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 '" |Pjmoriam, The Princess, and Maud- 
 
 3 1924 013 558 667 
 
The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924013558667 
 
TENNYSON'S 
 IN MEMORIAM, THE PRINCESS, AND MAUD 
 
IN MEMORIAM, THE PRINCESS, 
 AND MAUD 
 
 BY 
 
 ALFRED 
 LORD TENNYSON 
 
 EDITED WITH CRITICAL INTRODUCTIONS, COMMENTARIES 
 AND NOTES, TOGETHER WITH THE VARIOUS READINGS 
 
 BY 
 
 JOHN CHURTON COLLINS 
 
 METHUEN & CO. 
 
 36 ESSES STREET W.C. 
 
 LONDON 
 
 1902 
 
PREFACE 
 
 The pioneer of a critical edition of Tennyson's poems is 
 little to be envied. Never since Milton has a poet been 
 so fastidiously scrupulous about the minutiae of expression 
 and language, about the exact forms of inflexion, about 
 spelling, about the collocation of vowels and consonants, 
 about the use of small or capital letters, about the use of 
 ita,lics, about punctuation. It is well known that Milton 
 ordered the substitution of " hundreds " for " hunderds " 
 in Paradise Lost, i. 760, and the substitution of " we " for 
 " wee " in book ii. 414 of the same poem, to be noted 
 specially as errata, and that he studied with the nicest care 
 the forms of " thir " and " their," insisting importunately 
 on the printers observing the distinction. But the work of 
 an editor of Milton, even if he be as conscientious in his 
 drudgery as the poet in the nobler activity of composition, 
 is a comparatively easy one ; for of the Minor Poems there 
 are only two authentic editions, of Paradise Lost two also, 
 of Paradise Regained and of Samson Agonistes one. The 
 editions of Tennyson's various works are so numerous that 
 no Bibliography records them, and no single library, public 
 or private, so far at least as I can discover, contains them. 
 These editions teem with variants, and so restlessly, one 
 might almost say morbidly, indefatigable was Tennyson 
 in correction, that till an edition, even though there be 
 no indication on the title page that it is anything more 
 
vi PREFACE 
 
 than a reprint, is inspected, there is no security that 
 the text has not been altered. Backwards and forwards, 
 forwards and backwards fluctuate the incessantly shifting 
 variants. Take, for instance. In Memoriam, x. 5 : — 
 
 Thou bringest the sailoi to his wife 
 
 is the reading of the first two editions ; the third substi- 
 tutes "bring'st"; the fourth, seventh, and ninth return 
 to "bringest"; in 1875 " bring'st " reappears ; in 1877 
 " bringest " is restored ; and in the final edition there is 
 a return to " bring'st " ; and this is typical of the history 
 of numberless variants. In In Memoriam, cxv. 6, 7, the 
 earlier and later editions read 
 
 The distance takes a lovelier hue, 
 And drown'd in yonder living blue 
 The lark, etc.; 
 
 but suddenly appears in 1875, disappearing immediately 
 
 afterwards, 
 
 The distance takes a living hue, 
 And drown'd in yonder livelier blue. 
 
 I have done my best to make the record of the variants 
 exhaustive, and also to fix the exact dates of each. But 
 to fix the exact dates has not been possible in some cases, 
 for the simple reason that all the innumerable editions of 
 the three poems have not been accessible to me. All I 
 could do was to collate the editions obtainable in the 
 British Museum and in other public libraries, or borrowed 
 from friends, or inspected through the courtesy of in- 
 numerable booksellers, — to whom sincere thanks for that 
 courtesy are due, — and all this I have done with more 
 labour and expenditure of time than one cares to 
 remember. 
 
 The critical opinions in the Introductions wiU, of coiu-se. 
 
PREFACE 
 
 vu 
 
 be taken for what they are worth ; but I should be very 
 sorry if any emphasis in expression should be mistaken 
 for dogmatism, the one infirmity in criticism which is at 
 once ridiculous and inexcusable. Like my contemporaries, 
 I belong to a generation which has been so much under 
 the spell of Tennyson's genius that an impartial estimate 
 of him can hardly be expected from us, but I have 
 endeavotu-ed to judge him as he would himself have 
 desired to be judged, not in comparison with the Dii 
 Minores but with the Dii Majores of his art. And if 
 by such a comparison he is not likely to gain, to what 
 other poet since the death of Wordsworth would not such 
 a comparison be fatal ? 
 
 It wiU be seen that a special feature of the notes is 
 illustration by parallel passages. Such illustrations, 
 generally speaking, belong rather to the trifles and 
 curiosities of criticism, to its tolerabiles nugce, than to 
 anything approaching importance. But they seem to 
 me, as they have seemed to many of my betters among 
 critics, always at least of interest. In the case of some 
 poets, notably of Virgil, of Milton, of Gray, and of 
 Tennyson, they are not merely of interest but indispens- 
 able in commentary. Eminently learned, these poets 
 Studied the works of their predecessors as minutely 
 and reverently as they studied nature. And to trace 
 their obligations, direct and indirect, to those predecessors, 
 to note how they applied, moulded, or modified the 
 material thus derived, is surely an essential part of a 
 commentator's duty. Many of the parallels here pointed 
 out are, of course, only parallels in all probability 
 accidental, but some of them undoubtedly represent 
 Tennyson's originals. 
 
 It remains for me to add that where I have owed 
 anything to preceding commentators — three of whom 
 
viii PREFACE 
 
 deserve special mention, Mr. S. E. Dawson, author of A 
 Stvdy of The Princess, published by Messrs. Sampson Low 
 in 1882, Mr. Percy M. Wallace, editor of an excellent 
 edition of that poem published by Messrs. Macmillan in 
 1893, and Professor A. C. Bradley, author of an interesting 
 and valuable Commentary on In Memoriam published by 
 the same firm last year — I have acknowledged it in the 
 notes. I have, of course, made much use of the Life of 
 Tennyson by the present Lord Tennyson, to whom I am 
 grateful in the abstract. I am also obliged to my son, 
 Mr. Laurence Collins, for the assistance which he has given 
 me in the miserable drudgery of collation. But above all, 
 my thanks are due to Messrs. Macmillan, who have most 
 generously allowed me to insert a section of In Memoriam, 
 and to cite all the variants, still protected by copyright, 
 without which permission the present work would have 
 been impossible. 
 
IN MEMORIAM 
 
INTRODUCTION 
 
 It is scarcely necessary to say that the collection of 
 poems published under the title of In Memoriam was so 
 entitled because the poems were dedicated to the memory 
 of Arthur Henry Hallam, eldest son of Henry Hallam, 
 the eminent historian. As the poems are the records of 
 real incidents and are associated very intimately with the 
 personal life and character of young Hallam, some account 
 of him is appropriate. He was born in Bedford Place, 
 London, on the 1st of February 1811, so that he was some 
 eighteen months younger than Tennyson. As a boy he 
 was unusually precocious. After spending some months in 
 Germany and Switzerland in 1818, and reading with a 
 private tutor in 1820, he entered Eton in 1822 as the 
 pupil of the JR,ev. E. C. Hawtrey, and at Eton he remained 
 till the summer of 1827. When, in October 1828, he went 
 into residence at Trinity CoUege, Cambridge, he was the 
 master of many accomplishments. Though not an exact 
 scholar, he could read Greek and Latin with fluency, and 
 had a sympathetic acquaintance with the chief classics. 
 With Italian he was profoundly and nicely acquainted, and 
 had written several sonnets in that language, which Panizzi 
 some years afterwards described as "much superior not 
 only to what foreigners have written, but to what I 
 thought possible for them to write in Italian." He had 
 distinguished himself in the Debating Society at Eton, 
 
4 INTRODUCTION 
 
 and also by his contributions both in verse and prose 
 to the Eton Miscellany. At Cambridge he soon rose 
 to eminence among undergraduates, and his rooms at 
 No. 3 G. New Court, Trinity, became famous as a centre 
 of intellectual life, where literature, metaphysics, and 
 politics were eagerly debated (In Memoriam, Ixxxvii.). 
 When he first met Tennyson is. not recorded, but it was 
 probably in his first term, the autumn of 1828 (cf. xxii.). 
 They soon became intimate friends. Early in 1829 they 
 were competitors for the Chancellor's Prize Poem, Tim- 
 buctoo, Tennyson being the successful candidate. In 
 1830 the two fiiends had agreed to publish jointly a 
 volume of poems, but at the request of Hallam's father 
 the project was abandoned, and Tennyson's volume 
 came out independently. In the summer of this year 
 Hallam accompanied Tennyson in an expedition to the 
 Pyrenees with money for the insurgents under Torrijos 
 (see a reminiscence of this in In Memoriam, Ixxi., and In 
 the Valley of Cauteretz). As early as 1829 Hallam had 
 become attached to his friend's sister Emily, and they were 
 engaged; but the engagement was kept secret till 1832. 
 Of this attachment several of Hallam's poems addressed 
 to Emily Tennyson are the record (see for references to 
 this. In Memoriam, Ixxxiv.). Meanwhile, in August 1831, 
 Hallam had reviewed his friend's Poems, chiefly Lyrical, 
 in The EnglishmarCs Magazine. In January 1832 Hallam 
 left Cambridge and resided with his father at 67 Wimpole 
 Street {In Memoriam, vii. and cxix.), became a student of 
 the Inner Temple, and in the autumn was placed to read 
 in chambers with an eminent conveyancer of Lincoln's Inn 
 Fields, visiting the Tennysons at Somersby, as the accepted 
 suitor of Emily Tennyson {In Memoriam, Ixxxix. and 
 cii.). At the beginning of August 1833 Hallam went to 
 Germany with his father, weakened by an attack of 
 
INTRODUCTION 5 
 
 influenza, from which he had sufiPered in the spring of the 
 year. The rest may be told in his father's words :'^' In 
 returoiug to Vienna from Pesth, a wet day probably gave 
 rise to an intermittent fever, with very slight symptoms, and 
 apparently subsiding, when a sudden rush of blood to the 
 head put an instantaneous end to his life, on the 15th 
 of September 1833. . . . The remains of Arthur were 
 brought to England, and interred on the 3rd of January 
 1834 in the chancel of Clevedon Church, in Somerset- 
 shire."/ It is curious that Tennyson, who is generally so 
 scrupulously accurate about facts and details, should 
 have made two mistakes about this. He represents the 
 body as having been landed at Bristol (xix.) when it 
 was landed at Dover, and as having been buried in the 
 churchyard (xxi.) when it was buried in the chancel 
 of the church, imless we are to suppose that this is 
 corrected by what is implied in section Ixvii. 
 
 Tickell has beautifully said — 
 
 Grief unaffected suits but ill with art. 
 
 Or flowing numbers with a bleeding heart. 
 
 But if In Memoriam is eminently both a work of art and 
 distinguished by "flowing numbers," of the depth and 
 sincerity of the pa-ssion which inspired it and of which it 
 is the expression there can be no question. Tennyson 
 spoke of his loss as " an overwhelming sorrow, which for 
 a while blotted out all joy from his life and made him 
 long for death," and it was while he was under this cloud 
 that The Two Voices, or, as its alternative title originally 
 ran. Thoughts of a Stiiade, was composed (Life, vol. i. 
 p. 109). 
 
 The picture which Tennyson gives of Hallam does not 
 
6 INTRODUCTION 
 
 seem to have been exaggerated, scarcely even idealised. 
 Of his person Fanny Kemble has given this description, 
 which may be compared with the last two stanzas of 
 In Memoriam, section Ixxxvii. : " There was a gentleness 
 and purity almost virginal in his voice, manner, and 
 countenance, and the upper part of his face and eyes 
 (perhaps in readiness for his early translation) wore the 
 angelic radiance which they still must wear in Heaven. . . . 
 On his brow and eyes the heavenly light, so fugitive on 
 other human faces, rested habitually, as if he was thinking 
 and seeing in Heaven." ^ Dean Alford wrote of him : 
 " HaUam was a man of wonderful mind and knowledge 
 on all subjects, hardly credible at his age. ... I long ago 
 set him down for the most wonderful person I ever knew. 
 He was of the most tender, alFectionate disposition ; " ^ 
 and the late Lord Houghton spoke of him as " being the 
 only man of my standing to whom I bow in conscious 
 inferiority in everything." Gladstone has also left 
 emphatic testimony to his powers and promise : " There 
 was perhaps no one among those who were blessed 
 with his friendship who did not feel at once bound 
 closely to him by commanding affection, and left far 
 behind by the rapid, full, and rich development of his 
 ever-searching mind ; by his 
 
 All-comprehensive tenderness, 
 All-subtilising intellect. 
 
 It would be easy to show what in the varied forms of 
 human excellence, he might, had life been granted to him, 
 have accomplished; much more difficult to point the 
 finger and to say, ' This he never could have done.' 
 Enough remains from among his early efforts, to 
 
 ' Record of a Girlhood, vol. ii. p. 3. 
 
 " Quoted in Tennyson's Life, vol. i. p. 107. 
 
INTRODUCTION 7 
 
 accredit whatever mournful witness may now be borne 
 of him." 1 
 
 If we turn to his Remains, which were first printed by 
 his father in 1834 for private circulation, and afterwards, 
 with some deductions, published in 1853, we shall find 
 ample corroboration of these testimonies to his extraordinary 
 abilities and promise. The Remains consist of selections 
 from his poems and of certain prose pieces, the chief of 
 which are an Oration on the Inflvbence of Italian Works 
 of Imagimation — a College exercise, an Essay on the 
 Philosophical Writings of Cicero, RemarTcs (m Professor 
 RossettVs Disquisizioni sullo Spirito Antipa/pale, and an essay 
 entitled Theodiccea Novissima, which was not reprinted 
 when the selections were published.^ The poems are chiefly 
 interesting as illustrating the seriousness, purity, and 
 beauty of his character ; but the prose pieces give evidence 
 hot only of very wide reading and culture, but of an 
 acute, vigorous, and fertile mind. In intellectual power, 
 subtlety, and fertility we should judge him to have been 
 superior to his friend, and Tennyson has probably not 
 exaggerated the extent of his indebtedness to him in- 
 tellectually as well as morally and spiritually.^ Where 
 influence was reciprocal it is not, of course, possible to 
 define what each owed to the other, but this is certain, 
 that in these Remains and in Hallam's Theodiccea 
 Novissima will be found the germs, and more than 
 the germs, of many of Tennyson's characteristic teach- 
 ings throughout his poems, but more especially in 
 
 ' Gleanings of Past Years, vol. ii. pp. 136-37. 
 
 ° It is not easy to see why this most interesting fragment should have 
 been suppressed ; it occupies twenty-five pages, from 111-136, in the 
 privately printed volume. 
 
 * For a very interesting account of Hallam and his characteristics, ^ 
 see Dr. John Brown's Horcs Subsecivce, Second Series, edition 1882, 
 pp. 419-86. 
 
8 INTRODUCTION 
 
 In Memoriam.^ However this may be, it was no doubt 
 Hallam's influence, strengthened and consecrated by his 
 
 ' Compare, for example — 
 
 Repinement dwells not with the duteous free. 
 We do the Eternal Will ; and in that doing, 
 Subject to no seducement or oppose, 
 We owe a privilege, that reasoning man 
 Hath no true touch of. 
 
 Jiemains, Meditative Fragments, p. ii. 
 
 The moving phantasies of things, 
 And all our visual notions, shadow-like 
 Half hide, half show, that All-sustaining One. 
 
 Idid. p. i6. 
 
 " The loss of religious humility, without which, as their central life, all 
 these {i.e. scientific truths) are but dreadfiil shadows." — Ibid. p. 143. 
 
 "That mighty revolution (Christianity) which brought the poor and 
 unlearned into the possession of a pure code of moral opinion, that before 
 existed only for the wise, and crowned this great benefit by another . . . 
 the insertion of a new life-giving inotive into the rude mass of human 
 desires, by the satisfaction it afforded to moral aspiration." — Ibid. p. 181. 
 (Cf, with this In Memoriam, xxxvi.) 
 
 " Without the Gospel (of Love), nature exhibits a want of harmony 
 between our intrinsic constitution, and the system in which it is placed. 
 But Christianity has made up the difference. It is possible and natural to 
 love the Father, who has made us His children ; it is possible and natural 
 to love the Elder Brother, who was, in all things, like as we are, except 
 sin." — Ibid. p. 176, 
 
 From page 275 to 285 we have all the chief teachings of In Memoriam, 
 the education through love and pain, set forth. Compare also with In 
 Memoriam the following passages from the Theodiccea Novissima : — 
 
 " The great effect of the Incarnation was, as far as our nature is concerned, 
 to render human love for the Most High a possible thing." — P. 132. 
 
 " Now that Christ has excited our love for Him by showing unutterable 
 love for us ; now that we know Him as our Elder Brother ... it has 
 become possible to love as God loves ; that is, to love Christ, and thus to 
 become united in heart to God." — P. 131. 
 
 " Unless the heart of a created being is at one with the heart of God, it 
 cannot but be miserable." — P. 130. 
 
 "Any opinion which tends to keep out of sight the living and loving 
 God, whether it substitute for Him an idol, an occult agency, or a formal 
 
INTRODUCTION 9 
 
 death, which became the chief means of transforming the 
 dainty and sentimental trifler of the poems of 1830 into 
 the " sage and serious poet " of the subsequent volumes. ^ 
 When In Memoriam was given to the world, it appeared 
 as a connected work, and not as a series of fragmentary 
 lyrics. But to make it a connected work was not 
 Tennyson's original intention. The sections were written, 
 he says, at many diiferent places, and as the phases of 
 his intercourse with Hallam came to his memory and 
 suggested them. " I did not write them with any view of 
 weaving them into a whole, or for publication, until I found 
 that I had written so many."'^ The sections composing 
 the poem were written at intervals between the spring of 
 1834! and 1850, the year of its publication — " some in 
 Lincolnshire, some in London, Essex, Gloucestershire, 
 Wales, anywhere where I happened to be " (Life, vol. i. p. 
 305). The Life enables us to assign dates, or approximate 
 dates, to many of the sections. Those earliest in order of 
 composition were ix., xxx., xxxi., Ixxxv., xxviii. (Life, vol. i. 
 p. 109). Section xcviii. must have been written in the 
 spring of 1836 (Ibid. p. 148). Sections c.-ciii. refer to the 
 removal of the Tennysons from Somersby in 1837, and 
 civ.-v. to their settlement at High Beech, Epping Forest. 
 Section Ixxxvi. was written at Barmouth in 1839 (Ibid. 
 p. 313), and possibly some of the other sections in the same 
 key: see Ixxxviii., Ixxxix., xci., cxv., cxvi., cxxi., cxxii. 
 By Christmas 1841 the poem had made much progress ; 
 for Edmund Lushington says, " The number of memorial 
 poems had rapidly increased," adding that he heard for 
 
 creed, can be nothing better than a vain and portentous Shadow projected 
 from the selfish darkness of unregenerate man." — P. 136. 
 
 " The great error of the Deistical mode of arguing is the assumption 
 that intellect is something more pure and akin to Divinity than emo- 
 tion."— P. 135. 
 
 ' Z.t/e, vol. i. p. 304. 
 
10 INTRODUCTION 
 
 the first time vi. and li. {Ibid. p. 202-3). We also 
 learn that " the sections about evolution," presumably liv., 
 Iv., Ivi., cxviii., cxx., had been written before the publica- 
 tion of Chambers's Vestiges of Creation, in 1844 {Ibid. 
 p. 9&S). In the summer of 1845 further progress had been 
 made, and the Epilogue had been written {Ibid. p. £03). 
 Section cxxvii. appears to refer to the events of 1848. 
 If Canon Rawnsley be correct (see Memories of the 
 Tennysons, p. 121), cxxi. was composed shortly before the 
 poems were published. The fragmentary way in which 
 In Memoriam was composed is indicated in the titles 
 orginally applied to it by Tennyson. It is sometimes 
 spoken of as "Memorial Poems," sometimes as "the 
 Elegies," sometimes as " Fragments of an Elegy." 
 
 It is clear, then, that In Memoriam was composed, like 
 the Idylls of the King, after a purely fragmentary fashion, 
 and that the idea of weaving the fragments into a 
 connected whole and giving them unity was an after- 
 thought. The poet has certainly been more successful 
 with his lyric fragments than with his epic, though, like 
 the Idylls, his work retains, in spite of all his efforts to 
 give it unity, too evident traces of the manner in which 
 it was composed. And how has this unity been attained, 
 and in what way is the poem to be regarded as a connected 
 whole.? It is an important question, for though its 
 charm as lyric poetry is in no way dependent on the 
 relation of its parts to its whole, its power and its deeper 
 significance are essentially dependent on its unity. This 
 unity Tennyson indicated when he called the poem " The 
 Way of the Soul " {Life, vol.U. p. 393), and has explained 
 more fully in saying that "it was meant to be a kind 
 of Dimn/i, Cnm media, ending with hap piness. . . . The 
 different moods of sorrow as in a drama are dramatically 
 given, and my conviction that fear, doubts, and suffering 
 
INTRODUCTION 11 
 
 will find answer and relief only through Faith in a God of 
 Love. ' I ' is not always the author speaking of himself, 
 but the voice of the human race speaking thro' him. 
 After the Death of A. H. H., the divisions of the poem 
 are made by First Xmas Eve (xxviii.), Second Xmas 
 (Ixxviii.), Third Xmas Eve (civ. and cv., etc.)." ^ It is on 
 these indications from the author that we must take our 
 stand, and the analysis of the general scheme becomes 
 easy. The poem falls, then, into four cycles.^ 
 
 Cycle I 
 
 I. XX VIII. -XXX. 
 
 The note here till the arrival of Christmas is pure 
 elegy, when the cloud of grief is darkest. As throughout 
 the poem Nature and Nature's phenomena, penetrated 
 subjectively with the emotions of the mourner, become 
 symbols of the dominant mood, the monotonous gloom of 
 the Yew-tree (ii.) and the desolate house in the drizzling 
 dawn (vii.) are here the symbol. The sections group them- 
 selves as the divisions suggested to Mr. Knowles indicate. 
 Then comes Christmas, and with it the dawn of hope. 
 
 ' Life, vol. i. p. 305. 
 
 ' In an article contributed to the Nineteenth Century for Jan. 1893, 
 " Aspects of Tennyson, II.," Mr. James Knowles tells us that Tennyson 
 himself divided the poem into nine groups : ( i ) from stanza ? (section) i. 
 to viii., (2) from ix. to xx., (3) from xxi. to xxviii., (4) from xxix. to xlix., 
 (5) from 1. to Iviii., (6) from lix. to Ixxi., (7) from Ixxii. to xcviii., (8) from 
 xcix. to ciii. , (9) from civ. to cxxxi. And into those groups the poem may 
 obviously be divided from a lyrical point of view, but hardly from a 
 philosophical or theological point of view, as the second Chrbtmas, one 
 of the essential stages in the spiritual significance of the poem, is ignored. 
 It is therefore better to accept the division given in the Life as the 
 authentic one, though the division given by Mr. Knowles may be 
 incorporated. 
 
12 INTRODUCTION 
 
 The key, if we may use the expression, to this cycle 
 is given us in xxx. : — 
 
 A rainy cloud possess'd the earth, 
 And sadly fell our Christmas-eve. 
 
 Cycle II 
 
 XXXI. LXXVIII. 
 
 Grief, having now passed out of its passionate stage, 
 and the cloud, though not lifted, lightened, finds again 
 its symbol in the Yew-tree, not all mere gloom now; 
 
 for its 
 
 gloom is kindled at the tips, 
 
 (xxxix. ) 
 
 even though it 
 
 passes into gloom again. ^ 
 
 {Ibid.) 
 
 Then follow a series of poems, partly speculative, partly 
 elegiac. What is the present state of the^^dead? If 
 the soul be not immortal, of what avail is life? Fears 
 that the severance wrought by death may be fibal : the 
 possible relation of the dead to the living : the hopelessness 
 of deducing from Nature any presumption that the soul 
 can be immortal. Can it be that the spirit of the dead 
 friend can have any memories of his life on earth, any 
 care for him who is left behind .? Though the foolish 
 world see no good in sorrow, yet out of sorrow emerges 
 divine wisdom. Then, in storm and rain, comes in the 
 anniversary of his friend's death, and sadly the mourner 
 thinks of the life that Fame's wreath might have crowned 
 — but what is fame, of what avail .? Then comes Christmas, 
 and he can even ask whether sorrow may not wane, 
 whether regret may not die. 
 
INTRODUCTION 13 
 
 Again the key — 
 
 The silent snow possess'd the earth, 
 And calmly fell our Christmas-eve. 
 
 (Ixxviii.) 
 
 Cycle III 
 
 LXXIX. CIV.-CV. 
 
 In this cycle grief, softened and tranquillised, finds solace 
 and strength in memories and hopes ; and the appeal to 
 the new-year to hasten its coming (Ixxxiii.), as well as 
 the symbolic picture of the second anniversary of the 
 death (xcix.), not now "lifting" its "burthen'd brows 
 thro' clouds that drench the morning star," as in Ixxii., 
 but murmuring 
 
 in the foliaged eves 
 A song that slights the coming care, 
 
 (xcix. ) 
 
 strike the keynotes. Vivid memories of the past rise up 
 before the mourner, and the truth of what he had felt even 
 in the depth of his sorrow, that 
 
 'Tis better to have loved and lost 
 Than never to have loved at all, 
 
 (xxvii.) 
 
 now comes more nearly home to him. Human love has 
 become sublimed into spiritual love, and the possibility of 
 soul communing with soul, "spirit" with "spirit," "ghost" 
 with " ghost," is contemplated, and in the wonderful 95th 
 section that communion is, or seems to be, held. The cycle 
 concludes with the exquisite lyric sections in which the 
 poet takes leave of the scenes especially associated with 
 the memory of his dead friend. Then, preceded by the 
 vision symbolising new prospects and fuller life, comes the 
 
14 INTRODUCTION 
 
 Christmas, and with change of scene the dawn of larger 
 
 hopes. 
 
 We live within the stranger's land, 
 
 And strangely falls our Christmas-eve. 
 
 No dance, no motion, save alone 
 What lightens in the lucid east 
 
 Of rising worlds by yonder wood. 
 
 Long sleeps the summer in the seed ; 
 
 Run out your measured arcs, and lead 
 
 The closing cycle rich in good. 
 
 (cv.) 
 
 Cycle IV 
 
 cvi. — cxxxi. 
 
 This cycle forms, as it were, a general epilogue to the 
 poem, summing up the lessons which love and sorrow have 
 taught. The new-year joy-bells usher it in with fitting 
 music; it is spring in Nature and spring in the poet's 
 
 heart. 
 
 Now fades the last long streak of snow. 
 
 Now burgeons every maze of quick. 
 
 (cxv. ) 
 
 Even the desolate house and the dreary London street 
 have the light of life and hope on them (cxix., and compare 
 
 with vii.) : — 
 
 I smell the meadow in the street; 
 
 I hear a chirp of birds ; I see 
 
 Betwixt the black fronts long-withdrawn 
 A light-blue lane of early dawn. 
 
 The confidence that man is immortal and progressive, 
 that if life and Nature be read, not in the light of " know- 
 ledge " but in the light of " wisdom," we shall know that 
 there is no discrepancy between what Science reveals and 
 what the God-inspired and God-directed instincts of man 
 
INTRODUCTION 15 
 
 suggest; that the God who rules the world is the God 
 preached by Christ, a God of love, as watchful over the 
 individual as over the whole, omnipotent, ubiquitous ; that 
 man's aim and prayer should be to subjugate his " will " 
 to the will of God, the " will " being God's divine gift to 
 man — these are the chief themes treated in this cycle. 
 
 It would perhaps be presumptuous to question the 
 propriety of anything which an artist so refined and 
 scrupulous as Tennyson deliberately admitted into his 
 work. But on the taste of many the marriage-song with 
 which the poem concludes can hardly fail to jar. Its point 
 is obvious, and what can be advanced in its defence has 
 been admirably put by Miss Chapman : ^ " Fitly the poet 
 closes with a marriage-song. For his grief is turned to hope, 
 his weeping into tranquil joy. Regret is dead, but love 
 remains, and holy memories and healthy power to work 
 for men. In the union of a beloved sister with a dear 
 friend the poet finds a bright harmonious note on which 
 to end his singing. For such a marriage is the very type 
 of hope and of all things fair and bright and good, seeming 
 to bring us nearer to the consummation for which we 
 pray — that crowning race, that Christ that is to be." It 
 still, however, remains that this is purchased at the heavy 
 price of feathos which trembles on the ludicrous. " White 
 favour'd horses," " the foaming grape of eastern France," 
 " the double health," and the " three-times-three," are 
 strange accompaniments to the conclusion of what was 
 designed as " a kind of Divina Commedia.'" A Paradiso of 
 this kind might surely have been dispensed with. Nor is 
 anything added, with the exception of this revelry, respect- 
 able enough it is true, to what had been included in the 
 poem itself. 
 
 ' A Companion to In Memoriam, p. 72. 
 
16 INTRODUCTION 
 
 The central theme of TriJUminrfQ/m, is the educatioiL^f 
 the soul ttyloye and sorrow, and whether designedly or 
 not, it follows and illustrates very exactly the_doctrine of 
 the Platonic ''Efws, which, jas .an educational _mftuenge, has 
 ^stages : — (1) contemjplation of personal beauty in an 
 individual ; (2) of intellectual beauty in an individual ; 
 (3) of material beauty considered universally and in the 
 abstract ; (4) of intellectual beauty considered universally 
 and in the abstract, by which the soul made conscious of 
 its dignity is converted ; (5) the light of the beautiful 
 received into the soul ; (6) the discovery, or rather 
 re-discovery, of the Beautiful, the True, and the Good. 
 So xa In Memoriam the love for an individual, for the 
 beauty of an individual character, leads the soul upward by 
 degrees to the vision of Universal Love and Universal 
 Good — thus illustrated in the poem : — 
 
 Dear as the mother to the son. 
 More than my brothers are to me. 
 
 (ix.) 
 I loved thee, Spirit, and love, nor can 
 The soul of Shakspeare love thee more. 
 
 (Ixi.) 
 
 Then comes the identification of his friend with all that is 
 great and good universally — 
 
 I see thee what thou art, and knovf 
 Thy likeness to the wise below, 
 Thy kindred with the great of old. 
 
 (Ixxiv.) 
 
 Then what merely pertains to the individual drops off. 
 
 And in my thoughts with scarce a sigh 
 I take the pressure of thine hand. 
 
 Less yearning for the friendship fled, 
 Than some strong bond which is to be, 
 
 (cxvi. ) 
 
INTRODUCTION 17 
 
 and merges in the Universal- 
 
 Strange friend, past, present, and to be ; 
 
 Loved deeplier, darklier understood ; 
 
 Behold, I dream a dream of good. 
 And mingle all the world with thee. 
 
 (cxxix.) 
 
 My love involves the love before ; 
 
 My love is vaster passion now ; 
 
 Tho' mix'd with God and Nature thou, 
 I seem to love thee more and more. 
 
 (cxxx.) 
 
 And so, at last, through love, through love for the indi- 
 vidual, he rises to 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. 
 
 (Epilogue. ) 
 
 For another very important link with Platonism see the 
 note on section cxiv. f^t^^^^ 
 
 But it is, of course, Platonism Christianised. Tenny- 
 son's ideal God is the God adumbrated and preached by 
 Christ, his ideal man Christ Himself In dealing with 
 the question of the disciplining and purifying power of 
 affliction and sorrow he draws almost entirely on the New 
 Testament, on Christ's teaching and on St. Paul's; and 
 these teachings enter essentially into his conceptions of 
 the relation of God to man and of man to God. It is 
 generally misleading and always difficult to define the 
 religion of a wise man, but in this poem Tennyson may 
 be described as a Christian Theist, with Christian concep- 
 tions very decidedly predominating over purely theistic 
 conceptions. 
 
 In Memoriam, is Tennyson's masterpiece, and it illus- 
 trates his limitations as well as his highest achievement in 
 his art, if we except the best of the poems of 1842 and a 
 
18 INTRODUCTION 
 
 few later lyrics. Since Petrarch, no poet has given such 
 exquisite and magical expression not only to the regret — 
 the desiderium — which saddens life and Nature with 
 haunting memories, but to the purest, to the noblest, to 
 the most sacred of human affections, the passion of the 
 Soul, the passion for the Beyond. In none of his works is 
 his supreme, perhaps his unique faculty of catching and 
 rendering the power and charm of natural objects, of 
 landscape, of sea, of bird or insect, of tree or flower, of 
 season or phase, seen in greater perfection. Scarcely less 
 remarkable are the rhythm and diction, in both of which 
 is displayed a mastery over our language and over all the 
 resources of appropriate rhetoric so consummate as to 
 place the artist, within his range, without a superior, perhaps 
 without an equal among English classics. The chief 
 characteristic of Tennyson's style here, and indeed else- 
 where, is the combination, and we might sometimes say — 
 so effective it often is — the reconciliation of simplicity and 
 subtlety, of naturalness and artificiality. And this is 
 employed for a double purpose : on the one hand merely 
 to give distinction to his diction, and here its employment 
 is often a vice ; on the other, to appeal suggestively to the 
 imagination or to the memory, and for condensation and 
 pregnancy of thought. Nothing, for example, could be 
 more unjustifiable than such affectations as — 
 
 or 
 
 Where the kneeling hamlet drains 
 The chalice of the grapes of God ; 
 
 The sinless years 
 That breathed beneath the Syrian blue ; 
 
 The secular abyss to come ; 
 
 (X.) 
 
 (Hi.) 
 
 (Ixxvi. ) 
 
INTRODUCTION 19 
 
 nothing more felicitous than 
 
 Come, wear the form by which I know 
 Thy spirit in time among thy peers ; 
 The hope of unaccomplisK d years 
 
 Be large and lucid round thy brow ; 
 
 or 
 
 O Love, thy province were not large, 
 A bounded field, nor stretching far ; 
 Look also. Love, a brooding star, 
 
 A rosy warmth from marge to marge ; 
 
 (xci.) 
 
 (xlvi.) 
 
 or, again, where the excessive obscurity is justified by what 
 it condenses, 
 
 His credit thus shall set me free; 
 
 And, influence-rich to soothe and save. 
 Unused example from the grave 
 Reach out dead hands to comfort me. 
 
