dread : ' 
 
 Then Enid ponder' d in her heart, and said : 
 ' I wUl go back a little to my lord. 
 And I vriU tell him all their caitiff talk ; 
 For, be he wroth even to slaying me, 
 
 K 
 
ijo ILLUSTRATIONS OF TENNYSON 
 
 Far liefer by his dear hand had I die 
 
 Than that my lord should suffer loss or shame.' 
 
 He made a wrathful answer : ' Did I wish 
 Your warning or yom- silence ? One command 
 I laid upon you, not to speak to me. 
 
 Well then, look — for now, 
 
 AVhether ye wish me victory or defeat. 
 Long for my life, or hxmger for my death, 
 Yourself shall see my vigour is not lost.' 
 
 Then the combat ensues, in which Geraint is vic- 
 torious. 
 
 Geraint dismounted from his horse and took the arms of the 
 men he had slain and placed them upon their saddles, and tied 
 together the reins of the horses. ' Behold thou what thou must 
 do,' said he ; ' take the four horses and drive them before thee ; ' 
 
 He bound the suits 
 Of armour on their horses, each on each. 
 And tied the bridle-reins of all the three 
 Together, and said to her, ' Drive them on 
 Before you : ' and she drove them through the waste. 
 
 In the adventure which is next described, the only 
 noticeable additions in the Idyll are the two fine similes 
 in which the bandit transfixed by Geraint is compared 
 to the ' great piece of a promontory That had a sapling 
 growing on it,' and the simile in which Geraint's war- 
 cry echoing distinctly through the confused roar of a 
 battlefield is compared to the ' drumming thunder of 
 the huger fall ' heard by a listener who is standing 
 amid the crash of nearer cataracts — two similes worthy 
 of the Iliad, and not to be found in it. In the Eomanee 
 a third combat with five other horsemen is narrated, but 
 the poet, probably thinking that poor Enid had already 
 enough to do with the six horses entrusted to her, very 
 
IDYLLS OF THE KING 131 
 
 judiciously omits this, and passes on to the meeting 
 with the youth on his way to the mowers. For a 
 while the Idyll and the Komance continue to move 
 parallel. With the visit of the Earl they diverge. 
 In the Eomance the Earl is Dwyrm, a stranger both 
 to Enid and Geraint. On hearing of their arrival in 
 his dominions he seeks their aquaintance, entertains 
 them, and endeavours to induce Enid to leave her 
 husband. For Dwyrm, Tennyson has, with admirable 
 tact, substituted Limours, a young nobleman ' femi- 
 ninely fair and dissolutely pale,' who had formerly 
 been Enid's suitor. With this alteration, he again 
 takes up the prose story. 
 
 ' Have I thy permission ' (said the Earl to Geraint) ' to go 
 and converse with yonder maiden, for I see that she is apart 
 from thee ? ' ' Thou bast it gladly,' said he : 
 
 ' Your leave, my lord, to cross the room, and speak 
 
 To your good damsel there vi'ho sits apart, 
 
 And seems so lonely ? ' ' My free leave,' he said. 
 
 He then makes his suit. 
 
 And Enid considered that it was advisable to encourage him 
 in his request. ' Come here to-morrow, and take me away as 
 though I knew nothing thereof : ' 
 
 But Enid fear'd his eyes, 
 And answer'd with such craft as women use. 
 
 ' Come with morn 
 
 And snatch me from him as by violence.' 
 
 And at the usual hour they (Geraint and Enid) went to sleep, 
 and at midnight she arose and placed all Geraint's armour to- 
 gether, so that it might be ready to put on. And, although fear- 
 ful of her errand, she came to the side of Geraint's bed, and she 
 spoke to him softly, saying, ' My lord, arise, for these were the 
 words of the E^rl to pqe,' So she tolcl Geraint all that ha4 
 
 15 % 
 
132 ILLUSTRATIONS OF TENNYSON 
 
 But Enid, left alone with Prince Geraint, 
 
 Held commune with herself. 
 
 Anon she rose, and stepping lightly, heap'd 
 The pieces of his armour in one place. 
 All to be there against a sudden need. 
 
 Then breaking his command of sUence given, 
 She told him all that Earl Limours had said. 
 
 ' Desire the man of the house to come here ; ' and the man 
 of the house came to him. ' Dost thou know how much I owe 
 thee ? ' asked Geraint. ' I think thou owest but little.' ' Take 
 the eleven horses and the eleven suits of armour.' ' Heaven 
 reward thee. Lord,' said he, ' but I spent not the value of one 
 suit of armour upon thee.' 'For. that reason,' said he, 'thou 
 wilt be the richer : ' 
 
 ' Call the host, and bid him bring 
 Charger and palfrey.' 
 
 ' Thy reckoning, friend ? ' And ere he learnt it, ' Take 
 
 Five horses and their armours ; ' and the host. 
 
 Suddenly honest, answer'd in amaze, 
 
 ' My lord, I scarce have spent the worth of one.' 
 
 ' Ye will be all the wealthier,' said the Prince. 
 
 After the subsequent combat with the Earl and 
 his followers the poet again breaks from the legend. 
 In the legend Geraint meets with other adventures. 
 Among them he engages with some giants. In one of 
 these engagements, though victorious, he faints from 
 loss of blood, and sinks down by the wayside. At 
 this point the story is again taken up in the Idyll, 
 though, curiously enough, Tennyson now substitutes 
 Doorm for Limours as he had before substituted 
 Limours for Doorm. The picture of this brawny hero, 
 'broad-faced, with under-fringe of russet beard,' aa 
 
IDYLLS OF THE klKG 133 
 
 well as the words put in his mouth when he first sees 
 Enid, belong to the poet, as there is nothing in the 
 Eomance to suggest them. For the introduction of 
 the band of courtesans in Doorm's court he is also 
 responsible. For the rest the Eomance is followed 
 closely : the carrying of Geraint on a shield into 
 Doorm's hall — the sorrow of Enid — the rude requests 
 of Doorm that she should eat — her declining to do so 
 ' till the man that is upon yonder bier shall eat like- 
 wise ' — her -refusal to share Doorm's earldom with 
 him/her refusal to dress herself in fine clothes, are 
 transcribed from the prose story. How closely, may 
 be judged from one or two samples. 
 
 ' Truly,' said the Earl, ' it is of no more avail for me to be 
 gentle with thee, than migentle,' and he gave her a box on the 
 ear: 
 
 In his mood 
 Crying, ' I coixnt it of no more avail. 
 Dame, to be gentle than ungentle with you ; 
 Take my salute,' unknightly with flat hand. 
 However hghtlj-, smote her on the cheek. 
 
 Thereupon she raised a loud and piercing shriek, and her 
 lamentations were much greater than they had been before, for 
 she considered in her mind that had Geraint been alive he durst 
 not have struck her thus : 
 
 Then Enid, in her utter helplessness, 
 
 And since she thought, ' He had not dared to do it, 
 
 Except he surely knew my lord was dead,' 
 
 Sent forth a sudden sharp and bitter cry. 
 
 As of a wild thing taken in a trap, 
 
 Which sees the trapper coming through the wood. 
 
 These are the touches in which Tennyson has no rival- 
 save Dante alone. 
 
134 ILLUSTRATIONS OF TENNYSON 
 
 But, behold, at the sound of her cry, Geraint revived from 
 his swoon, and he sat up on the bier, and finding his sword in 
 the hollow of his shield, he rushed to the place where the Earl 
 was, . . . and clove him in twain until his sword was stayed by 
 the table. Then all left the board and fled away. And this was 
 not so much through fear of the living as through the dread they 
 felt at seeing the dead man rise up to slay them : 
 
 This heard Geraint, and grasping at his sword 
 
 (It lay beside him in the hollow shield), 
 
 Made but a single bound, and with a sweep of it 
 
 Shore through the swarthy neck :. 
 
 And all the men and women in the hall 
 
 Kose when they saw the dead man rise, and fled 
 
 YeUing as from a spectre. 
 
 The beautiful speech which is put into Geraint's 
 mouth when the two are left alone in the hall has no 
 counterpart in the Eomance, which merely says : 
 ' And Geraint looked upon Enid and was grieved for 
 two causes : one was to see how Enid had lost her 
 colour, and the other to know that she was in the 
 right.' 
 
 By a very happy stroke Tennyson represents the 
 knight who meets them on their way, and who but for 
 Enid's entreaty would have borne down on Geraint — 
 now ill able for loss of blood to defend himself — to be 
 Edyrn, the Sparrow-hawk, the insolent knight with 
 whom Geraint had in the first part of the poem con- 
 tended. He thus connects the Idyll immediately with 
 Arthur, for Edyrn is now Arthur's knight, and to the 
 power of Arthur is attributed the change which has 
 transformed an insolent minion into a noble and 
 chivalrous soldier. This connection with Arthur is 
 also emphasised by the poet representing his hero 
 and heroine terminating their wanderings at Caerleon, 
 
IDYLLS OF THE KING 135 
 
 and not, as in the Eomance, proceeding at once to 
 Geraint's dominions. 
 
 Many poets have been laid under contribution in 
 
 EmA. 
 
 Arms on which the standing muscle sloped, 
 As slopes a wild brook o'er a little stone, 
 Eunning too vehemently to break upon it : 
 
 This is taken with an ingenious and happy turn from 
 Theocritus, Idyll xxii. 48 sgq^. : — 
 
 iv 5e lives crTepeoiai Ppaxiocnv uKpov vtt' S>ixov 
 efyraaav, rjvTe TreVpot oKoLTpoxpi ovs re KvKLvhi^>v 
 ^eifiappovi norap.6s peydXats nepU^eas tivacs 
 
 (And the muscles on his brawny arms close under the 
 shoulder stood out like boulders which the wintry torrent 
 has rolled and worn smooth in the mighty eddies). 
 
 The Vhgilian parallel for — 
 
 noble breast and all puissant arms^ 
 
 in Mn. iv. 11 is obvious. The burden of Enid's 
 
 song — 
 
 Turn, Fortune, turn thy wheel — 
 
 is from Dante : — 
 
 Pero giri fortuna la sua ruota, 
 Come la place {Inf. xv. 95) ; 
 
 of. too King Lear, act ii. scene 2. 
 
 purblind race of miserable men . . . 
 Here, thro' the feeble twilight of this world 
 Groping : 
 
 Almost literally from Lucretius, lib. ii. 14-16 : — 
 
 miseras hominum mentes, pectora cseoa, 
 Quahbus in tenebris vitse, quantisque periclis 
 Degitm: hoc sevi quodoumquest 
 
136 ILLUSTRATIONS OF TENNYSON 
 
 ' (0 miserable minds of men, purblind breasts, in what 
 darkness of life and in how great dangers is passed all this 
 term of life, whatever be its duration). 
 
 He sow'd a slander in the common ear : 
 
 Bumoresque serit varies (Viegil, yEn. sii. 228) 
 (And sows various rumours). 
 
 On either shining shoulder laid a hand : 
 Homer's epithet for the shoulder, Odyssey, xi. 128 — 
 
 which Mr. Lang wrongly translates, but perhaps 
 rightly' interprets, as 'stout.' 
 The beautiful expression — 
 
 ever fail'd to draw 
 The quiet night into her blood — 
 
 is transferred from Virgil, ^'En. iv. 530 : — 
 
 Neque unquam 
 Solvitur in somnos oculisye aut pectore noctcm 
 Accipit 
 
 (And she nevflr relaxes into sleep ^ or receives the night in 
 eyes or bosom). 
 
 AsheU 
 That keeps the wear and polish of the wave : 
 
 No doubt a mere coincidence, but a curiously exact 
 translation of a line in Lycophron, Cassandra, 790 :^ 
 
 (As a shell on all sides worn smooth by the sea). 
 
 The vivid touch in the line — 
 
 She fear'd 
 In every wavering brake an ambuscade — 
 
 ' Or possibly somni may mean dreams. 
 
IDYLLS OF THE KING 137 
 
 recalls Juvenal's timid traveller : — 
 
 Et motm ad, lunam trepidabis arimdinis umbram (Sat. x. 21) 
 
 (And you will tremble at the shadow of the reed as it waves 
 to the moon). 
 
 Compare too the vivid picture of a timid traveller at 
 niglit, given by that inexplicably neglected poet Valerius 
 Flaccus : — 
 
 Ac v6lut ignota captns regione viarum 
 Noctivagum qui carpit iter ; non aure qiiiesoit, 
 Non oeulis ; nootisque metus niger auget utrimqiTe 
 Campus, et.occurrens timbris majoribus arbor 
 
 (Argon, ii. 43-7). 
 
 "Which was the red cook slwuting to the light : 
 
 This singularly bold and vivid expression appears to 
 have been suggested by the author of the Batracho- 
 myomacJtia : — ■ 
 
 ear e,3oi)(7fi' aXexrcop (Bat, 192) 
 
 (Until the cock shouted). 
 
 She saw 
 Dust, and the points of lances biclter in it : 
 
 Compare the fine passage in Xenophon's Anahasi.';, 
 in which the approach of an army at a distance is 
 described : — 
 
 f<pdvrj KOVLoprbs . . . rcip^a 8/) Ka\ ;(aXK0S ris i/'a-TpanTe 
 
 (Anah. I. viii. 8) 
 
 (And a dust cloud was seen, and very soon, indeed, too, bronze 
 flashed [from out of it]). 
 
 And all in passion uttering a dry shrielc : 
 
 This singularly expressive word is the sicca vox of 
 the Latin poets. Cf. Ovid, Met. ii. 278, and cf. also 
 Wordsworth, Peter Bell, part i. : — 
 
138 ILLUSTRATIONS OF TENNYSON 
 
 The ass did lengthen out 
 The long drij see-saw of his horrible bray. 
 
 But the use of the word in The Passing of Arthur — 
 
 Dry clash'd his harness — 
 
 brings us to its real source, Homer. Cf. 
 
 KopvdfS S' a/icp' avov avrevv (11, xii. 160) 
 
 and 
 
 Kap(pa\tov &£ ol ucr7ri9 (ivaev (II. xiii. 409) ; 
 
 cf. also Virgil's 
 
 aridus fragor (Oeorg. i. 357). 
 
 Like a shoal 
 Of darting fish, that on a summer morn 
 Come slipping o'er their shadows on the sand, 
 But if a man who stands upon the brink 
 
 But lift a shining hand 
 
 There is not left the twinkle of a fin : 
 
 Compare this with Keats's less finished but equally 
 graphic picture : — 
 
 Where swarms of minnows 
 
 ever nestle 
 
 Their silver bellies on the pebbly sand. 
 If you but scantily hold out the hand 
 That very instant not one wDI remain 
 
 (Poem entitled ' I stood tip-toe ). 
 
 And we wiU live like two birds in one nest : 
 So the lover in Theocritus : — 
 
 TToiqaai KoKiav (ilav elu evl SevdpitJ (Id, xxix. 12) 
 
 (Make one nest in one tree). 
 
 Passing by Balin and Balan, which owes very little 
 either to Malory or to other writers, we come to Merlin 
 
IDYLLS OF THE KING 139 
 
 ani, Vivien. The hint, but nothing more than the 
 hint, for this poem was derived from Malory. 
 
 Ah., little rat that borest in the dyke 
 
 Thy hole by night to let the boundless deep 
 
 Down upon far-off cities 
 
 recalls Sydney Smith's humorous simile : — 
 
 I do not attack him from love of glory, but fi-om love of 
 utility, as a burgomaster hunts a rat in a dyke for fear it should 
 flood a province. 
 
 The Mind zvave feeling round his long sea hall 
 In silence : 
 
 An idea evolved out of a hint from Homer, his Kv/ia 
 K(oj>6v {Iliad, xiv. 16), where it means a wave dumb 
 or noiseless, not sufficiently swelled to break. Alcman 
 (Frag. iv. 6) uses the same epithet in application to 
 a wave. 
 
 May this hard earth cleave to the Nadir hell, 
 Down, down, and close again, and nip me flat 
 If I be such a traitress : 
 
 From Homer, II. iv. 182, &c., through Virgil {^En. 
 iv. 24) :— 
 
 Sed mihi vel tellus optem prius ima debiscat. 
 
 He dragg'd his eyebrow lashes down, and made 
 A snowy penthouse for his hollow eyes : 
 
 Suggested by Homer : — 
 
 Trav Se t' itTKTicuviov Kara eXKerai, oVcre KaXvirToiv (Iliad, xvil. 136) 
 (And drags down all his brow, covering his eyes). 
 
 For in a wink the false love turns to hate : 
 
 More bluntly Milton : — 
 
 Lust, hard by hate (Par. Lost, i. 417). 
 
146 ILLUSTRATIONS OF TENNYSON 
 
 We now come to the poem which is perhaps the' 
 most popular of the Idjdls — Launcelot and Elaine. 
 Almost all the details of this beautiful episode are 
 taken from the eighteenth book of Malory's work. A 
 minute comparison with the prose tale will, indeed, 
 leave Tennyson little but graces of diction and con- 
 summate skill as a story-teller in verse. We are, 
 however, indebted to him for the legend of the 
 diamonds, for Elaine's song and dream, and for the 
 fine portrait of Launcelot. The action of the piece 
 opens, as in Enid, at a central point. We find Elaine 
 in the possession of her hero's shield, and already 
 under the spell of that passion which was to bring 
 her to the grave. The poet then takes us back, telling 
 us by way of episode under what circumstances she 
 obtained the shield — under what circumstances she 
 lost her young heart. 
 
 Launcelot, having resolved to joust in disguise in 
 a great tournament which was about to be held at 
 Camelot, presents himself before the Lord of Astolat. 
 