 (Ixxx.) 
 
 It is possible that the hint for In Memoriam may have 
 been derived from Petrarch's beautiful series of Sonnets 
 and Canzoni dedicated to the memory of Laura de Sade, so 
 nearly pareUel is much in these poems with what is foimd 
 in In Memoriam. Nor have Shakespeare's Sonnets — 
 a kindred record of passionate friendship between two 
 young men — been without their influence on the poem. 
 The measure in which the poem was written was not 
 Tennyson's invention, as till 1881 he supposed. In the 
 exact form which it assumes in In Memoriam it has not 
 hitherto been traced higher than Ben Jonson, Underwoods, 
 xxxix., and in the Chorus in the second act of Catiline, but 
 by Lord Herbert of Cherbury, in one of his poems,^ it was 
 carried to a point of musical perfection so fine as, at times, 
 to be scarcely distinguishable from Tennyson's rhythm. 
 
 ^ Ode upon a Question tncved whether Love should contintte for ever. 
 See Poetical Works (edit. Collins), pp. 92-98. 
 
20 INTRODUCTION 
 
 By the poets of the eighteenth century it was frequently 
 used, and the examples given by Mr. Bradley are very far 
 from exhausting the examples which might be cited, if it 
 were worth citing them. 
 
 As a contribution to theological thought and to 
 philosophy — and on its first appearance it was hailed as 
 a momentous contribution to both — In Memoriam has a 
 very wasting hold on life. Perhaps nothing can make us 
 realise more vividly the pace at which we have been 
 advancing during the last few years than the perusal of 
 this poem. What five-and-twenty years ago were para- 
 doxes in it, or truths at which orthodoxy shuddered, have 
 now become platitudes in every household and in every 
 pulpit. Few would go to it for illumination and guidance ; 
 to few now would it be as it once was, an " oracle " or a 
 " bible." And yet it will be long before it loses its fasci- 
 nation. In very musical language it expresses aii;iculately 
 and beautifully what many thousands think and feel on 
 matters which deeply concern and affect them, and are indeed 
 of the last importance to us. It is a very voice from the 
 heart and soul of man. We may perhaps think that its 
 power is not equal to its charm, that it practically leaves 
 us where it found us, that it furnishes faith with no new 
 supports and truth with no new documents. And yet it is 
 a republication of the essential truths of the New Testament 
 addressed and adapted to this age. It is a re-proraulgation 
 and vindication of the Gospel of Love, marshalling to the 
 support of that Gospel what responds to it in the hopes 
 and affections of human nature and what may be deduced 
 in favour of it from instinct and experience. Taking its 
 stand on Wordsworth's axiom, 
 
 We live by Admiration, Hope, and Love, 
 And e'en as these are well and wisely fixed. 
 In dignity of being we ascend, 
 
INTRODUCTION 21 
 
 it combats those who would live, as those who hold 
 science paramount would Hve, by analysis, verification, and 
 knowledge. Even to those who do not take the poem so 
 seriously — let us not envy them — it still remains a most 
 pathetic expression of emotions, sentiments, and truths 
 which, as long as human nature remains the same, and as 
 long as calamity, sorrow, and death are busy in the world, 
 must be always repeating themselves. 
 
 The poem appeared anonymously in 1850, and no very 
 important alterations were made in it in subsequent 
 editions. Section lix. was added in the fourth edition, 
 1851, and xxxix. was added in 1872. What slight alter- 
 ations have been made are recorded in the notes. The 
 text of the present edition is that of 1860. 
 
IN MEMORIAM 
 A. H. H. 
 
 OBIIT MDCCCXXXIII 
 
 Strong Son of Godj immortal LovCj 
 
 Whom we, that have not seen thy face. 
 By faith, and faith alone, embrace, 
 
 Believing where we cannot prove ; 
 
 Thine are these orbs of hght and shade ; 5 
 
 Thou madest Life in man and brute ; 
 Thou madest Death ; and lo, thy foot 
 
 Is on the skull which thou hast made. 
 
 Thou wilt not leave us in the dust : 
 
 Thou madest man, he knows not why ; 10 
 
 He thinks he was not made to die ; 
 
 And thou hast made him : thou art just. 
 
 I. The word I" Love" used, as Tennyson explained {Li/e, i. 312), in the 
 sense in which it is used by St. John in his First Epistle, chap. iv. 8, 9. 
 Cf. (repeated passim througli the poem) i Pet. i. 8, "Whom having not seen, 
 ye love ; in wliora, though now ye see Him not, yet believing, ye rejoice with 
 joy unspeakable." C/., too, Byron, Childe Harold, canto iv. St. cxxi. : — 
 O Love, no habitant of earth thou art. 
 An unseen seraph, we believe in thee. 
 S. The universe, i.e. earth and the solar system, half light, half shade. 
 Bradley appositely compares Will Waterproof: " This whole wide earth of 
 light and shade." 
 
 7, 8. The characteristic attitude in the ancient epics of a conqueror, the 
 Greek sa-E/i^uei'i'siy. 
 With these opening stanzas may be compared Herbert (Love) : — 
 Immortal Love, Author of this great frame. 
 
 Sprung from that beauty that can never fade. 
 How hath man parcell'd out Thy glorious name. 
 And thrown it on the dust that Thou hast made. 
 Again, Td., The Temper, 26, 27 : — 
 
 Whether I fly with angels, fall with dust. 
 Thy hands made both, and I am there. 
 23 
 
24 IN MEMORIAM 
 
 Thou geemest human and divine, 
 
 The highest, holiest manhood, thou : 
 
 Our wills are ours, we know not how ; 1 5 
 
 Our wills are ours, to make them thine. 
 
 Our Httle systems have their day ; 
 
 They have their day and cease to be : 
 They are but broken lights of thee. 
 
 And thou, O Lord, art more than they. 20 
 
 We have but faith : we cannot know ; 
 
 For knowledge is of things we see ; 
 
 And yet we trust it comes from thee, 
 A beam in darkness : let it grow. 
 
 Let knowledge grow from more to more, 25 
 
 But more of reverence in us dwell ; 
 That mind and soul, according well. 
 
 May make one music as before, 
 
 But vaster. We are fools and slight ; 
 
 We mock thee when we do not fear : 30 
 
 But help thy foolish ones to bear ; 
 
 Help thy vain worlds to bear thy Ught. 
 
 Forgive what seem'd my sin in me ; 
 
 What seem'd my worth since I began ; 
 
 For merit lives from man to man, 35 
 
 And not from man, O Lord, to thee. 
 
 ij, i6. The best commentary on this fact, perhaps the one indubitably God- 
 like potentiality in man, is Dante, Paradise, iii. 66-87. 
 19, Cf. Akiat's Dream : — 
 
 There is light in all. 
 And light, with more or less of shade, in all 
 / Man-modes of worship. 
 
 27, 28. Cf. Milton [At a Solemn Music) : — 
 
 That we on earth with undiscording voice 
 May rightly answer that melodious noise 
 As once we did, till disproportion'd sin 
 Jarr'd against nature's chime. 
 35, 36. An expression of the same humility which finds utterance in 
 Ps. cxliii. 2, "Enter not into judgement with Thy servant, for in Thy sight 
 shall no man living be justified," and in Wordswoirth's prayer, "The best of 
 what we do and are, Just God, forgive ! " (Memorials of a Tour in Scotland, 
 iii.). It may be paraphrased. Forgive alike not only all that has seemed to me 
 to be sin in my hfe, but all that has seemed to me to be worth ; for what man 
 accounts "sin" and what man accounts " worth " are but human estimates and 
 have reference to human relations ; all that either can look to from God is 
 forgiveness. 
 
IN MEMORIAM 25 
 
 Forgive my grief for one removed, 
 
 Thy creature, whom I found so fair. 
 ^ I trust he lives in thee, and there 
 I find Kim worthier to be loved. 40 
 
 Forgive these wild and wandering cries. 
 
 Confusions of a wasted youth ; 
 
 Forgive them where they fail in truth. 
 And in thy wisdom make me wise. 
 
 1849. 
 
 41. An illustration of one of Tennyson's essential characteristics, the 
 adaptation of felicitous phrases from other poets. Cf. Troilus and Cressida, 
 I. i. 106 : — 
 
 Let it be call'd the wild and wandering flood. 
 So infra, vi., "Vast and wandering, "from Shakespeaxe, Richard III., I. iv. : — 
 To find the empty , vast, and wandering air. 
 
 42. Cf. for this use of the word "confusions," Vaughan the Silurist 
 (Dressing): "These dark confusions that within me nest." "Wasted" 
 means of course "desolated," as often in the English of the sixteenth and 
 seventeenth centuries. 
 
I 
 
 I HELD it truth, with him who sings 
 To one clear harp in divers tones. 
 That men may rise on stepping-stones 
 
 Of their dead selves to higher things. 
 
 But who shall so forecast the years 5 
 
 And find, in loss a gain to match ? 
 Or reach a hand thro' time to catch 
 
 The far-off interest of tears ? 
 
 Let Love clasp Grief lest both be drown' d. 
 
 Let darkness keep her raven gloss : 10 
 
 Ah, sweeter to be drunk with loss. 
 
 To dance with death, to beat the ground, 
 
 I 
 
 I. To an inquiry made as to whom the reference was, Tennyson wrote : " I 
 behave I alluded to Goethe. Among his last words were these : ' Von 
 Aenderungen zu hoheren Aenderungen ' " {Life, ii. 391); while his remark 
 (Id. 392) that Goethe was "consummate in so many different styles" 
 explains the rest. 
 
 3. Cf. Saint Augustine, Serm., iii. , De Ascensione, "De vitiis nostris 
 scalam nobis facimus, sivitiaipsa calcamus," and hongleHov/'s Ladder 0/ Saint 
 A-ugusiine, founded on this passage. 
 
 7. Tennyson seems fond of this image. Cf. sec. Ixxii., 
 
 When the dark hand struck down thro' time, 
 and Tiresias, 
 
 Their examples reach a hand 
 Far thro' all years. 
 
 8. Cf. Shakespeare's "interest of the dead," Sonnets, xxxi. 7. 
 
 9. 10. Cf. with this sentiment, one of the central doctrines of the whole 
 poem, Sir Henry Taylor, Philip van Artevelde, I. v. : — 
 
 'Tis an ill cure 
 For life's worst ills, to have no time to feel them. 
 Where sorrow's held intrusive and turn'd out, 
 There wisdom will not enter, nor true power, 
 Nor aught that dignifies humanity. 
 26 
 
IN MEMORIAM 27 
 
 Than that the victor Hours should scorn 
 The long result of love, and boast, 
 " Behold the man that loved and lost, 1 5 
 
 But all he was is overworn." 
 
 II 
 
 Old Yew, which graspest at the stones 
 That name the under-ljring dead. 
 Thy fibres net the dreamless head. 
 
 Thy roots are wrapt about the bones. 
 
 The seasons bring the flower again, 5 
 
 And bring the firstling to the flock ; 
 And in the dusk of thee, the clock 
 
 Beats out the little lives of men. 
 
 O not for thee the glow, the bloom. 
 
 Who changest not in any gale, 1 
 
 Nor branding summer suns avail 
 To touch thy thousand years of gloom : 
 
 And gazing on thee, sullen tree, 
 
 Sick for thy stubborn hardihood, 
 
 I seem to fail from out my blood 15 
 
 And grow incorporate into thee. 
 
 Ill 
 
 O Sorrow, cruel fellowship, 
 
 O Priestess in the vaults of Death, 
 O sweet and bitter in a breath. 
 
 What whispers from thy lying lip ? 
 
 13. With the "victor Hours" of sorrow's noviciate cf. the "conquer'd 
 years " in cxxxi. of sorrow's i^civt, 
 
 II 
 
 For the significance of this poem, see Introduction, and cf. with it xxxix, 
 13. The three first editions read "the sullen tree." 
 
 HI 
 Misgivings respecting the wisdom of cherishing grief [cf. sec. ii.), seeing 
 that It involves the universe in its ovm desolating darkness. 
 
28 IN MEMORIAM 
 
 " The stars," she whispers, " blindly run ; 5 
 
 A web is wov'n across the sky ; 
 
 From out waste places comes a cry. 
 And murmurs from the dying sun : 
 " And all the phantom. Nature, stands — 
 
 With all the music in her tone, 10 
 
 A hollow echo of my own, — 
 A hollow form with empty hands." 
 
 And shall I take a thing so blind. 
 
 Embrace her as my natural good ; 
 
 Or crush her, like a vice of blood, 15 
 
 Upon the threshold of the mind ? 
 
 IV 
 
 To Sleep I give my powers away ; 
 
 My will is bondsman to the dark ; 
 
 I sit within a helmless bark. 
 And with my heart I muse and say : 
 
 O heart, how fares it with thee now, 5 
 
 That thou should'st fail from thy desire, 
 Who scarcely darest to inquire, 
 
 " What is it makes me beat so low ? " 
 
 Something it is which thou hast lost. 
 
 Some pleasure from thine early years. 10 
 
 Break, thou deep vase of chUhng tears. 
 
 That grief hath shaken into frost ! 
 
 Ill 
 
 7-8. It is surely not necessary to define with precision the imagery here 
 employed : it is the vision of Lucretius, the vision of one who looks on the 
 universe without faith and vrithout hope. But with "from out waste places 
 comes a cry " may be compared 
 
 the gulfs beneath, 
 The howlings from forgotten fields, 
 of sec. xli, 
 
 10. iSjo-si. Her. 
 
 13. I.e. the passion of sorrow. 
 
 15. Cf. Othello, I. iii. : "The vices of my blood," 
 
 IV 
 
 I seq. In sleep the will is in suspense, and memory the prey of confused 
 impressions of pain and loss. 
 
 11, 12. The temperature of water can be lowered below freezing point 
 without congealing, but if shaken or disturbed it at once congeals into ice. 
 
IN MEMORIAM 29 
 
 Such clouds of nameless trouble cross 
 All night below the darken'd eyes ; 
 With morning wakes the will, and cries, 1 5 
 
 " Thou shalt not be the fool of loss." 
 
 I sometimes hold it half a sin ; , i 
 
 To put in words the grief I feel ; 
 
 For words, like Nature, half reveal 
 And half conceal the Soul within. 
 
 But, for the unquiet heart and brain, 5 
 
 A use in measured language lies ; 
 
 The sad mechanic exercise. 
 Like dull narcotics, numbing pain. 
 
 In words, like weeds, I'll wrap me o'er. 
 
 Like coarsest clothes against the cold ; 10 
 
 But that large grief which these enfold 
 
 Is given in outline and no more. 
 
 VI 
 
 One writes, that " Other friends remain," 
 That " Loss is common to the race " — 
 And common is the commonplace. 
 
 And vacant chaff well meant for grain. 
 
 IV 
 14. Below the darken'd eyes, in sleep. 
 
 V 
 3, 4. Cf. Locke, Essay on the Human Understandings bk. iii. chap, ix.-x., 
 and Bacon, on the idolafori. Novum Organum, i. App. lix. 
 S-8. Cf. Donne ( Triple Fool) :— 
 
 I thought if I could draw my pains, 
 Through rhyme's vexation I should them allay : 
 Grief brought to numbers cannot be so fierce. 
 6. First two editions, measur'd. 
 
 VI 
 2. This is an excellent illustration of Tennyson's power of unfolding what is 
 latent in the pregnant suggestiveness of other poets. Cf. Hamlet, i. ii. : — 
 Queen. Thou know'st 'tis common, all that live must die. 
 
 Passing through nature to eternity. 
 Hamlet, Ay, madam, it is common. 
 
30 IN MEMORIAM 
 
 That loss is common would not make 5 
 
 My own less bitter, rather more : 
 Too common ! Never morning wore 
 
 To evening, but some heart did break. 
 
 O father, wheresoe'er thou be, 
 
 Who pledgest now thy gallant son ; 10 
 
 A shot, ere half thy draught be done, 
 
 Hath still'd the life that beat from thee. 
 
 O mother, praying God will save 
 
 Thy sailor, — while thy head is bow'd. 
 
 His heavy-shotted hammock-shroud 15 
 
 Drops in his vast and wandering grave. 
 
 Ye know no more than I who wrought 
 At that last hour to please him well ; 
 Who mused on all I had to tell. 
 
 And something written, something thought ; 20 
 
 Expecting still his advent home ; 
 And ever met him on his way 
 With wishes, thinking, here to-day. 
 
 Or here to-morrow will he come. 
 
 VI 
 
 7, 8. Cf, Lucretius, ii. 578-80, 
 
 Nee nox ulla diem neque noctem aurora secuta est 
 Quae non audierit mixtos vagltibus segris 
 Ploratus, 
 and Tempesty II. i. , 
 
 Our hint of woe 
 Is common : every day some sailor's wife, 
 The masters of some merchant, and the merchant, 
 Have just ouTlheme of woe. 
 10. 1850-51. That pledgest. This passage finds a striking commentary in 
 Virgil, ^neid, xi. 48-52, where speaking of the death of Pallas, ^neas says of 
 Pallas' father Evander, 
 
 Et nunc ille quidem spe multum captus inani, 
 Fors et vota facit, cumulatque altaria donis ; 
 Nos juvenem exanimum, et nil jam coelestibus ullis 
 Debentem, vano mcesti comitamur honore. 
 16. Cf. Richard III., i. iv. :— 
 
 To find the empty, vast, and wandering air. 
 23, 24. Edition 1878 onward : — 
 
 ■ With wishes, thinking, "liere to-day," 
 Or " here to-morrow will he come." 
 
m MEMORIAM 31 
 
 O somewhere, meek unconscious dove, 25 
 
 That sittest ranging golden hair ; 
 
 And glad to find thyself so fair. 
 Poor child, that waitest for thy love ! 
 
 I For now her father's chimney glows 
 
 j In expectation of a guest ; 30 
 
 And thinking " this will please him best," 
 ; She takes a riband or a rose ; 
 
 ' For he will see them on to-night ; 
 
 And with the thought her colour burns ; 
 And, having left the glass, she turns 35 
 
 Once more to set a ringlet right ; 
 
 And, even when she turn'd, the curse 
 Had fallen, and her future Lord 
 Was drown'd in passing thro' the ford. 
 
 Or kill'd in falling from his horse. 40 
 
 O what to her shall be the end ? 
 
 And what to me remains of good ? 
 
 To her, perpetual maidenhood. 
 And unto me no second friend. 
 
 VII P . ■ - 
 
 Dark house, by which once more I stand 
 Here in the long unlovely street. 
 Doors, where my heart was used to beat 
 
 So quickly, waiting for a hand, 
 
 A hand that can be clasp'd no more — 5 
 
 Behold me, for I cannot sleep. 
 
 And like a guilty thing I creep 
 At earliest morning to the door. 
 
 VII 
 Desolation realised. The fact that the scene is in Wimpole Street (No. 67) 
 gives point to the description. Cf. cxix. for the same scene in another phase 
 of emotion. 
 
32 IN MEMORIAM 
 
 He is not here ; but far away 
 
 The noise of life begins again, 10 
 
 And ghastly thro' the drizzling rain 
 
 On the bald street breaks the blank day. 
 
 VIII 
 
 A happy lover who has come 
 
 To look on her that loves him well. 
 Who 'lights and rings the gateway bell, 
 
 And learns her gone and far from home ; 
 
 He saddens, all the magic light 5 
 
 Dies oif at once from bower and hall. 
 And all the place is dark, and all 
 
 The chambers emptied of delight : 
 
 So find I every pleasant spot 
 
 In which we two were wont to meet, ] 
 
 The field, the chamber and the street. 
 
 For all is dark where thou art not. ^ 
 
 Yet as that other, wandering there 
 In those deserted walks, may find 
 A flower beat with rain and wind, 1 5 
 
 Which once she foster'd up with care ; 
 
 So seems it in my deep regret, 
 
 my forsaken heart, with thee 
 And this poor flower of poesy 
 
 Which little cared for fades not yet. 20 
 
 But since it pleased a vanish'd eye, 
 
 1 go to plant it on his tomb. 
 That if it can it there may bloom. 
 
 Or dying, there at least may die. 
 
 VII 
 12. A very happy illustration of the onomatopoeic effects of which Tennyson 
 is so great a master. Cf. with this To the Marquis of Dufferin : — 
 When That within the coffin fell. 
 Fell— and flash' d into the Red Sea. 
 
 VIII 
 
 Cf. Crabbe's Lover's Journey for an illustrative parallel to this poem. 
 
IN MEMORIAM 33; 
 
 IX 
 
 Fair ship, that from the Italian shore 
 Sailest the placid ocean-plains 
 With my lost Arthur's loved remains. 
 
 Spread thy fuU wings, and waft him o'er. 
 
 So draw him home to those that moum 5 
 
 In vain ; a favourable speed 
 Ruffle thy min-or'd mast, and lead 
 
 Thrp' prosperous floods his holy urn. 
 
 All night no ruder air perplex 
 
 Thy sliding keely till Phosphor, bright 10 
 
 As our pure love, thro' early light 
 
 Shall glimmer on the dewy decks. 
 
 Sphere all your lights around, above ; 
 
 Sleep, gentle heavens, before the prow ; 
 
 Sleep, gentle winds, as he sleeps now, 15 
 
 My friend, the brother of my love ; 
 
 My Artbui;,_w.hQiiLXshalLnot-see- - , 
 
 I j /■ "Till all my widow'd race te run ;* 
 
 Dear as the mother to the son. 
 More than my brothers are to me. 20 
 
 I hear the noise about thy keel ; 
 
 I hear the bell struck in the night ; 
 
 I see the ca,bin-window bright ; 
 I see the sailor at the wheel. 
 
 IX 
 Sections ix. to xix, form a series the central theme of which is the trans- 
 ference of the body of his dead friend from Vienna to his grave in Clevedon 
 Church. With this section cf. Horace, Odes, i. iii., and Theocritus, Idyll, 
 viii. S3 seq., which seems to have inspired it, 
 
 3 
 
34 IN MEMORIAM 
 
 Thou bringest the sailor to his wife, 5 
 
 And travell'd men from foreign lands ; 
 And letters unto trembling hands ; 
 
 And, thy dark freight, a vanish'd life. 
 
 So bring him : we have idle dreams : 
 
 This look of quiet flatters thus 10 
 
 Our home-bred fancies : O to us, 
 
 The fools of habit, sweeter seems 
 
 To rest beneath the clover sod. 
 
 That takes the sunshine and the rains. 
 
 Or where the kneeling hamlet drains 15 
 
 The chalice of the grapes of God ; 
 
 Than if with thee the roaring wells 
 
 Should gulf him fathom-deep in brine ; 
 And hands so often clasp'd in mine, 
 
 Should toss with tangle and with shells. 20 
 
 XI 
 
 Calm is the morn without a sound. 
 
 Calm as to suit a calmer grief. 
 
 And only thro' the faded leaf 
 The chesnut pattering to the ground : 
 
 Calm and deep peace on this high wold, '''' 
 
 And on these dews that drench the furze, 
 And all the silvery gossamers 
 
 That twinkle into green and gold : 
 
 Line s affords a curious and striking illustration of Tennyson's fastidious 
 scrupulousness about minutiae. First two editions, bringest ; third edition, 
 bring'st ; fourth, bringest ; so, too, seventh, ninth ; 1875, bring'st ; 1877, 
 bringest ; final 1899 edition returns to form in the third edition, bring'st. 
 
 15, i5. Why Tennyson's almost infallible good taste did not revolt at this 
 couplet, so strained, harsh, and false in its irrelevant artificiality, is indeed 
 strange. 
 
 XI 
 
 4. So till i860 ; subsequently, chestnut. 
 
IN MEMORIAM 35 
 
 Calm and still light on yon great plain 
 
 That sweeps with all its autumn bowers, 10 
 
 And crowded farms and lessening towers, 
 
 To mingle with the bounding main : 
 
 Calm and deep peace in this wide air, 
 
 These leaves that redden to the fall ; ' 
 
 And in my heart, if calm at all, 1 5 
 
 If any calm, a calm despair : 
 
 Calm on the seas, and silver sleep. 
 
 And waves that sway themselves in rest. 
 And dead calm in that noble breast 
 
 Which heaves but with the heaving deep. 20 
 
 XII 
 
 Lo, as a dove when up she springs 
 
 To bear thro' Heaven a tale of woe,. 
 Some dolorous message knit below 
 
 The wild pulsation of her wings ; 
 
 Like her I go ; I cannot staty ; 5 
 
 I leave this mortal ark behind, 
 A weight of nerves without a mind. 
 
 And leave the cliffs, and haste away 
 
 O'er ocean-mirrors rounded large. 
 
 And reach the glow of southern skies, 10 
 
 And see the sails at distance rise. 
 And linger weeping on the marge, 
 
 , XI 
 
 17, 18. Cf. for a similarly magical onomatopoeic effect in describing the 
 same thing .Sschylus, Agamemnon, S4S-49 ; — 
 
 »J 6&.\^ai, SUT6 9^vns \v fj^ifftifJ^fipmotls 
 xotTocii otieaf'taiv f^vifAOit tS^ei vufitt, 
 20. Cf. Coleridge, Songs of the Pixies : — 
 
 Heaves with the heavii^gs of the maiden's breast. 
 
 XII 
 
 1-4. Cf. Sir Philip Sidney (The Seeled Dove) :— 
 
 Like as the dove which seeled up doth fly, 
 
 Right so my mind. ' 
 
36 IN MEMORIAM 
 
 And saying ; " Comes he thus, my friend ? 
 
 Is this the end of all my care ? " 
 
 And circle moaning in the air : 15 
 
 " Is this the end ? Is this the end ? " 
 
 And forward dart again, and play 
 
 About the prow, and back return 
 To where the body sits, and learn. 
 
 That I have been an hour away. 20 
 
 XIII 
 
 Tears of the widower, when he sees 
 A late-lost form that sleep reveals. 
 And moves his doubtful arms, and feels 
 
 Her place is empty, fall like these ; 
 
 Which weep a loss for ever new, 5 
 
 A void where heart on heart reposed ; 
 And, where warm hands have prest and clos'd, 
 
 Silence, till I be silent too. 
 
 Which weep the comrade of my choice, 
 
 An awful thought, a life removed, 10 
 
 The human-hearted man I loved, 
 A Spirit, not a breathing voice. 
 
 Come Time, and teach me, many years, 
 
 1 do not suffer in a dream ; 
 
 For now so strange do these things seem, 15 
 
 Mine eyes have leisure for their tears ; 
 
 My fancies time to rise on wing. 
 
 And glance about the approaching sails. 
 As tho' they brought but merchants' bales. 
 
 And not the burthen that they bring. 20 
 
 XIII 
 13. Edition 1850, me many. 
 
m MEMORIAM 37 
 
 XIV 
 
 If one should bring me this report. 
 
 That thou hadst touch'd the land to-day. 
 And I went down unto the quay. 
 
 And found thee lying in the port ; 
 
 And standing, muffled round with woe, 5 
 
 Should see thy passengers in rank 
 Come stepping lightly down the plank, 
 
 And beckoning unto those they know ; 
 
 And if along with these should come 
 
 The man I held as half-divine ; 10 
 
 Should strike a sudden hand in mine, 
 
 And ask a thousand things of home ; 
 
 And I should tellhim all my pain. 
 
 And how my life had droop'd of late, 
 
 And he should sorrow o'er my state 15 
 
 And marvel what possess'd my brain ; 
 
 And I perceived no touch of change. 
 
 No hint of death in all his frame, 
 
 But found him all in all the same, 
 I should not feel it to be strange, 20 
 
 To-night the winds begin to rise 
 
 And roar from yonder dropping day : 
 The last red leaf is whirl'd away. 
 
 The rooks are blown about the skies ; 
 
 The forest craek'd, the waters curl'd, 5 
 
 The cattle huddled on the lea ; 
 
 And wildly dash'd on tower and tree 
 The sunbeam strikes along the world : 
 
 XIV 
 With the whole poem cf, what Electra says in Sophocles, Electra, 1316-17. 
 
 XV 
 
 i. 1850-51. began. 
 
38 IN MEMORIAM 
 
 And but for fancies, which aver " 
 
 That all thy motions gently pass 10 
 
 Athwart a plane of molten glass, 
 
 I scarce could brook the strain and stir 
 
 That makes the barren branches loud ; 
 
 And but for fear it is not so. 
 
 The wild unrest that lives in woe 1 5 
 
 Would dotean3~pore on yonder cloud 
 
 That rises upward always higher. 
 
 And onward drags a labouring breast. 
 And topples round the dreary west, 
 
 A looming bastion fringed with fire. 20 
 
 XVI 
 
 What words are these have faU'n from me ? 
 
 Can calm despair and wild unrest 
 
 Be tenants of a single breast. 
 Or sorrow such a changeling be ? 
 
 Or doth she' only seem to take 5 
 
 The touch of change in calm or storm ; 
 But knows no more of transient form 
 
 In her deep self, than some dead lake 
 
 That holds the shadow of a lark 
 
 Hung in the shadow of a heaven ? 10 
 
 Or has the shock, so harshly given. 
 
 Confused me like the unhappy bark 
 
 XV 
 lo. Thy, i.e. the ship's. 
 
 14. That the ship is not passing over a sea of molten glass. 
 18. Cf. Marlowe, Dr. Faustus, ad fin.: "Into the entrails of yon labouring 
 cloud." Mr. Bradley quotes Milton, Allegro : — 
 
 Mountains on whose barren breast 
 The labouring clouds do often rest. 
 
 XVI 
 In xi. the poet had described his grief as " calm despair," in xv. as "wild 
 unrest " ; — can sorrow assume so quickly forms so various, or is it that 
 its surface only is agitated, the depths beneath being as little affected as 
 some profound la,ke by the shadow of a lark mirrored on it ; or can it 
 be that the coexistence pf moods so contradictory imply confusion and 
 delirium ? 
 
IN MEMORIAM 39 
 
 That strikes by night a craggy shelf. 
 And staggers blindly ere she sink ? 
 And stunn'd me from my power to think 15 
 
 And all my knowledge of myself ; 
 
 And made me that delirious man ' 
 
 Whose fancy fuses old and new, 
 
 And flashes into false and true. 
 And mingles all without a plan ? 20 
 
 XVII 
 
 Thou comest, much wept for : such a breeze 
 Compell'd thy canvas, and my prayer 
 Was as the whisper of an air 
 
 To breathe thee over lonely seas. 
 
 For I in spirit saw thee move 5 
 
 Thro' circles of the bounding sky. 
 Week after week : the days go by : 
 
 Come quick, thou bringest all I love. 
 
 Henceforth, wherever thou may'st roam. 
 
 My blessing, like a line of light, 10 
 
 Is on the waters day and night. 
 
 And like a beacon guards thee home. 
 
 So may whatever tempest mars 
 
 Mid-ocean, spare thee, sacred bark ; 
 
 And balmy drops in summer dark 15 
 
 Slide from the bosom of the stars. 
 
 XVII 
 In this exquisite poem we have again the inspiration of Theocritus, Horace, 
 and Petrarch. 
 6. From horizon to horizon. 
 IS, i6. Cf. Talking Oak, 
 
 All starry culmination drop 
 Balm-dews, \ 
 and Herrick, Hesperides, A Nuptial Song cm Sir- CUpsety^ Crew, 
 
 Midwife-moone 
 
 begs a boon 
 Which you must grant ; that's entrance ; with 
 Which extract all we can call pith 
 And quintessence 
 Of planetary bodies. 
 
40 IN MEMORIAM 
 
 So kind an office hath been done. 
 
 Such precious relics brought by thee ; 
 The dust of him I shall not see 
 ' Till all my widow'd race be run. 20 
 
 XVIII 
 
 'Tis well ; 'tis something ; we may stand 
 Where he in English earth is laid. 
 And from his ashes may be made 
 
 The violet of his native land. 
 
 'Tis little ; but it looks in truth 
 
 As if the quiet bones were blest 
 Among familiar names to rest 
 
 And in the places of his youth. 
 
 Come then, pure hands, and bear the head 
 
 That sleeps or wears the mask of sleep, 10 
 
 And come, whatever loves to weep. 
 
 And hear the ritual of the dead. 
 
 Ah yet, ev'n yet, if this might be, 
 
 I, falling on his faithful heart. 
 
 Would breathing thro' his lips impart 1 5 
 
 The life that almost dies in me ; 
 
 XVIII 
 
 3, 4. Cf. Persius, Sat. i. 39, 40, 
 
 Nunc non e tumulo fortunataque favilia 
 Nascentur violae, 
 and Shakespeare, Hamlet, v. i., 
 
 And from her fair and unpolluted flesh 
 May violets spring I 
 A graceful and pathetic application of Hallam's own blessing on his friend. 
 See his review of Tennyson's Early Poems : ' ' When this poet dies, will not 
 the Graces and the Loves mourn over him?" Then follows the quotation 
 from Persius. See Englishman's Magazine, August 1831. 
 
 II. An imitation of a familiar use of quidquid in Latin. Cf. Horace, 
 Bpod, V. I : " At O Deorum quidquid in coslo regit." 
 
m MEMORIAM 41 
 
 That dies not, but endures with pain, j ' 
 And slowly forms the firmer mind, \ \ 
 Treasuring the look it cannot find, I 
 
 The words that are not heard again. 1 ' 20 
 
 XIX 
 
 The Danube to the Severn gave 
 
 The darken'd heart that beat no more ; 
 They laid him by the pleasant shore. 
 
 And in the hearing of the wave. 
 
 There twice a day the Severn fills ; 5 
 
 The salt sea-water passes by. 
 And hushes half the babbling Wye, 
 
 And makes a silence in the hills. 
 
 The Wye is hush'd nor moved along. 
 
 And hush'd my deepest grief of all, 10 
 
 When fiU'd with tears that cannot fall, 
 
 I brim with sorrow drowning song. 
 
 The tide flows down, the wave again 
 
 Is vocal in its wooded walls ; 
 
 My deeper angiiish also falls, 15 
 
 And I can speak a little then. 
 
 XX 
 
 The lesser griefs that may be said. 
 
 That breathe a thousand tender vows. 
 Are but as servants in a house 
 
 Where lies the master newly dead ; 
 
 XIX 
 S seq, I gladly avail myself of Mr. Bradley's note : " The tidal water, in 
 flowing up the Bristol Channel, which, as it begins, to narrow, is called the 
 Severn, passes Clevedon, and further up enters the Wye. ... As the tide 
 passes up the Wye, its silent flood deepens and hushes the river ; but as it ebbs 
 again, the river grows shallower, becomes vocal, and babbles." The con- 
 nection of the ebbing and flowing tide with the moods of grief is a conceit 
 worthy of the Metaphysical School, and surely very unworthy of a poem which 
 professes to speak the language of the heart. 
 
42 m MEMORIAM 
 
 Who speak their feeling as it is, 5 
 
 And weep the fullness from the mind : 
 " It will be hard " they say " to find 
 
 Another service such as this." 
 
 My lighter moods are like to these, 
 
 That out of words a comfort win ; 10 
 
 But there are other griefs within. 
 
 And tears that at their fountain freeze ; 
 
 For by the hearth the children sit 
 
 Cold in that atmosphere of Death, 
 
 And scarce endure to draw the breath, 15 
 
 Or like to noiseless phantoms fUt : 
 
 But open converse is there none. 
 So much the vital spirits sink 
 To see the vacant chair, and think, 
 
 " How good ! how kind ! and he is gone." 20 
 
 XXI 
 
 I sing to him that rests below. 
 
 And, since the grasses round me wave, 
 I take the grasses of the grave. 
 
 And make them pipes whereon to blow. 
 
 The traveller hears me now and then, 5 
 
 And sometimes harshly will he speak ; 
 " This fellow would make weakness weak, 
 
 And melt the waxen hearts of men." 
 
 Another answers, " Let him be, 
 
 He loves to make parade of pain, 10 
 
 That with his piping he may gain 
 
 The praise that comes tO' constancy." 
 
 XXI 
 3, 4. A conceit very unworthy of Tennyson, involving- aiso an absurdity. 
 
m MEMOBIAM 43 
 
 A third is wroth : " Is this an hour 
 
 Foe private sorrow's barren song. 
 
 When more and more the people throng 15 
 The chairs and thrones of civil power ? 
 
 A time to sicken and to swoon. 
 
 When ^gjgpce reaches forth her arms 
 To feel from world to world, and charms 
 
 Her secret from the latest moon ? " 20 
 
 Behold, ye speak an idle thing : 
 
 Ye never knew the sacred dust : 
 
 I do but sing because I must, 
 And pipe but as the linnets sing : 
 
 And one is glW ; her note is gay, 25 
 
 For now her little ones have ranged ; 
 And one is sad ; her note is changed. 
 
 Because her brood is stol'n away. 
 
 XXII 
 
 The path by which we twain did go, 
 
 Which led by tracts that pleased us well, 
 Thro' four sweet years arose and fell. 
 
 From flower to flower, from snow to snow : 
 
 XXI 
 IS, i6. Presumably a reference to the events in and about 1848. 
 iS-^o. The best commentary on this obscure phrase is a passage from 
 Tennyson's Life, ii. 336: "The spectroscope was destined to make much 
 greater revelations even than it had already made, ' in charming 
 Her secret from tlie latest moon.' " 
 23, 24. Cf, stanza viii. in the poem, After rending a Life and Letters, and 
 Goethe, Der Sanger, 
 
 Ich singe, wie der Vogel singt 
 Der in den Zweigen wohnet. 
 25, 27. Editions 1850-51. And unto one. 
 
 XXII 
 From this section to xxv. we have a series of retrospects, contrasting the 
 past with the present. With the whole ,of this section may be compa;;ed 
 Petrarch's 47th Sonnet, In Morte di Madonna Laura. • 
 
44 m MEMORIAM 
 
 And we with singing cheer'd the way, 5 
 
 And crown'd with all the season lent, 
 From April on to April went. 
 
 And glad at heart from May to May : 
 
 But where the path we walk'd began 
 
 To slant the fifth autumnal slope, 10 
 
 As we descended following Hope, 
 
 There sat the Shadow fear'd of man ; 
 
 Who broke our fair companionship. 
 
 And spread his mantle dark and cold. 
 
 And wrapt thee formless in the fold, 1 5 
 
 And duU'd the murmur on thy lip. 
 
 And bore thee where I could not see 
 Nor follow, tho' I walk in haste. 
 And think, that somewhere in the waste 
 
 The Shadow sits and waits for me. 20 
 
 XXIII 
 
 Now, sometimes in my sorrow shut. 
 
 Or breaking into song by fits. 
 
 Alone, alone, to where he sits. 
 The Shadow cloak'd from head to foot. 
 
 Who keeps the keys of all the creeds, 5 
 
 I wander, often falling lame. 
 And looking back to whence I came. 
 
 Or on to where the pathway leads ; 
 
 And crying, " how changed from where it ran 
 
 Thro' lands where not a leaf was dumb ; 10 
 But all the lavish hills would hum 
 
 The murmur of a happy Pan : 
 
 XXII 
 lo. Hallam died isth September, the fifth autumn after his meeting with 
 Tennyson, 
 
 XXIII 
 
 S. Cf. Pope, Essay on Man, Epist. i. 92 : " Wait the Great Teacher, Death." 
 12, Nature, 
 
IN MEMORIAM 45 
 
 When each by turns was guide to each. 
 And Fancy light from Fancy caught. 
 And Thought leapt out to wed with Thought, 1 5 
 
 Ere Thought could wed itself with Speech ; 
 
 And all we met was fair and good. 
 
 And all was good that Time could bring, 
 And all the secret of the Spring 
 
 Moved in the chambers of the blood ; 20 
 
 And many an old philosophy 
 
 On Argive heights divinely sang. 
 
 And round us all the thicket rang 
 To many a flute of Arcady." 
 
 XXIV 
 
 And was the day of my delight 
 
 As pure and perfect as I say ? 
 
 The very source and fount of Day 
 Is dash'd with wandering isles of night. -s ^. ,^ -_, ^• 
 
 If all was good and fair we met, 5 
 
 This earth had been the Paradise 
 
 It never look'd to human eyes 
 Since Adam left his garden yet. 
 
 And is it that the haze of grief 
 
 Makes former gladness loom so great ? 10 
 
 The lowness of the present state. 
 That sets the past in this relief.-' 
 
 Or that the past will always win 
 
 A glory from its being far ; 
 
 And orb into the perfect star 1 5 
 
 We saw not, when we moved therein .-' 
 
 XXIII 
 15. C/. Pope, Eioisa to Ahelard, 1. 95 '• " E'en thought meets thought, ere 
 from the lips it part." 
 
 XXIV 
 4. Tennysonese for spots in the sun. 
 8. After i86o. Since our first Sun arose and set. 
 10. 1850. Hath stretch'd my former joy so great. 
 13-16. Cf. the beautiful lines which open Campbell's Pleasures ofHafe. 
 
46 IN MEMORIAM 
 
 XXV 
 
 I know that this was Life,— the track 
 Whereon with equal feet we fared ; 
 And then, as now, the day prepared 
 
 The daily burden for the back. 
 
 But this it was that made me move S 
 
 As light as carrier-birds in air ; 
 
 I loved the wieight I had to beas. 
 Because it needed help of Lov« : 
 
 Nor could I weary, heart or limb. 
 
 When mighty Love would cleave in twain 10 
 
 The lading of a single pain. 
 And part it, giving half to him. 
 
 XXVI 
 
 Still onward winds the dreary way ; 
 I with it ; for I long to prove 
 No lapse of moons can canker Love, 
 
 Whatever ifickle tongues may say. 
 
 And if that eye which watches guilt 5 
 
 And goodness, and hath power to see 
 Within the green the moulder'd tree. 
 
 And towers fall'n as soon as built — 
 
 Oh, if indeed that eye foresee 
 
 Or see (in Him is no before) 10 
 
 In more of life true life no more. 
 
 And Love the indifference to be, 
 
 XXV 
 With this section cf. Schiller, Die Ideale: — 
 
 Du, die du alle Wunden heilest 
 Der Freundschaft leise, zarte hand, 
 Des Lebens Burden liebend theilest. 
 
 XXVI 
 3,4. C/. Shakespeare, 5o«He/j, cxvi. : " Love's not Time's fool." 
 
IN MEMORIAM 47 
 
 Then might I find, ere yet the mom 
 
 Breaks hither over Indian seas. 
 
 That Shadow waiting with the keys, 15 
 
 To shroud me from my proper scorn. 
 
 XXVII 
 
 I envy not in any moods 
 
 The captive void of noble rage. 
 
 The linnet bom within the cage. 
 That never knew the summer woods : 
 
 I envy not the beast that takes 5 
 
 His license in the field of time, 
 
 Unfetter'd by the sense of crime. 
 To whom a conscience never wakes ; 
 
 Nor, what may count itself as blest. 
 
 The heart that never plighted troth 10 
 
 But stagnates in the weeds of sloth ; 
 
 Nor any want-begotten rest. 
 
 I hold it true, whate'er befall ; 
 
 I feel it, when I sorrow most ; 
 
 'Tis better to have loved and lost* 15 
 
 Than never to have loved at all. 
 
 XXVIII 
 
 The time draws near the birth of Christ : 
 The moon is hid ; the night is still ; 
 The Christmas bells from hUl to hill 
 
 Answer each other in the mist. 
 
 XXVI 
 13. 1850-51. So might. " Might " is the optative mood. 
 16. 1850-51. cloak. The scorn that belongs to me, Latin proprius. 
 
 XXVII 
 
 With this section cf. one of Tennyson's letters quoted in his Life, i. 170 : 
 " God might have made me a beast ; but He thought good to give me power, 
 to set Good and Evil before me that I might shape my own path. The happi- 
 ness resulting from this power well exercised must in the end exceed the mere 
 physical happiness of breathing, eating, and sleeping like an ox. " 
 
 15, 16. df. Cohgreve, Way of the World, II. ii.: " 'Tis .bettCT to bavebeen 
 left than never to have been loved. " 
 
48 IN MEMORIAM 
 
 Four voices of four hamlets rounds 5 
 
 From far and near, on mead and moor, 
 Swell out and fail, as if a door 
 
 Were shut between me and the sound : 
 
 Each voice four changes on the wind, 
 
 That now dilate, and now decrease, 10 
 
 Peace and goodwill, goodwill and peace. 
 
 Peace and goodwill, to all mankind. 
 
 This year I slept and woke with pain, 
 I almost wish'd no more to wake. 
 And that my hold on life would break 15 
 
 Before I heard those bells again : 
 
 But they my troubled spirit rule. 
 
 For they controll'd me when a boy ; 
 They bring me sorrow touch'd with joy. 
 
 The merry merry bells of Yule. 20 
 
 XXIX 
 
 With such compelling cause to grieve 
 As daily vexes household peace. 
 And chains regret to his decease. 
 
 How dare we keep our C3iristmas-eve ; 
 
 Which brings no more a welcome guest 5 
 
 To enrich the threshold of the night 
 With shower' d largess of delight. 
 
 In dance and song and game and jest. 
 
 Yet go, and while the holly boughs 
 
 Entwine the cold baptismal font, 10 
 
 Make one wreath more for Use and Wont, 
 
 That guard the portals of the house ; 
 
 XXVIII 
 5. These hamlets cannot, it seems, be identified, and when Tennyson was 
 asked to what four hamlets he referred, he said he had forgotten. Napier, 
 Homes and Haunts, p. 33. 
 
IN MEMORIAM 49 
 
 Old sisters of a day gone by, 
 
 Gray nurses, loving nothing new ; 
 
 Why should they miss their yearly due 15 
 
 Before their time ? They too will die. 
 
 XXX 
 
 With trembling fingers did we weave 
 
 The holly round the Christmas hearth ; 
 A rainy cl oud possessjd ±ha_earth,_ 
 
 And sad ly fe ll our Chnstmafceve. 
 
 At our old pastimes in the hall 5 
 
 We gambol' d, making vain pretence 
 Of gladness, with an awful sense 
 
 Of one mute Shadow watching aU. 
 
 We paused : the winds were in the beech : 
 
 We heard them sweep the winter land ; 10 
 And in a circle hand-in-hand 
 
 Sat silent, looking each at each. 
 
 Then echo-like our voices rang ; 
 
 We sung, tho' every eye was dim, 
 
 A merry song we sang with him 1 5 
 
 Last year : impetuously we sang : 
 
 We ceased : a gentler feeling crept 
 
 Upon us : surely rest is meet : 
 
 " They rest," we said, " their sleep is sweet," 
 And silence foUow'd, and we wept. 20 
 
 Our voices took a higher range ; 
 
 Once more we sang : " They do not die 
 
 Nor lose their mortal sympathy, 
 Nor change to us, although they change ; 
 
 XXX 
 
 8. The presence of the dead friend. 
 
50 IN MEMORIAM 
 
 Rapt from the fickle and the frail 25 
 
 With gather'd power, yet the same. 
 Pierces the keen seraphic flame 
 
 From orb to orb, from veil to veil." 
 
 Rise, happy mom, rise, holy mom. 
 
 Draw forth the cheerful day from night : 30 
 O Father, touch the east, and light 
 
 The light that shone when Hope was born. 
 
 XXXI 
 
 When Lazarus left his charnel-cave. 
 
 And home to Mary's house return" d. 
 Was this demanded — if he yearn'd 
 
 To hear her weeping by his grave .'' 
 
 " Where wert thou, brother, those four days .-' " 5 
 
 There lives no record of reply. 
 
 Which telling what it is to die 
 Had surely added praise to praise. 
 
 XXX 
 
 25-28. Snatched from all that is fickle and frail, the keen seraphic flame, i.e. 
 the soul, passes (pierces) from orb to orb, from incarnation to incarnation. 
 Mr. Bradley appositely quotes The Ring : — 
 
 No sudden heaven, nor sudden hell, for man. 
 But thro' the Will of One who knows and rules — 
 And utter knowledge is but utter love^ 
 Ionian Evolution, swift or slow, 
 Thro' all the Spheres — an ever opening height, 
 An ever lessening earth. 
 This continual progress of the after-life was a favourite tenet of Tennyson's. 
 ' ' I can hardly understand," he said, ' ' how any great, imaginative man, who has 
 deeply lived, suffered, thought and wrought, can doubt of the Soul's continuous 
 progress in the after-life " (Life, i, 321). Cf. sec. Ixxiii. , 
 
 So many Worlds, so much to do, 
 sec. Ixxxii., 
 
 Eternal process moving on. 
 
 From state to state the spirit walks, 
 De Profundi!, ii., and Wages. 
 
 XXXI 
 What is the present state of the Dead? We know not, and Revelation 
 '• throws no light on the question. 
 
IN MEMORIAM 51 
 
 From every house the neighbours met. 
 
 The streets were fill'd with joyful sound, 10 
 
 A solemn gladness even crown'd 
 The purple brows of Olivet. 
 
 Behold a man raised up by Ghrist ! 
 
 The rest remaineth unreveal'd ; 
 
 He told it not; or something seal'd 15 
 
 The lips of that Evangelist. 
 
 XXXII 
 
 Her eyes are homes of silent prayer. 
 
 Nor other thought her mind admits 
 But, he was dead, and there he sits. 
 
 And he that brought him back is there. 
 
 Then one deep love doth supersede 5 
 
 All other, when her ardent gaze 
 Roves from the living brother's face^ 
 
 And rests upon the Life indeed. 
 
 All subtle thought, all curious fears, 
 
 Borne down by gladness so complete, 10 
 
 She bows, she bathes the Saviour's feet 
 
 With costly spikenard and with tears. 
 
 Thrice blest whose lives are faithful prayers. 
 Whose loves in higher love endure ; 
 What souls possess themselves so pure, 15 
 
 Or is there blessedness like theirs i^ 
 
 XXXIII 
 
 O thou that after toil and storm 
 
 Mayst seem to have reach'd a purer air. 
 Whose faith has centre everywhere. 
 
 Nor cares to fix itself to form, 
 
 XXXII 
 II, 12. C/. St. John's Gospel, xii. 3. 
 
52 IN MEMORIAM 
 
 Leave thou thy sister when she prays, 5 
 
 Her early Heaven, her happy views ; 
 Nor thou with shadow'd hint confuse 
 
 A hfe that leads melodious days. 
 
 Her faith thro' form is pure as thine. 
 
 Her hands are quicker unto good : 10 
 
 Oh, sacred be the flesh and blood 
 
 To which she links a truth divine ! 
 
 See thou, that countest reason ripe 
 
 In holding by the law within, 
 
 Thou fail not in a world of sin, 15 
 
 And ev'n for want of such a type. 
 
 XXXIV 
 
 My own dim life should teach me this. 
 That life shall live for evermore. 
 Else earth is darkness at the core. 
 
 And dust and ashes all that is ; 
 
 This round of green, this orb of flame, 5 
 
 Fantastic beauty ; such as lurks 
 In some wild Poet, when he works 
 
 Without a conscience or an aim. 
 
 XXXIII 
 13. 1850. Comma inserted after "see." For the sentiment, c/; Bishop Butler's 
 Durham Charge, where he inculcates "J;he keeping up as far as we are able 
 the form and face of religion with decency and reverence. The form of 
 religion may indeed be there, where there is little of the thing itself, but the 
 thing itself cannot be preserved without'the form." 
 
 XXXIV , 
 
 If the soul is not immortal, then the world is a painful and perplexing riddle, 
 and it would be better no longer to puzzle it out, but die at once. This and 
 the foUovring painfully hysterical lyric, as well as the poem in the same key, 
 Vastness, are lamentable examples of Tennyson's limitations. ;How much 
 sounder is Aristotle's remark, to S^v, h yitp //.tjZiv mAAo 'itreiro, oty«6os xxff osutJ «'/^s«r 
 irTii, the attitude of Socrates in Plato's Apology, and of Cyrus in Xenophon's 
 Cyropadeia, Shakespeare's silence, Schiller's lyric Resignation, and Goethe's 
 example. 
 
m MEMORIAM 53 
 
 What then were God to such as I ? 
 
 'Twere hardly worth my while to choose 10 
 
 Of things all mortal^ or to use 
 A little patience ere I die ; 
 
 'Twere best at once to sink to peace, 
 
 Like birds the charming serpent draws. 
 
 To drop head-foremost in the jaws 1 5 
 
 Of vacant darkness and to cease. 
 
 XXXV 
 
 Yet if some voice that man could trust 
 
 Should murmur from the narrow house, 
 " The cheeks drop in ; the body bows ; 
 
 Man dies : nor is there hope in dust : " 
 
 Might I not say ? " Yet even here, 5 
 
 But for one hour, O Love, I strive 
 To keep so sweet a thing alive : " 
 
 But I should turn mine ears and hear 
 
 The moanings of the homeless sea. 
 
 The sound of streams that swift or slow 1 
 
 Draw down Ionian hills, and sow 
 
 The dust of continents to be ; 
 
 XXXIV 
 
 14. The reference is to the Bucephalus capensis, a South African snalce, 
 which is particularly given to this method of preying. 
 
 XXXV 
 
 3> 4 ; S-7- Inverted commas added in 1856 ; note of interrogation coming 
 after "alive," with comma after "say." 
 9. Cf. Shelley, Alastor : " The thunder and the hiss of homeless streams." 
 II. JEoman, direct from the Greek «MiPMf, lasting for an age or for ages. 
 According to the English Dictionary, first used in English by Abraham Tucker 
 in his Light of Nature Displayed, i. 650 : " I might insist that the term 
 .translated 'everlasting' ought to be preserved untranslated as a kind of 
 technical term, and called 'iEonian.'" It is used again in xcv. : "iEonian 
 
54 IN MEMORIAM 
 
 And Love would answer with a sigh, 
 " The sound of that forgetful shore 
 WiU change my sweetness more and more, 15 
 
 Half-dead to know that I shall die." 
 
 O me, what profits it to put 
 
 An idle case ? If Death were seen 
 At first as Death, Love had not been. 
 
 Or been in narrowest working shut, 20 
 
 Mere fellowship of sluggish moods, 
 
 Or in his coarsest Satyr-shape 
 
 Had bruised the herb and crush'd the grape, 
 And bask'd and batten'd in the woods. 
 
 XXXVI 
 
 Tho* truths in manhood darkly join. 
 
 Deep-seated in our mystic frame. 
 
 We yield all blessing to the name 
 Of Him that made them current coin ; 
 
 For Wisdom dealt with mortal powers, 5 
 
 Where truth in closest words shall fail. 
 When truth embodied in a tale 
 
 Shall enter in at lowly doors. 
 
 XXXV 
 14. Cf. Milton, Paradise Lost, ii. 73 ; — 
 
 The sleepy drench 
 Of ihaX forgetful lake ; 
 i.e. that causes forgetfulness, like Spenser's "wandering wood," Faerie 
 Queetie, I. i. Adjectives have often this active meaning in Latin. 
 17. Edition 1850. O me ! 
 
 XXXVI 
 
 With this beautiful poem cf. Cranmer's Preface to the Bible : " For the Holy 
 Ghost has so ordered and attentpered the Scriptures that in them as w^U 
 publicans, fishers, shepherds may £nd their edifications as great doctors their 
 erudition." " The Word " used in the sense in which St. John uses It (i. i) ; 
 that is, the revelation of the Eternal Thought of the Universe. 
 
 S, 6, 7, Edition 1850. wisdom, Truth. 
 
IN MEMORIAM 55 
 
 And so the Word had breath, and wrought 
 
 With human hands the creed of creeds 10 
 
 In loveliness of perfect deeds. 
 
 More strong than all poetic thought ; 
 
 Which he may read that binds the sheaf, 
 Or builds the house, or digs the grave. 
 And those wild eyes that watch the wave 15 
 
 In roarings round the coral reef. 
 
 XXXVII 
 
 Urania speaks with darken'd brow : 
 
 " Thou pratest here where thou art least ; 
 This faith has many a purer priest, 
 
 And many an abler voice than thou. 
 
 Go down beside thy native rill, 5 
 
 On thy Parnassus set thy feet. 
 And hear thy laurel whisper sweet 
 
 About the ledges of the hill." 
 
 And my Melpomene replies, 
 
 A touch of shame upon her cheek : 10 
 
 " I am not worthy ev'n to speak 
 
 Of thy prevailing mysteries ; 
 
 For I am but an earthly Muse, 
 
 And owning but a little art 
 
 To lull with song an aching heart, 1 5 
 
 And render human love his dues ; 
 
 XXXVII 
 
 Cf. with the sentiment of this section Arthur Hallam's remark, Semains, 
 p. 159 '• " I' 's with justice that the Muses are condemned by the genius Of a 
 profound philosophy. " 
 
 I. Urania, the Muse of Astronomy, transformed by Milton into the Muse of 
 Heavenly Wisdom by a natural transition ( Paradise Lost, vii, 1-20). 
 
 9. Melpomene here Muse of Elegy. 
 
 II. Editions 1850-51. . but to speak. 
 
20 
 
 56 IN MEMORIAM 
 
 But brooding on the dear one dead, 
 And all he said of things divine, 
 (And dear to me as sacred wine 
 
 To dying lips is all he said), 
 
 I murmur' d, as I came along. 
 
 Of comfort clasp'd in truth reveal'd ; 
 And loiter'd in the master's field. 
 
 And darken'd sanctities with song." 
 
 XXXVIII 
 
 With weary steps I loiter on, 
 
 Tho' always under alter'd skies 
 The purple from the distance dies. 
 
 My prospect and horizon gone. 
 
 No joy the blowing season gives, 5 
 
 The herald melodies of spring. 
 
 But in the songs I love to sing 
 A doubtful gleam of solace lives. 
 
 If any care for what is here 
 
 Survive in spirits render'd free, 1 
 
 Then are these songs I sing of thee 
 
 Not all ungrateful to thine ear. 
 
 XXXIX 
 
 [Old warder of these buried bones, 
 
 And answering now my random stroke 
 With fruitful cloud and living smoke, 
 
 Dark yew, that graspest at the stones 
 
 XXXVII 
 ig. Editions 1850-51. dear as sacramental wine. 
 
 XXXIX 
 We learn from the Life (ii. 53) that this section was written in the Spring of 
 1868 ; it was inserted in the poem in 1872. For its significance, see Introduction. 
 3. Cf, Lady Tennyson's Diary, April 1868 (Life, ii. 53) : " There has been a 
 great deal of smoke in the yew-trees this year. One day there was such a 
 cloud that it seemed to be a fire in the shubbery. It was then that he wrote 
 the speech of Ambrosius in the Holy Grail." Cf. Holy Grail: — 
 Beneath a world-old yew-tree, darkening half 
 The cloisters, on a gustful April morn 
 That puff d the swaying branches into smoke. 
 
IN MEMORIAM 57 
 
 And dippest toward the dreamless head, 5 
 
 To thee too comes the golden hour 
 
 When flower is feeling after flower ; 
 But Sorrow — fixt upon the dead, 
 
 And darkening the dark graves of men, — 
 
 What whisper'd from her l™glips? 10 
 
 Thy gloom is kindled at tliT!^'; ' 
 And passes into gloom E^ain.] 
 
 XL 
 
 Could we forget the widow'd hour 
 
 And look on Spiritsbreathed away, 
 As on a maiden in the day 
 
 When first she wears her orange-flower ! 
 
 When crown'd with blessing she doth rise 5 
 
 To take her latest leave of home, 
 And hopes and light regrets that come 
 
 Make April of her tender eyes ; 
 
 And doubtful joys the father move. 
 
 And tears are on the mother's face, 10 
 
 As parting with a long embrace 
 
 She enters other realms of love ; 
 
 Her office there to rear, to teach. 
 
 Becoming as is meet and fit 
 
 A link among the days, to knit 1 5 
 
 The generations each with each ; 
 
 XXXIX 
 
 II, 12. Whether this refers to "the tender green shoots," as Miss Chapman 
 supposes, or to the "flowers" of the yew, as Dr. Gatty and Mr. Bradley 
 suppose, is surely not worth considering. The sole point is that reviving 
 hope is beginning to read itself into the object which before (sec. ii.) was at 
 once the symbol and incarnation of deepest gloom. 
 
 XL 
 In the next seven sections there is a return to the theme suggested in sections 
 xxxi.-xxxv., the state of the disembodied soul, the nature of the severance 
 wrought by death. 
 8. C/. Antony and Cleopatra, III. ii. : — 
 
 The April's in her eyes ; it is love's spring, 
 And these the showers to bring it on. 
 
58 IN MEMORIAM 
 
 And, doubtless, unto thee is given 
 
 A life that bears immortal fruit 
 
 In such great offices as suit 
 The full-grown energies of heaven. 20 
 
 Ay me, the difference I discern ! 
 
 How often shall her old fireside 
 
 Be cheer'd with tidings of the bride. 
 
 How often she herself return, 
 
 And tell them all they would have told, 25 
 
 And bring her babe, and make her boast, 
 Till even those that miss'd her most. 
 
 Shall count new things as dear as old : 
 
 But thou and I have shaken hands. 
 
 Till growing winters lay me low ; 30 
 
 My paths are in the fields I know. 
 
 And thine in undiscover'd lands. 
 
 XLI 
 
 Thy spirit ere our fatal loss 
 
 Did ever rise from hi^h to higher ; 
 As mounts the heavenward altar-fire, 
 
 As flies the lighter thro' the gross. 
 
 But thou art tum'd to something strange, 5 
 
 And I have lost the links that bound 
 Thy changes ; here upon the ground. 
 
 No more partaker of thy change. 
 
 Deep folly ! yet that this could be — 
 
 That I could wing my will with might 10 
 
 To leap the grades of life and light, 
 
 And flash at once, my friend, to thee : 
 
 XL 
 ig. 1878 and onward. In those great offices that suit. "I never, if possible," 
 Tennyson said to his son, "put two 'ss' together in any verse Of mine. My 
 line is not, as often quoted, 
 
 And freedom broadenf slowly down — 
 but 
 
 And freedom slowly broadens down " {Life, ii. 14) ; 
 and so this verse was altered in 1883, though allowed to stand so long. 
 
IN MEMORIAM 59 
 
 For tho' my nature rarely yields 
 
 To that vague fear implied in death ; 
 
 Nor shudders at the gulfs beneath, 15 
 
 The howlings from forgotten fields ; 
 
 Yet oft when sundown skirts the moor 
 An inner trouble I behold, 
 A spectral doubt which makes me cold, 
 
 That I shall be thy mate no more, 20 
 
 Tho' following with an upward mind 
 
 The wonders that have come to thee. 
 Thro' all the secular to-be. 
 
 But evermore a life behind. 
 
 XLII 
 
 I vex my heart with fancies dim : 
 
 He still outstript me in the race ; "' 
 It was but unity of place 
 
 That made me dream I rank'd with him. 
 
 And so may Place retain us stiU, 5 
 
 And he the much-beloved again, 
 A lord of large experience, train 
 
 To riper growth the mind and wiU : 
 
 XLI 
 13. 1850. though. 
 
 15, 16. Images which must not be forced into definition, symbolising 
 generally the horrors and terrors of death unilluminated by faith or hope, 
 death as death presented itself to the imagination of Claudio in Measure for 
 Measure ; see his speech, "Ay, but to die, and go we know not where," etc. 
 (Act III. i.). For the image, if. Morte d^ Arthur : — 
 
 Like a wind, that shrills 
 All night in a waste land, where no one comes. 
 Or hath come, since the making of the world. 
 23, The ages that are to come, or, more strictly, a future extending through 
 ages;^. js/ra, lutxvi., " The secular abyss to come. " Cf Milton of the Phoenix, 
 " A 3eci»/izr bird ages oiVnss" \Sa'mson Agonistes, 1707), 
 
 XLII 
 Renunion in place may restore the relative position in which we once stood ; 
 he may again be my master, I his disciple. 
 
60 IN MEMORIAM 
 
 And what delights can equal those 
 
 That stir the spirit's inner deeps, 10 
 
 When one that loves but knows not, reaps 
 
 A truth from one that loves and knows ? 
 
 XLIII 
 
 If Sleep and Death be truly one, 
 And every spirit's folded bloom 
 Thro' all its intervital gloom 
 
 In some long trance should slumber on ; 
 
 Unconscious of the sliding hour. 
 
 Bare of the body, might it last, 
 And silent traces of the past 
 
 Be all the colour of the flower : 
 
 So then were nothing lost to man ; 
 
 So that still garden of the souls 10 
 
 In many a figured leaf enrolls 
 The total world since life began ; 
 
 And love will last as pure and whole 
 
 As when he loved me here in Time, 
 
 And at the spiritual prime 15 
 
 Rewaken with the dawning soul. 
 
 XLIII 
 
 Tennyson's own note to this fanciful poem was : " If the immediate life after 
 death be only sleep, and the spirit between this life and the next should be 
 folded like a flower in a night slumber, then the remembrance of the past 
 might remain, as the smell and colour do in the sleeping flower ; and in that 
 case the memory of our love would last as true, and would live pure and 
 whole within the spirit of my friend until after it was unfolded at the breaking 
 of the morn, when the sleep was over " [Life, ii. 421). 
 
 10. 1850-51. But that. 
 
 13. 1850-51. would. 
 
IN MEMORIAM 61 
 
 XLIV 
 
 How fares it with the happy dead ? 
 
 For here the man is more and more 
 
 But he forgets the days before 
 God shut the doorways of his head. 
 
 The days have vanish'd, tone and tint, 5 
 
 And yet perhaps the hoarding sense 
 Gives out at times (he knows not whence) 
 
 A Httle flashy a mystic hint ; 
 
 And in the long harmonious years 
 
 (If Death so taste Lethean springs) 10 
 
 May some dim touch of earthly things 
 
 Surprise thee ranging with thy peers. 
 
 If such a dreamy touch should fall, 
 
 O turn thee round, resolve the doubt ; 
 
 My guardian angel will speak out 15 
 
 In that high place, and tell thee all. 
 
 XLV 
 
 The baby new to earth and sky. 
 
 What time his tender palm is prest 
 Against the circle of the breast. 
 
 Has never thought that " this is I : " 
 
 XLIV 
 For a very elaborate dissertation on this poem see Mr. Bradley's Com- 
 mentary. The references appear to be either to the Platonic k^ifLnrnt, so 
 fancifully employed by Wordsworth in the Ode on the Intimations of Immor- 
 tality in Youth, and by Tennyson repeatedly, see The Two Voices and The 
 Ancient Sage particularly, or to the life of earliest babyhood. The ambiguous 
 expression, "God shut the doorways of his head," may either be a physical 
 reference to the sutures of the skull, or a vaguer and more general reference to 
 the closing of the avenues through which recollections, it may be of pre-physical 
 life, or it may be of earliest babyhood, present themselves. In any case, the 
 general sense appears to be : Is it possible that glimpses of the life passed on 
 earth may come to the disembodied soul, even as the living sometimes have 
 glimpses of earliest infant or of pre-physical life ? The desperate obscurity of 
 the poem lies in the last stanza; on that I can throw no light, nor does 
 Mr. aadley's conclusion help us much : " If such a hint should reach my 
 friend, let it be the germ from which a complete recollection may arise." 
 
 XLV 
 The use of earthly life may be to individualise man for progressive life 
 hereafter, , 
 
62 IN MEMORIAM 
 
 But as he grows he gathers much, 5 
 
 And learns the use of " I," and " me," 
 And finds " I am not what I see. 
 
 And other than the things I touch." 
 
 So rounds he to a separate mind 
 
 From whence clear memory may begin, 10 
 
 As thro' the frame that binds him in 
 
 His isolation grows defined. 
 
 This use may lie in blood and breath, 
 
 AVhich else were fruitless of their due. 
 
 Had man to learn himself anew 15 
 
 Beyond the second birth of Death. 
 
 XLVI 
 
 We ranging down this lower track. 
 
 The path we came by, thorn and flower. 
 Is shadow'd by the growing hour, 
 
 Lest life should fail in looking back. 
 
 So be it : there no shade can last 5 
 
 In that deep dawn behind the tomb. 
 But clear from marge to marge shall bloom 
 
 The eternal landscape of the past ; 
 
 A lifelong tract of time reveal'd ; 
 
 The fruitful hours of still increase ; 10 
 
 Days order'd in a wealthy peace. 
 
 And those five years its richest field. 
 
 O Love, thy province were not large, 
 A bounded field, nor stretching far ; 
 Look also. Love, a brooding star, 15 
 
 A rosy warmth from marge to marge. 
 
 XLVI 
 1-8. In life on earth the Present overshadows the Past ; after death the 
 Past will present itself to the vision like a landscape unfolded in lucid light. 
 13-16. Obscure, but intelligible if not analysed, ist edition, O Love ! 
 