 ' Fair Sir,' said Sir Launcelot to his host, ' I would pray you 
 to lend me a shield that were not openly known.' ' Sir,' said his 
 host, ' ye shall have your desire, for me seemeth ye to be one of 
 the likeliest knights of the world, and therefore I will show you 
 friendship. Sir, wit yo well that I have two sons but late made 
 knights, and the eldest hight Sir Tirre, and he was hurt that 
 same day that he was made a knight, and his shield you shall 
 have.' This old baron had a daughter that was called- that time 
 the Fair Maid of Astolat. And ever she beheld Sir Launcelot 
 wonderfully'. 
 
 How dramatically the Laureate has set this scene will, 
 be familiar to every one ; and familiar to every one 
 will also be the singularly graphic picture of Launcelot 
 
IDYLLS OF THE KING 141 
 
 which he has taken the opportunity of giving us. The 
 Hnes — ■ 
 
 Marr'd as lie was, he seem'd the goodliest man 
 
 That ever among ladies ate in hall, 
 
 And noblest — 
 
 are transferred from Sir Ector's lament over Launcelot 
 in chapter clsxvi. of the Komance :^- 
 
 Thou wert the goodliest person that ever came among press 
 of knights, and thou wert the meekest man and the gentlest that 
 ever ate in hall among ladies. 
 
 In the portrait of Lavaine — 
 
 rapt 
 By all the sweet and sudden passion of youth 
 Towards greatness in its elder, ' you have fought. 
 O tell us — for we live apart — you know 
 Of Arthur's glorious wars ! ' — 
 
 who will not call to mind Virgil's description of the 
 young and generous Pallas ? The haunting beauty 
 of these three lines {JEncid, x. 160-162), so simple, so 
 magically picturesque, is not likely to have escaped a 
 reader like Tennyson : — 
 
 Pallasque sinistro 
 Affixus lateri jam quaerit sidera, opacas 
 Koctis iter, ,/(!!» qum passus terrdque marique. 
 
 And Elaine besought Sir Launcelot to wear upon him at the 
 justs a token of hers. ' Pair damsel,' said Sir Launcelot, ' and 
 if I grant you that, ye may say I do more for your love than 
 ever I did for lady or damsel.' And then he said, ' Fair maiden, 
 I will grant you to wear a token of yours, and therefore what it 
 is show it me.' ' Sir,' she said, ' it is a red sleeve of mine, of 
 scarlet well embroidered with great pearls.' So Sir Launcelot 
 received it, and said, ' Never did I erst so much for no damsel.' 
 And then Sir Launcelot betook the fair maiden his shield in 
 keeping, and prayed her to keep that untU that he came again : 
 
142 ILLUSTRATIONS OF TENNYSON 
 
 Suddenly flash'd on her a wild desire, 
 That he should wear her favour at the tilt. 
 Shs hraved a riotous heart in asking for it. 
 
 ' Fair Lord wUl you wear 
 
 My favour at this tourney ? ' ' Nay,' said he, 
 ' Fair lady, since I never yet have worn 
 Favour of any lady in the lists. 
 
 Well, I will wear it, fetch it out to me ; 
 "What is- it ? And she told him, ' A red sleeve 
 Broider'd with pearls,' and brought it ; then he bound 
 Her token on his helmet, with a smile, 
 Saying, ' I never yet have done so much 
 For any maiden hving,' and the blood 
 
 Sprang to her face 
 
 ' Do me this grace, my child, to have my shield 
 In keeping till I come.' 
 
 Then follow the tournament— the victory — the 
 wounding of Launcelot. The slight differences of 
 detail between the incidents as given in the Eomance 
 and as given in the Idyll, we shall not stop to consider, 
 as they are of little moment. But in the visit of Sir 
 Gawain to Astolat there is in the Idyll an interesting 
 variation. In the Eomance he appears as the loyal 
 friend of Launcelot. In the Idyll he appears as a 
 treacherous trifler, attempting to estrange Elaine from 
 her lover, and hinting that, even after she has become 
 Launcelot's bride, they may, if she will 'learn the 
 courtesies of the Court,' learn to ' know each other.' 
 This is no doubt introduced to illustrate the increasing 
 corruption of the Bound Table — to mark the growth of 
 that canker which, originating with Launcelot and Gui- 
 nevere, was now rapidly pursuing its destructive course. 
 Meanwhile Launcelot is lying wounded and grievously 
 |ick H/t a hermitage to whicl; he h^s beep carjried, 
 
IDYLLS OF THE KING 14^ 
 
 So Sir Lavaine brought her in to Laiincelot, and when she 
 saw him lie so sick and pale in his bed, she might not speak, but 
 suddenly she fell to the earth down suddenly in i\. swoon. . . . 
 And when she came to herself Sir Lamicelot kissed her, and said 
 ' Fair maiden, why fare ye thus ? ' 
 
 And her Lavaine across the poplar grove 
 
 Led to the caves 
 
 Then she that saw him lying unsleek, mashorn. 
 Gaunt, as it were the skeleton of himself. 
 Utter' d a little tender dolorous cry. 
 The sound not wonted in a place so still 
 
 Woke the sick knight 
 
 Her face was near, and as we kiss the child 
 That does the task assign'd, he kiss'd her face. 
 At once she slipp'd like water to the floor. 
 
 Whether the Laureate has in this case improved upon 
 his original, whether a sudden shock of surprise, as in 
 the Eomance, or a sudden kiss from a lover as in the 
 poem, would be most likely to make a maiden faint 
 away, I must leave to critics more experienced than 
 myself in such matters to decide. 
 
 Elaine never went from Sir Launoelot, but watched him 
 night and day, and there was never woman did more kindlier 
 for man than she : 
 
 And never woman yet since man's first fall 
 Did kindlier unto man ; but her deep love 
 Upbore her. 
 
 And now the plot deepens. Launcelot has re- 
 covered, and is about to take his departure. 
 
 ' My Lord Launcelot, now I see ye will depart. Now, fair 
 knight and courteous knight, have mercy upon me and suffer me 
 not to die for thy love.' ' "What would ye that I did ? ' said Sir 
 Launcelot. ' I would have you to my husband,' said Elaine. 
 ' Fair damsel, I thank you,' said Sir Lamicelot, ' but truly,' said 
 he, ' I cast me never to be a wedded man.' ' Then, fair knight,' 
 paid she, 'will ye be my love ? ' 'Jesu defend me,' sai(J Sif 
 
144 ILLUSTRATIONS OF TENNYSON 
 
 Launcelot, ' for then I rewarded to your father and ycur brother 
 full evil for their great goodness.' ' Alas ! ' said she, ' then must 
 I die for your love.' ' But because, fair damsel, that ye love me 
 as you say you do, I will for yoiir goodwill and kindness show 
 you good goodness. "Whensoever ye shall set yoiu: heart upon 
 some knight that will wed you, I shall give you together a thousand 
 pounds yearly,' ' Of all this,' said the maiden, ' I wiU none, but 
 if ye wiU not wed me, or else be my lover, wit ye well, Sir 
 Launcelot, my good days are done.' 
 
 In Tennyson's version of this — there is no neces- 
 sity for quoting it — Elaine, though as fervidly em- 
 phatic, is less indelicately importunate. The struggle 
 between the uncontrollable passion which has made 
 her speak, and the maiden modesty which would seal 
 her lips — a struggle of which there are no traces in 
 the Romance — is depicted with great skill. But not 
 so powerfully or subtly, I cannot forbear adding, as 
 the same struggle has been depicted by Apollonius 
 Ehodius. Let any one who would compare the modern 
 with the ancient poet, in this, surely a crucial test of 
 a poet's power, read side by side with this portion 
 of Elaine the Argonautica from line 643 of the 
 third book to line 709 — and he will read further. 
 Tennyson has been careful to soften Launcelot's 
 refusal by the paternal air he makes him assume in 
 assuring the poor maid that her love is mere sudden 
 fancy ; that he is thrice her age ; that she would be 
 throwing herself away upon him. The promise of ' a 
 thousand pounds ' in the event of her marriage, is 
 magnified into ' broad land and territory,' and enhanced 
 by the assurance that the donor would be her knight 
 for ever. But all is in vain — 
 
 She shrieked shrilly and fell down in a swoon, and then 
 women bare her into her chamber, and there she made overmuch 
 
IDYLLS OF THE KING 145 
 
 sorrow. . . . And she made such sorrow day and night that she 
 never slept, eat, nor drank. 
 
 There is no need for us to comment on Tennyson's 
 exquisite expansion of these simple words. It may be 
 noticed in passing that the fine line — ludicrously out 
 of place in the mouth of a child like Elaine — ■ 
 
 Never yet 
 Was noble man but made ignoble talk — 
 
 is the precise equivalent of a line in iEschylus — 
 
 6 8' d:j)6ui>rjT6s y' ovK (TTiCi^os Tre'Xfi (Agamemnon, 9C8) 
 
 (He who is not an object of envy is not an object of emula- 
 tion). 
 
 So when she had thus endured a ten days that she feebled so 
 that she must needs pass out of the world, then she shrived her 
 clean and received her Creator. . . . And then she called her 
 father and her brother, and heartily she prayed her father that 
 her brother might write a letter like as she did endite it. Ar.d 
 when the letter was written word by word like as she divised, 
 then she prayed her father that she might be watched until she 
 were dead. 
 
 All this Tennyson has of course exactly reproduced, 
 as all that follows belongs likewise to Malory — the 
 black-draped barge, the gorgeous coverlet, the dumb 
 servitor, the fair corpse with the letter in her hand, 
 the picture of Launcelot and Guinevere standing in 
 the oriel, the knights thronging round. Two par- 
 ticulars the poet has added to the picture, one of a 
 somewhat commonplace character suggested by Byron, 
 the other suggested perhaps by Yirgil — the lily, and 
 ' the silken case with braided blazonings' — the exuvice 
 dulces dum fata Dcusque sinchant. The lily was of 
 course meant as a type of purity, but it was scarcely 
 
146 ILLUSTRATIONS OF TENNYSON 
 
 needed. The remark in the letter that the dead writer 
 had come to say a last farewell to the cruel lover who 
 had never said farewell to her in life, is also a touch of 
 the Laureate's. To the poet also belong the concluding 
 lines — Launcelot's soliloquy, perhaps the finest passage 
 in the whole poem, one of the finest Tennyson has 
 ever written. 
 
 The poem has several reminiscences from the works 
 of other poets and writers, particularly, as might be 
 expected, from the fourth Mndd. 
 
 In me there dwells 
 No greatness, save it be some far-off touch 
 Of greatness, to know well I am not great : 
 
 Cf. the well-known remark of Socrates in Plato's 
 Apology, ch. ix : — 
 
 ovTos aocj^wTaTus eo'TCV ocrTis eyvwK£V oTt oitdevos li^tos icTTt rjj 
 
 (That man is the wisest who knows that he is in reality of 
 no worth at all with respect to wisdom). 
 
 The fine simile — 
 
 AH together down upon him 
 Bare, as a wild wave in the wide North-sea, 
 Green-glimmering toward the summit, bears, with all 
 Its stormy crests that smoke against the skies, 
 Down on a bark — ■ 
 
 is obviously borrowed from the Iliad, where it draws 
 on three different similes. 
 
 01 8 SxjTi fie'ya KVtia 6a\au(jr)i evpVTTOpOLO 
 VTjbi iwep Tolx^aiv KaraPrjcreTm, ottttot' intlrj 
 \s avffxov (II. XV. 381-4) 
 
 (As when a great wave of the wide-wayed sea sweeps down 
 over the bulwarks of a ship when the might of the wind 
 is on it). 
 
 Cf., too, Iliad, XV. 624 s^g. 
 
IDYLLS OF THE KING 147 
 
 For the ' stormy crests ' see Iliad, iv. 42-56. 
 The ' green-glimmering toward the summit ' is 
 Tennyson's own fine touch. 
 
 Faitb unfaithful kept him falsely true : 
 Cf. Andocides for a similar oxymoron : — 
 
 elaT]yr](rafi.iv(D fisv 'Elt^LkqTaw'uTTLv tSiv iv av6pa>TT0it tnniTTOTaTrjv 
 TivavTia6j]v (De Myst., Bekker edit. Orat. Att. p. ix. 33). 
 
 The owls 
 Waihng had power upon her, and she mixt 
 Her fancies with the sallow-rifted glooms 
 Of evening, and the moanings of the wmd : 
 
 This passage is an admirable illustration of Tenny- 
 son's power of transfusing the very essence of Virgil 
 into English. Nothing could be more completely 
 the counterpart of the verses in ^Eneicl, iv. 460, where 
 Dido, with the shadow of her fate falling on her, seems 
 to hear the phantom voice of Sichfeus and ' mixes 
 her fancies ' with the glooms of night and the owl's 
 lonely wail : — 
 
 Hinc esaudiri voces et verba vocantis 
 Visa viri nox quum terras obscura teneret; 
 Solaque culminibus ferali carmine bubo 
 Sfepe queri, et longas in fletum ducere voces 
 
 (From it she thought she clearly heard a voice, even the 
 accents of her husband calling her, when night was 
 wrapping the earth with darkness ; and on the roof the 
 lonely owl in funereal strains kept oft complaining, drawing 
 out into a wail its protracted notes). 
 
 It is interesting to compare the beautiful picture 
 of the dead Elaine with Byron's equally beautiful pic- 
 ture of the dead Medora {Corsair, iii. 19). The points 
 of resemblance make it difficult to think that 
 
 hi 
 
148 ILLUSTRATIONS OF TENNYSON 
 
 Tennyson has not borrowed from it, as a comparatire 
 extract will show. Compare — ■ 
 
 In her right hand the hly 
 
 with 
 
 All her bright hah- streaming down 
 .... And she herself in white, 
 AU but her face, and that clear-featured face 
 Was lovely, for she did not seem as dead, 
 But fast asleep, and lay as tho' she smiled — 
 
 In life itself she was so still and fair 
 That death with gentler aspect wither'd there. 
 And the cold flowers her colder hand coutain'd 
 In that last grasp as tenderly were strain'd 
 As if she scarcely felt, but feign'd, a sleep. 
 
 Her lips .... seem'd as they forbore to smile. 
 But the white sliroud and each extended tress. 
 Long, fair, &o. 
 
 The lines — 
 
 To doubt her fairness were to want an oj'e, 
 To doubt her pureness were to want a heart — 
 
 sound like an echo from • Shakespeare. 
 
 The Holy Grail is a series of adaptations, with 
 more original touches than are usual with the Laureate, 
 from those portions of Malory's Komance which deal 
 with this sublime legend, namely book xiii. ch. vi. to 
 the end of book xvii. Occasionally the prose story is 
 followed very closely, as in the revelation of the 
 Grail: — 
 
 And all at once, as there we sate, we heard 
 A cracking and a riving of the roofs, &o. — 
 
 which should be compared with the seventh chapter 
 of Malory's thirteenth book ; as, again, in the adven- 
 ■ture of Launcelot, which should be compared with 
 
IDYLLS OF THE KING 149 
 
 the fourteenth and fifteenth chapters of book seven- 
 teen. In this poem Tennyson's highest praise is, the 
 skill with which he has grouped his details into a 
 series of elaborate allegorical symbols, the ingenuity 
 with which he has connected the story with the sin 
 of Launcelot, with the failure of Arthur's life-purpose, 
 with the dissolution of the Eound Table. To him belong 
 also beauties of diction, felicitous touches, felicitous 
 symbolism. But to Malory, or rather to his predeces- 
 sors, belongs the palm of invention, belong the pictu- 
 resqueness and grandeur, the pathos, the weird and 
 unearthly beauty of this divine legend. 
 
 The moral of the poem, which is summed up in 
 the concluding words of Arthur, finds an admirable 
 commentary in the concluding stanzas of the tenth 
 canto of the first book of Spenser's Faerie Queenc. 
 
 Pelleas aivl Ettarre is the versification of a story 
 told in the twentieth, twenty-first, and twenty-second 
 chapters of the fourth book of the Morte cV Arthur. 
 The commencement and setting of the Idyll — the 
 portion, that is to say, which describes young Pelleas 
 and his meeting with Ettarre in the forest, as well as 
 the portion which connects her sensual frivolity with 
 the sin of Guinevere, and the treachery of Ga.wain with 
 the treachery of Launcelot — are due to the poet. The 
 concluding pages narrating the frenzy of Pelleas and 
 his encounter with Launcelot are also additions. We 
 have no space for extending quotations, but it may be 
 interesting to compare the passage in which Malory 
 relates the incident of the sword with the Laureate's 
 poetical rendering : — • 
 
 And when he had ridden nigh half a mile, he turned again 
 and thought to slay them both, and when he saw them both 
 
ISO ILLUSTRATIONS OF TENNYSON 
 
 sleeping fast .... he said thus to himself : ' Though this 
 knight be never so false, I will never slay him sleeping, for I 
 vcill never destroy the fair order of knighthood.' And ere he 
 had ridden half a mile, he returned again .... and pulled out 
 his sword naked in his hand, and went to them there as they 
 lay ; and yet he thought it were a shame to slay them sleeping, 
 and laid the naked sword overthwart both their throats, and so 
 took his horse and rode away : 
 
 ' I will go back and slay them where they lie.' 
 
 And so went back, and seeing them yet in sleep 
 
 Said, ' Ye that so dishallow the holy sleep. 
 
 Your sleep is death,' and drew the sword, and thought, 
 
 ' What ! slay a sleeping knight ? The King hath bound 
 
 And sworn me to this brotherhood.' . . . 
 
 Then turn'd, and so return'd, and groaning laid 
 
 The naked sword athwart their naked throats. 
 
 Then left it, and them sleeping. . . . 
 
 And forth he pass'd. 
 