IN MEMORIAM 63 
 
 XLVII 
 
 That each, who seems a separate whole. 
 Should move his rounds, and fusing all 
 The skirts of self again, should fall 
 
 Remerging in the general Soul, 
 
 Is faith as vague as all unsweet : 5 
 
 Eternal form shall stUl divide 
 
 The eternal soul from all beside ; 
 And I shall know him when we meet : 
 
 And we shall sit at endless feast, 
 
 Enjoying each the other's good : 10 
 
 What vaster dream can hit the mood 
 
 Of Love on earth ? He seeks at least 
 
 Upon the last and sharpest height. 
 
 Before the spirits fade away. 
 
 Some landing-place, to clasp and say, 1 5 
 
 " Farewell ! We lose ourselves in light," 
 
 XLVIII 
 
 If these brief lays, of Sorrow bom. 
 Were taken to be such as closed 
 Grave doubts and answers here proposed, 
 
 Then these were such as men might scorn : 
 
 Her care is not to part and prove ; 5 
 
 She takes, when harsher moods remit. 
 What slender shade of doubt may flit. 
 
 And makes it vassal unto love : 
 
 XLVII 
 The best commentary on this is Tennyson's remark (Life, i. 319) : " If the 
 absorption into the divine in the after-life be the creed of some, let them at all 
 events allow us many existences of individuality before this absorption ; since 
 this short-lived individuality seems to be but too short a preparation for so 
 mighty a union." Mr. Bradley appositely quotes Dedicatory Pqem to the 
 Princess Alice : — 
 
 If what we call 
 The spirit flash not all at once from out 
 This shadow into Substance. 
 
64 IN MEMORIAM 
 
 And hence, indeed, she sports with words, 
 
 But better serves a wholesome law, 10 
 
 And holds it sin and shame to draw 
 
 The deepest measure from the chords : 
 
 Nor dare she trust a larger lay. 
 
 But rather loosens from the Up 
 
 Short swallow-flights of song, that dip 15 
 
 Their wings in tears, and skim away. 
 
 XLIX 
 
 From art, from nature, from the schools. 
 Let random influences glance. 
 Like light in many a shiver'd lance 
 
 That breaks about the dappled pools : 
 
 The lightest wave of thought shall lisp, 5 
 
 The fancy's tenderest eddy wreathe. 
 The slightest air of song shall breathe 
 
 To make the sullen surface crisp. 
 
 And look thy look, and go thy way. 
 
 But blame not thou the winds that make 10 
 The seeming-wanton ripple break. 
 
 The tender-pencil'd shadow play. 
 
 Beneath all fancied hopes and fears 
 Ay me, the sorrow deepens down. 
 Whose muffled motions blindly drown 15 
 
 The bases of my life in tears. 
 
 Be near me when my light is low. 
 
 When the blood creeps, and the nerves prick 
 And tingle ; and the heart is sick. 
 
 And all the wheels of Being slow. 
 
 L 
 See Hallam's Kemains, Meditative Fragments, vi. 126 segq. With this poem 
 may be compared generally the beautiful lines in Tickell's Verses on the Death 
 of Addison, beginning — 
 
 Oh, if sometimes thy spotless form descend ! 
 2. Cf. Shelley, Cenci, iv. i : — 
 
 My blood is running up and down my veins, 
 A fearful pleasure makes xtfrick and tingle. 
 
\ 
 
 IN MEMORIAM 65 
 
 Be near me when the sensuous frame 5 
 
 Is rack'd with pangs that conquer trust ; 
 And Time, a maniac scattering dust, 
 
 And Life, a Fury shnging flame. 
 
 Be near me when my faith is dry, 
 
 And men the flies of latter spring, 10 
 
 That lay their eggs, and sting and sing, 
 
 And weave their petty cells and die. 
 
 Be near me when I fade away. 
 
 To point the term of human strife. 
 
 And on the low dark verge of life 15 
 
 The twilight of eternal day. > 
 
 LI 
 
 Do we indeed desire the dead 
 
 Should still be near us at our side .'' 
 Is there no baseness we would hide .? 
 
 No inner vileness that we dread ? 
 
 Shall he for whose applause I strove, 5 
 
 I had such reverence for his blame. 
 See with clear eye some hidden shame 
 
 And I be lessen'd in his love } 
 
 I wrong the grave with fears untrue : 
 
 Shall love be blamed for want of faith ? 10 
 
 There must be wisdom with great Death : 
 
 The dead shall look me thro' and thro'. 
 
 Be near us when we climb or fall : 
 
 Ye watch. Like God, the rolling hours 
 
 With larger other eyes than ours, 1 5 
 
 To make allowance for us all. 
 
 7. 1850. time. 
 
 8. 1850. life. 
 
 15, 16. Perhaps the sublimest image in all Tennyson's poetry. 
 
66 IN MEMORIAM 
 
 LII 
 
 I cannot love thee as 1 ought. 
 
 For love reflects the thing beloved ; 
 My words are only words, and moved 
 
 Upon the topmost froth of thought. 
 
 " Yet blame not thou thy plaintive song," 5 
 
 The Spirit of true love replied ; 
 
 " Thou canst not move me from thy side. 
 Nor human frailty do me wrong. 
 
 " What keeps a spirit wholly true 
 
 To that ideal which he bears ? 10 
 
 What record .'' not the sinless years 
 
 That breathed beneath the Syrian blue : 
 
 '' So fret not, like an idle girl. 
 
 That life is dash'd with flecks of sin. 
 
 Abide : thy wealth is gather'd in, 15 
 
 When Time hath sunder'd shell from pearl." 
 
 LIII 
 
 How many a father have I seen, 
 A sober man, among his boys. 
 Whose youth was full of foolish noise. 
 
 Who wears his manhood hale and green : 
 
 LII 
 3, 4. Cf. Persius, i. 104 : — 
 
 Summa delumbe salivi 
 Hoc natat in labris. 
 II, 12. Tennysonese for Christ, or, the life of Christ. 
 15. A happy adaptation of the classical " prophetic present. " 
 
 LIII 
 
 1-8. For the sentiment, cf. Measure for Measure, v. i. : — 
 
 They say best men are moulded out of faults ; 
 And, for the most, become much more the better 
 For being a little bad. 
 
m MEMORIAM 67 
 
 And dare we to this fancy give, 5 
 
 That had the wild oat not been sown. 
 The soil, left barren, scarce had grown 
 
 The grain by which a man may live ? 
 
 Oh, if we held the doctrine sound 
 
 For life outliving heats of youth, 10 
 
 Yet who would preach it as a truth 
 
 To those that eddy round and round ? 
 
 Hold thou the good : define it well : 
 
 For fear divine Philosophy 
 
 Should push beyond her mark, and be 15 
 
 Procuress to the Lords of Hell. 
 
 LIV 
 
 Oh yet we trust that somehow good 
 
 Will be the final goal of ill. 
 
 To pangs of nature, sins of will, 
 (Defects of doubt, and taints of blood ; 
 
 That nothing walks with aimless feet ; 5 
 
 That not one life shall be destroy' d. 
 Or cast as rubbish to the void. 
 
 When God hath made the pile complete ; 
 
 LIII 
 5. Editions i and 2. doctrine. 
 7. Editions i and 2. had not grown. 
 
 9. First edition. Oh! if; second and all editions, including 1878, Oh, if; 
 1883, Or if; 1889, Or, if. 
 14. 1850. philosophy. 
 
 LIV 
 
 The next three sections illustrate the thesis of the Prologue, "We have but 
 faith." On these poems a passage in the Life of Tennyson, i. 313, is a good 
 commentary: "He weis occasionally much troubled with the intellectual 
 problem of the apparent profusion and waste of life, ... for these seemed to 
 militate against the idea of the Omnipotent and All-loving Father. " 
 1-12. Cf. Wordsworth, Old Cumberland Beggar : — 
 
 'Tis Nature's law 
 That none, the meanest of created things. 
 Of forms created the most vile and brute, 
 The dullest or most noxious, should exist 
 Divorced from good. 
 
68 IN MEMORIAM 
 
 That not a worm is cloven in vain ; 
 
 That not a moth with vain desire 10 
 
 Is shrivel'd in a fruitless firCj 
 Or but subserves another's gain. 
 
 Behold, we know not anything ; 
 
 I can but trust that good shall fall 
 
 At last — far off — at last, to all, 1 5 
 
 And every winter change to spring. 
 
 So runs my dream : but what am I ? 
 
 An infant crying in the night : 
 
 An infant crjdng for the light : 
 And with no language but a cry. 20 
 
 LV 
 
 The wish, that of the hving whole 
 
 No life may fail beyond the grave. 
 Derives it not from what we have 
 
 The likest God within the soul ? 
 
 Are God and Nature then at strife, 5 
 
 That Nature lends such evil dreams ? 
 So careful of the typeiihe seems. 
 
 So careless of the single life ; 
 
 That I, considering everywhere 
 
 Her secret meaning in her deeds, 10 
 
 And finding that of fifty seeds 
 She often brings but one to bear, 
 
 I falter where I firmly trod, 
 
 And falling with my weight of cares 
 
 Upon the great world's altar-staire 15 
 
 That slope thro' darkness up to God, 
 
 LV 
 4. The spirit of love. 
 
 9 sejig. Cf. Life, i. 314 : ' ' The lavish profusion, too, in the natural world 
 appals me, from the growths of the tropical forest to the capacity of man to 
 multiply, the torrent of babies." 
 
 14-16. Cf, Young, Night Thoughts, Night ix. : — 
 
 Teach me by this stupendous scaffolding. 
 Creation's golden steps, to climb to Thee. 
 
IN MEMORIAM 69 
 
 I stretch lame hands of faithj and grope, 
 And gather dust and chaff, and call 
 To wlia.t I feel is Lord of all. 
 
 And ^faintly trust the larger hope, ' ' 20 
 
 LVI -'^ i 
 
 " So careful of the type ? " but no. 
 
 From scarped cliff and quarried stone 
 She cries " a thousand types are gone : 
 
 I care for nothing, all shall go. 
 
 " Thou makest thine appeal to me : 5 
 
 I bring to life, I bring to death : 
 The spirit does but mean the breath : 
 
 I know no more." And he, shall he, 
 
 Man, her last work, who seem'd so fair, 
 
 Such splendid purpose in his eyes, 10 
 
 Who roU'd the psalm to wintry skies. 
 
 Who built him fanes of jfrjiitless! prayer. 
 
 Who trusted God was love indeed 
 
 And love Creation's final law — 
 
 Tho' Nature, red in tooth and claw 1 5 
 
 With ravine, shriek'd against his creed — 
 
 LV 
 
 20. The larger hope, i.e., "that the whole human race would through, 
 perhaps, ages of suffering, be at length purified and saved " {Life, i. 321-22). 
 
 LVI 
 
 I. Fossil remains prove that so far from Nature being " careful of the type," 
 whole types have perished. 
 
 II, 12. The pathetic propriety and force of the epithets "wintry" and 
 "fruitless" is obvious. 
 
 IS, 16. With this picture and conception of Nature cf. Spenser, Faerie 
 Queene, Fragment of Mutabilitie, forming canto vii. st. v.-vi. , where he says 
 of Dame Nature, 
 
 With a veile that wimpled everywhere 
 Her head and face was hid that mote to none appeare. 
 That, some doe say, was so by skill devized 
 To hide the terror of her uncouth hem 
 From mortal eyes that should be sore agrised ; 
 For that her face did like a lion shew. 
 That eye of wight could not indure to view. 
 
70 IN MEMORIAM 
 
 Who loved, who suffer'd countless ills, 
 Who battled for the True, the Just, 
 Be blown about the desert dust. 
 
 Or seal'd within the iron hills ? 20 
 
 No more ? A monster then, a dream, 
 A discord. Dragons of the prime. 
 That tare each other in their slime. 
 
 Were mellow music match'd with him. 
 
 life as futile, then, as frail ! 25 
 
 O for thy voice to soothe and bless ! 
 What hope of answer, or redress ? 
 Behind the veil, behind the veil. 
 
 LVII 
 
 Peace ; come away : the song of woe 
 Is after all an earthly song : 
 Peace ; come away : we do him wrong 
 
 To sing so wildly : let us go. 
 
 Come ; let us go : your cheeks are pale ; 5 
 
 But half my life I leave behind : 
 Methinks my friend is richly shrined ; 
 
 But I shall pass ; my work will fail. 
 
 Yet in these ears, till hearing dies. 
 
 One set slow bell will seem to toll 10 
 
 The passing of the sweetest soul 
 
 That ever look'd with human eyes. 
 
 1 hear it now, and o'er and o'er. 
 
 Eternal greetings to the dead ; 
 And "Ave, Ave, Ave," said, i 15 
 
 " Adieu, adieu " for evermore. 
 
 LVII 
 
 7. Tennyson's own note on this was : ' ' The author speaks of these poems— 
 'Methinks I have built a rich shrine for my friend, but it will not last'" 
 (Gatty's Key, p. 64). 
 
 12. First edition. looked. 
 
 15, 16. The funeral adjuration of the Romans. See Catullus, ci. 10, and 
 Orelli's Collection, fassim. Dryden uses it ( Verses on Oldham) : — 
 
 Once more, — hail and farewell. 
 
 16. 1850-51. evermore ! 
 
m MEMORIAM 71 
 
 LVIII 
 
 In those sad words I took farewell : 
 
 Like echoes in sepulchral halls. 
 
 As drop by drop the water falls 
 In vaults and catacombs, they fell ; 
 
 And, falling, idly broke the peace 5 
 
 Of hearts that beat from day to day. 
 Half-conscious of their dpng clay. 
 
 And those cold crypts where they shall cease. 
 
 The high Muse answer'd : " Wherefore grieve 
 
 Thy brethren with a fruitless tear ? 10 
 
 Abide a little longer here. 
 
 And thou shalt take a nobler leave." 
 
 LIX 
 
 O Sorrow, wilt thou live with me 
 No casual mistress, but a wife. 
 My bosom-friend and half of life ; 
 
 As I confess it needs must be ; 
 
 O Sorrow, wilt thou rule my blood, 5 
 
 Be sometimes lovely like a bride. 
 And put thy harsher moods aside. 
 
 If thou wilt have me wise and good. 
 
 My centred passion cannot move. 
 
 Nor will it lessen from to-day ; 10 
 
 But I'll have leave at times to play 
 
 As with the creature of my love ; 
 
 LVIII 
 3. Bradley appositely quotes Lover's Tale : — 
 
 While her words, syllable by syllable, 
 Like water, drop by drop, upon my ear 
 Fell. 
 
 LIX 
 This section was added in the fourth edition, 1851 ; and Tennyson never struck 
 a more jarring note than in the second line. The whole poem is unworthy 
 of the work of which it is a part. 
 
72 IN MEMORIAM 
 
 And set thee forth, for thou art minej 
 
 With so much hope for years to come, 
 
 That, howsoe'er I know thee, some 15 
 
 Could hardly tell what name were thine. 
 
 LX 
 
 He past ; a soul of nobler tone : 
 
 My spirit loved and loves him yet. 
 Like some poor girl whose heart is set 
 
 On one whose rank exceeds her own. 
 
 He mixing with his proper sphere, 5 
 
 She finds the baseness of her lot. 
 Half jealous of she knows not what. 
 
 And envying all that meet him there. 
 
 The little village looks forlorn ; 
 
 She sighs amid her narrow days, 10 
 
 Moving about the household ways. 
 
 In that dark house where she was born. 
 
 The foolish neighbours come and go. 
 
 And tease her till the day draws by : 
 
 At night she weeps, " How vain am I ! 15 
 
 How should he love a thing so low ? " 
 
 LXI 
 
 If, in thy second state sublime. 
 
 Thy ransom'd reason change replies 
 With all the circle of the wise. 
 
 The perfect flower of human time j 
 
 And if thou cast thine eyes below. 
 
 How dimly character'd and slight. 
 
 How dwarf'd a growth of cold and night, 
 
 How blanch'd with darkness must I grow ! 
 
IN MEMORIAM 73 
 
 Yet turn thee to the doubtful shore. 
 
 Where thy first form was made a man ; 10 
 
 I loved thee, Spirit, and love, nor can 
 
 The soul of Shakspeare love thee more. 
 
 LXII 
 
 Tho' if an eye that's downward cast 
 
 Could make thee somewhat blench or fail. 
 Then be my love an idle tale. 
 
 And fading legend of the past ; 
 
 And thou, as one that once declined, 5 
 
 When he was little more than boy. 
 On some unworthy heart with joy, 
 
 But lives to wed an equal mind ; 
 
 And breathes a novel world, the while 
 
 His other passion wholly dies, 10 
 
 Or in the light of deeper eyes 
 Is matter for a fljdng smile. 
 
 LXIII 
 
 Yet pity for a horse o'er-driven, 
 
 And love in which my hound has part, 
 Can hang no weight upon my heart 
 
 In its assumptions up to heaven ; 
 
 And I am so much more than these, 5 
 
 As thou, perchance, art more than I, 
 And yet I spare them sympathy. 
 
 And I would set their pains at ease. 
 
 So may'st thou watch me where I weep. 
 
 As, unto vaster motions bound, 10 
 
 The circuits of thine orbit round 
 
 A higher height, a deeper deep. 
 
 LXII 
 3. 1850. So be. 
 
 LXIII. 
 
 9. 1884 onward, mayst. 
 
74 IN MEMORIAM 
 
 LXIV 
 
 Dost thou look back on what hath been. 
 
 As some divinely gifted man, 
 
 Whose life in low estate began 
 And on a simple village green ; 
 
 Who breaks his birth's invidious bar, 5 
 
 And grasps the skirts of happy chance. 
 And breasts the blows of circumstance. 
 
 And grapples with his evil star ; 
 
 Who makes by force his merit known 
 
 And lives to clutch the golden keys, 10 
 
 To mould a mighty state's decrees. 
 
 And shape the whisper of the throne ; 
 
 And moving up from high to higher. 
 
 Becomes on Fortune's crowning slope 
 
 The pillar of a people's hope, 15 
 
 The centre of a world's desire ; 
 
 Yet feels, as in a pensive dream. 
 
 When all his active powers are still, 
 A distant dearness in the hill, 
 
 A secret sweetness in the stream, 20 
 
 The limit of his narrower fate. 
 
 While yet beside its vocal springs 
 He play'd at counsellors and kings, 
 
 W^ith one that was his earliest mate ; 
 
 Who ploughs with pain his native lea 25 
 
 And reaps the labour of his hands. 
 Or in the furrow musing stands ; 
 
 " Does my old friend remember me ? " 
 
 LXIV 
 Nothing could be more perfect than this poem, so pathetic, so subtle in 
 its analogue. 
 
 23. 1850. played. 
 
IN MEMORIAM 75 
 
 LXV 
 
 Sweet soul, do with me as thou wilt ; 
 I lull a fancy trouble-tost 
 With " Love's too precious to be lost, 
 
 A little grain shall not be spilt." 
 
 And in that solace can I sing, 5 
 
 Till out of painful phases wrought 
 There flutters up a happy thought. 
 
 Self-balanced on a lightsome wing : 
 
 Since we deserved the name of friends. 
 
 And thine eflFect so lives in me, 10 
 
 A part of mine may live in thee 
 
 And move thee on to noble ends. 
 
 LXVI 
 
 You thought m.y heart too far diseased ; 
 
 You wonder when my fancies play 
 
 To find me gay among the gay. 
 Like one with any trifle pleased. 
 
 The shade by which my life was crost, 5 
 
 Which makes a desert in the mind. 
 Has made me kindly with my kind. 
 
 And like to him whose sight is lost ; 
 
 Whose feet are guided thro' the land. 
 
 Whose jest among his friends is free, 10 
 
 Who takes the children on his knee. 
 
 And winds their curls about his hand : 
 
 LXV 
 7, 8. A metaphor suggested apparently by the chrysalis and butterfly. 
 
 LXVI 
 9-1G. Nothing, as a blind friend once said to me, could be more subtly 
 true to nature than this picture. 
 
76 m MEMORIAM 
 
 He plays with threadsj he beats his chair 
 For pastime, dreaming of the sky ; 
 His inner day can never die, 15 
 
 His night of loss is always there. 
 
 LXVII 
 
 When on my bed the moonlight falls, 
 I know that in thy place of rest 
 By that broad water of the west. 
 
 There comes a glory on the walls : 
 
 Thy marble bright in dark appears. 
 As slowly steals a silver flame 
 Along the letters of thy name. 
 
 And o'er the number of thy years. 
 
 The mystic glory swims away ; 
 
 From off my bed the moonlight dies ; 10 
 
 And closing eaves of wearied eyes 
 I sleep till dusk is dipt in gray : 
 
 And then I know the mist is drawn 
 
 A lucid veil from coast to coast. 
 
 And in the dark church like a ghost 15 
 
 Thy tablet glimmers to the dawn. 
 
 LXVII 
 
 It is in sleep that the memories of love and grief present themselves piost 
 vividly, and from this section to the end of Ixxi. we have an exquisite series 
 of dream-pictures and impressions. They may be compared with the dream 
 sonnets of Shakespeare, to which they appear to be indebted for some touches. 
 See Sonnets, xxvii.-xxx., xliii. 
 
 a, 3. Clevedon, on the Severn. 
 
 5. Cf, Shakespeare, Sonnets, xliii. : — ■ 
 
 And darkly bright, are bright in dark directed. 
 
 15. 1850-51. in the chancel. 
 
 16. Cf. Collins, Ode on Death of Thomson: "Thy pale shrine glimmering 
 near." 
 
IN MEMORIAM 77 
 
 LXVIII 
 
 When in the down I sink my head. 
 
 Sleep, Death's twin-brother, times my breath ; 
 
 Sleep, Death's twin-brother, knows not Death, 
 Nor can I dream of thee as dead : 
 
 I walk as ere I walk'd forlorn, 5 
 
 When all our path was fresh with dew, 
 And all the bugle breezes blew 
 
 Reveillee to the breaking mom. 
 
 But what is this ? I turn about, 
 
 I find a trouble in thine eye, 10 
 
 Which makes me sad I know not why. 
 
 Nor can my dream resolve the doubt : 
 
 But ere the lark hath left the lea 
 
 I wake, and I discern the truth ; 
 
 It is the trouble of my youth 15 
 
 That foolish sleep transfers to thee. 
 
 LXIX 
 
 I dream'd there would be Spring no more. 
 That Nature's ancient power was lost : 
 The streets were black with smoke and frost, 
 
 They chatter'd trifles at the door : 
 
 I wander'd from the noisy town, 
 
 I found a wood with thorny boughs : 
 I took the thorns to bind my brows, 
 
 I wore them like a civic crown : 
 
 LXVIII 
 2. Cf, Iliad, xiv. 231, s^fl' 'Ttvw irOfjL^kviTo xainyyviTa BetveiToto (where he met 
 with Sleep, Death's brother) ; and thus many poets afterwards. 
 
 LXIX 
 The foolish world see no use in sorrow, but out of sorrow comes divine 
 wisdom. Cf. sec. i. : " Let Love clasp Grief." 
 
78 IN MEMORIAM 
 
 I met with scoffs, I met with scorns 
 
 From youth and babe and hoary hairs : 10 
 
 They call'd me in the public squares 
 
 The fool that wears a crown of thorns : 
 
 They call'd me fool, they call'd me child : 
 
 I found an angel of the night ; 
 
 The voice was low, the look was bright ; 15 
 He look'd upon my crown and smiled : 
 
 He reach'd the glory of a hand. 
 
 That seem'd to touch it into leaf : 
 The voice was not the voice of grief ; 
 
 The words were hard to understand. 20 
 
 LXX 
 
 I cannot see the features right. 
 
 When on the gloom I strive to paint 
 The face I know ; the hues are faint 
 
 And mix with hollow masks of night ; 
 
 Cloud-towers by ghostly masons wrought, 5 
 
 A gulf that ever shuts and gapes, 
 A hand that points, and palled shapes 
 
 In shadowy thoroughfares of thought ; 
 
 And crowds that stream from yawning doors, 
 
 And shoals of pucker'd faces drive ; 10 
 
 Dark bulks that tumble half alive. 
 
 And lazy lengths on boundless shores ; 
 
 LXIX 
 
 14. " Not merely," as Tennyson himself explained, '"I found an angel as I 
 wandered in the night,' nor ' such an angel as comes to us in dreams,' but ' one 
 of the angels of the night of sorrow,' the divine Thing in the gloom." 
 
 LXX 
 
 8. Cf. Sophocles, CEd. Tyr. 67 :— 
 
 ToXXftf V cihiiit skSevTO. ^povTiioi irAfXvois 
 
 (After traversing many paths in the wanderings of thought), 
 on the weird and pregnant suggestiveness of which Shelley so admirably 
 comments. See Mrs. Shelley's prefatory remarks on the Promeiheus Unbound. 
 9-12. Cf. De Quincey's opiuro dreams, the surging human faces driving 
 along, and the tyranny of the crocodile, all set in immensity (Confessions, 
 edit. 182a, pp. 167-72). 
 
IN MEMORIAM 79 
 
 Till all at once beyond the will 
 
 I hear a wizard music roll, 
 
 And thro' a lattice on the soul 1 5 
 
 Looks thy fan- face and makes it still. 
 
 LXXI 
 
 Sleep, kinsman thou to death and trance 
 And madness, thou hast forged at last 
 A night-long Present of the Past 
 
 In which we went thro' summer France. 
 
 Hadst thou such credit with the soul .'' 5 
 
 Then bring an opiate trebly strong. 
 Drug down the blindfold sense of wrong 
 
 That so my pleasure may be whole ; 
 
 While now we talk as once we talk'd 
 
 Of men and minds, the dust of change, 10 
 
 The days that grow to something strange. 
 
 In walking as of old we walk'd 
 
 Beside the river's wooded reach. 
 
 The fortress, and the mountain ridge, 
 
 The cataract flashing from the bridge, 15 
 
 The breaker breaking on the beach. 
 
 LXXII 
 
 Risest thou thus, dim dawn, again. 
 
 And howlest, issuing out of night. 
 With blasts that blow the poplar white. 
 
 And lash with storm the streaming pane ? 
 
 LXXI 
 
 4. 1850. through. A reference to the tour with Arthur Hallam in 
 1830 (see Life, i. 51-55). 
 
 6. 1850. So bring an opiate treble-strong. 1851. "Then" substituted 
 for "So." 
 
 8. 1850. That thus my pleasure might be whole. 
 
 13-16. A scene in the valley of Cauteretz. See the poem with that title. 
 
 LXXII 
 The first anniversary of Hallam's death, isth September. This section is 
 surely a marvel of magically descriptive power. With this cf. the next 
 anniversary, sec. xcix. 
 
80 m MEMORIAM 
 
 Day, when my crown'd estate begun 5 
 
 To pine in that reverse of doom. 
 Which sicken' d every living bloom. 
 
 And blurr'd the splendour of the sun ; 
 
 Who usherest in the dolorous hour 
 
 With thy quick tears that make the rose 10 
 
 Pull sideways, and the daisy close 
 Her crimson fringes to the shower ; 
 
 Who might' st have heaved a windless flame 
 Up the deep East, or, whispering, play'd 
 A chequer- work of beam and shade 15 
 
 Along the hills, yet look'd the same. 
 
 As wan, as chill, as wild as now ; 
 
 Day, mark'd as with some hideous crime. 
 When the dark hand struck down thro' time. 
 
 And cancell'd nature's best : but thou, 20 
 
 Lift as thou may'st thy burthen'd brows 
 
 Thro' clouds that drench the morning star. 
 And whirl the ungamer'd sheaf afar. 
 
 And sow the sky with flying boughs. 
 
 And up thy vault with roaring sound 25 
 
 Climb thy thick noon, disastrous day ; 
 Touch thy dull goal of joyless gray. 
 
 And hide thy shame beneath the ground. 
 
 LXXIII 
 
 So many worlds, so much to do, , 
 
 So little done, such things to be, ,' 
 How know I what had need of the^i 
 
 For thou wert strong as thou wert true ? 
 
 LXXII / 
 
 7. First edition, sickened. / 
 
 16. 1850-51. From hill to hill. / 
 
 28. With this sentiment may be compared Shakespeare, Sonnets, xxxiii. 
 And from the forlorn world his visage hide, 
 Stealing unseen to west with this disgrace. 
 
IN MEMORIAM 81 
 
 The fame is quench'd that I foresaw, 5 
 
 The head hath miss'd an earthly wreath : 
 I curse not nature, no, nor death ; 
 
 For nothing is that errs from law. 
 
 We pass ; the path that each man trod 
 
 Is dim, or will be dim, with weeds : 10 
 
 What fame is left for human deeds 
 
 In endless age ? It rests with God. 
 
 O hollow wraith of dying fame, 
 
 Fade wholly, while the soul exults. 
 
 And self-infolds the large results 15 
 
 Of force that would have forged a name. 
 
 LXXIV 
 
 As sometimes in a dead man's face, 
 
 To those that watch it more and more, 
 A likeness, hardly seen before. 
 
 Comes out — to some one of his race : 
 
 LXXIII 
 
 ' 9-14. This, taken in connection with sec. Ixxvi., is the great note which 
 Tennyson has struck more than once. See particularly The Spiteful Letter 
 and Literary Squabbles. It is the note struck by Marvell in those verses 
 which Tennyson so much admired : — 
 
 But at my back I always hear 
 Time's winged chariot hurrying near, 
 And yonder all before us lie 
 Deserts of vast eternity. — To his Coy Mistress. 
 Its grandest expression is found in Dante, Purgatorio, 91-117. Cf. also 
 Marcus Aurelius, iv. 3: "See how soon everythmg is forgotten, and look 
 at the chaos of infinite time on each side of the present, and the emptiness 
 of applause, and the changeableness and want of judgment in those who 
 pretend to give praise, and the narrowings of the space within which it is 
 circumscribed, and be quiet at last. For the whole earth is a point, and 
 how small a nook in it is this thy dwelling." 
 
 LXXIV 
 
 1-4. Few who have looked on the dead could have failed to notice this 
 pathetic fact. Dr. Gatty quotes Sir Thomas Browne, Letter to a Friend : 
 " He lost his own face, and looked like one of his near relations ; for he 
 maintained not his proper countenance, but looked like his uncle," 
 
 6 
 
82 IN MEMORIAM 
 
 So, dearest, now thy brows are cold, 5 
 
 I see thee what thou art, and know 
 Thy likeness to the wise below. 
 
 Thy kindred with the great of old. 
 
 But there is more than I can see. 
 
 And what I see I leave unsaid, 10 
 
 Nor speak it, knowing Death has made 
 
 His darkness beautiful with thee. 
 
 LXXV 
 
 1 leave thy praises unexpress'd 
 
 In verse that brings myself relief. 
 And by the measure of my grief 
 
 I leave thy greatness to be guess'd ; 
 
 What practice 'howsoe'er expert 5 
 
 In fitting aptest words to things. 
 Or voice the richest-toned that sings, 
 
 Hath power to give thee as thou wert ? 
 
 I care not in these fading days 
 
 To raise a cry that lasts not long, 10 
 
 And round thee with the breeze of song 
 
 To stir a little dust of praise. 
 
 Thy leaf has perish'd in the green, 
 
 And, while we breathe beneath the sun, 
 
 The world which credits what is done 15 
 
 Is cold to all that might have been. 
 
 LXXIV 
 
 u, 12. Cf. Petrarch, Sonnet Ixxx. : — 
 
 Non pu6 tnorte il dolce viso amaro, 
 Ma '1 dolce viso, dolce pu6 far morte. 
 
 LXXV 
 J I. Cf. Pindar, Pythians, iv. 5 : mfn Dfitm, 
 
m MEMORIAM 83 
 
 So here shall silence guard thy fame ; 
 
 But somewhere, out of human view, 
 
 Whate'er thy hands are set to do 
 Is wrought with tumult of acclaim. 20 
 
 LXXVI 
 
 Take wings of fancy, and ascend. 
 And in a moment set thy face 
 Where all the starry heavens of space 
 
 Are sharpen'd to a needle's end ; 
 
 Take wings of foresight ; lighten thro' 5 
 
 The secular abyss to come. 
 And lo, thy deepest lays are dumb 
 
 Before the mouldering of a yew ; 
 
 And if the matin songs, that woke 
 
 The darkness of our planet, last, 10 
 
 Thine own shall wither in the vast. 
 
 Ere half the lifetime of an oak. 
 
 Ere these have clothed their branchy bowers 
 With fifty Mays, thy songs are vain ; 
 And what are they when these remain 1 5 
 
 The ruin'd shells of hollow towers ? 
 
 LXXVI 
 I. Cf. Petrarch, Sonnet Ixxxii., "Volo con I'ali de' pensieri al cielo," or 
 more immediately, Sir P. Sidney, The Seeled Dove, " But with his wings of 
 fancies up he goes." 
 3, 4, Cf. Shakespeare, Cymteline, i. iv., 
 
 Till the diminution 
 Of space ^i^lA. pointed him sharp as my needle, 
 and Chaucer, House of Fame, ii. 904-8, 
 
 He 
 Was flowen fro the grounde so hye 
 That all the world, as to myn ye 
 No more seemed than a prikke. 
 7. First edition. And lo ! 
 
 7, 8. Absurdly false ; any poem which preserves its vitality during half the 
 fuU lifetime of a yew-tree is certain of immortality, in the conventional sense of 
 the term. 
 9. Tennyson explained this as " the writings of the great early poets." 
 
84 IN MEMORIAM 
 
 LXXVII 
 
 What hope is here for modem rhyme 
 To him, who turns a musing eye 
 On songs, and deeds, and lives, that He 
 
 Foreshorten'd in the tract of time ? 
 
 These mortal lullabies of pain 5 
 
 May bind a book, may line a box. 
 May serve to curl a maiden's locks ; 
 
 Or when a thousand moons shall wane 
 
 A man upon a stall may find. 
 
 And, passing, turn the page that tells 10 
 
 A grief, then changed to something else, 
 
 Sung by a long-forgotten mind. 
 
 But what of that ? My darken'd ways 
 Shall ring with music all the same ; 
 To breathe my loss is more than fame, 15 
 
 To utter love more sweet than praise. 
 
 LXXVIII 
 
 Again at Christmas did we weave 
 
 The holly round the Christmas hearth ; 
 The silent snow possess'd the earth. 
 
 And calmly fell our Christmas-eve : 
 
 LXXVII 
 
 With this section cf. Petrarch's 2Sth Sonnet, In Morie di Donna Laura, 
 especially the lines — 
 
 E certo ogni niio studio in quel temp 'era 
 
 Pur di sfogare il doloroso core 
 
 In qualche modo, non d'acquistar fama. 
 
 Pianger cercai, no gii del pianto onore 
 (And certainly all my desire at that time was merely to ease in any way my 
 troubled heart, not to win fame. I sought to weep, not at all the glory of 
 weeping. ) 
 
 II. 1850-51. A grief— 
 
 LXXVIII 
 For the connection with the scheme of the poem, see Introduction. 
 
IN MEMORIAM 85 
 
 The yule-clog sparkled keen with frost, 5 
 
 No wing of wind the region swept, 
 But over all things brooding slept 
 
 The quiet sense of something lost. 
 
 As in the winters left behind. 
 
 Again our ancient games had place, 10 
 
 The mimic picture's breathing grace, 
 
 And dance and song and hoodman-blind. 
 
 Who show'd a token of distress ? 
 
 No single tear, no mark of pain : 
 
 sorrow, then can sorrow wane? 15 
 O grief, can grief be changed to less ? 
 
 O last regret, regret can die ! 
 
 No — mixt with all this mystic frame 
 Her deep relations are the same. 
 
 But with long use her tears are dry. 20 
 
 LXXIX 
 
 " More than my brothers are to me " — 
 Let this not vex thee, noble heart ! 
 
 1 know thee of what force thou art 
 To hold the costliest love in fee. 
 
 But thou and I are one in kind, 5 
 
 As moulded like in nature's mint ; 
 And hill and wood and field did print 
 
 The same sweet forms in either mind. 
 
 For us the same cold streamlet curl'd 
 
 Thro' all his eddying coves; the same 10 
 
 All winds that roam the twilight came 
 
 In whispers of the beauteous world. 
 
 LXXVIII 
 14. 1850-51. type. 
 vj. 1850-51. regret, Regret. 
 
 LXXIX 
 
 Addressed to Charles Tennyson, afterwards Tennyson Turner, the poet's 
 favourite brother and coadjutor in the poems of 1827. For the reference in 
 opening line, see last line of sec. ix. 
 
 6. In and after 1884. Nature's. 
 
 9. The brook at Somersby, so often celebrated in Tennyson's poetry. 
 
86 IN MEMORIAM 
 
 At one dear knee we profFer'd vows. 
 
 One lesson from one book we learn'd, 
 
 Ere childhood's flaxen ringlet turn'd 15 
 
 To black and brown on kindred brows. 
 
 And so my wealth resembles thine. 
 But he was rich where I was poor. 
 And he supplied my want the more 
 
 As his unUkeness fitted mine. 20 
 
 LXXX 
 
 If any vague desire should rise, 
 
 That holy Death ere Arthur died 
 Had moved me kindly from his side. 
 
 And dropt the dust on tearless eyes ; 
 
 Then fancy shapes, as fancy can, 5 
 
 The grief my loss in him had wrought, 
 A grief as deep as life or thought. 
 
 But stay'd in peace with God and man. 
 
 I make a picture in the brain ; 
 
 I hear the sentence that he speaks ; 10 
 
 He bears the burthen of the weeks. 
 
 But turns his burthen into gain. 
 
 His credit thus shall set me free ; 
 
 And, influence-rich to soothe and save. 
 Unused example from the grave 15 
 
 Reach out dead hands to comfort me. 
 
 LXXX 
 13-16. A most obscure stanza : it seems to mean, my belief that lie would 
 have acted thus, that is, "turned his burden into gain," lightens my burden, 
 and thus I profit from the influence of an example which exists only in assump- 
 tion or in hypothesis ; "his credit " appearing to mean the belief I place in 
 him, what I credit him with — an awkward imitation of the occasional use of 
 pronominal adjectives in Greek and Latin. Cf. the use of (tit and »■» in Odyssey, 
 xi. 20Z-3. Possibly it may mean vaguely "influence," i.e. the credit which 
 belonged to him in acting as he would have done. Cf. Ixxi. 5. It is one of 
 those studiedly vague subtleties of expression which are so perplexing in Virgil 
 and Sophocles as well as in Tennyson. 
 
m MEMORIAM 87 
 
 LXXXI 
 
 Could I have said while he was here 
 
 " My love shall now no further range ; 
 There cannot come a mellower change, 
 
 For now is love mature in ear." 
 
 Love, then, had hope of richer store : 5 
 
 What end is here to my complaint ? 
 This haunting whisper makes me faint, 
 
 " More years had made me love thee more." 
 
 But Death returns an answer sweet : 
 
 " My sudden fi-ost was sudden gain, 10 
 
 And gave all ripeness to the grain. 
 
 It might have drawn from after-heat." 
 
 LXXXII 
 
 I wage not any feud with Death 
 
 For changes wrought on form and face ; 
 No lower life that earth's embrace 
 
 May breed with him, can fright my faith. 
 
 Eternal process moving on, 5 
 
 From state to state the spirit walks ; 
 And these are but the shatter'd stalks. 
 
 Or ruin'd chrysalis of one. 
 
 Nor blame I Death, because he bare 
 
 The use of virtue out of earth : 10 
 
 I know transplanted human worth 
 
 Will bloom to profit, otherwhere. 
 
 LXXXI 
 Mr. Bradley's interpretation of this most obscure poem is probably the 
 correct one ; at all events, it is the only one which makes it intelligible. He pro- 
 poses to place a note of interrogation at the end of the first stanza, an answer 
 in the negative being assumed before! the second stanza. The meaning will 
 then be: Could I have said . . . love is mature in ear? No, I could not 
 have said this, and therefore love had hope of richer store, for had more years 
 been added to your life love would proportionately have increased. But Death 
 says no — ^his sudden frost matured the grain, i.e. love. 
 
 LXXXII 
 8, Editions i and 2. And ruined. 
 
88 IN MEMORIAM 
 
 For this alone on Death I wreak 
 
 The wrath that gamers in my heart ; 
 
 He put our lives so far apart 15 
 
 We cannot hear each other speak. 
 
 LXXXIII 
 
 Dip down upon the northern shore, 
 
 O sweet new-year delaying long ; 
 
 Thou doest expectant nature wrong ; 
 Delaying long, delay no more. 
 
 What stays thee from the clouded noons, 5 
 
 Thy sweetness from its proper place ? 
 Can trouble live with April days. 
 
 Or sadness in the summer moons ? 
 
 Bring orchis, bring the foxglove spire. 
 
 The little speedwell's darling blue, 10 
 
 Deep tulips dash'd with fiery dew, 
 
 Laburnums, dropping-wells of fire. 
 
 O thou, new-year, delaying long, 
 
 Delayest the sorrow in my blood. 
 
 That longs to burst a frozen bud, 15 
 
 And flood a fresher throat with song. 
 
 LXXXIV 
 
 When I contemplate all alone 
 
 The life that had been thine below. 
 And fix my thoughts on all the glow 
 
 To which thy crescent would have grown ; 
 
 I see thee sitting crown'd with good, 
 A central warmth diffusing bliss 
 In glance and smile, and clasp and kiss. 
 
 On all the branches of thy blood ; 
 
 LXXXIII 
 II. First edition, dasht. 
 
 LXXXIV 
 For preface to this poem, see Introduction, 
 
IN MEMORIAM 89 
 
 Thy blood, my friend, and partly mine ; 
 
 For now the day was drawing on, 10 
 
 When thou should' st link thy life with one 
 
 Of mine own house, and boys of thine 
 
 Had babbled " Uncle " on my knee ; 
 
 But that remorseless iron hour 
 
 Made cypress of her orange flower, 1 5 
 
 Despair of Hope, and earth of thee. 
 
 I seem to meet their least desire, 
 
 To clap their cheeks, to call them mine. 
 I see their unborn faces shine 
 
 Beside the never-lighted fire. 20 
 
 I see myself an honour'd guest. 
 
 Thy partner in the flowery walk 
 
 Of letters, genial table-talk. 
 Or deep dispute, and graceful jest ; 
 
 While now thy prosperous labour fills 25 
 
 The lips of men with honest praise. 
 And sun by sun the happy days 
 
 Descend below the golden hills 
 
 With promise of a morn as fair ; 
 
 And all the train of bounteous hours 30 
 
 Conduct by paths of growing powers. 
 
 To reverence and the silver hair ; 
 
 Till slowly worn her earthly robe. 
 
 Her lavish mission richly wrought. 
 
 Leaving great legacies of thought, 35 
 
 Thy spirit should fail from off the globe ; 
 
 What time mine own might also flee. 
 
 As link'd with thine in love and fate. 
 And, hovering o'er the dolorous strait 
 
 To the other shore, involved in thee, 40 
 
90 IN MEMORIAM 
 
 Arrive at last the blessed goal, 
 
 And He that died in Holy Land 
 Would reach us out the shining hand, 
 
 And take us as a single soul. 
 
 What reed was that on which I leant ? 45 
 
 Ah, backward fancy, wherefore wake 
 The old bitterness again, and break 
 
 The low beginnings of content. 
 
 LXXXV 
 
 This truth came borne with bier and pall, 
 I felt it, when I sorrow'd most, 
 'Tis better to have loved and lost. 
 
 Than never to have loved at all 
 
 O true in word, and tried in deed, 5 
 
 Demanding, so to bring relief 
 To this which is our common grief. 
 
 What kind of life is that I lead ; 
 
 And whether trust in things above 
 
 Be dimm'd of sorrow, or sustain'd ; 10 
 
 And whether love for him have drain'd 
 
 My capabilities of love ; 
 
 Your words have virtue such as draws 
 A faithful answer from the breast. 
 Thro' light reproaches^ half exprest, 15 
 
 And loyal unto kindly laws. 
 
 My blood an even tenor kept. 
 
 Till on mine ear this message falls. 
 That in Vienna's fatal walls 
 
 God's finger touch'd him, and he slept. 20 
 
 LXXXIV 
 42. 1S50. he. 
 
 LXXXV 
 
 This section is addressed to Edmund Lushington, who afterwards married 
 the poet's sister, Cecilia. 
 
IN MEMORIAM 91 
 
 The great Intelligences fair 
 
 That range above our mortal state, 
 In circle round the blessed gate. 
 
 Received and gave him welcome there ; 
 
 And led him thro' the bUssful climes, 25 
 
 And shoWd him in the fountain fresh 
 AU knowledge that the sons of flesh 
 
 Shall gather in the cycled times. 
 
 But I remain' d, whose hopes were dim, 
 
 Whose hfe, whose thoughts were little worth, 30 
 To wander on a darken'd earth. 
 
 Where all things round me breathed of him. 
 
 O friendship, equal-poised control, 
 
 O heart, with kindliest motion warm, 
 
 sacred essence, other form, 35 
 O solemn ghost, O crowned soul ! 
 
 Yet none could better know than I, 
 How much of act at human hands 
 The sense of human will demands. 
 
 By which we dare to live or die. 40 
 
 Whatever way my days decline, 
 
 1 felt and feel, tho' left alone. 
 His being working in mine own. 
 
 The footsteps of his life in mine ; 
 
 A life that all the Muses deck'd 45 
 
 With gifts of grace, that might express 
 All-comprehensive tenderness. 
 
 All-subtilising intellect : 
 
 LXXXV 
 
 21-25. ^/- Dante, Convito, ii. 5: "Li movitori di quello (Cielo) sono sus- 
 tanze separate da materia, ciofe Intelligenze, le quali la volgare gente chiamano 
 Angeli." 
 
 25. First edition, through. 
 
 36. 1850-51. ghost! 
 
 42. First edition, though. 
 
92 IN MEMORIAM 
 
 And so my passion hath not swerved 
 
 To works of weakness, but I find 50 
 
 An image comforting the mind. 
 
 And in my grief a strength reserved. 
 
 Likewise the imaginative woe, 
 
 That loved to handle spiritual strife. 
 Diffused the shock thro' all my life, 55 
 
 But in the present broke the blow. 
 
 My pulses therefore beat again 
 
 For other friends that once I met ; 
 Nor can it suit me to forget 
 
 The mighty hopes that make us men. 60 
 
 I woo your love : I count it crime 
 
 To mourn for any overmuch ; 
 
 I, the divided half of such 
 A friendship as had master'd Time ; 
 
 Which masters Time indeed, and is 65 
 
 Eternal, separate from fears : 
 The all-assuming months and years 
 
 Can take no part away from this : 
 
 But Summer on the steaming floods, 
 
 And Spring that swells the narrow brooks, 70 
 And Autumn, with a noise of rooks. 
 
 That gather in the waning woods. 
 
 And every pulse of wind and wave 
 
 Recalls, in change of light or gloom. 
 
 My old affection of the tomb, 75 
 
 And my prime passion in the grave : 
 
 My old affection of the tomb, 
 
 A part of stillness, yearns to speak : 
 " Arise, and get thee forth and seek 
 
 A friendship for the years to come. 80 
 
 LXXXV 
 55. First edition, through. 
 69 seqq. Cf. Petrarch, Sonetti {In Morte di Donna Laura), xi. and xlii. 
 
IN MEMORIAM 93 
 
 " I watch thee from the quiet shore ; 
 
 Thy spirit up to mine can reach ; 
 But in dear words of human speech 
 We two communicate no more." 
 
 And I, " Can clouds of nature stain 85 
 
 The starry clearness of the free ? 
 
 How is it ? Canst thou feel for me 
 Some painless sympathy with pain ? " 
 
 And lightly does the whisper fall ; 
 
 " 'Tis hard for thee to fathom this ; 90 
 
 I triumph in conclusive bliss. 
 And that serene result of aU." 
 
 So hold I commerce with the dead ; \ 
 Or so methinks the dead would say ; i ' 
 Or so shall grief with symbols play, 95 
 
 And pining life be fancy-fed. 
 
 Now looking to some settled end. 
 
 That these things pass, and I shall prove 
 A meeting somewhere, love with love, 
 
 I crave your pardon, O my friend ; 100 
 
 If not so fresh, with love as true, 
 
 I, clasping brother-hands, aver 
 
 I could not, if I would, transfer 
 The whole I felt for him to you. 
 
 For which be they that hold apart 105 
 
 The promise of the golden hours ? 
 
 First love, iirst friendship, equal powers, 
 That marry with the virgin heart. 
 
 Still mine, that cannot but deplore. 
 
 That beats within a lonely place, 110 
 
 That yet remembers his embrace. 
 But at his footstep leaps no more, 
 
94 IN MEMORIAM 
 
 My heart, tho' widow'd, may not rest 
 Quite in the love of what is gone, 
 But seeks to beat in time with one 115 
 
 That warms another living breast. 
 
 Ah, take the imperfect gift I bring, 
 Knowing the primrose yet is dear. 
 The primrose of the later year. 
 
 As not unlike to that of Spring. 120 
 
 LXXXVI 
 
 Sweet after showers, ambrosial air. 
 
 That roUest from the gorgeous gloom 
 Of evening over brake and bloom 
 
 And meadow, slowly breathing bare 
 
 The round of space, and rapt below 5 
 
 Thro' all the dewy-tassell'd wood. 
 And shadowing down the homed flood 
 
 In ripples, fan my brows and blow 
 
 The fever from my cheek, and sigh 
 
 The full new life that feeds thy breath 10 
 
 Throughout my frame, till Doubt and Death, 
 
 111 brethren, let the fancy fly 
 
 From belt to belt of crimson seas 
 
 On leagues of odour streaming far. 
 
 To where in yonder orient star 15 
 
 A hundred spirits whisper "Peace." 
 
 LXXXVI 
 This poem was written at Barmouth. See Life, i. 313. 
 I. In this magical epithet, involving the notions of fragrance and radiance, 
 Tennyson had been anticipated by Matthew Green, Spleen : — 
 Where odorous plants in ev'ning fair 
 Breathe all around ambrosial air. 
 7. Cf. Horace, Odes, iv. xiv. 25, ' ' tauriformis Aufidus," Virgil, Georg. iv. 371, 
 and Mneid, viii. 77, ' ' corniger Hesperidum fluvius," with Conington's elaborate 
 note on the former, explaining the epithet. The English poets have borrowed 
 it. Cf. Browne, Britannia's Pastorals, bk. ii. St. s, "the horned flood," and 
 Milton, Paradise Lost, xi, 831, " push'd by the horned flood." 
 
JN MEMORIAM 95 
 
 LXXXVII 
 
 I past beside the reverend walls 
 
 In which of old I wore the gown ; 
 I roved at random thro' the town. 
 
 And saw the tumult of the halls ; 
 
 And heard once more in college fanes 5 
 
 The storm their high-built organs make. 
 And thunder-music, rolling, shake 
 
 The prophets blazon'd on the panes ; 
 
 And caught once more the distant shout. 
 
 The measured pulse of racing oars 10 
 
 Among the willows ; paced the shores 
 
 And many a bridge, and all about 
 
 The same gray flats again, and felt 
 
 The same, but not the same ; and last 
 
 Up that long walk of limes I past 1 5 
 
 To see the rooms in which he dwelt. 
 
 Another name was on the door : 
 
 I linger'd ; all within was noise 
 
 Of songs, and clapping hands, and boys 
 
 That crash'd the glaSs and beat tbe floor ; 20 
 
 Where once we held debate, a band 
 
 Of youthful friends, on mind and art. 
 And labour, and the changing mart. 
 
 And all the framework of the land ; 
 
 When one would aim an arrow fan*, 25 
 
 But send it slackly from the string ; 
 And one would pierce an outer ring. 
 
 And one an inner, here and there ; 
 
 LXXXVII 
 
 3. 1850-51. through. 
 
 8. 1884 onward, prophet. 
 
 15. Cf. Sonnet to Rev. W. H. Brookfield :— 
 
 How oft with him we paced that walk of limes, 
 
 Him, the lost light. 
 The limes referred to are in Trinity College. 
 21. " The Water Club " (Tennyson's note). 
 
96 IN MEMORIAM 
 
 And last the master-bowmaiij he, 
 
 Would cleave the mark. A willing ear 30 
 We lent him. Who, but hung to hear 
 
 The rapt oration flowing free 
 
 From point to point, with power and grace 
 And music in the bounds of law, 
 To those conclusions when we saw 35 
 
 The God within him light his face. 
 
 And seem to lift the form, and glow 
 
 In azure orbits heavenly-wise ; 
 
 And over those ethereal eyes 
 The bar of Michael Angelo. 40 
 
 LXXXVIII 
 
 Wild bird, whose warble, liquid sweet. 
 Rings Eden thro' the budded quicks, 
 
 tell me where the senses mix, 
 O tell me where the passions meet. 
 
 Whence radiate : fierce extremes employ 5 
 
 Thy spirits in the darkening leaf. 
 And in the midmost heart of grief 
 
 Thy passion clasps a secret joy : 
 
 And I — my harp would prelude woe — 
 
 1 cannot all command the strings ; 10 
 The gloiy of the sum of things 
 
 Will flash along the chords and go. 
 
 LXXXVII 
 39, 40. Cf. Life, i. 38 : "These lines I wrote from what Arthur Hallam said 
 after reading of the prominent ridge of bone over the eyes of Michael Angelo, 
 ' Alfred, look over my eyes ; surely I have the bar of Michael Angelo. ' " For 
 a remarkable testimony to the faithfulness of Tennyson's beautiful picture 
 of Hallam, cf. Fanny Kemble's Record of a Girlhood, v.. 3, quoted in Intro- 
 duction. 
 
 LXXXVIII 
 
 This poem is almost a paraphrase of a very beautiful sonnet attributed to 
 Dante, commencing " Ora che '1 mondo s'adorna," Fraticelli's Ofere Minori 
 di Dante, \. 226. 
 
 2. 1850-51. through. 
 
 6. 1850-51. dusking. 
 
IN MEMORIAM 97 
 
 LXXXIX 
 
 Witchrclms that counterchange the floor 
 Of this flat lawn with dusk and bright ; 
 And thou, with all thy breadth and height 
 
 Of foliage, towering sycamore ; 
 
 How often, hither wandering down. 
 
 My Arthur found your shadows fair, 
 And shook to all the liberal air 
 
 The dust and din and steam of town : 
 
 He brought an eye for all he saw ; 
 
 He mixt in all our simple sports ; 10 
 
 They pleased him, fresh from brawling courts 
 
 And dusty purlieus of the law. 
 
 O joy to him in this retreat, 
 
 Immantled in ambrosial dark. 
 To drink the cooler air, and mark 
 
 The landscape winking thro' the heat . 
 
 O sound to rout the brood of cares. 
 
 The sweep of scythe in morning dew, 
 The gust that round the garden flew. 
 
 And tumbled half the mellowing pears ! 20 
 
 LXXXIX 
 
 1, u. Cf. Recollections of the Arabian Nights :— 
 A sudden splendour 
 
 counterchanged 
 The level lake with diamond-plots. 
 Of dark and bright. 
 This flat lawn was at Somersby Rectory. 
 
 7. Mr. Bradley quotes Byron, Manfred, i. i : " pipes in the liberal air.' 
 
 8, Cf. Horace, in. xxix. 12 : " fumum et opes strepitnmque Romse," 
 12. 1850-51. dusky. 
 
 16. 1850-51. through. 
 
 7 
 
98 IN MEMORIAM 
 
 O bliss, when all in circle drawn 
 
 About him, heart and ear were fed 
 To hear him, as he lay and read 
 
 The Tuscan poets on the lawn : 
 
 Or in the all-golden afternoon 25 
 
 A guest, or happy sister, sung. 
 Or here she brought the harp and flung 
 
 A ballad to the brightening moon : 
 
 Nor less it pleased in livelier moods. 
 
 Beyond the bomiding hill to stray, 30 
 
 And break the livelong summer day 
 
 With banquet in the distant woods ; 
 
 Whereat we glanced from theme to theme, 
 Discuss'd the books to love or hate. 
 Or touch'd the changes of the state, 35 
 
 Or threaded some Socratic dream ; 
 
 But if I praised the busy town. 
 
 He loved to rail against it still. 
 For " ground in yonder social mill 
 
 We rub each other's angles down, 40 
 
 And merge " he said " in form and gloss 
 The picturesque of man and man." 
 We talk'd r the stream beneath us ran, 
 
 The wine-flask lying couch'd in moss. 
 
 Or cool'd within the glooming wave ; 45 
 
 And last, returning from afar. 
 
 Before the crimson-circled star 
 Had fall'n into her father's grave, 
 
 LXXXIX 
 30. The "bounding hill," if. Ode to Memory, Iv., v. 
 36. The Platonic Dialogues ; cf. Horace's " Sooraticse chartse." 
 47, 48. An extreme instance of Tennyson's Alexandrianism. The meaning 
 is, ' ' before Venus, surrounded by the crimson sunset, had set " ; the sun being 
 called her father, in accordance with La Place's theory that she was evolved 
 from the sun, her ' ' father's grave " being the West. 
 
IN MEMORIAM 99 
 
 And brushing ankle-deep in flowers, 
 
 We heard behind the woodbine veil 50 
 
 The milk that bubbled in the pail. 
 
 And buzzings of the honied hours. 
 
 XC 
 
 He tasted love with half his mind, 
 
 Nor ever drank the inviolate spring 
 Where nighest heaven, who first could fling 
 
 This bitter seed among mankind ; 
 
 That could the dead, whose d3dng eyes 5 
 
 Were closed with wail, resume their life. 
 They would but find in child and wife 
 
 An iron welcome when they rise : 
 
 'Twas well, indeed, when warm with wine. 
 
 To pledge them with a kindly tear, 10 
 
 To talk them o'er, to wish them here. 
 
 To count their memories half divine ; 
 
 But if they came who past away. 
 
 Behold their brides in other hands ; 
 
 The hard heir strides about their lands, 1 5 
 
 And wiU not yield them for a day. 
 
 Yea, tho' their sons were none of these. 
 
 Not less the yet-loved sire would make 
 Confusion worse than death, and shake 
 
 The pillars of domestic peace. 20 
 
 XC 
 
 From this section to the end of xcv. we have a series of poems discujssiiig 
 possible communion between the living and the dead. With this section may 
 be compared the well-known story in Lord Lytton's Pilgrims of the Rhine, 
 ch. viii., " The Soul in Purgatory." 
 
 i8. First edition, yet loved. 
 
100 IN MEMORIAM 
 
 Ah dear, but come thou back to me : 
 
 Whatever change the years have wrought, 
 I find not yet one lonely thought 
 
 That cries against my wish for thee. 
 
 XCI 
 
 When rosy plumelets tuft the larch, 
 
 And rarely pipes the mounted thrush ; 
 Or underneath the barren bush 
 
 Flits by the sea-blue bird of March ; 
 
 Come, wear the form by which I know 5 
 
 Thy spirit in time among thy peers ; 
 The hope of unaccomplish'd years 
 
 Be large and lucid round thy brow. 
 
 When summer's hourly-mellowing change 
 
 May breathe, with many roses sweet, 10 
 
 Upon the thousand waves of wheat. 
 
 That ripple round the lonely grange ; 
 
 Come : not in watches of the night. 
 
 But where the sunbeam broodeth warm, 
 Come, beauteous in thine after form, 15 
 
 And like a finer light in light. 
 
 XCII 
 
 If any vision should reveal 
 
 Thy likeness, I might count it vain 
 As but the canker of the brain ; 
 
 Yea, tho' it spake and made appeal 
 
 XC 
 
 21. But, possibly an imitation of the Greek Axx« and the Latin "at" in 
 passionate entreaty. 
 
 XGl 
 
 4. Cf. Alcman, Fragments, 26 : kxmif^vfK ili'.fK Spm (the sea-purple bird 
 of spring). Tennyson says (see letter to the Duke of Argyll, Life, ii. 4) that 
 " he was walking one day in March by a deep-banked brook, and under the 
 leafless bushes he saw the kingfisher flitting or fleeting underneath him, and 
 there came into his head a fragment of an old Greek lyric poet," the fragment 
 quoted. But, according to Mr. Bradley, who quotes Ra.vinslej's Memories of 
 the TennysoTis, p. 109, ' ' by 1890 these details had faded from his mind, and, 
 though he ' supposed ' the bird was the kingfisher, he was willing to believe it 
 was the blue tit." 
 
 7, 8. A subtle and exquisitely felicitous application of the incident described 
 by Virgil, ySneid, ii. 681-84, the nimbus surrounding the head of lulus. 
 
m MEMORIAM 101 
 
 To chances where our lots were cast 5 
 
 Together in the days behind, 
 
 I might but say, I hear a wind 
 Of memory murmuring the past. 
 
 Yea, tho' it spake and bared to view 
 
 A fact within the coming year ; 10 
 
 And tho' the months, revolving near. 
 
 Should prove the phantom-warning true. 
 
 They might not seem thy prophecies. 
 
 But spiritual presentiments. 
 
 And such refraction of events 1 5 
 
 As often rises ere they rise. 
 
 XCIII 
 
 I shall not see thee. Dare I say 
 No spirit ever brake the band 
 That stays him from the native land. 
 
 Where first he walk'd when claspt in clay .'' 
 
 No visual shade of some one lost, 5 
 
 But he, the Spirit himself, may come 
 Where all the nerve of sense is numb ; 
 
 Spirit to Spirit, Ghost to Ghost. 
 
 O, therefore from thy sightless range 
 
 With gods in unconjectured bliss, 10 
 
 O, from the distance of the abyss 
 
 Of tenfold-complicated change. 
 
 Descend, and touch, and enter ; hear 
 
 The wish too strong for words to name ; 
 
 That in this blindness of the frame 15 
 
 My Ghost may feel that thine is near. 
 
 XCIII 
 
 9. For this use of sightless (invisible) cf. Shelley, Alastor, ad fin., "Whose 
 sightless speed divides the sullen night," and Adonais, xx., "sightless light- 
 ning" {i.e., Shakespeare, "lightning, which doth cease to be, e'er one can 
 say, It lightens"). 
 
102 IN MEMORIAM 
 
 XCIV 
 
 How pure at heart and sound in headj 
 With what divine affections bold 
 Should be the man whose thought would hold 
 
 An hour's communion with the dead. 
 
 In vain shalt thou, or any, call 5 
 
 The spirits from their golden day. 
 Except, like them, thou too canst say. 
 
 My spirit is at peace with all. 
 
 They haunt the silence of the breast, 
 
 Imaginations calm and fair, 10 
 
 The memory like a cloudless air. 
 The conscience as a sea at rest : 
 
 But when the heart is fuU of din. 
 
 And doubt beside the portal waits. 
 
 They can but listen at the gates, 15 
 
 And hear the household jar within. 
 
 xcv 
 
 By night we linger'd on the lawn. 
 
 For underfoot the herb was dry ; 
 
 And genial warmth ; and o'er the sky 
 The silvery haze of summer drawn ; 
 
 XCIV 
 The best commentary on this would be Taylor's Golden Grove Sermons, 
 Sermon iv. , and John Smith's Prefatory Discourse concerning the True Way 
 or Method of attaining Divine Knowledge, the passage beginning " Corrupt 
 passions and terrene affections are apt of their own nature to disturb all 
 thoughts," to the end (Select Discourses, Cambridge edition, pp. 9-22), a truly 
 divine discourse. 
 
 XCV 
 In this exquisite poem is described an experience not uncommon with the 
 mystics of all ages — with all who, in Sir Thomas Browne's language, "have 
 been so happy as truly to understand Christian annihilation, ecstasies, exolu- 
 tion, liquefaction, transformation, the kiss of the spouse, gustation of God, and 
 ingression into the divine shadow." For descriptions of similar trances, see 
 Porphyry, Life ofPlotinus, cap. xxiii. , Plotinus, Ennead, IV. lib. viii. ch. i. See, 
 
) 
 
 IN MEMORIAM 103 
 
 And calm that let the tapers bum 5 
 
 Unwavering : not a cricket chirr'd : 
 The brook alone far-ofF was heard, 
 
 And on the board the fluttering um : 
 
 And bats went round ia fragrant skies. 
 
 And wheel'd or lit the filmy shapes 10 
 
 That haunt the dusk, with ermine capes 
 
 And woolly breasts and beaded eyes ; 
 
 While now we sang old songs that peal'd 
 
 From knoll to knoll, where, couch'd at ease, 
 The white kine glimmer'd, and the trees 15 
 
 Laid their dark arms about the field. 
 
 But when those others, one by one, 
 
 Withdrew themselves from me and night. 
 And in the house light after light 
 
 Went out, and I was all alone, 20 
 
 A hunger seized my heart ; I read 
 
 Of that glad year which once had been. 
 
 In those fall'n leaves which kept their green, 
 
 The noble letters of the dead : 
 
 And strangely on the silence broke 25 
 
 The silent-speaking words, and strange 
 Was love's dumb cry defying change 
 
 To test his worth ; and strangely spoke 
 
 too, the whole of chapters ix. , x. , xi. , of Ennead, ix. lib. ix., and Bnnead, vi. 
 lib. ix. ch. ix. , Cardan's Life of himself, cap, xiii. : ' ' Quoties volo, extra sensum 
 quasi in ecstasim transeo . . . Sentio dum earn ineo, ac, ut verius dicam, facio 
 juxta cor quandam separationem, quasi anima abscederet, totique corpori res 
 haac communicatur quasi ostiolum quoddam aperiretur . . . hocque solum 
 sentio quod sum extra meipsum." Cf , too, Norris of Bemerton, The Elevation, 
 Henry Vaughan's Retreat, Silex Scintillans, and Henry Mora's Cupids Conflict. 
 For Tennyson's experiences, see Life, i. 320, and cf. The Ancient Sage : — 
 
 More than once when I 
 Sat all alone, ..... 
 
 The mortal limit of the Self was loosed, 
 And past 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. 
 
104 IN MEMORIAM 
 
 The faithj the vigour, bold to dwell 
 
 On doubts that drive the coward back, 30 
 
 And keen thro' wordy snares to track 
 
 Suggestion to her inmost cell. 
 
 So word by word, and line by line. 
 
 The dead man touch'd me from the past. 
 
 And all at once it seem'd at last 35 
 
 His living soul was flash'd on mine. 
 
 And mine in his was wound, and whirl'd 
 About empyreal heights of thought, 
 And came on that which is, and caught 
 
 The deep pulsations of the world, 40 
 
 jEonian music measuring out 
 
 The steps of Time — the shocks of Chance — 
 The blows of Death. At length my trance 
 
 Was cancell'd, stricken thro* with doubtr" 
 
 Vague words ! but ah, how hard to frame 45 
 
 In matter-moulded forms of speech. 
 Or ev'n for intellect to reach 
 
 Thro' memory that which I became : 
 
 xcv 
 
 31,32. C/. the anonymous letter describing Hallam's characteristics, .ffefMasM, 
 p. xxviii. : "He would always pursue the argument eagerly to the end, and 
 follow his antagonist into the most difficult places." 
 
 36. In and after 1878. The living soul. 
 
 37. After 1880. mine in this. 
 
 38. Ultimate reality, the Platonic To oWws ev. 
 
 39. 40. C/., for a good illustrative commentary, Henry Vaughan, Silex 
 Scintillans: The World: — • 
 
 I saw Eternity the other night, 
 
 Like a great Ring of pure and endless light, 
 
 All calm as it was bright ; 
 And round beneath it Time, in hours, days, years, 
 
 Driven by the spheres. 
 Like a vast shadow moved, in which the World 
 
 And all her train were hurled. 
 45-48. Cf. Dante, Paradiso, xxxiii. SS-S7 '■ — 
 
 Da quinci innanzi il mio veder fu maggio 
 
 Che il parlar nostro, ch' a tal vista cede, 
 
 E cede la memoria a tanto oltraggio. 
 
m MEMORIAM 105 
 
 Till now the doubtful dusk reveal'd 
 
 The knolls once more where, couch'd at ease, 50 
 The white kine glimmer' d, and the trees 
 
 Laid their dark arms about the field : 
 
 And suck'd from out the distant gloom 
 
 A breeze began to tremble o'er 
 
 The large leaves of the sycamore, 55 
 
 And fluctuate all the still perfume. 
 
 And gathering freshlier overhead, 
 
 Rock'd the full-foliaged elms, and swung 
 The heavy-folded rose, and flung 
 
 The lilies to and fro, and said 60 
 
 "The dawn, the dawn," and died away ; 
 And East and West, without a breath, 
 Mixt their dim lights, like life and death. 
 