 This poem contains a simile, the history of which is 
 
 perhaps worth tracing : — 
 
 As when 
 A stone is flung into some sleeping tarn 
 The circle widens tiU it lip the marge : 
 
 This simile appears first, I believe, in Silius Italicus, 
 who gives us the following exquisitely finished cameo : 
 
 Sic, ubi perrupit stagnantem calculus nnrla.m, 
 Exiguos format per prima volumina gyros, 
 Mox, tremulum vibrans, motu gliscente, liquorem 
 Multiplicat crebros sinuati gurgitis orbes ; 
 Donee postremo laxatis circulus oris 
 Contingat geminas patulo curvamine ripas 
 
 [Punica, xiii. 24 aqq.) 
 
 (So, when a pebble has broken up still water, small are the 
 rings that it forms at first by its circling motions. And 
 then as motion gathers it sends vibrations through the 
 tremrulous liquid and multiplies the thick coming circlets of 
 
IDYLLS OF THE KING 151 
 
 the curving flood, until at last, as the rims relax, the cuxle 
 spreading widely reaches both banks). 
 
 See, too, for a less elaborate description Seneca (Nat. 
 Qucest. i. 8). 
 
 Chaucer employs it in a description not less 
 elaborate than that of Silius {House of Fame, ii. 283) ; 
 and Shakespeare (Henry VI. Pt. I. act i. sc. 2). So, 
 too, Phineas Fletcher (Purple Island, canto v. st. 47). 
 Parnell rivals Silius in his highly finished picture 
 (Hermit, 13-20), so also does Pope (Temple of Fame, 
 436-440). He employs it again in Essay on Man, 
 Epist. iv. 364. 
 
 Till the siveet heavens have fiU'd it 
 
 (so again Mariana — 
 
 She could not look on the sweet heavens) ; 
 
 The epithet is Shakespeare's : — 
 
 Is there not rain enough in the sweet heavens 
 
 To wash it white as snow ? [Hamlet, iii. 3.) 
 
 The Last Tournament has nothing which exactly 
 corresponds to it in the original Eomance, and the 
 chief incidents in the work appear to be the poet's in- 
 vention. The catastrophe, the murder of Tristram, 
 is founded on the following passage in the Morte 
 d' Arthur : — 
 
 ' That is hard to do,' said Sir Launoelot, 'for by Sir Tristram 
 I may have a warning. For when, by means of treaties, Sir 
 Tristram brought again La Beale Isoud unto King Mark from 
 Joyeus Gard, look what befell on the end, how shamefully that 
 false traitor Mark slew him as he sat harping afore his lady La 
 Beale Isoud: with a grounden glaive he thrust him in behind to 
 the heart ' (Morte 4' Arthur, xx. ch. C). 
 
152 ILLUSTRATIONS OF TENNYSON 
 
 In Guinevere, Tennyson draws to some very slight 
 extent on the nineteenth and twentieth hooks of the 
 Morte d' Arthur, but in no instance has he followed 
 his original closely. Guinevere, like most of Tenny- 
 son's earlier poems, proves the diligence with which 
 he sought materials for enriching his work. In his 
 description of the genii and faerie spirits which in 
 earlier and happier ages haunted Britain, as legends 
 say, he has drawn on Crofton Croker's Fairy Legends. 
 The story which suggested the amusing ghost inci- 
 dent in Walking to the Mail, supplies him here with 
 one of his most pleasing pictures : — 
 
 Down in the cellars merry bloated things 
 Shoulder'd the spigot, straddling on the butts 
 While the wine ran. 
 
 This is taken almost literally from Crofton Croker : — 
 
 On advancing into the cellar, he perceived a little figure, 
 about six inches in height, astride upon the pipe of the oldest 
 port, and bearing a spigot upon his shoulder 
 
 {Fairy Legends, edit. 1802, p. 79). 
 
 It is possible too that the lines — 
 
 The ilickering fairy- circle wheel' d and broke 
 Flying, and link'd again, and wheel'd and broke 
 Flying, for all the land was full of life — 
 
 may have been suggested by the concluding verses of 
 Addison's charming mock heroic the Pygmaogerano- 
 machia : — ■ 
 
 Lsetitia penitus vacat, indulgetque Choreis 
 Angustosque terit calles, viridesque per orbes 
 Turba levis salit. 
 
 In the lines — 
 
IDYLLS OF THE KL\G 153 
 
 And in thy bowers of Camelot or of Usk 
 
 Thy shadow still would ghde from room to room, 
 
 And I should evermore be vext with thee 
 
 In hanging robe or vacant ornament, 
 
 Or ghostly footfall echoing on the stair — 
 
 we have au admirable expansion and interpretation of 
 two pregnant lines in the Afjamcmnon of ^Eschylus : — 
 
 TTO^w S' vnepTrovrlas 
 
 (pdcTfia Sojei ddfiav dvaa-crav (Agani. 404-5) 
 
 (And, in his yearning for her who is over the sea, a phantom 
 win seem to reign over his palace). 
 
 What are Tennyson's lines but the simple Pinfolding of 
 what is latent here ? The Shakespearian reminiscence 
 {King John, act iii. sc. 4) is too obvious to be noticed. 
 The Passing of Arthur follows closely the original 
 Eomance, and is contained in the third, fourth, and 
 fifth chapters of the twenty-first book. The opening 
 is original, and in the commencement there are one 
 or two alterations in the original story. Thus : — • 
 
 And then the King Arthur drew with his host down by the 
 seaside westward towards Salisbury. 
 
 Tennyson makes Lyonesse the scene of the battle. 
 The Eomance describes it as being fought ' on a 
 Monday after Trinity Sunday,' Tennyson on the last 
 day of the year. Most of the details of the battle, 
 the mist, &c. are Tennj^son's ; his fine description 
 bsing evolved for the most part out of the words — 
 
 And never was seen a dolefuller battle in no Christian land. 
 For there was bvit rushing and riding, foining and striking, and 
 many a grim word was there spoken either to other, and many a 
 deadly stroke (chap. iv.). 
 
 It is not necessary to institute any minute com- 
 
154 ILLUSTRATIONS 01 TENNYSON 
 
 parison between the exact minor details given in the 
 Eomance and the poem, but it will suffice to illustrate 
 the leading and important points. 
 
 ' Therefore,' said Arthur, ' take thou my good sword Escalibur, 
 and go with it to yonder water-side. And when thou comest 
 there I charge thee throw my sword on that water, and come 
 again and tell me what thou there seest.' ' My Lord,' said 
 Bedivere, ' your commandment shall be done, and lightly will I 
 bring you word again.' So Sir Bedivere departed, and by the 
 way he beheld that noble sword, that the pommel and the haft 
 were all of precious stones, and then he said to himself, ' If I 
 throw this rich sword in the water, thereof shall never come to 
 good, but harm and loss.' And then Sir Bedivere hid ExcaUbur 
 under a tree. 
 
 In the poem the bare statement ' So Sir Bedivere 
 departed ' is expanded into a beautiful picture. He 
 
 steps 
 
 athwart the place of tombs, 
 Where lay the mighty bones of ancient men. 
 Old knights, and over them the sea-wind sang 
 Shrill, ohOl; 
 
 we see him passing by ' zig-zag paths and juts of 
 pointed rock,' till he comes to ' the shining levels of 
 the lake.' The line which simply tells how ' the 
 pommel and the haft were of precious stone ' re- 
 appears as 
 
 All the haft twinkled with diamond sparks, 
 
 Myriads of topaz-lights, and jacinth work 
 
 Of subtlest jewellery; 
 
 and the effect is still more heightened by their being 
 seen in the light ' of the winter moon, Brightening the 
 skirts of a long cloud.' The ' under a tree ' becomes 
 
 the many-knotted waterflags 
 That whistled stiff and dry about the marge. 
 
IDYLLS OF THE KING 155 
 
 In the 
 
 This way and that dividing the swift mind 
 
 we have of course a literal version of ^'irgi^s line — 
 
 Atque animum nunc hue oelerem nunc dividit illuo 
 
 (Mn. iv. 285). 
 
 A few lines further on, the sentence ' I saw nothing 
 but the waters wap and the waves wan ' is transmuted 
 into two lines containing two of the finest onomatopoeic 
 effects in our language : — 
 
 I heard the ripple washing in the reeds 
 And the wild water lapping on the crag. 
 Again : — 
 
 Then Sir Bedivere departed and went to the sword, and 
 lightly took it up and went to the waterside, and then he bound 
 the girdle about the hilts, and then he threw the sword as far 
 into the water as he might, and then came an arm and a hand 
 above the water, and met it and caught it, and so shook it thrice 
 and brandished, and then vanished away the hand with the 
 sword in the water. 
 
 In the poem we have the ' brand making lightnings 
 in the splendour of the moon ; ' we have also the 
 magnificent simile which compares its flashing flight 
 to ' the streamers of the northern morn, Seen where 
 the moving isles of winter shock By night ; ' the hand 
 is ' cloth'd in white samite, mystic, wonderful.' We 
 may notice, in passing, that Arthur's words to 
 
 Bedivere — 
 
 Woe is me ! 
 Authority forgets a dying king — 
 
 may have been suggested by an anecdote of Queen 
 Elizabeth. ' Cecil intimated that she must go to 
 bed, if it were only to satisfy her people. "Must/" 
 
156 ILLUSTRATIONS OF TENNYSON 
 
 she exclaimed; "is must a word to be addressed to 
 princes ? Little man, little man , thy father if he had 
 been alive durst not have used that word, but thou 
 hast groicn presumptuous because thou knoivcst that I 
 shall die." ' (Lingard, vol. vi. p. 316.) But perhaps 
 the Laureate was as unconscious that he was recalling 
 Elizabeth as Elizabeth was doubtless ignorant that 
 she was recalling Marlowe. The coincidence is worth 
 pointing out : — 
 
 Leicester. Your Majesty must go to Killingworth. 
 K. Edwabd. Must ! It is somewhat hard when kings must 
 go (Mablowe, Edward II.). 
 
 To continue : — 
 
 And when they were at the water-side, even fast by the hank 
 hoved a little barge with many fair ladies in it, and among them 
 all was a Queen, and all they had black hoods, and all they wept 
 and shrieked when they saw King Arthur. ' Now put me into 
 the barge,' said the King; and so they did softly. And there 
 received him three Queens with great mourning, and so they set 
 him down, and in one of their laps King Arthur laid his head ; 
 and then that Queen said, ' Ah ! dear brother, why have ye 
 tarried so long from me ? ' 
 
 He would be a bold critic who should pronounce that 
 Tennyson has improved this. He would be a still 
 bolder critic who should wish to see a touch or letter 
 of Tennyson's version altered. The truth is that in 
 this case there is no parallel between the poet and 
 the romancist. Each had to tell a story in itself so 
 wondrously beautiful, so touching, so suggestive, so 
 picturesque, that it mattered little how it was narrated 
 provided only tliat it were narrated with fidelity. 
 Malory told it as Herodotus would have told it; the 
 Laureate tells it as Sophocles or Virgil might have 
 
IDYLLS OF THE KING 157 
 
 done. Tennyson's elaborate beauties commrind our 
 admiration. Malory's simple ^Yords go straight to 
 the heart. In the one case we dwell upon the 
 eloquence of the speaker ; in the other we are lost in 
 the story he tells. We must, however reluctantly, 
 acknowledge that in Tennyson's version much of the 
 pathos of the Eomance disappears. ' And called him 
 by his name, complaining loud,' is, if one may ven- 
 ture to say so, a poor substitute for ' Ah ! dear 
 brother, why have ye tarried so long from me ? ' 
 though it has the attraction of being an echo from 
 Homer. On the noble lines — 
 
 The old order changetb, yielding place to now, 
 
 And God fulfils himself in many ways, 
 
 Lest one good custom should corrupt the world — ■ 
 
 a passage in Greene's James IV. (act v. sc. 4) fur- 
 nishes an interesting commentary : — 
 
 Should all things still remain in one estate, 
 Should not in greatest arts some soars be found, 
 Were aU upright nor changed, what world were tliis ? 
 A chaos made of quiet, yet no world, 
 Because the i^arts thereof did still accord : 
 This matter craves a variance. 
 
 For the phrase — 
 
 Looking wistfully . . . 
 As in a picture — 
 
 see Agamemnon, 230 : — 
 
 e,3aXX' €KacrTOV 6vTj]pav 
 a7r' ofX[iaros /3e'Xfi (piXuiKTcOj 
 npe'iTOVcra d' i>s iv ypa(f)ais 
 
 (And each of her slayers she smote with the eye's pity- 
 wooing dart, standing out conspicuous as in a picture). 
 
 The germ of the two fine lines — 
 
ISS ILLUSTRATIONS OF TENNYSON 
 
 For so the whole round world is every way 
 Bound by gold chains about the feet of God — 
 
 is of course to be found in Homer (Iliad, viii. 25-6). 
 Cf. too Plato, Thecetetus, cliii. 10; but it may have 
 been directly suggested either by a sentence in Bacon's 
 Advancement of Learning, book i. ad init. — 
 
 According to the allegory of the poets . . . the highest link of 
 nature's chain must needs be tied to the foot of Jupiter's chair— 
 
 or by a sentence in Archdeacon Hare's Sermon on 
 the Laiu of Self-Sacrifice : — 
 
 This is the golden chain of love whereby the whole creation 
 is bound to the throne of the Creator. 
 
 "Where falls not hail or rain, &c. : 
 
 Adapted from Odyssey, \i. 42-5 : — 
 
 o^t (j^acrl Bewv eSo? d(T<f>a\€s alii 
 G^fxevat. OVT dvefioicri nvacraeTai ovre noT ojX^pa 
 deverai ovTe x^'')" imwCKvaTai 
 
 (Where, they say, the seat of the Gods abideth sure, nor is 
 it shaken by winds or ever wetted by shower, nor does 
 snow come near it). 
 
 See illustration given in notes on Lucretius, p. 73. 
 
 In conclusion it may be noticed how closely the 
 picture of Bedivere standing on the lonely crag ' strain- 
 ing his eyes beneath an arch of hand ' that he might 
 catch a last glimpse of his departed king, recalls the 
 sublime scene in the (Edipus at Colonus, where Theseus 
 stands in the same attitude on a similar spot — 
 
 ufifMaroiv ento'Ktnv 
 X^'^p' ai'Tf';(oj'Ta Kparos (QSd. Col. 1650) 
 (With his hand before his head shading his eyes) — 
 
 gazing after a king who was also passing away in 
 mystery to another state of being. 
 
IS9 
 
 CHAPTEE X 
 
 GROUP IX. — THE LOVES'S TALE, BALLADS, ETC. 
 
 The Lover's Tale is, as the poet has himself in- 
 formed us, a very early work, so crude and unworthy 
 of a place among his maturer productions, that 
 nothing but the circulation of surreptitious copies by 
 ill-advised friends would have induced him to reprint 
 it. What is to be regretted is, that he has not only 
 reprinted it, but pushed it into prominence by tagging 
 it, as a singularly irrelevant introduction, to a poem 
 not unworthy of his genius, the Golden Supper. But 
 to the critical student the poem is of great interest. 
 It is an example of Tennyson's work before his educa- 
 tion as an artist had seriously commenced. There 
 are few or no traces in it of the study of those mas- 
 ters to whose influence we owe it that the works most 
 characteristic of the Laureate did not remain on the 
 level of works most characteristic of Sydney Dobell 
 and Alexander Smith. It is impossible to read a 
 poem like The Lover's Tale without being struck with 
 the extraordinary transformation which the genius of 
 Tennyson underwent as soon as he began to turn his 
 attention to the serious study of the great classics of 
 Greece, Eome, Italy, and of his native country. What 
 Ovid Bays of Callimachus, Quamvis ingenio non valet 
 
i6o ILLUSTRATIONS OF TEXKYSON 
 
 arte valet, is, we feel, equally true of Tennyson. The 
 florid exuberance of this poem is not that of promise, 
 not that of Keats's Endymion, or that of Beaumont's 
 Salmacis and Hermaj^hivdittis ; it is that of Smith's Life 
 Drama and of Dobell's Balder. 
 
 The only distinct classical reminiscence in the 
 poem is in the lines — 
 
 Phantom ! had the ghastliest 
 That ever lusted for a body, sucking 
 The foul steam of the grave to thicken by it^ 
 
 which is plainly an allusion to Plato {Phcedo, 69) : cf., 
 too, Milton, Comus, 469-475. 
 
 The Golden Svpiier is a translation of one of the 
 most beautiful of Boccaccio's tales, the tale which 
 forms the Fourth Novel of the Tenth Day in the 
 Decamerone. The names are altered, Julian being sub- 
 stituted for Gentile Carisendi, Lionel for Niccoluccio 
 Caccianimico, and Camilla for Catalina. The additions 
 are characteristic. While Boccaccio simply contents 
 himself with saying that the lover descended into the 
 sepulchre, the poet, true to the Teutonic instinct, takes 
 occasion to give a ghastly description of the scene. 
 In Boccaccio, the lover, after rescuing the lady from 
 the tomb, returns to Modena and calmly resumes his 
 duties as podcsta, till the child is born. Tennyson 
 makes him retire to a ' dismal hostel, in a dismal 
 land,' where he lives in misery and is wasted with 
 fever, and where he communicates his troubles to a 
 sympathising friend. The essential difference be- 
 tween the poem and the novel is that in the one the 
 story is saturated with sentiment, and in the other 
 sentiment is almost entirely absent, as with Boccaccio 
 it generally is. 
 
THE LOVER'S TALE, BALLADS, ETC. i6i 
 
 The Revenge is a spirited version of a story which 
 has been told more than once before, e.g. by Kingsley 
 in Westward Ho ! ch. xii., and by Mr. Froude in his 
 Short Studies, vol. i. 493-501. But the earliest and 
 best account is that given by Sir "Walter Ealeigh. It 
 forms one of the volumes of Mr. Arber's reprints. 
 
 In The Sisters, a return to the Englisli Idylls, the 
 
 lines — 
 
 I stood upon the stairs of Paradise. 
 
 The golden gates would open at a word — 
 
 are a variation of Wordsworth's 
 
 all Paradise 
 Could by the simple openmg of a door 
 Let itself in upon him {Vaudracour and Julia). 
 
 The aerial poplar : 
 
 A Virgihan epithet applied, Eel. i. 58, to the elm ; 
 .£«. iii. 680, to the oak.' 
 
 ' I cannot but think that the real meaning of this word as 
 appUed by Virgil to the Alps (Georg. iii. 474) and to the mountains 
 of Corcyra (JEn. iii. 291) has been missed by tlae commentators, 
 who simply paraphrase as ' lofty.' What it really means is, blend- 
 ing with the air, fading imperceptibly into air, as objects at a 
 distance seem to do. Cf. what Livy says of the Alps at a distance : 
 ' ex propinquo visa montium altitude, nivesque ccelo prope iiiimixtCB ' 
 (lib. xxi. oh. xxxii.). Cf., too, Campbell, of a mountain — 
 
 ' Whose sunbright summit mingles tvith the skij ' 
 
 (Pleasures of Hope, i.). 
 
 And I strongly suspect, in spite of the Scholiast's interpretation, that 
 this is the real meaning of vepiri in ApoUonius Ehodius, i. 580 — 
 ouTiKa S' 7}epir} iTo\v\riio^ aJa HeXaayuy 
 SvcTO 
 {' anon the land of the Pelasgi, with its many cornfields, sank, blend- 
 ing itself with air, out of sight,' i.e. faded into air and sank below the 
 horizon). So VirgU's — 
 
 ' Aerias Phteaoum abscondimus aroes ' (^n, iii. 291) ; 
 
 M 
 
162 ILLUSTRATIONS OF TENNYSON 
 
 The touching incident which forms the centre of 
 the poem entitled In tlie Children's Hospital, namely, 
 the incident of the little suffering child giving a sign to 
 Jesus to show Him where His care was needed, was, 
 according to a writer in Xotes and Queries {X. and 
 Q. Sixth series, vol. iii. p. 85), first told in St. 
 Cyprian s Banner, a local magazine published by 
 Hodges at 2 Park Street, Dorset Square, in December 
 1872. It there appeared as Alice's Christinas Day, 
 and was said to be a true story related by a Sister of 
 Mercy. ' Later on,' says the writer, whose note I 
 am transcribing, ' I met with it in a pamphlet form, 
 and have also seen it pp. 289-91 of the third volume 
 of Neiv and Old, a periodical magazine edited by the 
 Eev. Charles Gutch.' 
 
 The passage in the dedicatory poem to the Princess 
 Alice — 
 
 If what we call 
 The spirit flash not all at once from out 
 This shadow into Substance — then perhaps 
 The mellow'd murmur of the people's praise 
 
 Ascends to thee 
 
 where is he can swear 
 But that some hrolcen gleam from, our poor earth 
 May touch thee ? 
 
 (Cf. hi Memoriam, Ixxxv. st. 22.) 
 
 Compare the passage in the Ethics where Aristotle 
 is discussing the question whether, or in what way, the 
 fortunes of the living may affect the dead {Nich. 
 Ethics, I. xi.). 
 
 that is, ' we hide from view, we see the Phieaoian hills fading into 
 air and sinking out of sight.' See too Catullus, Ixiv. 241, and Ovid, 
 Met. ii. 2-2G. 
 
THE LOVER'S TALE, BALLADS, ETC. 163 
 
 Sir John Oldcastlc. — A soliloquy supposed to be 
 spoken by Lord Cobham when in hiding in Wales, 
 ■fflaither he escaped after the demonstration in St. 
 Giles's Fields. For a commentary see passages and 
 authorities cited in Wordsworth's Ecdes. Biog. vol. i. 
 pp. 217-277. 
 
 Columbus.— 'V\ii\i regard to this poem a serious 
 charge of plagiarism was brought against the poet by 
 Mr. Eric Mackay,' who pointed out that it is little 
 more than an adaptation of a poem entitled Columhus 
 at Seville written by a Mr. Joseph Ellis, and published 
 by Pickering in 1869, and in 1876. A comparison 
 between Tennyson's poem and Mr. Ellis's certainly 
 seems to prove beyond doubt that the Poet Laureate 
 not only got the whole framework of his poem from 
 Mr. Ellis's, but has appropriated many of Mr. Ellis's 
 ideas and details. If the resemblances between the 
 poems are coincidences, it would be difficult to match 
 coincidences so extraordinary in the whole history of 
 literary parallels. Of one thing there can be no 
 doubt, that the first edition of Mr. Ellis's poem ap- 
 peared eleven years, and the second four years, before 
 Tennyson's. 
 
 The Voyage of Maeldune. — This poem is founded 
 on an old Irish legend, preserved in the book of the 
 Dun Cow, in the Yellow Book of Lecan, and in a 
 MS. in the Harleian collection, MS. Harl. 5280. But 
 it was first published in a translation by Dr. P. W. 
 Joyce in his Old Celtic Romances. It was presumably 
 on this version, published in 1879, that Tennyson 
 
 ' Vox Clamantis ; a comparison analytical and critical between 
 the Columbus at Seville and the Colvmbus of the Poet Laureate, by 
 Eric Mackay. (No date) Museum Press mark 11826. dd 38. 
 
 M 2 
 
i64 ILLUSTRATIONS OF TENNYSON 
 
 founded his poem. In his hands the story has been 
 considerably modified — indeed, he has dealt with it in 
 the same way as he has dealt with Malory's Morte 
 d' Arthur in such idylls as The Coming of Arthur, de- 
 riving from his original little more than the framework 
 of his poem. The chapters in Dr. Joyce's work which 
 may be compared with the poem are, in order, i., ii., 
 vii., xix., xi. and xxix., xxi. and xxii., xxxiii., xxxv. 
 The words in stanza v. — 
 
 And Starr' d with a myriad blossom the long convolvulus 
 hung — 
 
 are plainly adapted from Shelley : — 
 
 The parasites 
 Starr'd with ten thousand blossoms {Alastor), 
 
 De Profundis. — The metaphysics of this poem find 
 comment in the illustrations of the metaphysics of 
 The Ancient Sage, see infra, p. 168 seqq. 
 
 dear Spirit half-lost 
 
 In thine own shadow 
 
 who wailest being horn : 
 
 Cf. Plotinus, Ennead. V. lib. i. chap. i. : — 
 
 dp^r] ixiv ovif avTOLS rou KaKov ... 7/ yiveo'CS Kal t] npoiTt] irepoTTjs 
 KOL TO (Sov\rj6rjvai de iavruji/ tivai 
 
 (The beginning of evil to them {i.e. to souls) is birth, the 
 separation from the former unity, and the desire of inde- 
 pendence and isolation). 
 
1 6s 
 
 CHAPTEE XI 
 
 GHOTJP X. LATER MISCELLANEOUS POEMS 
 
 In the sonnet, To the JRev. W. H. Brookfield — 
 
 (TKias ouap — dream of a shadow — go — 
 is from Pindar, Pythian yiii. 135. 
 
 Sir John Franklin. — The lines on the cenotaph of 
 Sir John Franklin form with the epigrams to the 
 memory of Lord Stratford de Eedeliffe, General Gor- 
 don, and Caxton, a group of poems which irresistibly 
 suggest comparison with the parallel epigrams of 
 Simonides. But how immeasurably inferior are the 
 Poet Laureate's, not to the best, but to the poorest of 
 his Greek predecessor's. Probably nothing so bad as 
 that on Lord Stratford de Eedeliffe was ever written 
 seriously by a poet of Tennyson's eminence. It would 
 indeed have been interesting to hear what Simonides 
 and his brother poets would have had to say to an 
 inscription on the statue of an eminent public man, 
 the climax of which found expression in an antithesis 
 of this kind : — 
 
 Here silent in our Minster of the West 
 Who wert the voice of England in the East. 
 
 The best is, undoubtedly, the epitaph on Caxton : — 
 Till shadows vanish in the Light of Light. 
 
 There is an exquisite illustration of this in Lucy 
 
l66 ILLUSTRATIONS OF TENNYSON 
 
 Hutchinson's Memoirs of her Husband. I will quote 
 the whole passage, glad to have the opportunity of 
 doing so, as it is one of the most beautiful to be 
 found in our own or in any other language : — 
 
 She was a very faithful mirror, reflecting truely though but 
 dimmely his owne glories upon him, so long as he was present ; 
 but she, that was nothing before his inspection gave her a faire 
 figure, when he was remooved was only filled with a darko 
 mist, and never could againe take in any delightful object, or 
 return any shining representation. The greatest excellencio 
 she had was the power of apprehending, and the virtue of loving 
 his. Soe, as his shadow, she waited on him everywhere, till he 
 was taken into that region of light, ivhich admits of none, sind 
 then she vanished into nothing (Memoirs of the Life of 
 Colonel Hutchinson, p, 45, quarto edition). 
 
 Tiresias. — The blind seer is presented to us at the 
 moment he is encouraging Menceceus to sacrifice 
 himself that Thebes may be saved. The poem might 
 almost be regarded as a supplementary scene in the 
 I'hcsnissis of Euripides, either immediately preceding 
 or immediately following the interview between Teire- 
 sias, Creon, and Menceceus, Pkoenissm, 833-1018. As 
 in the play he is speaking while the storm of war is 
 raging round the city, and its destruction is imminent. 
 With the lines — 
 
 Thou hast eyes, and I can hear 
 Too plainly what full tides of onset sap 
 Our seven high gates, &o. — 
 
 cf. the whole of the chorus, 202-260, and also — for 
 ^schylus too has been laid under contribution — 
 Sei^tem contra Thehas, 77-1G5, Tennyson's lines 
 being an adaptation of the two. The passage where 
 Teiresias relates the circumstances under which he 
 was deprived of sight— =^ 
 
LATER MISCELLANEOUS POEMS 167 
 
 There once, but long ago, five-fold thy term 
 Of years I lay ; the winds were dead — 
 
 and the lines -which follow are adapted from Calli- 
 machus (Lavacrum Palladis, 70-130). 
 
 And heard not when I spake of famine, plague, 
 
 And angers of the God for evil done 
 And expiation lack'd : 
 
 An allusion to Sophocles {(Edip. Rex, 315 sqq., and 
 Antigone, 988 sqq.). 
 
 Only in thy virtue lies 
 The saving of our Thebes : 
 
 See the speech addressed to Creon in the Phanissce, 
 
 930-960. 
 
 Their names. 
 Graven on memorial columns, are a song 
 Heard in the future ; few, but more than wall 
 And rampart 
 
 recalls, but how feeble the echo, the noble fragment 
 of Simonides, all that remains of his eulogy on those 
 who fell at Artemisium (Frag. xxvi.). Cf., too, Leo- 
 pardi's magnificent adaptation of it in his Canzone to 
 Italy. 
 
 Thou, that hast never known the embrace of love, 
 Offer thy maiden life : 
 
 Cf. Phoenissce, 958-60. 
 
 The picture of Elysian life in the concluding 
 verses is almost translated from a fragment of Pin- 
 dar : — 
 
 And watch the chariot whirl 
 . . . while the golden lyre 
 Is ever sounding . . . 
 and every way the vales 
 
1 68 JLLUSTRATIOXS OF TENNYSON 
 
 Wind, clouded with tlie grateful incense-fume 
 Of those who mix all odour to the gods 
 On one far height in one far-shining fire : 
 
 Koi To\ jikv 'iTTwois yvfivao-iois re, . . , 
 
 Tol 8e (popfiiyyecra-i Tipwovrm, 
 
 irapa fie {t(^i(Tlv evavBqs anas Te6a\ev oX/3o?, 
 
 o5/xa S' eparov Kara \wpov KL^varai 
 
 alei, 6va jxiyvvvTtav irvpl Ti;\«pavel wavToia 6eS>v eVt ^a>fx.ols 
 
 (Pindar, Frag. x. 1) 
 
 (Some do delight themselves with horses and gymnastiosi 
 and others with the lyre, and with them all prosperity in 
 full bloom hath ever flourished, and fragrance is spread 
 over the pleasant place since they are ever mingling 
 incense of all sorts in a far-shining flame on the altars of 
 the gods). 
 
 The Ancient Sage. — In this poem are simply 
 embodied, though with consummate skill in expression, 
 the commonplaces of Eastern, Neoplatonic, and, I 
 suppose, Chinese metaphysics. If it be necessary to 
 identify Tennyson's sage, he may, in spite of the 
 ' thousand summers ere the time of Christ,' be iden- 
 tified perhaps with Lau-tze, the old philosopher, the 
 founder and head of the Tau-ist sect, who was con- 
 temporary with Confucius. The poet seems to have 
 laid under contribution the Tau Teh King, easily 
 accessible in Chambers's version.' Three key quota- 
 tions may be given : — 
 
 The tau [reason] which can be taw-eA is not the eternal 
 tau. The name which can be named is not the eternal name 
 (Tau-Ti:'hKinrji.); 
 
 ' The Speculations en Metaphysics, Polity, and Morality of the 
 old Philosopher Lau-Tsze. Translated from the Chinese by John 
 Chambers, 
 
LATER MISCELLANEOUS POEMS 169 
 
 The spirit, like the perennial spring of the valley, never dies. 
 The spirit I call the abyss-mother ; the passage of the abyss- 
 mother I call the root of heaven and earth (id. vi.) ; 
 
 "What you cannot see by looking at it is called plainness. 
 What you cannot hear by listening to it is called rareness. 
 What you cannot get by grasping at it is called minuteness. 
 These things cannot be examined, and therefore they blend into 
 unity. Boundless in its operation it cannot be named. Keturn- 
 ing it goes home into nothing. This I call the appearance of 
 non-appearance {id. xiv.). 
 
 In this we have the source of the suggestiveness of 
 the passage — 
 
 The Abysm of all Abysms, beneath, within 
 The blue of sky and sea, the green of earth, 
 And in the million-millionth of a grain 
 Which, cleft and cleft again for evermore 
 And ever vanishing, never vanishes. 
 
 Cf. in Locksley Hall Sixty Years After — 
 
 Sent the shadow of Himself, the boundless, thro' the human 
 
 soul, 
 Boundless inward in the atom, boundless outward in the whole. 
 
 Cf., too, the Higher Pantheism, and Flower in the 
 crannied Wall. 
 
 But a better commentary than any of these would 
 be the magnificent passage in which Plotinus de- 
 scribes being in essence, Ennead. V. Hb. viii. 4 : — 
 
 opuKTt TO. nuvTa ovx Oi9 yefecrt? npoijfUTiv aW' ols ovcia, Kal 
 ((WTovs ei> oKXois- 8i.a(f>avri yap Tvavra Kol crKOTdvov ovSe avTirvnav 
 ot'SeV. ak\a nets navrl (jiavfpns (Is to /lctco kul iravTa fpws yap <^wt'l' 
 Kai yap (^a nas izavra ev eavTw, Ka\ av 6pa €v aXXoj iravra on 
 T!avTa)(ov irdvTa, kqi ttuv, irav, Ka\ (Kacrrov nav, Ka\ uiTeipos ij a'ly\j]. 
 iKaa-Tov yap alrSiv peya, eVei kqi to p-iKpov p(ya 
 
 (And they behold all things, not in which generation is, but 
 essence, and themselves in others. For all is pellucidj 
 
170 ILLUSTRATIONS OF TENNYSON 
 
 nor is anything dark or repellent, but every one to every 
 one is perspicuous, and all to every one as light to light. 
 For every one has all things and again sees all things in 
 others. So that all things are everywhere and all is all, 
 and each thing all, and infinite is the splendour. For 
 everything there is great, since what is little is also 
 great). 
 
 We, thin minds, who creep from thought to thought 
 Break into ' Thens ' and ' "Whens ' the Eternal Now : 
 
 Compare the magnificent lines in Cowley describing 
 
 eternity : — 
 
 On no smooth sphere the restless seasons slide, 
 No circling motion does swift time divide. 
 Nothing is there to come, and nothing past. 
 But an 'Eternal Now does ahvays last. 
 
 (Davideis, book i.). 
 
 On me, when boy, there came what then I call'd 
 In my boy phrase ' The Passion of the Past.' 
 
 A height, a broken grange, a grove, a flower 
 
 Had murmurs ' Lost and gone and lost and gone I ' 
 
 A breath, a whisper — some divine farewell : 
 
 It is hardly necessary to refer to Wordsworth's Ode 
 on the Intimations of Immortality. Cf., too, Henry 
 Vaughan's Retreat, ' Silex Scintillans,' p. 34. 
 
 More than once when I 
 
 Sat all alone, 
 
 The mortal limit of the Self was loosed 
 
 And passed into the Nameless, as a cloud 
 
 Melts into Heaven. I touch'd my limbs, the limbs 
 
 Were strange, not mine — and yet no shade of doubt, 
 
 But utter clearness, and thro' loss of Self ■ 
 
 The gain of such large life as match'd with ours 
 
 Were Sun to spark : 
 
 Among the many who have described this sort of 
 
LATER MISCELLANEOUS POEMS 171 
 
 ecstasy we may mention particularly Porphyry in his 
 Life of Plotinus, chap, xxiii., one sentence of which 
 may he quoted : — 
 
 ourcof fiuKta-ra tovtco rw duL^ovlw (^cori, ttoWiikls iifaynuri uwtov 
 els Ti)V TzpwTOV KtiL €7r^K€LVa deov Tals ivvolais^ Ka\ Kara tos €u rco 
 (TV^irocrico v(pr]yrjij.6vas oduvs r<u UXutqjvl, ((j^ai'Tj eKslvos 6 Ofos 6 
 fitjre ^opfpTjV fiT]T€ Tiva tbeav e^wv^ virep 5e i^oi"!/ k(h Traf to votjtuu 
 iSpu^eVo? . . , t{\os avTot KaL o-kottus rjv to it^codrjvaL Koi TreXacrat roi 
 fVf ttSo-i 6(a (Plotinus, edit. Creuzer, vol. i. Ixxvii.). 
 