 To broaden into boundless day. 
 
 XCVI 
 
 You say, but with no touch of scorn. 
 
 Sweet-hearted, you, whose light-blue eyes 
 Are tender over drowning flies. 
 
 You tell me, doubt is Devil-born. 
 
 I know not : one indeed I knew 5 
 
 In many a subtle question versed. 
 Who touch'd a jarring lyre at first. 
 
 But ever strove to make it true : 
 
 xcv 
 
 49-64. Surely among the miracles of descriptive poetry. 
 51, 52. Cf. Armstrong, Art of Preserving Health: — 
 
 The impending trees 
 Stretch their extravagant arms athwart the gloom. 
 
 XCVI 
 With this section cf. Hume (Dialogues concerning Natural Religion, part 
 xii. ad fin.): "To be a philosophical sceptic is in a man of letters the first 
 step to becoming a sound believing Christian." Cf, too, Donne, Satire, iii. 
 77. 78 :— 
 
 Doubt wysely : in strange waye 
 To stand enquiring right is not to straye. 
 See, too, Whateley's Bacon's Essays, p. 303. 
 
106 IN MEMORIAM 
 
 'i Perplext in faith, but pure in deeds, 
 i At last he beat his music out. 10 
 
 There Hves more faith in honest doubt, 
 ' ' Believe me, than in half the creeds. 
 
 He fought his doubts and gather'd strength. 
 He would not make his judgement bhnd. 
 He faced the spectres of the mind 15 
 
 And laid them : thus he came at length 
 
 To find a stronger faith his own ; 
 
 And Power was with him in the night. 
 Which makes the darkness and the light, 
 
 And dwells not in the light alone, 20 
 
 But in the darkness and the cloud. 
 As over Sinai's peaks of old. 
 While Israel made their gods of gold, 
 
 Altho' the trumpet blew so loud. 
 
 XCVIl 
 
 My love has talk'd with rocks and trees ; 
 He finds on misty mountain-ground 
 His own vast shadow glory-crown'd ; 
 
 He sees himself in all he sees. 
 
 Two partners of a married life — 5 
 
 I look'd on these and thought of thee 
 In vastness and in mystery. 
 
 And of my spirit as of a wife. 
 
 These two — they dwelt with eye on eye. 
 
 Their hearts of old have beat in tune, 10 
 
 Their meetings made December June, 
 
 Their every parting was to die. 
 
 XCVI 
 13-20. SeeArthur HaWam's Sonnet to my Mother {Remains, p. 75), describing 
 how the remembrance of her gentle faith had enabled him to fight his doubts :— 
 And on the calmed waters once again 
 Ascendant Faith circles with silver plume. 
 22. See Exodus xix. 16. 
 
 XCVII 
 
 n, 3. An allusion, perhaps, to the spectre of the Brocken. 
 
IN MEMORIAM 107 
 
 Their love has never past away ; 
 
 The days she never can forget 
 
 Are earnest that he loves her yet, 15 
 
 Whate'er the faithless people say. 
 
 Her life is lone, he sits apart. 
 
 He loves her yet, she will not weep, 
 Tho' rapt in matters dark and deep 
 
 He seems to slight her simple heart. 20 
 
 He thrids the labjrrinth of the mind. 
 
 He reads the secret of the star. 
 
 He seems so near and yet so far. 
 He looks so cold : she thinks him kind. 
 
 She keeps the gift of years before, 25 
 
 A wither'd violet is her bliss ; 
 
 She knows not what his greatness is ; 
 For that, for all, she loves him more. 
 
 For him she plays, to him she sings 
 
 Of early faith and plighted vows ; 30 
 
 She knows but matters of the house. 
 
 And he, he knows a thousand things. 
 
 Her faith is fixt and cannot move. 
 
 She darkly feels hinl great and wise, 
 
 She dwells on him with faithful eyes, 35 
 
 " I cannot understand : I love." 
 
 XCVIII 
 
 You leave us : you will see the Rhine, 
 And those fair hills I sail'd below. 
 When I was there with him ; and go 
 
 By summer belts of wheat and vine 
 
 XCVIII 
 Addressed to Charles Tennyson and his bride in May 1836 (see Lift, i. 148). 
 
108 IN MEMORIAM 
 
 To where he breathed his latest breath, 5 
 
 That City. All her splendour seems 
 No livelier than the wisp that gleams 
 
 On Lethe in the eyes of Death. 
 
 Let her great Danube rolling fan* 
 
 Enwind her isles, unmark'd of me : 1 
 
 I have not seen, I will not see 
 Vienna ; rather dream that there. 
 
 A treble darkness, Evil haunts 
 
 The birth, the bridal ; friend from friend 
 
 Is oftener parted, fathers bend 15 
 
 Above more graves, a thousand wants 
 
 Gnarr at the heels of men, and prey 
 
 By each cold hearth, and sadness flings 
 Her shadow on the blaze of kings : 
 
 And yet myself have heard him say, 20 
 
 That not in any mother town 
 
 With statelier progress to and fro 
 
 The double tides of chariots flow 
 By park and suburb under brown 
 
 Of lustier leaves ; nor more content, 25 
 
 He told me, lives in any crowd. 
 When all is gay with lamps, and loud 
 
 With sport and song, in booth and tent. 
 
 Imperial halls, or open plain ; 
 
 And wheels the circled dance, and breaks 30 
 
 The rocket molten into flakes 
 Of crimson or in emerald rain. 
 
 XCVIII 
 7, 8. Tennysonese for a will o' the wisp, 
 lo. First edition, unmarked. 
 13. First edition, evil. 
 
IN MEMORIAM 109 
 
 XCIX 
 
 Risest thou thus, dim dawn, again. 
 So loud with voices of the birds. 
 So thick with lowings of the herds, 
 
 Day, when I lost the flower of men ; 
 
 Who tremblest thro' thy darkling red 5 
 
 On yon swoU'n brook that bubbles fast 
 By meadows breathing of the past. 
 
 And woodlands holy to the dead ; 
 
 Who murmurest in the foliaged eaves 
 
 A song that slights the coming care, 10 
 
 And Autumn laying here and there 
 
 A fiery finger on the leaves ; 
 
 Who wakenest with thy balmy breath 
 
 To myriads on the genial earth. 
 
 Memories of bridal, or of birth, 15 
 
 And unto myriads more, of death. 
 
 O, wheresoever those may be. 
 
 Betwixt the slumber of the poles. 
 To-day they count as kindred souls ; 
 
 They know me not, but mourn with me. 20 
 
 I climb the hill : from end to end 
 
 Of all the landscape underneath, 
 I find no place that does not breathe 
 
 Some gracious memory of my friend ; 
 
 XCIX 
 For the significance, see Introduction ; cf. with sec. Ixxii. 
 
 17. Later editions remove the comma after " O." 
 
 18. The movement of the earth's axis being, lilce a top, "asleep." Mr. 
 Bradley appositely quotes Marlowe, Dr. Faustm (opening soliloquy): "All 
 things that move between the quiet poles." 
 
 C 
 
 This beautiful section is thoroughly Petrarchian. 
 I. 1850-51. I wake, I rise. 
 
110 m MEMORIAM 
 
 No gray old grange, or lonely fold, 6 
 
 Or low morass and whispering reed. 
 Or simple stile from mead to mead. 
 
 Or sheepwalk up the windy wold ; 
 
 Nor hoary knoll of ash and haw 
 
 That hears the latest linnet trill, 10 
 
 Nor quarry trench'd along the hill. 
 
 And haunted by the wrangling daw ; 
 
 Nor runlet tinkling from the rock ; 
 Nor pastoral rivulet that swerves 
 To left and right thro' meadowy curves, 15 
 
 That feed the mothers of the flock ; 
 
 But each has pleased a kindred eye. 
 And each reflects a kindlier day ; 
 And, leaving these, to pass away, 
 
 I think once more he seems to die. 20 
 
 CI 
 
 Unwatch'd, the garden bough shall sway. 
 The tender blossom flutter down. 
 Unloved, that beech will gather brown, 
 
 This maple bum itself away ; 
 
 Unloved, the sun-flower, shining fair, 5 
 
 Ray round with flames her disk of seed, 
 And many a rose-carnation feed " 
 
 With summer spice the humming air ; 
 
 Unloved, by many a sandy bar. 
 
 The brook shall babble down the plain, 10 
 
 At noon or when the lesser wain 
 
 Is twisting round the polar star ; 
 
 CI 
 
 This gem of description is a faithful picture of the garden at Somersby. 
 II, 12. Cf. Sophocles, Trachinia, 130; — 
 
 a.pitTOU r 
 
IN MEMORIAM ill 
 
 Uncared for, gird the windy grove. 
 
 And flood the haunts of hem and crake ; 
 
 Or into silver arrows break 1 5 
 
 The sailing moon in creek and cove ; 
 
 Till from the garden and the wild 
 A fresh association blow, 
 And year by year the landscape grow 
 
 Familiar to the stranger's child ; 20 
 
 As year by year the labourer tills 
 
 His wonted glebe, or lops the glades ; 
 And year by year our memory fades 
 
 From all the circle of the hills. 
 
 CII 
 
 We leave the well-beloved place 
 
 Where first we gazed upon the sky ; 
 The roofs, that heard our earliest cry. 
 
 Will shelter one of stranger race. 
 
 We go, but ere we go from home, 5 
 
 As down the garden-walks I move. 
 Two spirits of a diverse love 
 
 Contend for loving masterdom. 
 
 One whispers, here thy boyhood sung 
 
 Long since its matin song, and heard 10 
 
 The low love-language of the bird 
 
 In native hazels tassel-hung. 
 
 The other answers, " Yea, but herfe 
 
 Thy feet have stray'd in after hours 
 
 With thy lost friend among the bowers, 15 
 
 And this hath made them trebly dear." 
 
 CII 
 
 The reference is to the Tennysons leaving Somersby Rectory in 1837 
 (see Life, i. 149). 
 
 7. Tennyson himself, in MS. notes to Dr. Gatty's Key, explained this as 
 ' ' the love of the native place, the same love enhanced by the memory of the 
 friend," 
 
112 IN MEMORIAM 
 
 These two have striven half the day. 
 
 And each prefers his separate claim. 
 Poor rivals in a losing game. 
 
 That will not yield each other way. 20 
 
 I turn to go : my feet are set 
 
 To leave the pleasant fields and farms ; 
 They mix in one another's arms 
 
 To one pure image of regret. 
 
 cm 
 
 On that last night before we went 
 
 From out the doors where I was bred, 
 I dream'd a vision of the dead. 
 
 Which left my after-mom content. 
 
 Methought I dwelt within a hall, 5 
 
 And maidens with me : distant hills 
 From hidden summits fed with rills 
 
 A river sliding by the wall. 
 
 The hall with harp and carol rang. 
 
 They sang of what is wise and good 10 
 
 And graceful. In the centre stood 
 
 A statue veil'd, to which they sang ; 
 
 And which, the' veil'd, was known to me. 
 The shape of him I loved, and love 
 For ever : then flew in a dove 15 
 
 And brought a summons from the sea : 
 
 cm 
 
 This allegorical vision forms an appropriate transition from the third cycle 
 of the poem to the fourth, which is to sum up the results of the discipline of 
 Love and Sorrow. 
 
 3. The dead man, Hallam. 
 
 6-8. The maidens Tennyson himself interpreted, in some MS. notes to 
 Dr. Gatty 's Key, as ' ' all the human powers and talents that do not pass 
 with life, but go along with it " ; the distant hills from hidden summits, as "the 
 high, divineoriginoflife"; theriver, " life itself " ; thesea, "eternity, "including 
 also the notion of the Future. The ' ' statue veil'd " is his dead friend, in whom 
 he saw the type of the ideal man, ' ' the noble type, appearing ere the times were 
 ripe " (see Epilogue), and who is therefore the object of their homage. The 
 summons and departure of the poet appears to symbolise his call to a fuller 
 life ; the weeping and wailing of the maidens, the natural disinclination of the 
 merely intellectual and sensuous nature to obey the higher will. The voyage 
 
IN MEMORIAM 113 
 
 And when they learnt that I must go 
 
 They wept and wail'd, but led the way 
 To where a little shallop lay 
 
 At anchor in the flood below ; 20 
 
 And on by many a level mead. 
 
 And shadowing bluff that made the banks, 
 We glided winding under ranks 
 
 Of iris, and the golden reed ; 
 
 And still as vaster grew the shore, 25 
 
 And roU'd the floods in grander space. 
 The maidens gather'd strength and grace 
 
 And presence, lordlier than before ; 
 
 And I myself, who sat apart 
 
 And watch'd them, wax'd in every limb ; 30 
 
 I felt the thews of Anakim, 
 The pulses of a Titan's hestrt ; 
 
 As one would sing the death of war. 
 And one would chant the history 
 Of that great race, which is to be, 35 
 
 And one the shaping of a star ; 
 
 Until the forward-creeping tides 
 Began to foam, and we to draw 
 From deep to deep, to where we saw 
 
 A great ship lift her shining sides. 40 
 
 explains itself. 25-28 Tennyson himself explained as "the great progress 
 of the age, as well as the opening of another world," and 33-36 as "all the 
 great hopes of science and men." The arrival at 'the great ship seems to 
 mean the life beyond the grave, the spirit world. 45-48. Tennyson's note is, 
 " He was wrong to drop his earthly hopes and powers ; they will still be of 
 use to him." On the maidens being bidden to enter in, a note of Tennyson's 
 also throws light ; ' ' Everything that made Life beautiful here we may hope 
 may pass on with us beyond the grave." This is the best interpretation I am 
 able to offer of this necessarily obscure and ambiguous poem. Possibly Mr. 
 Bradley's interpretation — which I cannot accept, but have no space to discuss — 
 may be preferable. The chief obscurity of the poem arises from the dream- 
 like confusion, perhaps intentional, between a millennian future on earth and 
 a. future beyond the grave. 
 
 30. First edition, waxt. 
 
 31. Cf. Deuteronomy ii. 10. 
 
 8 
 
114 IN MEMORIAM 
 
 The man we loved was there on deckj 
 But thrice as large as man he bent 
 To greet us. Up the side I wentj 
 
 And fell in silence on his neck : 
 
 Whereat those maidens with one mind 4i 
 
 Bewail'd their lot ; I did them wrong : 
 " We served thee here," they said, " so long, 
 
 And wilt thou leave us now behind ? " 
 
 So rapt I was, they could not win 
 
 An answer from my lips, but he 5C 
 
 Replying, " Enter likewise ye 
 And go with us : " they enter'd in. 
 
 And while the wind began to sweep 
 A music out of sheet and shroud. 
 We steer'd her toward a crimson cloud 55 
 
 That landlike slept along the deep. 
 
 CIV 
 
 The time draws near the birth of Christ ; 
 
 The moon is hid, the night is still ; 
 
 A single church below the hill 
 Is pealing, folded in the mist. 
 
 A single peal of bells below, 5 
 
 That wakens at this hour of rest 
 A single murmur in the breast. 
 
 That these are not the bells I know. 
 
 Like strangers' voices here they sound. 
 
 In lands where not a memory strays, 10 
 
 Nor landmark breathes of other days. 
 
 But all is new unhallow'd ground. 
 
 CIV 
 
 3. Waltham Abbey Church. The Tennysons had at this time removed to 
 High Beech, Epping Forest. 
 
m MEMORIAM 115 
 
 cv 
 
 This holly by the cottage-eave, 
 
 To-night, ungather'd, shall it stand : 
 We live within the stranger's land, 
 
 And strangely falls our Christmas-eve. 
 
 Our father's dust is left alone 5 
 
 And silent under other snows : 
 There in due time the woodbine blows, 
 
 The violet comes, but we are gone. 
 
 No more shall wayTvard grief abuse 
 
 The genial hour with mask and mime ; 10 
 
 For change of place, like growth of time. 
 
 Has broke the bond of dying use. 
 
 Let cares that petty shadows cast. 
 
 By which our lives are chiefly proved, 
 
 A little spare the night I loved, 15 
 
 And hold it solemn to the past. 
 
 But let no footstep beat the floor. 
 
 Nor bowl of wassail mantle warm ; 
 For who would keep an ancient form 
 
 Thro' which the spirit breathes no more ? 20 
 
 Be neither song, nor game, nor feast ; 
 
 Nor harp be touch'd, nor flute be blown ; 
 
 No dance, no motion, save alone 
 What lightens in the lucid east 
 
 Of rising worlds by yonder wood. 25 
 
 Long sleeps the summer in the seed ; 
 Run out your measured arcs, and lead 
 
 The closing cycle rich in good. 
 
 CV 
 1, 2. So all the earlier editions. Subsequent editions : — 
 To-night ungather'd let us leave 
 This laurel, let this holly stand. 
 20. 1850-51. Through. 
 
 24. "This refers to the scintiUation of the stars" (Tennyson's note on 
 Gatty). 
 27. First and second editions, measur'd. 
 
116 IN MEMORIAM 
 
 cvi 
 
 Ring out, wild bells, to the wild sky. 
 The flying cloud, the frosty light : 
 The year is dying in the night ; 
 
 Ring out, wild beUs, and let him die. 
 
 Ring out the old, ring in the new, 
 
 Ring, happy bells, across the snow : 
 The year is going, let him go ; 
 
 Ring out the false, ring in the true. 
 
 Ring out the grief that saps the mind. 
 
 For those that here we see no more ; 10 
 
 Ring out the feud of rich and poor. 
 
 Ring in redress to all mankind. 
 
 Ring out a slowly dying cause. 
 
 And ancient forms of party strife ; 
 
 Ring in the nobler modes of life, 15 
 
 With sweeter manners, purer laws. 
 
 Ring out the want, the care, the sin. 
 The faithless coldness of the times ; 
 Ring out, ring out my mournful rhymes, 
 
 But ring the fuller minstrel in. 20 
 
 Ring out false pride in place and blood. 
 
 The civic slander and the spite ; 
 
 Ring in the love of truth and right, 
 Ring in the common love of good. 
 
 Ring out old shapes of foul disease ; 25 
 
 Ring out the narrowing lust of gold ; 
 Ring out the thousand wars of old. 
 
 Ring in the thousand years of peace. 
 
m MEMORIAM 117 
 
 Ring in the valiant man and free. 
 
 The larger heartj the kindlier hand ; 30 
 
 Ring out the darkness of the land. 
 
 Ring in the Christ that is to be. 
 
 CVII 
 
 It is the day when he was born, 
 
 A bitter day that early sank 
 
 Behind a purple-frosty bank 
 Of vapour, leaving night forlorn. 
 
 The time admits not flowers or leaves 5 
 
 To deck the banquet. Fiercely flies 
 The blast of North and East, and ice 
 
 Makes daggers at the sharpen'd eaves. 
 
 And bristles all the brakes and thorns 
 
 To yon hard crescent, as she hangs 10 
 
 Above the wood which grides and clangs 
 
 Its leafless ribs and iron horns 
 
 Together, in the drifts that pass 
 
 To darken on the rolling brine 
 
 That breaks the coast. But fetch the wine, 15 
 Arrange the board and brim the glass ; 
 
 CVI 
 
 32. A remarkable expression of Tennyson's belief in progressive Christianity. 
 Cf. Life, i. 326, where it is said that he expressed his belief ' ' that the forms of 
 Christian religion would alter, but that the spirit of Christ would still grow 
 
 from more to more when Christianity without bigotry will triumph, when 
 
 the controversies of creeds shall have vanished, and 
 
 Shall bear false witness, each of each, no more, 
 
 But find their limits by that larger light. 
 
 And overstep them, moving easily 
 
 Thro' after-ages in the Love of Truth, 
 
 The truth of Love." 
 
 CVII 
 Hallam's birthday was ist February 1811. 
 
 dseqq. Recalling Alcseus, Fragment, xxxiv., and Horace, Odes, I. ix. 1-8. 
 II. " Gride " is here used in the very uncommon and perhaps unwarrantable 
 sense of harshly grate. Cf. Shelley, Prometheus Unbound, in. ii. : — 
 Hear ye the thunder of the fiery wheels 
 Griding the winds. 
 
118 IN MEMORIAM 
 
 Bring in great logs and let them lie, > 
 
 To make a solid core of heat ; 
 
 Be cheerful-minded, talk and treat 
 Of all things ev'n as he were by ; 20 
 
 We keep the day. With festal cheer, 
 With books and music, surely we 
 Will drink to him, iwhate'er he be, 
 
 And sing the songs he loved to hear. 
 
 CVIII 
 
 I will not shut me from my kind. 
 And, lest I stiffen into stone, ? 
 I will not eat my heart alone. 
 
 Nor feed with sighs a passing wind : 
 
 What profit lies in barren faith. 
 
 And vacant yearning, tho' with might 
 To scale the heaven's highest height. 
 
 Or dive below the wells of Death .'' 
 
 What find I in the highest place, 
 
 But mine own phantom chanting hymns ? 10 
 And on the depths of death there swims 
 
 The reflex of a human face. 
 
 I'll rather take what fruit may be 
 Of sorrow under human skies : 
 'Tis held that sorrow makes us wise, 15 
 
 "■ Whatever wisdom sleep with thee. 
 
 CVIII 
 
 ij. ^schylus, Agamemnon, 171-72, Eumenides, 495, and the proverb 
 fjcxdrifiMTot ^»Hfjca.rtt. Cf. Byron, Manfred, i. i : — 
 
 Grief should be the instructor of the wise ; 
 Sorrow is knowledge. 
 
m MEMORIAM 119 
 
 cix 
 
 Heart-affluence in discursive talk 
 
 From household fountains never dry ; 
 The critic clearness of an eye. 
 
 That saw thro' all the Muses' walk ; 
 
 Seraphic intellect and force 5 
 
 To seize and throw the doubts of man ; 
 Impassion'd logic, which outran 
 
 The hearer in its fiery course ; 
 
 High nature amorous of the good, 
 
 But touch'd with no ascetic gloom ; 10 
 
 And passion pure in snowy bloom 
 Thro' all the years of April blood ; 
 
 A love of freedom rarely felt. 
 
 Of freedom in her regal seat 
 
 Of England ; not the schoolboy heat, 15 
 
 The blind hysterics of the Celt ; 
 
 And manhood fused with female grace 
 In such a sort, the child would twine 
 A trustful hand, unask'd, in thine. 
 
 And find his comfort in thy face ; 20 
 
 All these have been, and thee mine eyes 
 Have look'd on : if they look'd in vain. 
 My shame is greater who remain. 
 
 Nor let thy wisdom make me wise. 
 
 CX 
 
 Thy converse drew us with delight. 
 The men of rathe and riper years : 
 The feeble soul, a haunt of fears, 
 
 Forgot his weakness in thy sight. 
 
 CIX 
 From this section to cxiii. the character of his friend, a picture of the ideal 
 man, is described. With this cf. Gladstone's testimony {Life, i. 299), and what 
 the late Lord Houghton and Dean Alford said of him (Id. 107). 
 
120 m MEMORIAM 
 
 On thee the loyal-hearted hung, 5 
 
 The proud was half disarm'd of pride. 
 Nor cared the serpent at thy side 
 
 To flicker with his double tongue. 
 
 The stem were mild when thou wert by, 
 
 The flippant put himself to school 10 
 
 And heard thee, and the brazen fool 
 
 Was soften' d, and he knew not why ; 
 
 While I, thy dearest, sat apart. 
 
 And felt thy triumph was as mine ; 
 
 And loved them more, that they were thine, 1 5 
 
 The graceful tact, the Christian art ; 
 
 Not mine the sweetness or the skill. 
 
 But mine the love that will not tire. 
 And, bom of love, the vague desire 
 
 That spurs an imitative will. 20 
 
 CXI 
 
 The churl in spirit, up or down 
 
 Along the scale of ranks, thro' all. 
 To him who grasps a golden ball. 
 
 By blood a king, at heart a clown ; 
 
 The churl in spirit, howe'er he veil 5 
 
 His want in forms for fashion's sake. 
 Will let his coltish nature break 
 
 At seasons thro' the gilded pale : 
 
 For who can always act .'' but he. 
 
 To whom a thousand memories call, 10 
 
 Not being less but more than all 
 The gentleness he seem'd to be, 
 
 CX 
 8. 1850-51. treble. 
 13. In and after 1875. nearest. 
 17. So till 1877, then Nor. 
 
 CXI 
 3. 1850-51. To who may grasp. 
 
IN MEMORIAM 121 
 
 Best seem'd the thing he was, and join'd 
 
 Each office of the social hour 
 
 To noble manners, as the flower 1 5 
 
 And native growth of noble mind ; 
 
 Nor ever narrowness or spite. 
 Or villain fancy fleeting by. 
 Drew in the expression of an eye, 
 
 Where God and Nature met in light ; 20 
 
 And thus he bore without abuse 
 
 The grand old name of gentleman. 
 Defamed by every charlatan, 
 
 And soil'd with all ignoble use. 
 
 CXII 
 
 High wisdom holds my wisdom less. 
 
 That I, who gaze with temperate eyes 
 On glorious insufficiencies. 
 
 Set light by narrower perfectness. 
 
 But thou, that fillest all the room 5 
 
 Of all my love, art reason why 
 I seem to cast a careless eye 
 
 On souls, the lesser lords of doom. 
 
 CXI 
 
 13. 1850-51. So wore his outward best. 
 
 CXII 
 
 1-8. These most obscure stanzas seem to mean : the fact that, while I am 
 not dazzled by men of splendid but unequal powers, I regard with indifference 
 men who have made the most of narrower powers, make certain really wise 
 people question my wisdom. But the reason of my having no great admiration 
 of the first, and being so indifferent to the second, is that my love for you (his 
 dead friend) leaves no room for interest in ordinary men. ' ' The lesser lords of 
 doom," Tennyson himself explained as "those who have free will, but less 
 intellect." The expressions, "gazing with temperate eyes," and "set light by," 
 are both harsh and obscure. Possibly " gazing with temperate eyes " = regard 
 with indulgence, or make allowance for; and possibly "glorious" may mean 
 "boastful," as in cxxviii. 14. 
 
 Dr. Gatty's note, which Tennyson had read and passed apparently un- 
 questioned, is: "He esteems high purposes after what is unattained, as 
 exhibited in Hallam's shortened life, more than a complete fulfilment of 
 lesser duties by the lords of doom who rule in our social system, and are those 
 that have free will but less intellect. " 
 
122 IN MEMORIAM 
 
 For what wert thou ? some novel power 
 
 Sprang up for ever at a touch, 10 
 
 And hope could never hope too muchj 
 
 In watching thee from hour to hour. 
 
 Large elements in order brought. 
 
 And tracts of calm from tempest made. 
 
 And world-wide fluctuation sway'd 15 
 
 In vassal tides that follow'd thought. 
 
 CXIII 
 
 'Tis held that son'ow makes us wise ; 
 
 Yet how much wisdom sleeps with thee 
 
 Which not alone had guided me. 
 But served the seasons that may rise ; 
 
 For can I doubt, who knew thee keen 5 
 
 In intellect, with force and skill 
 
 To strive, to fashion, to fulfil^ 
 I doubt not what thou wouldst have been : 
 
 A life in civic action warm, 
 
 A soul on highest mission sent, 10 
 
 A potent voice of Parliament, 
 A pillar steadfast in the storm. 
 
 Should licensed boldness gather force. 
 Becoming, when the time has birth, 
 A lever to uplift the earth 15 
 
 And roll it in another course. 
 
 With thousand shocks that come and go, 
 With agonies, with energies. 
 With overthrowings, and with cries. 
 
 And undulations to and fro. 20 
 
 CXIII 
 
 17. 1850-51. many. 
 
IN MEMORIAM 123 
 
 CXIV 
 
 Who loves not Knowledge ? Who shall rail 
 Against her beauty ? May she mix 
 With men and prosper ! Who shall fix 
 
 Her pillars ? Let her work prevail. 
 
 CXIV 
 
 This momentous distinction between Knowledge and Wisdom, which is 
 the basis on which the metaphysical philosophy of In Memoriam rests, is 
 practically that of the distinction drawn by Plato (Repub. vi. , ad fin. ) between 
 li&touc and >oi)iric or »o5s , and by Coleridge between understanding and reason 
 (Aids to Reflection, Commentary on Aphorism viii.). In Plato, »oyf or vov,ffii 
 is the faculty by which we apprehen H th^* higrhpct nhjcptg nf k nowledg e, real 
 exSten ce, It IS spiritual in sight... ap is "reason" with Coleridge. It is the 
 faculty^which we derive dire5tLyL_from God, being, according to Plato, an 
 emanation from Him ; so MlTton — 
 
 Whence the soul 
 Reason receives, and reason is her being ; 
 and this is Tennyson's "Wisdom." But SiKvums, or " understandin g," is the 
 faculty whereby we apprehend not abstract but physical and sensuous truth ; 
 it is concerned with the world of matter, the Platonic ifivrU tkik, as opposed 
 to the world of essence, vovitIs toVos; and this is Tennyson's "Knowledge." 
 The.__Elatai!ic_ _Si«»oj«, Coleridge's "understanding," and Tennyson's 
 "Knowledge," is tjie faculty by which we ajiprehend scientific truth ; the other, 
 the'laculty^y whichl we jjjpfeHencTt&eolp^ical: or .spirituar trufliSj it is 
 St. John's •^uxm "■Tifivins ; hence tlie association of the one witFfaith, reverence, 
 and humility ; of the other, with all that is implied in Professor Huxley's 
 aphorism that man must live not by faith but by ' ' verification. " In sec. Ivi. 
 he is reading life in the light of "Knowledge" ; in the concluding sections 
 of the poem, in the light of "Wisdom." Tennyson is fond of drawing the 
 dislinctioa between "Knowledge" and "Wisdom," b'ut not in the deeply 
 metaphysicafiense in which he does so-'here. ' Cf. Locksley Hall, "Knowledge 
 comes, but wisdom lingers," and Love and Duty, 
 
 Wait, and Love himself will bring 
 The drooping flower of knowledge changed to fruit 
 Of wisdom. 
 For this sense cf. the saying of Heraclitus, ^rokufLnSn »oo» ov iiliirxti, Diog. Laert. 
 ix. i (much knowledge teaches not wisdom). Cf. , too, an interesting chapter in 
 AulusGellius,M7c/ej.<4W.,lib. xiii. c. 8 ; Milton, Paradise Regained, iv. ^zosejf.; 
 Quarles, /oi Militant, Medit. xi. 7-42 ; and Cowper's Task, vi. 88-99. 'The 
 last may be quoted : — 
 
 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 wisdom 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. 
 Wisdom is humble that he knows no more. 
 I. 1850. knowledge. 
 
124 IN MEMORIAM 
 
 But on her forehead sits a fire : 
 
 She sets her forward countenance 
 And leaps into the future chance. 
 
 Submitting all things to desire. 
 
 Half-grown as yet, a child, and vain — 
 
 She cannot fight the fear of death. 10 
 
 What is she, cut from love and faith. 
 
 But some wild Pallas from the brain 
 
 Of Demons ? fiery-hot to burst 
 
 All barriers in her onward race 
 
 For power. Let her know her place ; 15 
 
 She is the second, not the first. 
 
 A higher hand must make her mild. 
 If all be not in vain ; and guide 
 Her footsteps, moving side by side 
 
 With wisdom, like the younger child : 20 
 
 For_she is earthly of the mind, , f 
 
 "" Eut Wisdom heavenly of the soul. '^ 
 O, friend, wKo earnest to thy goal 
 So early, leaving me behind. 
 
 I would the great world grew like thee, \ 25 
 Who grewest not alone in power 
 And knowledge, but by year and hour 
 
 In reverence and in charity. 
 
 CXIV 
 
 22. iSjo. wisdom. 
 
 27. 1830-51. but from hour to hour. 
 
IN MEMORIAM 125 
 
 cxv 
 
 Now fades the last long streak of snow, 
 Now burgeons every maze of quick 
 About the flowering squares, and thick 
 
 By ashen roots the violets blow. 
 
 Now rings the woodland loud and long, 5 
 
 The distance takes a lovelier hue. 
 And drown' d in yonder living blue 
 
 The lark becomes a sightless song. 
 
 Now dance the lights on lawn and lea. 
 
 The flocks are whiter down the vale, 10 
 
 And milkier every milky sail 
 On winding stream or distant sea ; 
 
 Where now the seamew pipes, or dives 
 In yonder greening gleam, and fly 
 The happy birds, that change their sky 15 
 
 To build and brood ; that live their lives 
 
 From land to land ; and in my breast 
 Spring wakens too ; and my regret 
 Becomes an April violet. 
 
 And buds and blossoms like the rest. 20 
 
 CXVI 
 
 Is it, then, regret for buried time 
 
 That keenlier in sweet April wakes. 
 And meets the year, and gives and takes 
 
 The colours of the crescent prime .'' 
 
 CXV 
 For the significance of this section, see Introduction. 
 
 6, 7. So all the early editions, but in or just before 1875, 
 
 The distance takes a living hue, 
 And drown'd in yonder livelier blue. 
 In or before 1878 altered back to the original reading. 
 
 7, 8. Cf. Shelley, Ode to a Skylark, 
 
 Thou art unseen, but yet I hear thy shrill delight, 
 and Goethe, Faust, part i. , 
 
 Wenn xiber uns im blauen Raum verloren 
 Ihr schmettemd Lied die Lerche singt. 
 
126 m MEMORIAM 
 
 Not all : the songs, the stii-ring air. 
 The life re-orient out of dust. 
 Cry thro' the sense to hearten trust 
 
 In that which made the world so fair. 
 
 Not all regret : the face will shine 
 
 Upon me, while I muse alone ; 10 
 
 And that dear voice, I once have known. 
 
 Still speak to me of me and mine : 
 
 ' Yet less of sorrow lives in me 
 
 For days of happy commune dead ; 
 
 Less yearning for the friendship fled, 15 
 
 Than some strong bond which is to be. 
 
 CXVII 
 
 O days and hours, your work is this. 
 To hold me from my proper place, 
 A little while from his embrace. 
 
 For fuller gain of after bliss ; 
 
 That out of distance might ensue 5 
 
 Desire of nearness doubly sweet ; 
 And unto meeting when we meet. 
 
 Delight a hundredfold accrue. 
 