 Plotinus has himself described it, cf. Enncad. IV. lib. 
 viii. cap. i. : — 
 
 TToXXaKt? eyftpofievos fls epxivTov eK tov trcojiaTos^ Ka\ ytyvo^evos 
 Tuiv p.€v oXXcoy f^w, ep-avTov §€ etVco BavpauTov i)\lkqv opCiV KaWos ■ . . 
 Kai Tm 6cl<o (Is TavTov yeyevrp.evos, &C. 
 
 (I often, awaking out of the body into mj-self and being out- 
 side all things, but within myself, do behold a wondrous 
 beauty, . . . having become one with the divine). 
 
 See, too, the whole of chapters ix., x., andxi. oiEnnead. 
 IX. lib. ix. See too the magnificent passage, Enncad. 
 VI. lib. ix. ch. ix. 
 
 See Norris's (the Platonist) Elevation (Works, 
 p. 53), Mrs. Browning's Rhapsody of Life's Progress, 
 and Wordsworth's Tintern Abbey : — 
 
 That serene and blessed mood 
 In which th' affections gently lead us on 
 Until, the breath of this corporeal frame 
 And e'en the motion of our human blood 
 Almost suspended, we are laid asleep 
 In body and become a living soul 
 
 While 
 
 We see into the life of things ; 
 
 and Ode on the Lntimations, passage commencing — 
 
 Not for these I raise— 
 
172 ILLUSTRATIONS OF TENNYSON 
 
 and the well-known anecdote which Wordsworth 
 has told of himself — see Wordsworth's Poems (edit. 
 Morley), p. 358. Cf., too, Sir Thomas Browne's 
 Hydriotaphia, chap. v. : — 
 
 If any have been so happy as truly to understand Christian 
 annihilation, ecstasies, exolution, liquefaction, transformation, 
 gustation of God, and ingression into the divine shadow, they 
 have already had an handsome anticipation of Heaven. 
 
 It is, however, quite possible that the whole poem may 
 have been suggested by the two speeches of Ahasuerus 
 in Shelley's Hellas — in any case those speeches may 
 be compared with the present poem : — 
 
 Disdain thee ? not the worm beneath my feet ! 
 The Fathomless has care for meaner things 
 
 Than thou canst dream 
 
 Talk no more 
 
 Of thee and me, the future and the past : 
 
 But look on that which cannot change — the One, 
 
 The unborn and the undying. Earth and Ocean, 
 
 Space and the isles of life or light 
 
 This whole 
 
 Of Rims and worlds and men and beasts and flowers. 
 With all the silent or tempestuous workings 
 By which they have been, are, or cease to be, 
 Is but a vision 
 
 The future and the past are idle shadows 
 Of thought's eternal flight, they have no- being ; 
 Naught is but that it feels itself to be 
 All is contain'd in each. 
 
 In Locksley Hall Sixty Years After, it is needless to 
 say that in the millennian aspiration, when the motto 
 is to be 
 
 All for each, and each for all, 
 
 the poet has appropriated the famous Swiss watchword. 
 
LATER MISCELLANEOUS POEMS 173 
 
 E'en the black Australian dying hopes he shall return, a white : 
 
 Compare Sir Thomas Browne, Cliristian Morals, sec- 
 tion vi. : — 
 
 Some negroes who behevo the Eesurrection think that they 
 shall rise white. 
 
 Browne, in his turn, got this curious fact from 
 Mandelso. Speaking of the tribes ' living between 
 the rivers Gambea and Sanaga,' he says of them, 
 ' They beheve the dead wUI rise again, but that they 
 shall be white' (Mandelso's Travels, translated by 
 John Davies, 1662, book iii. page 264). 
 
 In Demeter and Persephone, Tennyson has, like 
 Browning in Balaustion's Adventure, reinterpreted an 
 ancient legend, and this reinterpretation constitutes, of 
 course, the life and soul of the poem. How far such 
 reinterpretations are justifiable, especially when they 
 involve ideas and sentiments of which the ancients 
 could not have had the remotest conception, it is no 
 part of this commentary to discuss. The legend on 
 which Tennyson has worked has been elaborately told 
 in the Homeric Hymn to Demeter, by Ovid in his Fasti, 
 iv. 419-620, and again in his Metamor2)lioses, v. 384- 
 571, and by Claudian in his De raptu Proserpina. 
 Tennyson follows Ovid — the Metamorphoses version 
 — most closely. 
 
 Led upward by the God of ghosts and dreams 
 Who laid thee at Eleusis : 
 
 This is from the Homeric Hymn, 835 sqq. & 384, 
 
 When here thy hands let fall the gather'd flower ; 
 Ovid prettily adds— 
 
174 ILLUSTRATIONS OF TENNYSON 
 
 Haoc quoque virgixieum movit jaotura dolorem (Mef. v. 401) 
 (This loss also moved the virgin's woe). 
 
 A gleam as of the m.oon 
 When first she peers along the tremulous deep 
 Pled wavering o'er thy face : 
 
 Ovid compares this joy to the sun breaking from rainy 
 clouds : — 
 
 Laeta deee frons est : ut sol, qui teotus aquosis 
 Nubibus ante fuit, viotis ubi mibibus exit {id. 570-1) 
 
 (Glad is the face of the Goddess, as the sun, which before 
 has been covered with watery clouds, when he comes 
 forth from clouds now dispersed). 
 
 Tennyson has not thrown away Ovid's hint, but uses 
 it a few Hnes on, not as a simile : — 
 
 And the sun 
 Burst from a swimming fleece of winter gray. 
 
 And all at once their arch'd necks midnight-nianed 
 Jet upward : 
 
 Suggested by Ovid : — 
 
 Exhortatur equos : quorum per colla, jubasque 
 Excutit obscura tinctas ferrugine habenas {id. 403-4) 
 
 (He encourages his steeds, along whose necks and manes he 
 shakes the reins dyed with the swarthy rust). 
 
 The lines describing her wanderings may be compared 
 with Ovid's diffuse description {Fasti, iv. 462 sqq.). 
 
 And set the mother waking in amaze 
 To find her sick one whole : 
 
 An allusion to the restoration of the sick child of 
 Celeus, Triptolemus, told in Ovid {Fasti, iv. 537-544). 
 The incident of her meeting with the Fates appears 
 to be Tennyson's invention. 
 
LATER MISCELLANEOUS POEMS 175 
 
 I would not mingle with their feasts, 
 Their nectar smack'd of hemlock : 
 
 So the Homeric Hymn, 49-50 : — 
 
 Ovbi TTOT dfl.SpOQ-LTJS KCU VeKTapOS TjSvnoTOCO 
 
 7r(io"a"ttr aKr]^eiievrf 
 
 (Nor in her woe did she taste ambrosia and the sweet 
 nectar). 
 
 Eain-rotten died the wheat, the barley spears 
 "Were hollow-husk'd, the leaf fell, &c. : 
 
 Paraphrased from Ovid, Met. v. 480-486. 
 
 That thou shouldst dwell 
 For nine whole months of each whole year with me, 
 Three dark ones in the shadow with thy King : 
 
 Tennyson here follows the Homeric Hymn, not 
 Ovid:— 
 
 oIktj(T€Ls iopSiV TpiTcirqv fiepid^ ei? svLavTOV, 
 rdcr^e dvco trap epoi re Kat dWots ddavdroLCTLV {Ilyinn^ 397) 
 
 (Under the recesses of earth shalt thou dwell for the third 
 part of the seasons in the year, and two parts with me 
 and the other Immortals). 
 
 Ovid gives her six months above, and six months 
 below {Met. v. 5G5-67). 
 
 The shadowy warriors glide 
 Along the silent field of asphodel: 
 
 Cf. Odyssey, xi. 538-9 :— 
 
 ^oiVo paKpd /3i|3acra Kar dcr<poS(\ov XeipHiva 
 
 (And the spirit of the fleet-footed son of ^Eacus passed with 
 great strides along the field of asphodel). 
 
 The silence of the world below (broken often enough 
 it is true) is what Yirgil especially emphasises : — 
 
176 ILLUSTRATIONS OF TENNYSON 
 
 Imperium est animarum, umbraaque silentes 
 loca nocte tacentia late {^n. vi. 2C4-5) ; 
 
 Per taciturn nemus (386). 
 
 Among the miscellaneous poems there is one, The 
 Play, which certainly appears to have been suggested 
 by Quarles : — 
 
 Act first, this earth, a stage so gloom'tl with woe 
 You all but sicken at the shifting scenes. 
 
 And yet be patient. Our Play-wright may show 
 In some fifth act what this wild Drama means. 
 
 Compare — 
 
 My soul, sit thou a patient looker-on, 
 
 Judge not the play before the play is done. 
 
 Its plot has many changes : ev'ry day 
 
 Speaks a new scene : the last act crowns the play 
 
 (QuAELES's Emblems, book i. epig. 15). 
 
 And now I bring this my humble drudgery to a 
 conclusion, and in doing so am anxious to repeat that 
 the object with which I have undertaken it has simply 
 been to illustrate the works of a classical English 
 poet as the works of other classical poets, both in our 
 own and in other languages, are illustrated, and to 
 show how indissolubly linked is the poetry of England 
 with the poetry of the Greek, the Latin, and the 
 Italian classics. How far the immense extent of Lord 
 Tennyson's indebtedness to his predecessors in various 
 languages may be judged to detract from his claim to 
 originality, is a question with which I have no con- 
 cern. Many analogies and parallels no doubt resolve 
 themselves into mere coincidences ; many are ex- 
 amples of those poetic commonplaces which must 
 necessarily abound wherever poetry finds voluminous 
 expression ; but the greater part of them as obviously 
 
LATER MISCELLANEOUS POEMS 177 
 
 represent the material on -n'hich he has worked as the 
 Homeric parodies in the .Eneid indicate their originals. 
 It is here that I trust my illustrations may be of 
 service to those for whom they are intended to be of 
 service, that is to say, to serious students of a poet who 
 is worth serious study. From all the higher work of the 
 critic, from all attempts at the kind of criticism which 
 is supposed to reflect any sort of credit on a critic, I 
 have refrained. Nobis in arcto et inglorius labor. But 
 I should not hke it to be supposed that because I have 
 instituted a comparison between Lord Tennyson and 
 Virgil, I have assumed that they stand on the same 
 level. The distance which separates the author of In 
 Memoriam and the Icli/Us of the King from the author 
 of the Georgics and the ^Eiieicl, is almost as considerable 
 as the distance which separates all other poets now 
 living from the author of In Memoriam. It measures 
 indeed the difference between a great classic whose 
 power and charm wiU be felt in all ages, and in all 
 regions coextensive with civilised humanity, and a poet 
 who wUl be a classic intelhgible to those only who 
 speak his language and think his thoughts. In tone 
 and temper Lord Tennyson is, to borrow an expression 
 of M. Taine, the most ' insular ' of eminent English 
 poets, as he is assuredly the most conventional. And 
 it is this which explains the extraordinary fascination 
 which for nearly half a century he has exercised over 
 his countrymen. A gift of felicitous and musical 
 expression which it would be no exaggeration to de- 
 scribe as marvellous, an instinctive sympathy with 
 what is best and most elevated in the sphere of the 
 commonplace — of commonplace thought, of common- 
 place sentiment and activity — with corresponding 
 
 N 
 
178 ILLUSTRATIONS OF TENNYSON 
 
 representative power, a most rare faculty of seizing 
 and fixing in very perfect form what is commonly so 
 inexpressible because so impalpable and evanescent 
 in emotion and impression, and a power of catching 
 and rendering the charm of Nature, of meadow, 
 wood, and mountain, of sky and stream, of tree and 
 flower, with a fidelity and vividness which resembles 
 magic, and lastly, unrivalled skill in choosing, re- 
 polishing, and resetting the gems which are our 
 common inheritance from the past : in these gifts is 
 to be found the secret of his eminence. And these 
 gifts will suffice for immortality. But it is well that 
 we should not accustom ourselves to talk and judge 
 loosely. It requires very little critical discernment to 
 foresee that among the English poets of the present 
 century the first place will ultimately be assigned to 
 Wordsworth, the second to Byron, and the third to 
 Shelley. Had the Poet Laureate fulfilled the pro- 
 mise of the l/orte d' Arthur he might have stood beside 
 his master, and England might have had her ^Eurid. 
 As it is, be will probably occupy the same relative 
 position in English poetrj^ as De Quincey occupies in 
 English prose. Both are Classics — immortal Classics 
 — but they are Classics in fragments. 
 
INDEX 
 
 Achilles Tatius, 44 ; quoted, 40 
 
 Abdison, his Pygmceogeranoma- 
 chia, quoted, 152 
 
 iEscHTLUs, quoted, 26, 145, 153, 
 157, 49, 166 
 
 Agathon, quoted, 60-1 
 
 AmisuEBUs, 172 
 
 Albkus, Purius, traced Virgil 
 through Latin literature, 1 ; 
 jealous of the fame of Virgil, 4 
 
 Albmnazar, Taylor's, quoted, 2 
 
 Alc.eus, Tennyson contrasted with, 
 5 ; quoted, 110 
 
 ALC5LiN, 29, 139 ; quoted, 103 
 
 Amadis de Gaul, 24 
 
 AxACEEON, Psuedo, 29 ; quoted, 39, 
 42 
 
 Anamnesis : illustrations of psuedo- 
 anaumesis from Wordsworth, 
 Shelley, Scott, 38 ; curious ab- 
 sence of, in ancients, ib. 
 
 AxDOCLDES, quoted, 147 
 
 Anthology, Palatine, alluded to, 40 
 
 ApoLLONXDS Ehodius, Tennyson 
 compared with, 5, 144 ; Virgil's 
 indebtedness to, 6 ; quoted, 
 104-5 ; meaning of v^prj in, 161 
 
 Apfleius, 41 
 
 Arabian Nights, 25 
 
 Arbee, rejprints, 161 
 
 Akiosto, quoted, 120 bis 
 
 Aristotle, 43, 162 ; his quotation 
 of Agathon, 61 ; quoted, 79 
 
 Arbian, 33 
 
 Aitr;;Misin5i, 11 ',7 
 
 Astolai, French form from which 
 
 Shalott may have been derived, 
 
 35 
 
 AlHENiEUS, 40, 116 
 
 Ahgustine, St., quoted, 98 
 Aulus Gellius, 110-1 
 
 Bacchylides, quoted, 115 
 Bacon, quoted, 65, 158 
 Baeon, Mr., (note) 98 
 Batrachomyoinachia, quoted, 137 
 B.ayle, his Dictionary referred to, 
 
 (and footnote) 71 
 Beattie, James, 40, 41 
 Beaumont, Francis, quoted, 64, 160 
 Bios, 45 ; quoted, 46 
 Boccaccio, 8, 55, 160 
 boethius, 63 
 
 Beowning, quoted, 85, 173 
 — Mrs., 171 
 Beowxe, Sir Thomas, 101 ; quoted, 
 
 172, 173 
 BnExs, quoted, 62, 09 
 BuTLEE, Bishop, quoted, 102 
 Byeon, 25, 36, 145, 178 ; his dead 
 
 Medora and Tennyson's dead 
 
 Elaine compared, 147-8; quoted, 
 
 56, 66, 97 
 
 Callijiachus, quoted, 41, 159, 167; 
 compared vrith Tennyson, IIG 
 
i8o 
 
 ILLUSTRATIONS OF TENNYSON 
 
 Calptjesius Siculus, quoted, 107 
 
 Campbell, Thomas, quoted, (foot- 
 note) 161 
 
 Caeew, quoted, 56 
 
 Catullus, 33, 162 ; quoted, 104, 124 
 
 Caxton, 165 
 
 Celeus, 174 
 
 Chaucek, study of Tennyson'swork 
 contrasted with that of,5 ; Dream 
 of Fair Women suggested by, 7, 
 48 ; quoted, 63 ; referred to, 151 
 
 C:cEEO, quoted, 43, 112 
 
 CiNXA, Helvius, quoted, 27 
 
 Claudian, quoted, 89, 173 
 
 Cleopatea, 49 
 
 Cleveland, John, quoted, 26 
 
 Cnidia, 45 
 
 CoBHAM, Lord, 103 
 
 CoLEEiLGE, Tennyson's debt to, 28 ; 
 epithet fxvpi6vous discovered by, 
 (see footnote) 30 ; his influence 
 on Tennyson's work, (and foot- 
 note) 33 ; referred to, 35 
 
 Collins, William, quoted, 32 
 
 Confucius, 168 
 
 CoNGEEVE, quoted, 102 
 
 Conington, 2, 13 
 
 CooPEE, J. G., referred to, 44 
 
 Cowley, quoted, 170 
 
 CowpEE, quoted, 107, 110 
 
 Ceabbe, 67, 100 
 
 CE.iNniEE : Prefa,ce to his Bible 
 quoted, 103 
 
 Ceashaw, Eichard, quoted, 111 
 
 Ceeon, 166, 167 
 
 Ckokee, Crofton, quoted, 152 
 
 Ctpeian : Lays alluded to, 116 
 
 Daniel, Samuel : poem to the 
 Countess of Cumberland, 90 
 
 Dante, contrasted with Tennyson, 
 6 ; Ulysses a study from, 6 ; his 
 Inferno comj^ared with Ulysses, 
 58-9; alluded to, 39, 98, 106, 
 108, l.'io ; quoted, 44, 45, 63, 76, 
 81, 107, 109, 135 
 
 Daewin, Erasmus, 87 
 
 Davies, John, 173 
 
 Decamerone, Boccaccio's, 160 
 
 De Haloneso, quoted, 85 
 De Qui.n'Cey, 178 
 Diogenes Laeetius, 74, 110 
 Dobell, Sydney, 159, 160 
 Donna di Scalotta, ItaUan romance, 
 
 35 
 Donne, Dr. John, quoted, 91, 99 
 Deatton, Michael, quoted, 29 
 Dkyden, quoted, 51 ; his rhythm 
 
 compared with that of Maud, 
 
 113-4 
 DnsiAS, Alexandre, quoted, 118 
 Dun Cow, book of the, 163 
 
 Ecclesiastes, Book of, 43 
 EiCHHOEF, Fr^d^ric Gustave, 5 
 Elizabeth, Queen, anecdote of, 
 
 155-6 
 Ellis, Mr. Joseph, 103 
 
 ElIPEDOCIiES, 25 
 
 Epicukus, 48, 74 
 
 EuEiPiDES, debt of Virgil to, 6, 25, 
 
 166 ; quoted, 50 
 EusEBius, Chronicle of, 71 
 
 EUSTATHIUS, 1- 
 
 Exeter Book, 26 
 ExETEE, Earl of, 65 
 
 Feeeiee, Miss S. E., 7 
 FiTZGEKALD, Ml. : his version of the 
 
 Rubaiydt of Omar quoted, 114 
 Flaccus, Valerius, quoted, 137 ; 
 
 great merits as a poet, id. 
 Fletchee, John, 24 
 — Phineas, 151 
 FoKD, John, quoted, 82, 50 
 Fox, George, quoted. 111 
 Feanklin, Sir John, 165 
 Feoude, Mr., 161 
 
 Gaskell, Mrs., (and footnote) 69 
 
 Gibbon, 56 
 
 Goethe, (and footnote) 98 
 
 GoEDOX, General, 165 
 
 Geay, a type of the imitative class 
 
 of poets, 2 ; referred to, 29, 55, 
 
 92 ; quoted, 51 
 Greene, Robert, quoted, 58, 157 
 GuAEisi, quoted, 61-2 
 
INDEX 
 
 i8i 
 
 Guclrun, Lay of, 86 
 
 Gdest, Lady Charlotte, 7, 12 : 
 
 quoted, 121, 122, 123, 123, 128 
 GrUTCH, Eev. Charles, 1G2 
 
 Haliam, Arthur Henry : quotation 
 
 from his Remains, 44 
 Hake, Archdeacon, quoted, 158 
 HarUmn 2ISS., 163 
 Hawes, Stephen, quoted. 61 
 Eden of Kirkconnel, ballad of, 
 
 32 
 Hexey : his JEneidea quoted, 17 
 Heraclitus, quoted, 110 
 Hebbert, George, 95, 96 ; quoted, 
 
 97 
 
 — Lord, of Cherbury, quoted, 95- 
 96 
 
 Herodotus, 156 
 
 Hesiod, Virgil's didactic poetry 
 modelled on, 7 
 
 — Pseudo, quoted, 83 
 Heywood, Thomas, quoted, 26 
 HoEBES, Thomas, quoted, 80 
 Hodges, publisher of St. Cyprian's 
 
 Banner, 162 
 Hoggins, Sarah : the story of her 
 marriage with the Earl of Exeter 
 forms the original of The Lord 
 of Burleigh, 65 
 
 Hojiee, Tennyson contrasted with, 
 5 ; the yEneid modelled on, 7 ; 
 Lotos-Eaters, a sketch from, 8 ; 
 meaning of his yXavKtSuiv, 83 ; 
 referred to, 41, 74, 119 ; quoted, 
 42, 52, 59, 60, 65, 78, 79, 80, 83, 
 84, 87, 105, 138, 139, 146, 158, 
 175 ; his hymns : to Hermes, 
 quoted, 48 ; to Aphrodite, quoted, 
 60 ; to Demeter, 178 ; quoted, 
 175 bis. 
 
 HoKACE, Tennyson compared with, 
 5 ; quoted, 27, 38, 49-50, 62, 76, 
 92, 102, 108, 111; alluded to, 
 59, 61, 84, 90, 100, 104, 110 
 
 Hume, David, quoted, 108 
 
 Hunt, Leigh, quoted, 83-4 
 
 HnicHiNsox, Lucy, quoted, 166 
 
 Lamblichus : his Life of Pythagcrras 
 
 quoted, 109 
 Ietcus, quoted, 31 ; referred to, 40 
 Iphigenia, 48 
 
 Jeeojie, quotation from his addi- 
 tions to the Eusehian Chronicle, 
 71 
 
 Job, Book of, quoted, 37 
 
 JoHNSox, Samuel : the Women's 
 University in Tlie Princess sug- 
 gested by, 8 ; quoted, 78 
 
 JoNsoN, Ben, 94 
 
 Joyce, Dr. P. W., Celtic Romances, 
 8, 163, 164 
 
 Juvenal, quoted, 45, 137 
 
 Ke.ats, John, 24, 38, 47, 160 ; his in- 
 fluence on Tennyson's work, 33; 
 quoted, 36, 122, 138 
 
 Eingsley, Charles, 161 
 
 EiHKE, Edmund, 24 
 
 Lasg, Mr. Andrew, 136 
 
 l.angeaines, 1 
 
 Lauka de Sade, 92 
 
 Lau-tze, 168 ; quotations from the 
 
 Tau-Teh King, 168-9 
 Lecan, YeUow Book of, 163 
 Leopaedi, 167 
 Lewis, David, reference to, 44 
 
 LiBANIOS, 85 
 
 LiNGAKD, Dr. John, quoted, 155,156 
 LivY, quoted, (footnote) 161 
 Lodge, Thomas, 24 
 Longfellow : his hexameters, 95 ; 
 
 quoted, 98 
 LoNGiNus, 12 ; quoted, 84, 85 
 Lucas, 85 
 LuciAN, 48 
 LuciLM, 71 
 LucEETius, Tennyson's use of, 6, 
 
 36, 48, 70 ; quoted, 49, 72, 73, 
 
 74, 77, 87, 99, 114-15, 121, 135 
 Lycophron, style of, 11 ; quoted, 
 
 121, 136 
 Lytion, Lord, 108 
 
ILLUSTRATIONS OF TENNYSON 
 
 Mabinogion, see Guest, Lady Char- 
 lotte 
 
 Mackay, Mr. Eric, (and footnote) 
 163 
 
 Macrobius : his Saturnalia, 1 
 
 Mailet, David, quoted, 45 
 
 Maloky, style of, 12 ; Tennyson's 
 obligations to, 118-9, 148- 
 149 ; quoted, 127, 128, 129, 130, 
 131, 132, 133, 134, 140, 141, 143, 
 144, 145, 149-50, 151, 153, 154, 
 156 ; referred to, 138-9 
 
 Mandelso : his Travels quoted, 
 173 
 
 Maeemma, 36 
 
 Maeini, quoted, 68, 72 
 
 Marlowe, quoted, 100, 156 
 
 Maeston, John, quoted, 60, 89 
 
 Mabtial, quoted, 90 
 
 Massingek, quoted, 54 
 
 Meineke, 45 
 
 Menandee, quoted, 45 
 
 Menceceus, 74, 166 
 
 Milton, included in the class of 
 imitative poets, 2 ; onomatopieia 
 employed by, 22 ; referred to, 79, 
 101,111,160; quoted, 28, 29, 31, 
 32, 56, 61, 72, 102-3, 121, 
 139 
 
 MiTFOED, Miss, 8 ; comparison with 
 Tennyson's Dora, 55 
 
 MiTFOED, John, 36 
 
 MoNKO, H. A. J., 71, 88 
 
 MoEE, Henry : his PsycTiosoia 
 quoted, 37 
 
 MoscHus, 40, 45, 84 ; quoted, 44, 46, 
 82 
 
 MouLTEiE, Eev. John, 7, 64-5 
 
 Napiee, Sir W. F. P. : his Peninsu- 
 lar War quoted, 100 
 
 Neeo, 70 
 
 KicANDEK : his Georgics alluded to, 
 116 
 
 NoxNus, extravavant diction of, 11 ; 
 compared with Tennyson, 12 ; 
 quoted, 83 
 
 NoKRis, John, the Platonist, 171 
 
 POP 
 
 OccLEVE, Thomas, referred to, G3 
 Oppian, 83 
 Oeelli, 5, 104 
 Otho, 84 
 
 Ovid, 40, 52, 76, 137, 162, 173, 175 ; 
 quoted, 9, 47, 159-60, 174, 175 
 
 Palgrave, Sir Francis, on Ten- 
 nyson's Lyric Poems, (and 
 footnote) 35 
 
 Pallas, 141 
 
 Paenell, Thomas, 151 
 
 Pausanias, 83 
 
 Peele, George, quoted, 39 ; referred 
 to, 114 
 
 Percy, Dr. Thomas : Beliques re- 
 ferred to, 65 
 
 Peksius, quoted, 100, 103 
 
 Peter Bell, 116 
 
 Petrarch, influence of, on In 
 Mevuriim, 92-4; quoted, 105, 
 106 ; alluded to, 7,' 48, 100, 101, 
 108 
 
 Peyeaekde, John de, 3 
 
 PiCKEEING, 163 
 
 PaDAR, 165 ; quoted, 63, 70, 83, 
 106, 168 
 
 Plato, quoted, 38, (see footnote) 
 75 ; influence of, seen in 
 Tennyson's Two Voices, 38 ; 
 alluded to, 78, 158, IGO 
 
 Pliny, the Elder, quoted, 98-9 
 
 Plotinds, quoted, 91, 164, 169-70, 
 171 
 
 Plutarch, 33 
 
 Poets : distinction between those 
 of the first and second order, 2-6 
 
 — , Aleyanleian : their position 
 to the literature of Greece 
 parallel to that of Tennyson's 
 school to the literature of Eng- 
 land, 5 ; the difference between 
 them and our own poets, 116 
 
 — , Augustan : their position to the 
 literature of Greece correspond- 
 ing to that of Tennyson's school 
 to the literature of England, 5 
 
 Pope, 25, 44 ; quoted, 29, 30, 101, 
 151 
 
INDEX 
 
 I8l 
 
 PoEPHYKY : his ii/e of Plotimis 
 
 quoted, 171 
 Percieuses of the Hotel Eambouil- 
 
 let, 11 
 Pbioe, Matthew, quoted, 80-1 
 Proctee, Miss Adelaide A. : her 
 
 Homeward Boxmd supi^lied the 
 
 plot of Enoch Arden, 7, 67; 
 
 quoted, 67, 68, 69 
 
 PUTTEXHAM, 94 
 
 Qdaeles, Francis, 111 ; quoted, 176 
 
 EiLEiGH, Su- Walter, 161 
 Kedcliite, Lord Stratford de, 165 
 EoGEEs, Samuel, 56 
 EoNSAKD, quoted, 39 
 
 SippHO, 29, 33, 40; quoted, 27 
 
 Scott, Sir Walter, quoted, 88, 
 83-7 
 
 Skxeca, Lucius Annans, quota- 
 tion of a sentence usually ascribed 
 to, 71, 52, 151 
 
 Sertius, 13, 15, (and note) 16 
 
 Sestixi, Benedetto, 36 
 
 Shakespeare : study of his work 
 different from that of Tennyson, 
 5 ; referred to, 15, 24, 65, 161, 
 153; quoted, 26, 27, 2S, 30, 33, 
 35, 42, 48, 49, 62, 74, 78, 89, 99, 
 101, 103, 105, 106 
 
 Shelley, 38, 66, 73, 178 ; quoted, 
 24, 25, 26, 32, 79, 102, 106, 112, 
 164, 172 
 
 SiLirs Italicus, quoted, 160-1 
 
 SiMoxiriKs, 165, 167 
 
 SsHTH, Alexander, 159, 160 
 Sydney, quoted, 139 
 
 Sof"=.'TEs: quotation from Plato's 
 Ayolony, 146 
 
 SopHOCL'.s, subtleties of, analysed 
 by scholars, 5 ; his apparent 
 siTTiplicity of style, 13 ; referred 
 to, 43, 60, 167 ; quoted, 49, 64, 
 105, 109, 158 
 
 SotiTHEY,Tennyson's£'ji5'Zts/iHj/Ms 
 modelled on, 7, 53,67 ; quoted, 75 
 
 Spexcee, W. B., quoted, 61 
 
 Spessee, plan of Tennyson's Idylls 
 suggested partly by, (see foot- 
 note) 7 ; alluded to, 24, 45, 78, 
 119, 149 ; quoted, 75 
 
 Stevenson, John Hall, quoted, 62 
 
 Suetonius, quoted, 70 
 
 SwiNBUENE, Mr. Algernon : quota- 
 tion from his Essay on Tennyson 
 and Mtisset, 17 
 
 Tacitus, quoted, 84, 173 
 
 Taine, M., 177 
 
 Tasso, type of the imitative class 
 of poets, 2 ; quoted, 31, 64 
 
 Tau Teh King, Chambers's version 
 of the, quoted, 168, 169 
 
 Tayloe, Jeremy, 108 
 
 Tenxyson, place of, in English 
 poetry, 1-6 ; models of leading 
 poems, 7, 8; parallel with Vir- 
 gil, 8 ; his elaborate diction, 9 ; 
 artificiality of style, 10 ; euphu- 
 ism, 11 ; resemblance to Lyco- 
 phrou and Nonnus, 11-2 ; arti- 
 ficial simplicity, 13 ; subtle allu- 
 siveness, 13-4 ; use of epithets, 
 15-6 ; local descriptions, 17 ; 
 use of common words in uncom- 
 mon senses, 18 ; compared with 
 Virgil, 18-9 ; use of archaisms 
 and provincial words, 18 ; idioms 
 and phrases from Greek and 
 Latin, 19-20 ; use of hyperbaton, 
 21 ; use of onomatopieia, 21, 
 156 ; similarity to Virgil in 
 temper and genius, 22 ; care in 
 selecting musical names, 24 ; 
 early habits of careful study, 34 ; 
 exact scholarship, 47-8 ; method 
 of using his material, 58 ; espe- 
 cially needs commentary, 117; 
 fine natural touches, 133 ; false 
 delicacy, 127 ; reinterpretations 
 of ancient mj'ths, 173 ; inferiority 
 to Virgil, 177 ; his insularity, 
 177 ; his leading characteristics, 
 177-8 ; will probably rank below 
 Wordsworth, Byron, and Shelley, 
 178 
 
1 84 
 
 ILLUSTRATIONS OF TENNYi>ON 
 
 His Works : — 
 
 Geoup I. — To the Queen, sug- 
 gested by Shelley, 24 ; Claribel, 
 24 ; source of the name, ib. ; 
 Nothing will die, 25 ; All things 
 will die, 25; Lilian, compared 
 with Cleveland, 26 ; Isabel, 
 parallels, 26 ; Mariana, paral- 
 lels, 26 ; To , 28 ; Recollec- 
 tions of the Arabian Nights, an 
 echo oi Coleridge, 28; Ode to 
 Memory, illustrates the poet's 
 care in culling epithets from his 
 predecessors, 29 ; Sea Fairies, 
 30 ; Dirge, 30 ; Elednore, parallel 
 inlbycus, 31; Adeline, 31 ; Mar- 
 garet, 31 ; Oriana, source of the 
 idea, 31 ; Sonnet on A lexander, 
 source of the incident, 33 
 
 Geoup II. — Lady of Shalott, 
 source, 35 ; Marianain the South, 
 parallels, 36 ; Two Voices, by 
 what poems suggested, 36 ; The 
 Miller's Daughter, an adapta- 
 tion of Eonsard, 39 ; original 
 of, id. ; Fatima, resemblances to 
 other poets, 40 ; CEnone, drawn 
 largely from the classics, 40 ; 
 parallels, 41-2 ; Palace of Art, 
 framework of, 48 ; compared with 
 other authors, 44 ; Lady Clara 
 Yere cle Vere, 44 ; Alay Queen, 
 45 ; Lotos-Eaters, founded on 
 Homer, 4S ; parallels, 45-8 ; 
 Dream of Fair Wcnnen, inspired 
 by Chaucer, 48 ; parallel pas- 
 sages, 48-50 ; verses To J. S., 
 passages compared with, 51 ; On 
 a Mourner, origin of the allu- 
 sions, 51-2 
 
 Geoup III. — English Idylls, 
 their origin, 53 ; Gardener's 
 Daughter, exterior influence on, 
 64 ; Dora, source of plot, 55 ; 
 Audley Court, bS-Q; Edioin Mor- 
 ris, 56 ; St. Simeon Stylites, 
 source of, 56 ; Love and Duty, 
 parallels to, 57-8; Ulysses, source 
 of, 58 ; classical reminiscences. 
 