 For every grain of sand that runs. 
 
 And every span of shade that steals, 10 
 
 And every kiss of toothed wheels. 
 
 And all the courses of the suns. 
 
 CXVI 
 
 11, 12. 1850-51, The dear, dear voice that I have known 
 
 Will spealc. 
 
 CXVII 
 
 12. The modern note: not our sun only, but the other suns of the 
 universe are contemplated ; cf, Locksley Hall Sixty Years after, " all the 
 suns," "suns along their fiery way." 
 
IN MEMORIAM 127 
 
 CXVIII 
 
 Contemplate all this work of Time, 
 The giant labouring in his youth ; 
 Nor dream of human love and truth. 
 
 As dying Nature's earth and lime ; 
 
 But tnist that those we call the dead 5 
 
 Are breathers of an ampler day 
 For ever nobler ends. They say, 
 
 The solid earth whereon we tread 
 
 In tracts of fluent heat began. 
 
 And grew to seeming-random forms, 10 
 
 The seeming prey of cyclic storms. 
 
 Till at the last arose the man ; 
 
 Who throve and branch'd from clime to clime. 
 
 The herald of a higher race. 
 
 And of himself in higher place, 15 
 
 If so he type this work of time 
 
 CXVIII 
 This section is little more than a condensation of what Browning has 
 expressed with much more diffuseness in the fifth part of Paracelsus ; cf. the 
 passage beginning 
 
 Thus he dwells in all, 
 
 From life's minute beginnings, up at last 
 
 To man, the consummation of this scheme 
 
 Of being, 
 to the passage beginning 
 
 But in completed man begins anew 
 
 A tendency to God. Prognostics told 
 
 Man's near approach : so in man's self arise 
 
 August anticipations, symbols, types 
 
 Of a dim splendoiir ever on before, 
 
 In that eternal circle life pursues. 
 Needless to say, both Browning and Tennyson were dealing with ideas and 
 theories which the subsequent definition of Evolutionism has now made 
 commonplaces with all thoughtful people, though both anticipated not merely 
 Darwin's Origin of Species, which appeared in 1859, but R. Chambers's 
 Vestiges of Creation, which appeared in 1844. Tennyson resumes this theme 
 in Maud, in the verses entitled By an Evolutionist, in The Dawn, and in The 
 Making of Man. 
 
 i6 seqq. Type, reproduce. The meaning is, man will be the herald of a 
 higher race both here and in a higher place, i.e. the world beyond the 
 grave, if he reproduce in himself, by steady striving, what Nature has effected 
 
128 IN MEMORIAM 
 
 Within himself, from more to more ; 
 Or, crown' d with attributes of woe 
 Like glories, move his course, and show 
 
 That life is not as idle ore, 20 
 
 But iron dug from central gloom. 
 
 And heated hot with buniing fears, 
 And dipt in baths of hissing tears, 
 
 And batter'd with the shocks of doom 
 
 To shape and use. Arise and fly 25 
 
 The reeling Faun, the sensual feast ; 
 Move upward, working out the beast. 
 
 And let the ape and tiger die. 
 
 CXIX 
 
 Doors, where my heart was used to beat 
 So quickly, not as one that weeps 
 I come once more ; the city sleeps ; 
 
 I smell the meadow in the street ; 
 
 I hear a chirp of birds ; I see 5 
 
 Betwixt the black fronts long-withdrawn 
 A light-blue lane of early dawn. 
 
 And think of early days and thee. 
 
 And bless thee, for thy lips are bland. 
 
 And bright the friendship of thine eye ; 10 
 And in my thoughts with scarw a^gh 
 
 I take the pressure of thine hand. 
 
 in the physical world, progress towards perfection ; or if, should affliction be 
 his lot, he profits from it, and shows that life is not mere ore, mere material 
 out of which something may be made, but iron. In line i8 the first edition 
 reads "and" for "or," so that it seems to be Tennyson's intention to mark 
 an antithesis between man simply "typing the work of time" and being 
 " crown'd with attributes of woe." 
 
 i8. First edition. And. 
 
 25. Cf. Shakespeare, Sonnets, cxU. : "To any sensual feast with thee alone." 
 
 CXIX 
 
 A lyric interlude. Cf, sec. vii. 
 
IN MEMORIAM 129 
 
 cxx 
 
 I trust I have not wasted breath : 
 
 I think we are not wholly brain, 
 Magnetic mockeries ; not in vain. 
 
 Like Paul with beasts, I fought with Death ; 
 
 Not only cunning casts in clay : 5 
 
 Let Science prove we are, and then 
 What matters Science unto men. 
 
 At least to me ? I would not stay. 
 
 Let him, the wiser man who springs 
 
 Hereafter, up from childhood shape 10 
 
 His action like the greater ape. 
 But I was born to other things. 
 
 CXXI 
 
 Sad Hesper o'er the buried sun 
 
 And ready, thou, to die with him. 
 Thou watchest all things ever dim 
 
 And dimmer, and a glory done : 
 
 The team is loosen'd from the wain, 5 
 
 The boat is drawn upon the shore ; 
 Thou listenest to the closing door. 
 
 And life is darken'd in the brain. 
 
 Bright Phosphor, fresher for the night, 
 
 By thee the world's great work is heard 1 
 
 Beginning, and the wakeful bird : 
 
 Behind thee comes the greater light ; 
 
 CXX 
 4. I Corinthians xv. 32. 
 
 8. Cf. sec. xxxiv., last stanza, and Tennyson's remark on hearing of a very 
 deliberate and painless suicide in Paris, "That is what I should do if I thought 
 there was no future life" (Life, ii. 35). 
 
 9. "Wiser" is of course ironical, the meaning being, let his aim be the 
 perfection of his apedom. 
 
 12. Since 1875, torn italicised; it is antithetical to "springs," hence no 
 doubt the emphasis. 
 
 CXXI 
 
 An exquisite application of the identity of Venus with Hesper, the evening 
 star, and Phosphorus, the morning star. Cf. Cicero, De Nat. Dear. ii. 20. 33, 
 and Manilius, Astron. i. 177-78. 
 
 9 
 
130 IN MEMORIAM 
 
 The market boat is on the stream. 
 
 And voices hail it from the brink ; 
 
 Thou hear'st the village hammer clink, 15 
 
 And see'st the moving of the team. 
 
 Sweet Hesper-Phosphor,' double name 
 For what is one, the first, the last. 
 Thou, like my present and my past. 
 
 Thy place is Changed ; thou art the same. 20 
 
 CXXII 
 
 Oh, wast thou with' me, dearest, then, 
 While I rose up against my doom, 
 And yearn' d to burst the folded gloom. 
 
 To bare the eternal Heavens again. 
 
 To feel once more, in placid awe, 5 
 
 The strong imagination roll 
 
 A sphere of stars about my soul. 
 In all her motion one with law ; 
 
 If thou wert with me, and the grave 
 
 Divide us not, be with me now, 10 
 
 And enter in at breast and brow. 
 
 Till all my blood, a fuller wave. 
 
 Be qui&ken'd with a livelier breath. 
 
 And like an inconsiderate boy. 
 
 As in the former flash of joy, 15 
 
 I slip the thoughts of life and death : 
 
 And all the breeze of Fancy blows. 
 
 And every dew-drop paillts a -bow. 
 The wizard lightnings deeply glow. 
 
 And every thought breaks out a rose. 20 
 
 CXXII 
 1-8. Apparently a reference to the trance described in sec. xcv. 
 3. First edition, strove. 
 15. A reference apparently to xcv. 36. 
 
IN MEMORIAM 131 
 
 CXXIII V 
 
 There rolls the -deep where grew the tree. 
 
 O earth, what changes thou hast seen ! 
 
 There where the long street roars, hath been 
 The stillness of the central sea. 
 
 The hills are shadows, and thfey flow 5 
 
 Ftom form to form, and nothing stands ; 
 They melt like mist, the solid lands. 
 
 Like clouds they shape themselves and go. 
 
 But in niy spirit will I dWfeU, 
 
 Arid di*eam1i!iy dream, and hold it true ; 10 
 
 For tho' tay lips may breathe adieu, 
 
 I cannot think the thing farewell. 
 
 (iKXtV 
 
 Thatwhichwedare invoke to bless ; 
 
 Our dearest faith ; our ghastliest doubt ; 
 
 He, They, One, All ; within, without ; 
 The Power in darkness whom we guess ; 
 
 I found Him not in world or sun, 5 
 
 Or eagle's wihg, or insect's eye ; 
 
 Nbi' thro' the questions meri thay tiy, y 
 
 The' petty' tsafiwfebs'We/ have spun : 
 
 CXXIII 
 For a, magnificent commentary on this, see the first speech of Ahasuerus in { 
 Shelley's Nellas. { 
 
 2. 1850-51. hast thou, i860, thou'hast. 1871 and onward, hast thou. 
 
 cxxiv 
 
 1-4. Cf. Aiiar's DreaUt, 
 
 That Infinite 
 Within us, as without, that All-in-all, 
 And over all, the never changing One 
 And ever-changing Many, 
 and The Aniient Sage, "the Nameless of the hundred names." 
 
 5, 6. Cf. see: Ivi. All analogies from Nature, and all deductions- whicE* 
 " Knowledge " as distinguished'froni" Wisdom" (see cxiv. ) can draw, afford no 
 Xvarrant for belief in the God prfeached by Christ. See the fine passage in 
 Newman's Apologia in chapter v. : " The world seems simply to give the lie 
 lo that great truth of which my whole being is so full. If I looked into a 
 mirror and did not see my face, I should have the sort of feeling which 
 ladtually comes ' upon me w en I look into this living busy world and see no 
 reflection of its Creator." 
 
132 IN MEMORIAM 
 
 If e'er when faith had fall'n asleep, 
 
 I heard a voice " believe no more " 10 
 
 And heard an ever-breaking shore 
 
 That tumbled in the Godless deep ; 
 
 'A warmth within the breast would melt 
 The freezing reason's colder part. 
 And like a man in wrath the heart 15 
 
 'Stood up and answer'd " I have felt." 
 
 /] No, like a child-in doubt and fear : 
 
 But that blind clamour made me wise ; 
 Then was I as a child that cries. 
 But, crying, knows his father near ; 20 
 
 And what I am beheld again 
 
 What is, and no man understands ; 
 And out of darkness came the hands 
 
 That reach thro' natm-e, moulding men. 
 
 CXXV 
 
 Whatever I have said or sung. 
 
 Some bitter notes my harp would give, 
 Yea, tho' there often seem'd to live 
 
 A contradiction on the tongue. 
 
 Yet Hope had never lost her youth ; 5 
 
 She did but look thro' dimmer eyes ; 
 Or Love but play'd with gracious lies. 
 
 Because he felt so iix'd in truth : , 
 
 CXXIV 
 
 13-16. Cf. Newman {Apologia, ch. v. ) : " Were it not for this voice speaking 
 so clearly in my conscience and my heart, I should be an atheist." > • 
 
 17-20. Not like "a man in wrath," but "like a child in doubt and fear." 
 The " blind clamour " refers either to the ' ' voice " which tempted him to disbelief, 
 or, more likely, to his own ' ' wild and wandering cries ' ' in the first two cycles of 
 the poem. 
 
 21, 22. My. real or essential, as distinguished from a mere phenomenal self 
 discerned essential as distinguished from phenomenal truth. The first editions, 
 till i860, read "seem," the "am" being a most felicitously important 
 correction. 
 
m MEMORIAM 133 
 
 And if the song were full of care, 
 
 He breathed the spirit of the song ; 10 
 
 And if the words were sweet and strong 
 
 He set his royal signet there ; 
 
 Abiding with me till I sail 
 
 To seek thee on the mystic deeps. 
 
 And this electric force, that keeps 15 
 
 A thousand pulses dancing, fail. 
 
 CXXVI 
 
 Love is and was my Lord and King, 
 
 And in his presence I attend 
 
 To hear the tidings of my friend. 
 Which every hour his couriers bring. 
 
 Love is and was my' King and Lord, 5 
 
 And will be, the' as yet I keep 
 Within his court on earth, and sleep 
 
 Encompass'd by his faithful guard, 
 
 And hear at times a sentinel 
 
 Who moves about from place to place, 10 
 
 And whispers to the worlds of space, 
 
 In the deep night, that all is well. 
 
 CXXVII 
 
 And all is well, tho' faith and form 
 Be sunder'd in the night of fear ; 
 Well roars the storm to those that hear 
 
 A deeper voice across the storm, 
 
 CXXVI 
 10-12. 1830-51. That moves about from place to place, 
 And whispers to the vast of space 
 Among the yorlds, that all is well. 
 
134 IN MEMORIAM 
 
 "''' Proclaiming social truth shall spread. 
 
 And justice, ey'n the' thj^ice, again 
 The red ifgol-fi«rjr of the Seine 
 Should pile her barricades with .dead. 
 
 But ill for him that wears a crown. 
 
 And him, the lazar,' in. his rags : 10 
 
 They tremble> the sustaining crags ; 
 
 The spires of ice are toppled down, 
 
 And molten up, and roar in flood ; 
 
 The fortress crashes from on high. 
 
 The brute earth lightens to the sky, 15 
 
 And the great ^on sinks in blood, 
 
 And compass'd by the fires of Hell ; 
 
 While thou, dear spirit, happy star, 
 
 O'erlook'st the tumult from afar. 
 And smilest, knowing alb is well. 20 
 
 CXXVIIl 
 
 - ) The love that rose on stronger wings, 
 
 Unpalsjed when he met with Death, 
 Is comrade of the lesser faith 
 That sees the course of human things, 
 
 CXXVII 
 
 7, 8. Probably refers to the Revolution of, i8^8. C/. Epilogue to The 
 Princess. The last cou,p^et,'and indeed the wholepoem, has, particular point. 
 Hallam, in his Oration on the Influence of Italian Works of Imagination, 
 had concluded a vivid picture of the terrible character of the Revolution of 
 1830 with an expression of hope that all might yet be vi^ell (Semains, p. 144). 
 The allusion, therefore, has peculiar propriety. 
 
 9. First edition, woe to him. 
 
 15. Cf. Horace, Odes, i. xxxiv. 9, "bruta tellus." Milton had already trans- 
 ferred It into English (Cotit-us, 797): "And the brute earth would lend her 
 nerves." 
 
 16. 1S50. vast. 
 
IN MEMORIAM 135 
 
 No doubt vast eddies in the flood 5 
 
 Of lonward time shall yet be made. 
 And throned races may degrade ; 
 
 Yet O ye mysteries of good. 
 
 Wild Hours that fly with Hope and Fear, 
 
 If all yom- office had to. do 10 
 
 With old results that look like new ; 
 
 If this were all your mission here. 
 
 To draw, to sheathe a useless sword. 
 
 To fool the crowd with glorious lies. 
 
 To cleave a creed in sects and cries, 1 5 
 
 To change the bearing of a wordj. 
 
 To shift an arbitrary, power, 
 
 To cramp the student at his desk. 
 
 To make old bareness picturesque 
 And tuft with grass a feudal tower ; 20 
 
 Why then my. scorn might well descend 
 
 On you and yours. I see in part 
 
 That all, as in some piece of art. 
 Is toil co-operant to an end. 
 
 CXXIX 
 
 Dear friend, far oif, my lost desire. 
 So far, so near in woe and weal ; 
 O loved the most, when most, I feel 
 
 There is a lower and a higher ; 
 
 CXXVIII 
 S, 6. Cf. Locksley Hall Sixty Years after : — 
 
 The course of Time will swerve. 
 Crook and turn upon itself in many a backward streaming curve. 
 8. First edition, ministers. 
 
 14. Cf. Crashaw{7'oAfijfr?jj J/, i?.)," gilded dunghills,^/o«'oKj/i«j." The 
 word has no doubt 'here the sense so common in .Elizabethan Enghsh and in 
 Milton— braggart or boastful, Lat* glariosus, 
 19. First edition.; baseness. 
 
 CXXIX 
 3. First three editions. O I 
 
136 IN MEMORIAM 
 
 Known and unknown ; human, divine ; 5 
 
 Sweet human hand and lips and eye ; 
 Dear heavenly friend that canst not die, 
 
 Mine, mine, for ever, ever mine ; 
 
 Strange friend, past, present, and to be ; 
 
 Loved deeplier, darklier understood ; 10 
 
 Behold, I di-eam a dream of good. 
 
 And mingle all the world with thee. 
 
 cxxx 
 
 Thy voice is on the rolling air ; 
 
 I hear thee where the waters run ; 
 
 Thou standest in the rising sun. 
 And in the setting thou art fair. 
 
 What art thou then f I cannot guess ; 5 
 
 But tho' I seem in star and flower 
 To feel thee some diffusive power, 
 
 I do not therefore love thee less : 
 
 My love involves the love before ; 
 
 My love is vaster passion now ; 10 
 
 Tho' mix'd with God and Nature thou, 
 
 I seem to love thee more and more. 
 
 / 
 
 Far off thou art, but ever nigh ; 
 
 I have thee still, and I rejoice ; 
 
 I prosper, circled with thy voice ; 15 
 
 I shall not lose thee tho' I die. 
 
 cxxix 
 
 5. First three editions. ! for semicolon. 
 8. Id. Id. 
 
 CXXX 
 1-7. C/. SheWey's Adonais, xlii.: — 
 
 He is ma^e 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. 
 
IN MEMORIAM 137 
 
 cxxxi 
 
 O living will that shalt endure 
 
 When all that seems shall suflFer shockj 
 Rise in the spiritual rock. 
 
 Flow thro' our deeds and make them pure, 
 
 That we may lift from out of dust 5 
 
 A voice as unto him that hears, 
 A cry above the conquer'd years 
 
 To one that with us works, and trust. 
 
 With faith that comes of se^^^Qntrol, 
 
 The truths that never ca,n ,be proved 1 
 
 Until we close with all we loved, 
 
 And all we flow from, soul in soul. 
 
 CXXXI 
 
 I. Tennyson himself explained this as intended to mean "free-will, the 
 higher and enduring part ' of man '" (ij/e, i. 31^)', alid this' "will" being 
 "heaven-descended" [cf. the poem PW//), can and should bring itself into 
 harmony with the Supreme and Eternal Will; see Prologue, 15, i5. It is 
 therefore a prayer that the heaven-descended will in man may bring Itself into 
 harmony with the Will of God, sanctify our lives, and confirm our faith in 
 those truths which never can be proved till death shall remove the barrier 
 between us and " all we loved and all we flow from." With the first stanza 
 may be compared First Epistle of St. John ii. 17: "And the world passeth 
 away, and the lust thereof ; but he thatdoeth the will of God abideth forever." 
 In I Corinthians x. 4, the spiritual rock is Christ : ' ' They [our fathers] drank 
 of that spiritual Rock that followed them [or, as it is alternatively rendered, 
 "went with them "] : and that Rock was Christ." Tenriysb'n must plainly have 
 had this text in his mind, and it is therefore difficult not to suppose that the 
 "spiritual rock" is Christ. Is it possible that the " spiritual rock" may still 
 mean Christ, and that it is a prayer that the "living will" may continue to 
 express itself in the God-Man, fill as it were a fotmtain from which it flows to 
 us ? This would link the end of the poem with the Prologue. 
 
 5. First edition, out the dust. 
 
138 IN MEMORIAM 
 
 O TRUE and tried, so well and long, 
 
 Demand not- thou a marriage lay ; 
 
 In that it is thy marriage day 
 Is music more than any song. 
 
 Nor have I felt so much of bliss 5 
 
 Since first' he told me that he loved' 
 A daughter of our house ; nor proved' 
 
 Since that dark day a day like this ; 
 
 Tho' I since then have number'd o'er 
 
 Some thrice three years : they went and came, 10 
 Remade the blood and. changed the frame. 
 
 And yet is love not less, but more ; 
 
 No longer caring to embalm 
 
 In. dying songs adead regretj 
 
 But like a, statue solid-set, 15 
 
 And moulded in colossal, c^lm. 
 
 Regret is dead, but love is more 
 
 Than in the summers that are flownj 
 For I myself with these have grown 
 
 To something greater than befove ; . 20 
 
 Which makes appear the songs I made 
 
 As echoes out of weaker times. 
 
 As half but idle brawling rhjTnes, 
 The sport of random sun and shade. 
 
 For the connection of this poem with In Memoriam, see Introduction. It 
 was written to celebrate the marriage of Edmund Law Lushington and Cecilia 
 Tennyson, the poet's sister, loth October 1842. The scene is Park House, near 
 Boxley, Maidstone, 
 
 22-24. It would seem from these lines that the conception of In Memoriam 
 as a whole could not have been formed at the time this poem was written. 
 
IN M'EMOE/MM 139 
 
 But where is she,. the hrid»l Qovrer, 25 
 
 That' must, be. m^df^ a ■vyife^ere noon ? 
 She enters, glowing like the moon 
 
 Of Eden on i its bridal bo-wer : 
 
 On me she bends her, blissful eyes 
 
 And then on thee ; they, meet thy look 30 
 And, brighten like the star, that shook 
 
 Betwixt the pahns of paradise^ 
 
 O when her life was ye^; in bud, 
 
 He too foretold the perfect rose. 
 
 For thee she grew, for thee she grows 35 
 
 For ever, and as fair as good. 
 
 And thou art worthy ; full of power ; 
 As gentle ; liberal-minded,, great, , 
 Consistent ; wearing all that weight 
 
 Of learning hghtly like a flower. 40 
 
 But now set out : the noon is near. 
 And I must give away the bride ; 
 She fears notj or- with thee beside 
 
 Andi me behind' hers will not fear-: 
 
 For I that danced her on my knee, 45 
 
 That watoh'd her on her nurse's arm, 
 That shielded lalL her life from i harm 
 
 At last must part with her to thee ; 
 
 Now waiting to be made a wife. 
 
 Her feet, my darling, on th©fdead ; 50 
 
 Their peasiye tablets round, her head, 
 
 And the most living words of life 
 
 Breathed in her ear. The ring is on, 
 
 The "wilt thou" aijswejr'd, and again 
 
 The "wilt thou" ask;d,.tilli out of) twain 55 
 
 Her sweet " I will " has n^ade; yp one, 
 
 39, 40. Lushington was Senior Classic and Senior Chancell&r's Medallist in 
 1832, afterwards Professor of Greek at Glasgow. 
 56. So all earlier editions. 1872 and afterwards,; yoii. 
 
140 m MEMORIAM 
 
 Now sign your nameSj which shall be read, 
 
 Mute sjrmbbls of a' jojrful mom. 
 
 By village eyes as yet unborn ; 
 The names are sign'd, and overhead 6o 
 
 Begins the clash and clang that tells 
 The joy to every wandering breeze ; 
 The blind wall rocks, and on the trees 
 
 The dead leaf trembles to the bells. 
 
 O happy hour, and happier hours 65 
 
 Await them. Many a merry, face 
 Salutes them — maidens of the place. 
 
 That pelt us in the porch with flowers. 
 
 O happy horn', behold the bride 
 
 With him to whom her hand I gave. 70 
 
 They leave the porch, they pass the grave 
 
 That has to-day its sunny side. 
 
 To-day the grave is bright for me. 
 
 For them the light of life increased. 
 
 Who stay to share the morning feast, 75 
 
 Who rest to-night beside the sea. 
 
 Let all my. genial spirits advance 
 
 To meet and greet a whiter sun ; 
 My drooping memory will not shun 
 
 The foaming grape of eastern France. 80 
 
 It circles roundj and fancy plays. 
 
 And hearts are warm'd and faces bloom. 
 As drinking health to bride and groom 
 
 We wish them store of happy days. 
 
 Nor count me all to blame if I 85 
 
 Conjecture of a stiller guest. 
 Perchance, perchance, among the rest, 
 
 And, tho' in silence, wishing joy. 
 
 78. Cy. Catullus, iii. 3: •' Fviisere qnoaiam candidriiiisolei." 
 
m MEMORIAM 141 
 
 But tliey must go, the time draws oiij 
 
 And those white-favour'd horses wait ; 90 
 
 They rise, but linger ; it is late ; 
 
 Farewell, we kiss, and they are gone. 
 
 A shade falls on us like the dark 
 
 From little cloudlets on the grass. 
 
 But sweeps away as out we pass 96 
 
 To range the woods, to roam the park. 
 
 Discussing how their courtship grew, 
 And talk of others that are wed, 
 And how she look'd, and what he said. 
 
 And back we come at fall of dew. 100 
 
 Again the feast, the speech, the glee. 
 
 The shade of passing thought, the wealth 
 Of words and wit, the double health. 
 
 The crowning cup, the three-times-three. 
 
 And last the dance ; — till I retire : ] 05 
 
 Dumb is that tower which spake so loud, 
 And high in heaven the streaming cloud, 
 
 And on the downs a rising fire : 
 
 And rise, O moon, from yonder down, 
 
 Till over down and over dale 110 
 
 All night the shining vapour sail 
 
 And pass the silent-lighted town. 
 
 The white-faced halls, the glancing rills. 
 And catch at every mountain head. 
 And o'er the friths that branch and spread 115 
 
 Their sleeping silver thro' the hills ; 
 
 109-128. Cf. with this passage Herrick's Nuptial Song on. Sir Clipsehy 
 Crew: — 
 
 All now is husht in silence ; midwife-moone, 
 
 , All faire constellations 
 Looking upon yee, that, that nations 
 
 Springing from two such Fires, 
 May blaze the vertue of their sires. 
 
142 IN IVIEMORIAM 
 
 And touch -With shade the bridal' doors. 
 With tender glottth'thel-bof, the wall; 
 And teeakiMg let the splendour fall 
 
 To spangle all' the happy shores , 120 
 
 By which they Test, and ocean sounds, 
 Andj-star and system iolling; past, 
 A soul shall draw 'from' out the vast 
 
 And strike his being into bouiids, 
 
 And, moved thro' life of lower phase, 125 
 
 Result in man, be bom and think. 
 And act and love, a closer link 
 
 Betwixt us and the crowning race 
 
 Of those that, eye to eye, shall look 
 
 On 'knowledge ; under whose command 130 
 'Is Earth and 'Eai^h's, itiii in their hand 
 
 Is Nature likfc £ih open book; 
 
 No longer half-akin to brute, 
 
 For all we thought and Irtved and did. 
 
 And hoped, and' sufFer'd, is 'but seed 135 
 
 'Of what in^them is flowed and 'fruit ; 
 
 Whereof the man, that with me trod _ 
 This planet, was a noble tlP^^ 3 
 Appearing ere the times were ripe, 
 
 That friend of .mine who lives in God, 140 
 
 That God, which ever lives and loves, 
 
 One God, one law, one element, it^----- ' 
 And one far-off divine event. 
 
 To which the whole creation moves. 
 
 ii8. Cf. Tliomson, Casile of Indolence, canto i. St. Ivi. : " a certain tender 
 gloom o'erspread. " 
 
 142-44. Cf. the magnificent iKissage in the fragments of Cicero'.s Dt 
 Republic^ (hb. iii. ) ; " Nee erit alia lex Romae, alia Athenis, alia nunc, alia 
 posthac : sed at omnes gentes, et omni tempore, una lex et sempiterna et 
 immutabilis continebit : unusque erit quasi magister et imperator omnium— 
 Deus." (And there shall not be one law at Rome, another at Athens, one law 
 now, another afterwards, but the same law everlasting and unchangeable will 
 bind all nations and at all times, and there will be as it were one common 
 Master and Emperor of all — God, ) 
 
THE PRINCESS 
 
 --•^^ A MEDLEY 
 
 143 
 
INTRODUCTION 
 
 The Princess, the most elaborate and subtly-finished of all 
 Tennyson's longer poems, is, in its present state, the result 
 of successive revisions, two of which involved little less 
 than the remodelling of the whole work, and of a series 
 of minute alterations extending, edition after edition, to 
 the latest text of his collected poems. The first edition, 
 which appeared in 1847, was, in the third edition published 
 in 1850, completely remodelled. The six songs introducing 
 the several cantos, with all the passages connected with 
 them, were added; additions, excisions, and alterations 
 made havoc of the intervening text ; and the Conclusion 
 was so altered and expanded as to be practically new. 
 Again, in the fourth edition of 1851, the addition of the 
 passages describing the "weird seizures" of the Prince 
 involved a second remodelling of the work. In the fifth 
 edition of 1853, eighteen lines (35-48) were added to the 
 Prologue, and there were other minor alterations. Since 
 then the alterations have not extended beyond single 
 words and clauses, punctuation and spelling, but such 
 variants have been incessant. 
 
 The Princess has obviously to be regarded from two 
 points of view — as a poem and work of art, and as a 
 didactic treatise; as a charming extravaganza, like the 
 Orlando Furioso or The Bape of the Loch, and as a 
 grave contribution to the solution of an important social 
 problem. And of all Tennyson's achievements as an 
 artist there is nothing to compare with the exquisite 
 
 10 
 
146 INTRODUCTION 
 
 ingenuity and tact with which he has here blended and 
 harmonised aims and purposes so opposite and so distinct. 
 The true relation of woman to life and society is one of 
 those questions which admits of an easy solution in primi- 
 tive communities, but which, as civilisation advances, be- 
 comes more and more complicated. Plato appears to have 
 been the first who declined to recognise what everyone else 
 had recognised actually and theoretically, that there was an 
 essential distinction between the idiosyncrasies, functions, 
 and duties of the sexes. But the monstrous paradox which 
 he supports in the fifth book of the Republic was regarded 
 by the Ancients pretty much as Ruskin's economical theo- 
 ries would be regarded at our own Stock Exchange ; and 
 the wildest fancy of Aristophanes could, in the estimation 
 of the Greeks, devise nothing more ridiculously improbable 
 than the realisation of what Plato seriously propounded. 
 Neither Christianity nor Chivalry practically affected the 
 question — so far as its social application was concerned— 
 of the mutual relation of the sexes. And when Spenser/ 
 who discusses the problem allegorically in the fourth, fifth, 
 sixth, and seventh cantos of the fifth book of the Faerie 
 Queene, came to the conclusion that woman should regard 
 herself as altogether subordinate to man, and to her duties 
 to man, and when Milton (Paradise Lost, iv. 295-99) 
 wrote, speaking of the typical man and the typical woman, 
 
 Though both 
 Not equal, as their sex not equal, seem'd; 
 For contemplation he and valour form'd. 
 For softness she and sweet attractive grace ; 
 He for God only, she for God in him, 
 adding (Ibid. ix. 232-34), 
 
 Nothing lovelier can be found 
 In woman, than to study household good, 
 And good works in her husband to promote, 
 
 ' See the episode of Artegall and Radigund. 
 
INTRODUCTION 147 
 
 they may be said to have summed up the conventional 
 view of the subject. But another note was struck in 
 1693 by De Foe. Among the schemes suggested in his 
 Essay on Prefects is an Academy for the higher education 
 of women, providing instruction in all those subjects 
 which should qualify them for being the intellectual 
 companions of men. De Foe was followed by Steele, 
 who in several papers in the Tatter and Spectator urges 
 the importance of this question, expressing it as his 
 opinion that "the great happiness or misfortune of 
 mankind depends upon the manner of educating and 
 treating that sex."'- But the work which initiated the 
 modern history of the movement was Mary WoUstonecraft's 
 Vindication of the Rights of Women, which appeared in 
 1792. The contentions of Mary WoUstonecraft are 
 precisely those of Tennyson's heroine, with this important 
 difference, that she very properly considers that, though 
 women should not be excluded from any of the posts open 
 to men, the duties of the wife and the mother should be 
 paramount. Between 1830 and the appearance of this 
 poem the "woman question," as it was called, had been 
 brought into prominence by many writers. An article in 
 the Westminster Review for July 1831 had sounded a 
 trumpet note. Bentham had expressed himself strongly 
 on the subject. Miss Martineau and Mrs. Jamieson took 
 up the question. In 1840 a work entitled WomMn^s 
 Mission had extraordinary vogue, and very soon ran 
 through six editions. In the same year Lady Morgan 
 fulminated a wild and intemperate philippic against " the 
 oppressors of her sex " in Woman and her Master. Then, 
 in April 1841, the Westminster Review, in an able and 
 vigorous article, again entered the arena as Champion of 
 Woman's Cause. In America, two or three years after- 
 > Taller, No. 141. 
 
148 INTRODUCTION 
 
 wards, Mrs. Amelia Jenks Bloomer had begun to proclaim 
 the equality and practical identity of the sexes. In 1846 
 and in 1847 the first steps were taken in England to 
 provide what De Foe had suggested, " an Academy " for 
 the higher education of women, and the result was the 
 foundation of Queen's College, in Harley Street. It was 
 founded in 1848 by Tennyson's friend, the Rev. F. D. 
 Maurice. Such is a brief sketch of the history of the 
 question when Tennyson took it up. We learn frotn the 
 Life (vol. i. p. 248) that the subject had engaged his atten- 
 tion as early as 1839, and that even then he had talked over 
 the plan of The Princess. The question had no doubt 
 been brought prominently before him in conversations with 
 Maurice, and indeed he is reported to have said, about this 
 time, that " the two great social questions impending in 
 England were the housing and education of the poor man 
 before making him our master, and the higher education of 
 women " (Life, vol. i. p. 249). It was Tennyson's habit to 
 study exhaustively every subject with which he dealt, and 
 he brought to its consideration not merely the sjonpathy 
 of the poet, but refined good sense, sobriety, and shrewd 
 insight. In the literature which has been referred to, and 
 in the efforts and aims of his friend Maurice and his 
 coadjutors, if there was very much which every philan- 
 thropist would support and further, there was also some 
 danger. If nothing could be more desirable than the 
 vindication and realisation of woman's right to develop 
 herself morally and intellectually to the fullest measure of 
 her capacities, nothing could be more disastrous than for 
 her to consider that her functions and duties as a woman 
 should be subordinated to that end. Tennyson saw the 
 danger of exciting intellectual ambition in women, as it 
 might easily lead to all that it had led to in the theories 
 of such fanatics as Lady Morgan and Mrs. Bloomer— to 
 
INTRODUCTION 149 
 
 regarding themselves not as the helpmates but a^ the rivals 
 of men ; to unsexing themselves ; to disdaining the duties 
 of the wife, of the mother, of the nurse, of the queen 
 of the home and of the heart. Poetry could scarcely be 
 applied to a worthier or more useful purpose than to the 
 interpretation of all that was involved in a question of so 
 much importance to life and to society. And to this 
 purpose Tennyson applied it in The Princess. 
 