 59 ; Tithonus, whence taken, 60- 
 61 ; Loclcsley Ball, 61 ; parallels, 
 61-4 ; Oodiva, 64-5 ; Sleeping 
 Beauty, 65 ; Lo7-d of Burleigh, 
 source of the story, 66 ; The 
 Beggar Maid, 65 ; Vision of Sin, 
 suggested by Shelley, 66 
 
 Geoup IV. — Enoch Arden, its 
 prototypes, 67-9; The Brook, 
 resemblances to other poems, 
 69-70 ; Aylmer's Field, 70 ; Sea 
 Dreams, Pindar affords a com- 
 mentary on, 70 ; Lucretius, 70 ; 
 comparison with the original and 
 parallel passages, 71-7 
 
 Geoup V. — The Princess, souxae 
 of the suggestion, 78 ; parallels, 
 79-89 ; The Third of February, 
 89j Death of the Duke of 
 Wellington, owes something to 
 Claudiau, 89 ; Tlie Islet, source 
 of some of the expressions, 90 ; 
 Will, passages illustrating, 90-1 
 
 Gboup VI.— Ira Memoriam, 92 ; 
 parallel with Petrarch, 92 ; how 
 differing from Petrarch, 93 ; 
 source of the metre, 94-6 ; 
 parallels in Cycle I., 96-102 ; in 
 Cycle II., 102-7 ; in- Cycle III., 
 107-10 ; in Cycle IV' , 110-2 
 
 Geoup VIl.—Maud, 113 ; the 
 rhythm, 113-4 ; reminiscences 
 of other poets, 114-6 
 
 Geoup VIII. — Idylls of the 
 King, 117; Tennyson's indebted- 
 ness to his predecessors, 118; 
 parallels, 119-58 ; The Coming of 
 Arthur, relation to the Morte 
 d' Arthur, 119; Oareth and 
 Lynette, comparison with the 
 original romance, 119; parallels 
 from various poets, 120-1 ; 
 Geraint and Enid, compared 
 with its original in the Ma- 
 hinogion, 122-34 ; other illustra- 
 tive parallels, 185-8 ; Balin and 
 Balan, owes little to Malory, 
 139 ; Merlin and Vivian, owes 
 little to Malory, 139. Illustrative 
 
INDEX 
 
 i8S 
 
 TEN 
 
 I parallels from various poets : 
 
 ' Launcelot and Elaine, compared 
 with the original romance, 140- 
 14G ; various illustrations, 145- 
 148 ; Soly Grail, compared 
 with the original romance, 148- 
 149 ; Pelleas and Ettarre, how 
 far derived from Malory, 149- 
 150 ; other illustrations, 150- 
 151 ; The Last Tmimament, 
 version of the death of Tristram 
 151 ; Guinevere, original and 
 illustrations, 152-3 ; The Pass- 
 ing of Arthur : Comparison 
 with the original romance and 
 Tennyson's method of com- 
 position illustrated, 153-8 
 
 Gkoup IX. — The Lover's Tale, 
 159-60 ; The Golden Supper, a 
 translation from Boccaccio, 160 ; 
 The Revenge, source of story, 
 161; The Sisters, 161; Ire the 
 Children's Hospital, origin of the 
 incident, 162 ; Sir John Old- 
 castle, materials, 163 ; Columbus, 
 the poet charged with plagiarism, 
 163"; The Voyage of Maeldune, 
 origin, ''.63-4 ; De Profundis, 
 164 
 
 GeoupX. — Sir John Franldin, 
 its inferiority, 165-6; Tiresias, 
 compared with Euripides, 166 ; 
 parallels, 167-8 ; The Ancient 
 Sage, parallels, 168-72 ; Locksley 
 Hall Sixty Years After, 172- 
 173 ; Demeter and Persephooie, 
 reinterpretation of an ancient 
 legend, 173; parallels, 173-6; 
 The Play suggested by Quarles, 
 176 
 
 Thaokeeay, quoted, 102 
 
 Theooeitus, reproduced in Virgil's 
 pastorals, 7 ; plan of Tennyson's 
 Idylls suggested partly by, (see 
 footnote) 7; Virgil's mis- 
 translation from, 19; referred 
 to, 40, 100 ; quoted, 41, 42, 47, 
 57, 81, 82, 88, 89, 115, 135, 
 138 
 
 Thomson, quoted, 45, 46, 54, 65 
 
 112 
 Thorpe, quotation from his Edda 
 
 of Scemund the Learned, 86 
 Thucydides, quoted, 63 
 TicKELL, Thomas, 103 
 Tiresias, 166 
 Tbiptolemus, 174 
 
 Vaughan, Henry, the Silurist, 
 quoted, 51, 98 ; alluded to, 104, 
 170 
 
 ViEGiL : indebtedness to Greek 
 and Eoman poetry, 1, 4 ; his 
 Dido a study from Euripides and 
 ApoUouius, 6 ; copies Theocritus, 
 Hesiod, and Homer, 7 ; method 
 of working, 8 ; charm of the 
 Georgics, 6 ; subtlety of diction, 9 ; 
 artificiality of style, 10 ; subtle 
 suggestiveness, 10 ; euphuism 
 not so extravagant as Tennyson's, 
 11 ; elaborate simplicity of 
 diction, 13 ; pregnancy of style, 
 13, 14 ; elaborate epithets, 14, 
 15 ; indirectness of expression, 
 16 ; recondite epithets, 16 ; 
 epithet flavd, ^n. v. 389 ; 
 explained, 16, 17 ; use of common 
 words in uncommon senses, 18 ; 
 use of archaisms and provincial 
 words, 18, 19 ; Greekisms, 19 ; 
 imports phrases from Greek 
 poetry, 19 ; experiments in Latin, 
 20 ; pathetic hyperbaton, 21 ; 
 onomatopceia, 21, 22 ; Tenny- 
 son's style similar to that of, 
 9-22, passim ; similarity of 
 temper and genius, 23 ; quoted, 
 9, 10, 11, 12, 13, 14, 15, 16, 18, 
 19, 21, 30, 47, 59, 77, 88, 91, 105, 
 120, 136, 138, 141, 145,147, 155, 
 176 ; alluded to, 51, 81, 82, 85, 
 117, 146, 156, {note on aerius) 
 161 
 
 Walton, Izaak, quoted, 82 
 Webstee, John, quoted, 43, 115 
 
iS6 ILLUSTRATIONS OF TENNYSON 
 
 WE3 you 
 
 West : his Ad, Amicos, 36 
 
 Wordsworth, supplied the arche- 
 type of Tennyson's creation 
 ' Edith,' 7 ; Tennyson's English 
 Idylls, modelled on, 7, 53, 67; 
 quoted, 29, 30, 38,43, 57, 82, 84, 
 95, 103-4, 116, 138, 161, 171- 
 172 ; alluded to, 25, 69, 170, 
 178 
 
 WoEDSWOETH, Dr. Christopher, 
 Ecclesiastical Biography re- 
 ferred to, 163 
 
 Xenoehon, quoted, 137 
 
 YouNo: his Night Thotu/hts quotei, 
 100 
 
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 Queen of Hearts. 
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 ""'"^"IVh^N. CRELLIN. 
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 Diana Barrlngton. 
 
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 Mr. Jervls. 
 
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 Some One Else. ] Jason. 
 
 Infatuation. 
 
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 Deacon Brodle. 
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 Of High Degree 
 
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 Bed Spider. I Eve. 
 
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 Tales of a Dying Race. 
 
 CECIL GRIFFITH — Corinthla Marazlon. 
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 Clarence. 
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 Gabriel Oonroy. 
 
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 Marvel. 
 
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 ha^ Fatty. 
 
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 A Point of Conscience. 
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 Nora Oreina. 
 An Anxious Moment. 
 April's Lady. 
 Peter's Wife. 
 Lovice. 
 
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 That Other Pereon. | Mrs. Juliet. 
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 The President of Boravia, 
 
 By EDMOND LEPELLETIER. 
 Madame Sans-0£ue. 
 By ADAM LILBURN.ATrMsdy in Marble 
 
 By HARRY LINDSAY. 
 Bhoda KobertB. I The Jacobite. 
 
 By HENRY W. LUCY.-GIdecn Fleyce. 
 
 By E. LYNN LINTON. 
 
 Patricia Eemball. 
 Under which LordT 
 * My Lover | lone. 
 Paston Carew. 
 Sowing the Wind. 
 With a Silken Thread. 
 The World Well Lost. 
 
 By JUSTIN MCCARTHY, 
 
 The Atonement of Learn 
 
 Dundas. 
 The One Too Many. 
 Dulcie Everton. 
 Rebel of the Family, 
 An Octave of Friends. 
 
 A Fair Saxon. 
 Linley Bochf ord. 
 Dear Lady Disdain. 
 Camlola. 
 
 Waterdale Neighbours. 
 My Enemy's Daughter. 
 Miss Misanthrope. 
 
 Donna Qnixota. 
 
 Maid of Athens. 
 
 The Comet of a Season. 
 
 The Dictator. 
 
 Bed Diamonds. 
 
 The BldiUe Bing. 
 
 The Three Disgraces. 
 
 MononU- 
 
 By JUSTIN H. McCARTHY. 
 A London Legend. | The Boyal Christopher 
 
 By GEORGE MACDONALD. 
 Heather and Snow. | Phantastes. 
 W. H. MALLOCK.-The New RcnubUc. 
 P.&V. MARGUERITTE.-The Disaster. 
 
 By L. T. MEADE. 
 A Soldier of Fortune. - - - 
 In an Iron Grip. 
 Dr. Bumsey's Patient. 
 
 On Brink of a Cham. 
 The Siren. 
 
 The Way of a Womaa. 
 A Son of Zehmael. 
 The Blue Diamond. 
 
 The Voice of ffaeCharmer 
 An Adventuress. 
 
 A Stumble itv the Way. 
 By LEONARD MERRICK. 
 This Stage of Fools. ( Cynttii&. 
 
 By EDMUND MITCHELL 
 tb» Lone Star Rostk 
 
 By BERTRAM MITFORD. 
 
 The Gun-Bunner. 1 The lOoe'e Aasegal. 
 
 LnckofGerardBidgeley. I Sensh, Fannine'sQuesi 
 The Triumph of Hilary Blachland, 
 By Mrs. MOLESWORTH. 
 
 Hathercourt Beotory. 
 
 By J. E. MUDDOCK. 
 
 Maid Blarian andBobin Hood. I Ooldnn Idol. 
 
 Basile the Jester. 
 
 By D. CHRISTIE MURRAY. 
 
 Tonng Loeliittvar. 
 
 BobMartin'8 Little Girl 
 Time's Bevenges. 
 A Wasted Crime, 
 ;Di Direst PeriL 
 Elonnt Despair. 
 A Capful o' Naiia. 
 Tales in Prose A Verse 
 A Bace for 'tfiUIons. 
 This Littia World. 
 His Own G.*)C3t. 
 Church of Ktim&nity, 
 
 A Life's Atonement. 
 
 Joseph's Coat. 
 
 Coals of Fire. 
 
 Old Blazer's Hero, 
 
 Val Strange. | Hearti. 
 
 A Model Father. 
 
 By the Gate of the Sea. 
 
 A Bit of Human Nature. 
 
 First Person Singular. 
 
 Cynic Forti^ie. 
 
 The Way ef the World. 
 
 By MURRAY and HERMAN. 
 The Bianops' Bible. | Paul Jones's Alias. 
 One Traveller Returns. ) 
 
 By HUME NISBET._'EallU»r 
 
 By W. E. NORRIS. 
 
 Saint Ann's. t Billy Bellev. 
 
 Miss Wentworth's Idea, 
 
 By G. OH NET. 
 
 A Weird Gift. | Love's Depths. 
 
 By Mrs. OLIPHANT— The Sorcereu, 
 
 By OUIDA 
 
 Held in Bondage. 
 Strathmore. | Chandoi. 
 Under Two Flags. 
 Xdalia. [Gage. 
 
 Cecil Castlemaine'i 
 Tricotrin. { Pack, 
 FoUe Famine. 
 A Dog of Flanders. 
 Pascarel, | Slgna. 
 Princess Napraxine. 
 Two Wooden Shoes. 
 
 In a WinterClty. '"^ 
 
 Friendship. 
 
 Moths. t Rqffino. 
 
 PiplBtrello. I Ariadne. 
 
 A village Commuce. 
 
 Bimbi. 1 Wanda. 
 
 Tx6BC0i%. I Othmor. 
 
 In Maremma. 
 
 Byrlin. | Guilderoy. 
 
 Seuita Barbara. 
 
 Two Offenders. „ , 
 
 ^e Waters of Edera, iJ" 
 
 By MARGARET A. PAUL. 
 Gentle and Simple. 
 
 By JAMES PAYN. 
 Lost Sir Massmgberd. The Talk_pf the Tow& 
 
 Holiday Tas^. 
 For Cash Onlv. 
 The Burnt LBUion. 
 The Word and the WilL 
 Bunny Stories. 
 A Trying Patient. 
 A S£>dem Dick WhlV 
 tington. 
 
 Tho FamUv Scapegrace 
 A County Famliy, 
 Less Black than We're 
 
 Fainted. 
 A Confidential Agent. 
 A Grape from a Thorn. 
 In Ferll and Privation. 
 Mystery of AQrbridge. 
 Hfeh Spirits. jBy Proxy. 
 By WILL PAYNB.-aenr the Dreamer. 
 By Mrs, CAMPBELL PRAED. 
 Ontl&w and Lamnaker. I Mn. Tregaskiss. 
 Christina Chard. | Nnlma. I Madame Icaa, 
 
 ' As a Watch in tlie Nikit.' 
 By B. C. PRICE.-Valentina. 
 By RICHARD PRYCB. 
 Klfi Maxwell's Affections. 
 
 By CHARLES READB. 
 
 Peg Wofflngton; and 
 
 Christie Johnstone, 
 Hard Cash, 
 Cloister ft the Hearth. 
 Never Too lAto to Mend 
 The Course of True 
 
 Love : and Slnglo- 
 
 lieart & Doubleface. 
 Antobiography of a 
 
 Thief; jfkck of aU 
 
 Trades ; A Hero and 
 
 a Martyr; and Tho 
 
 Waudenng Heir. 
 _ By FRANK RICHARDSON. 
 The Man who Loet His Past. 
 _ By Mra. J. H. RIDDELL. 
 Weird StoriQc 1 ^ Bicb Uan'i Dafgftttff 
 
 Grlfflth Gaunt. 
 Love Little, LoveXoBi^ 
 The Double BlanSiyiu 
 Foul Play. ' 
 
 Put 7'reelf in ElsFlacs 
 A Terrible Temptattoa. 
 A Simpleton. 
 A Woman-Hater. 
 The Jilt, & othcrStoriei; 
 &GoodStorie80f Haa.' 
 A Perilons Secret. ■? ' 
 Beodlana; and «SS0^ 
 Characters. 
 
CHATTO & WINDUS, Publishers, iii St. Martin's Lane. London, W.C. 29 
 
 The Piccadilly (3/6) Novels— co»*»»«»rf. 
 
 By AMELIB RIVBS. 
 
 Barbara Bering. | HeiieL 
 
 By P. W. ROBINSON. 
 lh« Eandi of Justice, t Woman In the Dork. 
 By ALBERT ROSS.-a Sugar Princoai. 
 J. RUNCI/VlAN.-EklpperB and BheUbacIu. 
 By W. CLARK RUSSELL. 
 
 Eonnd the Galley-Fire. 
 Xn the Mlddl« Watch. 
 On the Fo'k'sle Head 
 ^ Voyage to the Cape. 
 Book fertile Hammock. 
 Myateryof 'Ocean Star' 
 ]7en2y Harlowe. 
 An Ocean Tragedy. 
 A Tale of Two Tunnels. 
 
 My Shipmate Lonlse. 
 Alone onWide Wide Sea. 
 The Phantom Death. 
 Is He the Man ? 
 Good Ship 'Mohock.' 
 The Convict Ship, 
 Heart of Oak. 
 The Tale of the Tea. 
 The Last Entry. 
 
 Tiie Death Ship. 
 
 By DORA RUSSELL.-Sriftof Fate. 
 
 By HERBERT RUSSELL. True Elne. 
 
 BAYLE ST. JOHN A Levanttee FamUy. 
 
 By ADELINE SERGEANT. 
 ■ Cr-Endlcott's Experiment. 
 Ccder False FretsnceB. 
 
 By M. P. SKIEL The Purple Cloud. 
 
 By GEORGE R. 5IMS. 
 Dagonet Abroad. I In London's Heart 
 
 Once Upon a Christmas Mary Jane's Memoirs. 
 
 Time. Msxy Jane Mai'riod. 
 
 Without the Llmeilght. The Small-part Lady. 
 Eogues and Tagabonds. 1 A Blind Marriage. 
 Blographs of E&bylon. 
 By HAWLEY SMART. 
 Without Lore or Licence. I The Outsider. 
 The Master of Bathkelly. Beatrice & Benedick. 
 Long Oddf . ! A Racing Rubber. 
 
 By J. MOYR SMITH. 
 
 The Frlnce of ArgoUs. 
 By T. VV. SPEIGHT. 
 ' - * - A Minion of the Moon. 
 
 Secret Wyvem Towers. 
 The Doom of Siva. 
 As it was Written. 
 
 A Secret of the Sea. 
 
 The Qrey Monk. 
 
 The Master of Trenance 
 
 The Web of Fate. . 
 
 The Strange Experiences of Mr. Verschoyle. 
 By ALAN ST. AUBYN 
 
 A Fellow of Trinity. 
 The Junior Dean. 
 Master of St.Benediet's. 
 To his Own Master. 
 Gallantry Bower. 
 In Face of the World. 
 Orchard Damerel. 
 
 The Tremlett Diamonds. 
 The Wooing of May. 
 A Tragic Honeymoon. 
 A Proctor's Wooing. 
 Fortune's Qate. 
 Bonnie Maggie Lauder. 
 Mary Unwin. 
 
 Elra. Dunbar's Secret. 
 
 By JOHN STAFFORD.— Dorlsandl. 
 
 By R. STEPHENS.— The Cruciform Mark. 
 
 By R. NEILSON STEPHENS. 
 Philip Wlnwood. 
 
 R. A. STERNDALE.— The Afghan Knife. 
 R. L. STEVENSON.— The Suicide Club. 
 
 By FRANK STOCKTON. 
 The TouDg Master of Hyson HalL 
 By SUNDOWNER. Told by the TaCrall. 
 By ANNIE THOMAS.— The Sirens Web. 
 
 By BERTHA THOMAS. 
 The Violin-Player. | In a Cathedral City. 
 
 By FRANCES E. TROLLOPE 
 
 Like Ships upon Sea. I Mabel's ProgTe&a, 
 Anne Furness. I 
 
 By ANTHONY TROLLOPE. 
 The Way we Live Mow. I Ecarboroagh's F&mlly. 
 Frau Fiohmann. j The Laud-Leaguers. 
 
 Marlon Fay. 
 
 By IVAN TURGENIEFF, &c. 
 stories from Foreign Koveliots. 
 
 By MARK TWAIN. 
 Choice Works. - \ Pudd'nhead WUaon. 
 
 Library of Humour. '^*'" niiH«ji &»& 
 
 The Innocents Abroad. 
 Roughing It ; and The 
 
 Ittuocents at Home, 
 A Tramp Abroad. 
 TheAmerlcan Claimant, 
 Adventui-eaTomSawyer 
 Tom Sawyer Abroad. 
 Tom Sawyer. Detective 
 
 The Gilded Age. 
 Frlnce and the Pauper. 
 Life on the MiiiBiBslppl. 
 The Adventures 01 
 
 Huckloberry Finn. 
 A Yankee at the Court 
 
 of King Arthur. 
 Stolen Wlilte Elephant 
 £1.000,000 Bank-note. 
 
 A Double -tiarrelled Detective Story. 
 C. C. F.-TYTLER.— Mistress Judith. 
 By SARAH TYTLER. 
 WhatShe CameThrough , Mrs Carmlchael's Gtod' 
 Buried Diamonds. t deases. 
 
 The ElackhaU Ghosts. BachelLengton. 
 The Macdonald Lfizs. A Honeymoon's EcUpea, 
 Witch- Wife. I Sapphira > A Toung Dragon. 
 
 By ALLEN UPWARD. 
 The Queen against Owen. 
 
 By ALBERT D. VANDAM. 
 A Court Tragetiy. 
 
 By E. A. VIZETELLY. 
 The Scorpion. | T^e Lover's Progress. 
 
 By FLORENCE WARDEN. 
 Joan, the Curate. | AFlghttoa Flniah. 
 
 By CY WARMAN.-Expre5a Messenger, 
 By A. WERNER. 
 Chapenga's White Man. 
 
 By WILLIAM WESTALL 
 
 For Honour and Life. 
 AW Oman Tempted Hiffl 
 Her Two Millions. 
 Two Finches of Bnnfl. 
 Nigel Fortescue. 
 Birch Dene. 
 The Phantom City, 
 A Queer Eace. 
 Ben Clough. 
 
 The Old Factory, 
 Bed Ryvlngton. 
 RalphNorbreck'sXrut 
 Trust-money. 
 Sons of Belial. 
 Roy of Roy's Court. 
 With the Red Eagle. 
 A Red Bridal. 
 Strange Crimes (TruQ 
 Stones). 
 
 By ATHA WESTBURY. 
 
 The Shadow of Hilton Fembrook. 
 
 By FRED WHISHAW, 
 A Forbidden Name. 
 By C. J. WILLS.— An Easy-going Fellow. 
 
 By JOHN STRANGE WINTER. 
 Cavalry Life ; and Regimental Legends. 
 A Soldier's Children. 
 
 By B. ZOLA. 
 The Joy of Life. t His Masterpiece. 
 
 The Fortune of the Rougons. 
 Abbe Monret's Transgression. 
 The Co>ionestof PlBssans. 1 Germinal. 
 The Hocotti' of the Army. 
 The Downfall. I His ExceUency. 
 
 The Dream. I Money. I The Dram-Shop. 
 Dr. Pascal. I 'lourdes. 1 Rome. | Paris. | Work. 
 The Fat and tLv Thin. | FmitfubieBS. | Truth. 
 By ' ZZ. '—A Nineteenth Century Miracle. 
 
 CHEAP EDITIONS OF POPULAR NOVELS 
 
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 Artemns Ward Complete. 
 
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 Blind Fate. Mona's Ohoice^ 
 
 Valerie's Fate. I By Woman's Wit. 
 
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 rs»ratberi)<snl«l^> 
 
 Phiiistia. I Babylon. 
 
 Strange Stoi-les. 
 For IiIalmie'B Ba^e, 
 In all Shades. 
 The Beckoning Han 
 The Devil's Die. 
 The Tents of Shea 
 Vae Qrcat "t^aboo. 
 
 Dumaresq's Daughter. 
 Duchess of Powyeland. 
 Blood RoyaL [piece. 
 Ivan Greet's Master* 
 The Scallywag. 
 This Mortal Coll. >^ 
 At Market Valua. 
 ITpder &8&le<t Orders. 
 
$b CHATTO & WINDUS. Publishers, ii 
 
 I St, Martin's Lane, London, W.C.- 
 
 By C. AlLSTON COLLINS. 
 
 The Bar Sinister. 
 
 By MORT. & FRANCES C0LLE:^S. 
 
 Two-Shilling ^ovej.s— continued, 
 
 «' BY PRANK BARRETT. 
 
 Found aoUtr. 
 
 A Kecollineveagaanoe. 
 
 Fettftr«d for Llfo. 
 Little Lady Lluton. 
 Bstween Llfa A Deatb. 
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 Folly Morrlion. 
 Uaut. Barnabai. 
 Honest D&vle. 
 A Prodigal'! Prosreu. 
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 B? Gella'i Arlionr. 
 Chaplain of the Fleet. 
 
 For Lore andHononr. 
 John Ford, Sec. 
 Woman of IronBraee'ti 
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 A MUilne Witneu. 
 
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 With Harp and Crown. The Seamy Side. 
 
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 All Sorts and Condi- The Bell of St. Faul'i. 
 
 tlons of Hen. 
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 All In a Garden Fair. 
 Dorothy Forster. 
 TTnele Jack. 
 The World Went Very 
 
 Well Then. 
 Children of aibeoB. 
 Herr Paulus. 
 For Faith and Freedom. 
 To Call Her Mine. 
 The Master Craftsman. 
 
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 In the audit of Life. 
 
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 The Holy Bose. 
 Armorel of Lyonesso. 
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 In Deacon's Orders. 
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 Callfomlan Stories, 
 Gabriel Conroy, 
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 Flip. I Mamja. 
 
 A Phyllli of the Sierras. 
 A Waif of the Plains. 
 Ward of Golden Gate. 
 
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 deline. 
 The New Abelard. 
 The Heir of Llnne. 
 Woman and the Man. 
 Rachel Dene. I Matt. 
 Lady KUpatrlck. 
 
 Shadow of the Sword. 
 A Child of Nature. 
 God and the Man. 
 Love Me for Ever. 
 Foxglove Manor, 
 The Master of the Mine. 
 Annan Water. 
 
 By BUCHANAN and MURRAY, 
 
 The Charlatan. 
 
 By HALL CAINE. 
 
 vol aO 
 
 !aga 
 
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 The Cruise of the 'Black Prince.* 
 
 By HAYDBN CARRUTH. 
 
 The Adventures of Jones. 
 
 By AUSTIN CLARE 
 
 For the Love of a Lass. 
 
 By Mrs. ARCHER CLIYB. 
 
 Paul Perroll. 
 
 Why Paul FerroU Killed his Wife. 
 
 By MACLAREN COBBAN. 
 The Cure of Souls. | The Bed Sultan. 
 
 By WILKIE COLLINS. 
 
 The Shadow of aOrime. I The Deemster. 
 A Son of Hagar. | 
 
 Commander CAMERON. 
 
 Armadale. J AfterDark, 
 
 No Name. 
 
 Antonlna. 
 
 Basil. 
 
 Hide and Seek. 
 
 The Dead Secret. 
 
 Queen of Hewti. 
 
 Miss or lbs. 1 
 
 The New Magdalen, 
 
 The Frozen Deep. 
 
 The Law uid the Lady 
 
 The Two Destinies. 
 
 The Haunted Hotel, 
 
 A Kogu*'* Ufo, 
 
 My Miscellanies. 
 The Woman In White. 
 The Moonstone, 
 Man and Wife, 
 Poor Miss Finch. 
 The Fallen Leavei. 
 Jezebel's Daughter 
 The Black Robe, 
 Heart and Scienci. 
 'I Say Nor - 
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 Legacy of Cala. 
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 Blind I 
 
 Sweet Anne Page. 
 Transmigration, 
 From Midnight to Mid- 
 night. 
 A F&ht nrlth Fortune. 
 
 Sweet and Twentv. 
 The Village Gometly, 
 Ton Play me False. 
 Blacksmith and Scholar 
 Frances. 
 
 By M. J. COLQUHOUN. 
 
 Every Inch a Soldier, 
 
 By C. EGBERT CRADDOCK. 
 
 The Prophet of the Great Smoky Mount&uii. 
 
 By MATT CRJM. 
 The Adventures of a Fair Rebel. 
 By H. N. CRELLIN.-Talesof theCalipli. 
 Bv B. M. CROKER. 
 
 Pretty Hiss NevlUe. 
 Diana Barrington. 
 
 'To Let.' 
 
 A Bird of Fossago. 
 
 Proper Pride. 
 
 A Family Likeness. 
 
 A Third Pertion. 
 
 I Village Tales and Jungle 
 Tragedies. 
 
 Two MasterE. 
 
 Mr. Jervia. 
 I The Real Lady Hilda. 
 
 Married or Single t 
 
 Interference. 
 
 By ALPHONSE DAUDET. 
 
 The Evangell£t ; or. Port Salvation. 
 
 By DICK DONOVAN, 
 
 In the Grip of the Law, 
 From Information Re- 
 ceived. 
 Tracked to Doom. 
 Link by Llnls: 
 Suspicion Aroused. 
 Riddles Read. 
 
 The Man-Hunter. 
 Tracked and Taken. 
 Caught at Last I 
 Wanted I 
 Who Poisoned Hetty 
 
 Duncan 1 
 Man from Manchester. 
 ADetective'B Triumphs 
 The Mystery of Jamaica Terrace. 
 The Clu'onicles of Michael Danevlt cb. 
 
 By Mrs. ANNIE EDWARDES. 
 A Point of Honour. | Archie Lovell. 
 
 By EDWARD EQQLESTON. 
 
 Roxy. 
 
 By Q. MANVILLE FENN. 
 
 The New Mistress. I The Tiger Lily. 
 
 Witness to the Deed. 1 The White Virglii. 
 
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 Never Forgotten. Seventy - five Brooke 
 
 Polly. Street. 
 
 Fatal Zero. | The Lady of Brantcmo 
 
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 Btrange Secret*. 
 
 - - - FRANCILLON. 
 King or Knave? 
 
 By R. 
 
 Olympla. 
 One by One. 
 A Real Qneen. 
 Queen Cophetna. 
 
 Romances of the Law. 
 
 Ropes of Sand. 
 
 A Dog and his Shadow 
 
 By HAROLD FREDERIC. 
 
 Seth's Brother's Wife. I The Lawtou Girl. 
 Prefaced by Sir BARTLE FRERE. 
 Fandurang HarL 
 
 By GILBERT GAUL. 
 A Strange Manuscript. 
 
 By CHARLES GIBBON. 
 
 Robin Gray. 
 Fancy Free. 
 For Lack of Gold, 
 What wiU World Say 7 
 In Love and War. 
 For the King, 
 In Pastures Grejsn. 
 Qneen of the Meadow. 
 A Heart's Problem. 
 The Dead Heart. 
 
 In Honour Boand. 
 Flower of the Forest 
 The Braes of Yarrow. 
 The Golden Shaft. 
 Of High Degree. 
 By Mead and Stream. 
 Loving a Dream. 
 A Hard Knot. 
 Heart's Delight. 
 Blood-Money. 
 
 By WILLIAM GILBERT. 
 
 James Duke. 
 
 By ERNEST GLANVILLE. 
 The Lost Heiress. I The Fosslcker. 
 
 A Fair Colonist. I 
 
 By Rev. S. BARING GOULD 
 Bed ■pldw. I t(n. 
 
CHATtO & WINDUS, Publishers, ill 5t. Martin's Latit, London, W.C. 31 
 
 Two-Shilling Novels— co«h'««erf. 
 
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 Evenr-day Fapen. 
 
 By THOMAS HARDY. 
 
 I^der the Oreenwood Tree. 
 
 By JULIAN HAWTHORNE. 
 
 Sarth. 
 
 Elllce QaeutlB. 
 
 Fortnne'B FooL 
 
 Kias Cadogna. 
 
 fiebastiaji Strome. 
 
 Dust. 
 
 Beatrix Randolph, 
 
 Love — or a Name. 
 
 David Fomdexter's Dis- 
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 The Spectra of the 
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 Evan de Biron. 
 
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 Sojub the Juggler. 
 
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 Zambra the Detective. 
 
 By JOHN HILL. 
 
 Treason Felony, 
 
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 The Lover's Creed. 
 
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 The House of Kaby. 
 
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 la Dnrance Tile. 
 
 UarveL 
 
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 ▲ Modem Circe. 
 
 April's Lady. 
 
 Peter's Wife. 
 
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 Tjnsatisfactory Lover. 
 Lady Patty. 
 Nora Orelna. 
 Professor's Experiment. 
 
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 That Other Person. | The Leaden Casket. 
 
 Self-Condemned. I - 
 
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 Colonial Facts and Fictions. 
 
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 A Dr&vn Game. I Passion's Blavf. 
 
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 Green.' 1 
 
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 She Lindsays. 
 
 By E. LYNN LINTON. 
 
 Patricia KembaU. 
 
 The World Well Lost. 
 
 Under which Lord? 
 
 Fasten Carew. 
 
 ' Uy Love I ' 
 
 lone. 
 
 With a Snken Thread. 
 
 .By HENRY W. LUCY. 
 Aldeon Fleyce. 
 
 By JUSTIN McCarthy. 
 
 The Atonement of Learn 
 
 Dnndas. 
 Bebelofthe Family. 
 Bowing the Wind. 
 The One Too Many. 
 Dolcia Everton. 
 
 Donna Quixote. 
 Maid of Athens. 
 The Comet of a Season. 
 The Dictator. 
 Bed Diamonds. 
 The Riddle Blng. 
 
 Dear Lady Disdain, 
 Waterdale Keighbonrs. 
 Hv Enemy's Daughter 
 A Fair Saxon. 
 Linley Bochford. 
 Hiss Miaanthropi 
 Camiola 
 
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 iSx, Stranger's Sealed Packet. 
 
 By OEORQB MACDONALD. 
 Heather and Snow. 
 
 By AQNE-S MACDONELL. 
 Qnaker Cousins. 
 
 By W. H. MALLOCK. 
 The New Bepublie. 
 
 By BRANDER MATTHEWS, 
 A Becrot of the Sea. 
 
 By L. T. MEADE. 
 A Jol«l« •' F(tftfl»< 
 
 ^^ ^ By LEONARD MERRICK. 
 
 The Man who was Good. 
 
 By Mrs. MOLESWORTH. 
 
 Hathercoort Bectory. 
 
 By J. E. MUDDOCK. 
 
 StoriesWolrd and Won- 
 derful, 
 The Dead Man's Secret. 
 
 From the Bosom of the 
 Deep. 
 
 By D. CHRISTIE MURRAY. 
 
 A Model Father. 
 
 Joseph's Coat. 
 
 Coals of Fire. 
 
 Val Strange. | Hearts. 
 
 Old Blazers Hero. 
 
 The Way of the World 
 
 Cynic Fortune. 
 
 A Life's Atonement. 
 
 By the Gate of the Sea. 
 
 ABitof EumanNatura 
 First Person Singular. 
 Bob Martin's LittleGlrl, 
 Time's Revenges. 
 A Wasted Crime. 
 In Direst Peril. 
 Mount Despair. 
 A Capful o' Nails 
 
 By MURRAY and HERMAN. 
 
 una Traveller Beturns. I The Bishops' Bible, 
 Paul Jones's Alias. | 
 
 By HUME NISBET. 
 
 'Ball Up!' I Dr.Bemard St. Vincent 
 
 By W. E. NORRIS. 
 
 Saint Ann's. | Billy BeUew. 
 
 By QEORQES OHNET. 
 
 Dr. Bameau. 1 A Weird Gift. 
 
 A Last Love. | 
 
 By Mrs. OLIPHANT. 
 
 Whlteladles. | The Greatest Haliesi in 
 
 The Frimrosa Path. | England. 
 By OUIDA. 
 
 Held in Bondage, 
 
 Strathmora. 
 
 ChandOB. 
 
 XdaUa. 
 
 Under Two Flags. 
 
 Cecil Castlamalne'sGage 
 
 Trlcotrln, 
 
 Puck. 
 
 FoUe Farina. 
 
 A Dog of Fiandert. 
 
 Fascarel. 
 
 Slgna. 
 
 Princess Napraxlne. 
 
 In a Winter City. 
 
 Arlaibie. 
 
 Friendship. 
 
 By MARGARET AGNES PAUL, 
 Gentle and Simple. 
 
 By Mrs. CAMPBELL PRAED. 
 
 The Romance of a Station. 
 The Soul of Countess Adrian. 
 Outlaw and Lawmaker. | Mrs. Tregaskiss 
 Christina Chard. | 
 
 By JAMES PAYN. 
 
 Two Lit.Wooditt Shoes. 
 
 Moths. 
 Bimbi. 
 PlpistraUo. 
 A Village Commuaa, 
 Wanda. 
 Othmar 
 Frescoes. 
 In Maremnu. 
 Gullderoy. 
 Rnffino. 
 Syrlln. 
 
 Santa Barbara. 
 Two Ofieuders. 
 Oulda's. Wisdom, Wit, 
 and Pathos. 
 
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