 To turn to the machinery and plot. It has been 
 suggested that the germ of the poem is to be found in 
 Johnson's Rasselas (chap, xlix.), where, speaking of a 
 project of Nekayah, Johnson writes : — 
 
 "The princess thought that, of all sublunary things, 
 knowledge was the best: she desired, first, to learn all 
 sciences, and then purposed to found a College of learned 
 women, in which she would preside ; that by conversing 
 with the old, and educating the young, she might divide 
 her time between the acquisition and communication of 
 wisdom, and raise up for the next age models of prudence 
 and patterns of piety." 
 
 Another analogy has been discovered in a dreary and 
 ponderous drama. The Female Academy, published in 1662, 
 by the famous Margaret Cavendish, Marchioness of New- 
 castle, in which certain ladies, for purposes of self- 
 cultivation, isolate themselves from men, and find their 
 college invaded by male intruders. A more interesting 
 parallel- — if parallel it can be called — is, of course, in 
 Shakespeare's Love's Labour's Lost, where men isolating 
 themselves from women find, as Tennyson's women find, 
 that it is a very unequal conflict between human caprice 
 and Nature's law. 
 
 The idea of the " tale from mouth to mouth " was, as 
 Tennyson has himself explained, taken from a game which 
 he had often played with his brother-undergraduates at 
 
150 INTRODUCTION 
 
 Cambridge {Life, vol. i. p. 253). In Ida, in her character, 
 in her position, in her aims, is embodied all that was in- 
 volved in the " woman question," its truth, its falsehood, 
 its reasonableness, its extravagance. She is at once in the 
 right and in the wrong, at once wise and foolish, at once 
 noble and perverse. Her aims and ideals might, in some 
 respects, become patterns for future enthusiasts in the 
 cause ; in others, they are the rednctio ad dbsurdwm of 
 theories which, if carried into practice, would result, as 
 Tennyson put it, in burlesque and tragedy going hand in 
 hand. As Ida and the question represented by her are 
 " medley," "jest and earnest working side by side," so the 
 whole poem is very appropriately " a medley also." A 
 " medley " typified in the Prologue, 
 
 A Gothic ruin and a Grecian house, 
 A talk of college and of ladies' rights, 
 A feudal knight in silken masquerade, 
 
 set in the midst of a Mechanics' Institute festival in a 
 nineteenth-century park ; a medley in which we have 
 sometimes the extreme of simplicity, sometimes of artifici- 
 ality ; a medley in the mixture of styles, where Heine and 
 Homer, Keats and Theocritus, seem to jostle each other; 
 in the fantastical anachronisms of sentiment, of institu- 
 tions, of furniture, of armour, of dress. And in the fourth 
 edition this was stiU more elaborately marked by the intro- 
 duction of the " weird seizures " which surprise the Prince 
 at all those points in the story where Ida is in her falsest 
 position, and most remote from the true ideal, disappear- 
 ing as soon as she has awaked to that ideal. To censure 
 the poem for being " fantastical," " a fairy tale without 
 fairies," as some foolish critics have done, is to miss the 
 whole point of it. For the same reason, the poem is 
 mock-heroic; but the burlesque element is throughout 
 
INTRODUCTION 151 
 
 subordinated to the serious and poetical, and is indeed 
 chiefly discernible only in touches, and in the occasionally 
 laboured grandiloquence of the diction. With his usual 
 nicety of interpretative symbol, Tennyson makes the rich 
 orange scarfs and rosy silks with which Lilia playfully 
 invests the grim old statue at the beginning of the poem, 
 quietly divesting it of them at the end, indicative of the 
 manner in which he has treated his theme, as well as of 
 the relation of picturesque and fanciful mock-heroic to a 
 subject so intrinsically serious as the theme itself. 
 
 With the same exquisite tact and skill, the chief, the 
 essential differentiation between the functions and duties 
 of the sexes is brought out by making the child the centre 
 of the poem. The child is at Psyche's side when she is 
 lecturing. It is an appeal to the child which touches 
 Psyche's heart when Cjrril implores her to keep his secret. 
 It is in the child that Ida finds comfort when she quarrels 
 with Blanche. By a delightful touch of irony the child is in 
 Ida's arms when she is watching the tournament, and when 
 she chants her paean over the fallen Prince and his men; and 
 it is, indeed, the softening influence of the child which keeps 
 her heart from turning almost to stone. It was to bring 
 the child still more into prominence that the songs were 
 inserted in the third edition, and their relation to the 
 child's part is too obvious to need commentary. 
 
 The absurdity of Ida's position, and the fact that her 
 scheme of dispensing with the co-operation of men and 
 developing in independence and in rivalry was predestined 
 to fail, is made plain from the very first. Even before the 
 men enter, there was bitter jealousy, ripening to rebellion, 
 in Ida's chief helper ; and some of the ladies were beginning 
 to pine for married life. In the studies of the place all is 
 smatter, superficiality, and flimsiness, just as in the 
 surroundings all appeals to the eye and to the ear, all is 
 
152 INTRODUCTION 
 
 sestheticism, all is ostentation ; summed up in comprehen- 
 sive symbol by the lady who holds in one hand "a 
 volume as to read," and smoothes a petted peacock with 
 the other. And this is not the worst. Ida is rapidly 
 hardening into something very like a repulsive virago, and 
 indeed becomes under provocation little better than one, 
 her affection for the child being almost the sole thing 
 which links her with true womanhood. 
 
 Tennyson has himself summed up the teaching of his 
 poem so lucidly and so fully by the speech which he 
 places in Gama's mouth in part v., " Man for the 
 field and woman for the hearth," etc., and in the 
 famous speech placed in the Prince's mouth in part vii., 
 "For woman is not undevelopt man," etc., that there 
 is no need to say more on the subject. It is, how- 
 ever, interesting to note that Comte, probably at the 
 very time Tennyson was engaged on this poem, had 
 arrived at precisely the same conclusion as the poet. One 
 passage may be quoted : — 
 
 " Different as the two sexes are by nature, and increased 
 as that difference is by the diversity which happily exists 
 in their social position, each is consequently necessary to 
 the moral development of the other. In practical energy, 
 and in the mental capacity connected with it, Man is 
 evidently superior to Woman. Woman's strength, on the 
 other hand, lies in feeling. She excels Man in love, as 
 Man excels her in all kinds of force. It is impossible to 
 conceive of a closer union than that which binds these two 
 beings to the mutual service and perfection of each other, 
 saving them from all danger of rivalry. The voluntary 
 character, too, of this union gives it a still further charm, 
 when the choice has been on both sides a happy one. In 
 the Positive theory, then, of marriage, its chief object is 
 considered to be that of completing and confirming the 
 
INTRODUCTION 153 
 
 education of the heart by caUing out the purest and 
 strongest of human sympathies." ^ 
 
 Tennyson's ideal woman is given us in the beautiful 
 lines describing the Prince's mother, and in the character 
 of Edith in Ayhner's Field. It is the ideal of Wordsworth, 
 and the lines, " She was a phantom of delight," preserve 
 in quintessence what Tennyson has diluted, but diluted 
 with rose-water. It is the ideal also of Ruskin, but not 
 that of Mill and of Miss Martineau. 
 
 As a contribution to social philosophy. The Princess has 
 done its work. The problem which was unsolved when the 
 poem appeared has long found its solution. As a didactic 
 work it stands in the same relation to social philosophy 
 as In Memoriam stands to religious thought. What lives 
 and is influential in both belongs to the currency which 
 Time wiU, in all likelihood, discount still further, but 
 probably not much further. 
 
 With the significance of the didactic purpose ceasing to 
 appeal. The Princess as a whole is not likely to maintain 
 either its attraction or its interest. If we except Ida, the 
 characters are thin and commonplace, little more indeed 
 than lay figures flashed occasionally into reality by vivi- 
 fying touches. The story is at once trivial and improbable, 
 without that congruity in incongruity, that wealth of 
 imagination and fancy, which reconcile us to the extrava- 
 gance of Ariosto and Spenser. No poet with a tithe 
 of Tennyson's manifold accomplishments is so deficient 
 in what Aristotle calls •v|/suS^ X'syiiv w; dsT, the true art of 
 dramatic fiction. The strained artificiality of the style, 
 almost always in an inverse ratio to the weight and import- 
 ance of the matter, becomes very wearisome in so long a 
 narrative. As Coleridge says of Claudian, "every line, 
 nay, every word, stops, looks full in your face, and asks and 
 ' System of Fosiiive Polity, translated by Brydges, vol. i. p. 189. 
 
154 INTRODUCTION 
 
 begs for praise." Tennyson, indeed, reminds us of Martial's 
 
 Matho, and of the epigrammatist's advice to him — 
 
 Omnia vult belle Matho dicere : die aliquando 
 Die bene, die neutrum, die aliquando male.* 
 
 But if the impression which the poem makes as a whole 
 is, apart from its serious purpose, unsatisfactory and dis- 
 appointing, it is sown thick with beauties, and with 
 passages which are among the gems of English poetry. 
 Of the songs and blank-verse lyrics, of the Bugle Song, of 
 " Ask me no more," of the Swallow Song, of " Tears, idle 
 tears," particularly, it may be said — and what more can 
 be said ? — that Tennyson himself has never excelled them. 
 And they are as original as they are perfectly lovely ; no 
 such notes had been struck in our poetry before. In 
 " Come down, O maid, from yonder mountain height," we 
 have one of the supreme triumphs of Tennyson's art. 
 Never has blank verse so superb and delicate blended so 
 many notes, or fancy so rich and splendid, description so 
 magical, both in what it expresses and in what it suggests, 
 so much sweetness, so much tenderness, been found in 
 such exquisite combination. The tournament, which is 
 modelled on Virgil's battle scenes, is worthy to stand 
 beside the best of them. Regarded as composition, the 
 poem contains passages which in style and rhythm are 
 among Tennyson's masterpieces. Such would be the 
 noble passage in the fourth section beginning " Not peace 
 she look'd, the Head," the description of the storm-cloud 
 in the seventh section, the passage in the same section 
 beginning " Yet was there one," and above all, the passage 
 in the same section beginning 
 
 Dear, 
 Look up, and let thy nature strike on mine. 
 
 ' Matho wishes to express everything finely : express yourself sometimes 
 finely, sometimes neither finely nor not finely, sometimes even badly. 
 
INTRODUCTION 155 
 
 In none of his poems are the touches of natural descrip- 
 tion more exquisite ; as — 
 
 In the green gleam of dewy-tasselV d trees, 
 
 To float about a glimmering night, and watch 
 A full sea glazed with muffled moonlight. 
 
 All her thoughts as fair within her eyes 
 As bottom agates seen to wave and float 
 In crystal currents of clear morning seas, 
 
 The firths of ice, 
 That huddling slant in furrow-cloven falls 
 To roll the torrent out of dusky doors, 
 
 while in 
 
 (i.) 
 (i.) 
 
 (ii.) 
 
 (vii.) 
 Their thousand wreaths of dangling water-smoke ; 
 
 (vii.) 
 
 More crumpled than a poppy from the sheath, 
 
 Pure as lines of green that streak the white 
 Of the first snowdrop's inner leaves. 
 
 As the waterlily starts and slides 
 Upon the level in little puffs of wind, 
 Tho' anchor'd to the bottom, 
 
 (V.) 
 (V.) 
 
 (iv.) 
 
 And over them the tremulous isles of light 
 Slided, they moving under shade, 
 
 (vi.) 
 
 we have instances of the minute and accurate observation 
 
 which was characteristic of Tennyson. 
 
 The subtle elaboration of the structure of this poem, 
 
 which has already been illustrated, is equally conspicuous 
 
 in the style, which, in the rhetorical devices employed for 
 
 attaining distinction, and in its subtle suggestiveness, 
 
 closely resembles that of Sophocles and Virgil. Thus 
 
 we have 
 
 Up went the hush'd amaze of hand and eye 
 
 (iii.) 
 
 for a gesture of surprise ; the constant use of epithets which 
 
156 INTRODUCTION 
 
 correspond not to what is expressed in the substantives to 
 
 which they are attached, but to images and ideas implied or 
 
 suggested in association.^ 
 
 A flying charm of blushes. 
 
 (ii.) 
 Shook her doubtful curls. 
 
 (iii.) 
 Planted level feet. 
 
 (iv.) 
 We stumbled on a stationary voice 
 
 (V.) 
 
 (we came upon a sentinel at his post who challenged us). 
 
 Wan was her cheek 
 
 With hollow watch. 
 
 (vi.) 
 The old Hon, glaring with his whelfless eye. 
 
 (vi.) 
 An eye that swum in thanks. 
 
 (vi.) 
 Cast a liquid look. 
 
 (iv.) 
 So, as so often in Virgil, hendiadys — 
 
 With happy faces and with holiday 
 
 (Prologue.') 
 
 (for the happy faces of holiday-makers). 
 
 The tender ministries 
 Qi female hands and hospitality. (vi.) 
 
 So, as again so common with Sophocles and Virgil, the 
 
 habitual use of metonomy — 
 
 DasKd with death. 
 
 (V.) 
 The trampled year 
 
 (v.) 
 (for the harvest). 
 
 ' Cf. Virgil, " sceleratas sumere pcenas " (yEneid, ii. 576) ; " ceecis 
 erramus in undis" (Ibid. iii. 200); " spumantes rates" (Ibid. x. 300); 
 "ad impia Tartara mittit" (Ibid. vi. S43) ; Sophocles, Ajaa, 55, f/c«pe 
 iroKiKipuv ^bvov, for " dealt slaughter among the horned flock " ; Antigone, 
 972-73, eXSev Aparbv (\kos TVcjAaBiv i^ Aypidis ddfiaftros, for "saw the 
 accursed blow dealt by a savage wife which brought blindness " ; TrachiniiB, 
 rive! vi/iT\T]KTa Tayxdvlrd t' 4^7i\8ov de8\a iyiivuv, for " Who went forth 
 and won mid showers of blows and clouds of dust the prize of combat ? " 
 
INTRODUCTION 157 
 
 Then, again, we have the use of common words in 
 micommon senses, so much affected both by Sophocles and 
 Virgil; as — 
 
 Long breezes rapt from inmost south. 
 
 Like a blossom'd branch 
 Raft to the horrible fall. 
 
 A lidless watcher of the public weal, 
 
 We forged a sevenfold story. 
 
 An erring 
 Pearl, lost in her bosom. 
 
 This whole foundation ruin 
 (for fall into ruin). 
 
 (iv.) 
 
 (iv.) 
 
 (iv.) 
 
 {Prologue. ) 
 
 (iv.) 
 (ii.) 
 
 The authentic mother of her mind. 
 Void was her use ' 
 (for occupation or employment). 
 
 Not in this frequence can I lend full tongue. 
 
 (V.) 
 (vii.) 
 
 (iv.) 
 
 ' Cf. Virgil's use of " mollis " {Georg. ii. 389, ^neid, ix. 817, etc.), in 
 the sense of "mobilis"; of "vexasse" (Eel. vi. 76), the force of which 
 depends not on its common meaning, but on its derivation ; of " bi-pennis, '' 
 not as an axe, but in its original adjectival sense ; of " orasse " for " loqui " 
 {jEneid, vii. 446) ; of " caducus " in a passive sense (Ibid. vi. 481). So, 
 too, if Servius is to be believed, " funera " in Ibid. ix. 486 is the feminine 
 of an obsolete adjective, "funerus"' ; and "serenas" in Georg. i. 461 is for 
 "siccas." See his Comment. a(^ /(jfa. C/i in Sophocles the use of (i^/ta for 
 " a vision " (Elect, 952) ; jmal applied to the twinkling of stars (Elect. 105), 
 and the rush of winds (Antig. 137) ; irpoirdyovos used in the sense of 
 " noble " (Philoct. 180) ; dfyrlvovs for " coming just in time " ( Track. 58) ; 
 ^TrpoKTos, as " not practised upon " (^«^«^. 1034) ; S/i/Spos for simple " water " 
 (CEdip. Rex, 1428); aiT6<j)ii>pos for "detected by himsell" (Antig. 51); 
 d/t0£7uos for either "dexterous" or of "dissimilar forms" (TracA. 505); 
 TCTpdopos for erect upon four legs ( Track. 507) ; and the like. 
 
158 INTRODUCTION 
 
 And just as Virgil is fond of borrowing idioms from 
 
 the Greek language, naturalising them in his own, so 
 
 Tennyson's diction, like Milton's, is permeated with phrases 
 
 and constructions from both the Latin and the Greek. 
 
 Thus we have 
 
 Then he chew'd 
 The thrice-turn'd cud of wrath, and cooked his spleen, 
 
 "the Roman brows of Agrippina," "laugh'd with ahen 
 lips," "I know not what of insolence and love," "she 
 might not rank with those detestable," "sated with the 
 innumerable rose." 
 
 In none of Tennyson's poems are all the mechanical 
 devices for adding effectiveness and variety to rhythm 
 more carefully or more successfully studied — ^accentual 
 licences, nicest audacity in caesural effects, assonance, 
 alliteration, onomatopoeia. Cf. 
 
 They to and fro 
 Fluctuated, as flowers in storm, some red, some pale. 
 
 (iv.) 
 He rode the mellay, lord of the ringing lists. 
 
 And all the plain, — brand, mace, and shaft, and shield— 
 Shock'd, like an iron-clanging anvil bang'd 
 With hammers. 
 
 Myriads of rivulets hurrying thro' the lawn. 
 The moan of doves in immemorial elms. 
 And murmuring of innumerable bees. 
 
 And follow'd up by a hundred airy does, 
 Steps with a tender foot, light as on air. 
 The lovely, lordly creature floated on. 
 
 (v.; 
 
 (vii.) 
 
 vi.) 
 
 The single pure and perfect animal, 
 
 The two-cell'd heart beating, with one full stroke. 
 
 Life. 
 
 (vu.) 
 
 It may be said of The Princess that if it does not attain 
 the last triumph of art, the concealment of it, it is at 
 least a masterpiece of the art which reveals itself. 
 
THE PRINCESS 
 
 A MEDLEY 
 
 PROLOGUE 
 
 Sir Walter Vivian all a summer's day 
 
 Gave his broad lawns until the set of sun 
 
 Up to the people : thither flock'd at noon 
 
 His tenants, wife and child, and thither half 
 
 The neighbouring borough with their Institute 5 
 
 Of which he was the patron. I was there 
 
 From college, visiting the son, — the son.'-'' 
 
 A Walter too, — with others of our set. 
 
 Five others : we were seven at Vivian-place. 
 
 And me that morning Walter show'd the house, 10 
 Greek, set with busts : from vases in the hall 
 Flowers of all heavens, and lovelier than their names. 
 Grew side by side ; and on the pavement lay 
 Carved stones of the Abbey-ruin in the park. 
 Huge Ammonites, ^nd the first bones of Time ; 1 5 
 
 And on the tables eyery clime and age 
 Jumbled together ; celts and calumets. 
 Claymore and snowshoe, toys in lava, fans 
 Of sandal, amber, ancient rosaries. 
 
 Laborious orient ivory sphere in sphere, 20 
 
 The cursed Malayan crease, and battle-clubs 
 
 PROLOGUE 
 9. Added in 1850. 
 
 21. Crease, a Malay dagger or poignard, from kris. Skeat quotes Sir 
 Thomas Herbert's Travels, p. 68, edit. 1665 : ' ' Four hundred young men 
 who were privately armed with cryzes. " 
 
 159 
 
160 THE PRINCESS 
 
 From the isles of palm : and higher on the walls, 
 Betwixt the monstrous horns of elk and deer. 
 His own forefathers' arms and armour hung. 
 
 And " this " he said " was Hugh's at Agincourt ; 25 
 And that was old Sir Ralph's at Ascalon : 
 A good knight he ! we keep a chronicle 
 With all about hira " — which he brought, and I 
 Dived in a hoard of tales that dealt with knights 
 Half-legend, half-historic, counts and kings 30 
 
 Who laid about them at their wills and died ; 
 And mixt with these, a lady, one that arm'd 
 Her own fair head, and sallying thro' the gate. 
 Had beat her foes with slaughter from her walls. 
 
 " O miracle of women," said the book, 35 
 
 " O noble heart who, being strait-besieged 
 By this wild king to force her to his wish. 
 Nor bent, nor broke, nor shunn'd a soldier's death. 
 But now when all was lost or seem'd as lost — 
 Her stature more than mortal in the burst 40 
 
 Of sunrise, her arm lifted, eyes on fire — 
 Brake with a blast of trumpets from the gate. 
 And, falling on them Hke a thunderbolt. 
 She trampled some beneath her horses' heels. 
 And some were whelm'd with missiles of the wall, 45 
 And some were push'd with lances from the rock. 
 And part were drown'd within the whirling brook : 
 O miracle of noble womanhood ! " 
 
 So sang the gallant glorious chronicle ; 
 And, I all rapt in this, " Come out," he said, 50 
 
 " To the Abbey : there is Aunt Elizabeth 
 And sister LUia with the rest." We went 
 (I kept the book and had my finger in it) 
 Down thro' the park : strange was the sight to me ; 
 For all the sloping pasture murmur' d, sown 55 
 
 With happy faces and with holiday. 
 
 3S-48 inclusive. Added in 1853. 
 
 40. So Virgil of the shade of Creusa {^neid, ii. 773) : " Visa mihi ante 
 oculos, et nota major imago." 
 
 56. This description of a popular holiday was suggested by what Tennyson 
 himself witnessed on 6th July 1842, at a festival of the Maidstone Mechanics' 
 Institute, held in the park of the Lushingtons (Life, i. 203). 
 
A MEDLEY 161 
 
 There moved the multitudej a thousand heads : 
 
 The patient leaders of their Institute 
 
 Taught them with facts. One rear'd a font of stone 
 
 And drew, from butts of water on the slope, 60 
 
 The fountain of the moment, playing now 
 
 A twisted snake, and now a rain of pearls, 
 
 Or steep-up spout whereon the gilded ball 
 
 Danced like a wisp : and somewhat lower down 
 
 A man with knobs and wires and vials fired 65 
 
 A cannon : Echo answer'd in her sleep 
 
 From hollow fields : and here were telescopes 
 
 For azure views ; and there a group of girls 
 
 In circle waited, whom the electric shock 
 
 Dislink'd with shrieks and laughter : round the lake 70 
 
 A little clock-work steamer paddling plied 
 
 And shook the lilies : perch'd about the knolls 
 
 A dozen angry models jetted steam : 
 
 A petty railway ran : a fire-balloon 
 
 Rose gem-like up before the dusky groves 75 
 
 And dropt a fairy parachute and past : 
 
 And there thro' twenty posts of telegraph 
 
 They flash'd a saucy message to and fro 
 
 Between the mimic stations ; so that sport 
 
 Went hand ia hand with Science ; otherwhere 80 
 
 Piu-e sport : a herd of boys with clamour bowl'd 
 
 And stump'd the wicket ; babies roll'd about 
 
 Like tumbled fruit in grass ; and men and maids 
 
 Arranged a country dance, and flew thro' light 
 
 And shadow, while the twangling violin 85 
 
 Struck up with Soldier-laddie, and overhead 
 
 The broad ambrosial aisles of lofty lime 
 
 Made noise with bees and breeze from end to end. 
 
 Strange was the sight and smacking of the time ; 
 And long we gazed, but satiated at length 90 
 
 Came to the ruins. High-arch'd and ivy-claspt, 
 Of finest Gothic lighter than a fire. 
 Thro' one wide chasm of time and frost they gave 
 The park, the crowd, the house ; but all within 
 
 63. Steep-up. Cf. Shakespeare, 5o«»«^j, vii. s,, "the .f'^/-"/ heavenly hill," 
 ^niLPassionate PUgrim.,\\\. tf, "Her stand she takes upon a j*«/-«/ hill." Tenny- 
 son again uses it in ^?/?ea 71/ary, III. iv.: "Tix't steep-up tracts of the pure faith." 
 
 80. 1847-51. With Science hand in hand went. 
 
 II 
 
162 THE PRINCESS 
 
 The sward was trim as any garden lawn : 95 
 
 And here we lit on Aunt Elizabeth^ 
 
 And Lilia with the rest, and lady friends 
 
 From neighbour seats : and there was Ralph himself, 
 
 A broken statue propt against the wall. 
 
 As gay as any. LiUa, wild with sport, 100 
 
 Half child half woman as she was, had wound 
 
 A scarf of orange round the stony helm. 
 
 And robed the shoulders in a rosy silk. 
 
 That made the old warrior from his ivied nook 
 
 Glow like a sunbeam : near his tomb a feast 105 
 
 Shone, silver-set ; about it lay the guests. 
 
 And there we join'd them : then the maiden Aimt 
 
 Took this fair day for text, and from it preach'd 
 
 An universal culture for the crowd. 
 
 And all things great ; but we, unworthier, told 110 
 
 Of college : he had climb'd across the spikes. 
 
 And he had squeezed himself betwixt the bars. 
 
 And he had breathed the Proctor's dogs ; and one 
 
 Discuss'd his tutor, rough to common men. 
 
 But honeying at the whisper of a lord ; 115 
 
 And one the Master, as a rogue in grain 
 
 Veneer'd with sanctimonious theory. 
 
 But while they talk'd, above their heads I saw 
 The feudal warrior lady-clad ; which brought 
 My book to mind : and opening this I read 1 20 
 
 Of old Sir Ralph a page or two that rang 
 With tilt and tourney ; then the tale of her 
 That drove her foes with slaughter from her walls, 
 And much I praised her nobleness, and " Where," 
 Ask'd Walter, patting Lilia's head (she lay 125 
 
 Beside him) " lives there such a woman now ? " 
 
 Quick answer'd Lilia " There are thousands now 
 Such women, but convention beats them down : 
 It is but bringing up ; no more than that : 
 
 97. 1847-48. This runs as follows :— 
 
 And Lilia with the rest, and Ralph himself, 
 A broken statue, etc. 
 
 112. 1847-50. squeez'd. 
 
 113. 1847-58, "breathed" ; i860, "breath'd," till 1885, when "breathed" 
 reappears. 
 
 125. 1847-48. Ask'd Walter, "lives there such a woman now? " 
 
A MEDLEY 163 
 
 You men have done it : how I hate you all ! 130 
 
 Ahj were I something great ! I wish I were 
 
 Some mighty poetess, I would shame you then, 
 
 That love to keep us children ! O I wish 
 
 That I were some great Princess, I would build 
 
 Far off from men a college like a man's, 135 
 
 And I would teach them all that men are taught ; 
 
 We are twice as quick ! " And here she shook aside 
 
 The hand that play'd the patron with her curls. 
 
 And one said smiling " Pretty were the sight 
 If our old halls could change their sex, and flaunt 140 
 With prudes for proctors, dowagers for deans, 
 And sweet girl-graduates in their golden hair. 
 I think they should not wear oiu* rusty gowns. 
 But move as rich as Emperor-moths, or Ralph 
 Who shines so in the corner ; yet I fear, 145 
 
 If there were many Lilias in the brood. 
 However deep you might embower the nest. 
 Some boy would spy it." 
 
 At this upon the sward 
 She tapt her tiny silken-sandal'd foot : 
 "That's your light way ; but I would make it death 150 
 For any male thing but to peep at us." 
 
 Petulant she spoke, and at herself she laugh'd ; 
 A rosebud set with little wilful thorns. 
 And sweet as English air could make her, she : 
 But Walter hail'd a score of names upon her, 155 
 
 And ''petty Ogress," and "ungrateful Puss," 
 And swore he long'd at College, only long'd. 
 All else was well, for she-society. 
 They boated and they cricketed ; they talk'd 
 At wine, in clubs, of art, of politics ; 160 
 
 They lost their weeks ; they vext the souls of deans ; 
 They rode ; they betted ; made a hundred friends. 
 And caught the blossom of the flying terms. 
 But miss'd the mignonette of Vivian-place, 
 
 131-38 1847-48:— 
 
 O were I some great Princess, I would build 
 Far off from men a college of my own, 
 And I would teach them all things : you should see." 
 This concludes the stanza. ' 
 
 144. 1847-48, emperor moths. 
 
164 THE PRINCESS 
 
 The little hearth-flower Lilia. Thus he spoke, 165 
 
 Part banter, part affection. 
 
 "True," she said, 
 " We doubt not that. O yes, you miss'd us much. 
 I'll stake my ruby ring upon it you did." 
 
 She held it out ; and as a parrot turns 
 Up thro' gilt wires a crafty loving eye, 1 70 
 
 And takes a lady's finger with all care. 
 And bites it for true heart and not for harm, 
 So he with Lilia's. Daintily she shriek'd 
 And wrung it. "Doubt my word again ! " he said. 
 " Come, listen ! here is proof that you were miss'd : 175 
 We seven stay'd at Christmas up to read ; 
 And there we took one tutor as to read : 
 The hard-grain'd Muses of the cube and square 
 Were out of season : never man, I think. 
 So moulder'd in a sinecure as he : 180 
 
 For while our cloisters echo'd frosty feet. 
 And our long walks were stript as bare as brooms. 
 We did but talk you over, pledge you all 
 In wassail ; often, like as many girls — 
 Sick for the hollies and the yews of home — 185 
 
 As many little trifling Lilias — play'd 
 Charades and riddles as at Christmas here. 
 And what's my thought and when and where and how. 
 And often told a tale from mouth to mouth 
 As here at Christmas." 
 
 She remember'd that : 190 
 
 A pleasant game, she thought : she liked it more 
 Than magic music, forfeits, all the rest. 
 But these — what kind of tales did men tell men, 
 She wonder' d, by themselves ? 
 
 A half-disdain 
 Perch'd on the pouted blossom of her lips : 195 
 
 And Walter nodded at me ; " He began, 
 
 177. 1847-48. We seven took one tutor. Never man 
 
 So moulder'd, etc. 
 190. 1847-48. " I remember that : 
 
 A pleasant game," she said ; " I liked it more. 
 193. 1847-48. do men tell men, 
 
 I wonder, by themselves?" 
 195. Cf. CEnone, 76 : "He prest the blossom of his lips to mine." 
 
A MEDLEY 165 
 
 The rest would follow, each in turn ; and so 
 We forged a sevenfold story. Kind ? what kind ? 
 Chimeras, crotchets, Christmas solecisms. 
 Seven-headed monsters only made to kill 200 
 
 Time by the fire in winter." 
 
 " Kill him now. 
 The tjrrant ! kill him in the summer too," 
 Said Lilia ; "Why not now," the maiden Aunt. 
 " Why not a summer's as a winter's tale ? 
 A tale for summer as befits the time, 205 
 
 And something it should be to suit the place. 
 Heroic, for a hero lies beneath. 
 Grave, solemn ! " 
 
 Walter warp'd his mouth at this 
 To something so mock-solemn, that I laugh'd 
 And Lilia woke with sudden-shrilling mirth 210 
 
 An echo like a ghostly woodpecker. 
 Hid in the ruins ; till the maiden Aunt 
 (A little sense of wrong had touch'd her face 
 With colour) turn'd to me with " As you will ; 
 
 197-200. 1847-48. The rest would follow ; so we tost the ball : 
 
 What kind of tales ? why, such as served to kill. 
 
 202, 203. 1847-48. "Tell one " she said : "kill him in summer too." 
 And " tell one" cried the solemn maiden aunt. 
 
 207. 1847-48. Grave, moral, solemn, like the mouldering walls 
 
 About us." 
 
 211. 1847-51. an April woodpecker. 
 
 212. "aunt" till 1850. 
 
 214 to end of Prologue. 1847-48 : — 
 
 turn'd to me : ' ' Well — as you will — 
 Just as you will," she said ; "be, if you will, 
 Yourself your hero." 
 
 ' ' Look then," added he, 
 "Since Lilia would be princess, that you stoop 
 No lower than a prince. " 
 
 To which I said, 
 " Take care, then, that my tale be foUow'd out 
 By all the lieges in my royal vein : 
 But one that really suited time and place 
 Were such a medley, we should have him back 
 Who told the Winter's Tale to do it for us : 
 A Gothic ruin, and a Grecian house, 
 A talk of college and of ladies' rights, 
 A feudal knight in silken masquerade. 
 And there, with shrieks and strange experiments. 
 For which the good Sir Ralph had burnt them all. 
 The nineteenth centiuy gambols on the grass. 
 No matter : we will say whatever comes : 
 Here are we seven : if each man take his turn 
 We make a sevenfold story : " then began. 
 
166 THE PRmCESS 
 
 ^ Heroic if you will, or what you will, 215 
 
 Or be yourself your hero if you will." 
 
 " Take Lilia, then, for heroine " clamour'd he, 
 " And make her some great Princess, six feet high, 
 Grand, epic, homicidal ; and be you 
 The Prince to win her ! " 
 
 " Then follow me, the Prince," 220 
 I answer'd, " each be hero in his turn ! 
 Seven and yet one, like shadows in a dream.— 
 Heroic seems our Princess as required. — 
 But something made to suit with Time and place, 
 A Gothic ruin and a Grecian house, 225 
 
 A talk of college and of ladies' rights, 
 A feudal knight in silken masquerade. 
 And, yonder, shrieks and strange experiments 
 For which the good Sir Ralph had burnt them all — 
 This were a medley ! we should have him back 230 
 
 Who told the " Winter's tale " to do it for us. 
 No matter : we will say whatever comes. 
 And let the ladies sing us, if they wUl, 
 From time to time, some ballad or a song 
 To give us breathing-space." 
 
 So I began, 235 
 
 And the rest follow'd : and the women sang 
 Between the rougher voices of the men. 
 Like linnets in the pauses of the wind : 
 And here I give the story and the songs. 
 
 222. Added in iSji. 
 
 229. Omitted in 1850, the next line running thus : — 
 
 Were such a medley we should have him back, 
 231. In 11850, "winter's tale." In 1851, Winter's capital. In 1885 two 
 capitals and two pairs of inverted comrtias j final form recurs lo the present. 
 
A MEDLEY 167 
 
 A Prince I was, blue-eyed, and fair in face, 
 Of temper amorous, as the first of May, 
 With lengths of yellow ringlet, like a girl. 
 For on my cradle shone the Northern star. 
 
 There lived an ancient legend in our house. .5 
 
 Some sorcerer, whom a far-oif grandsire burnt 
 Because he cast no shadow, had foretold. 
 Dying, that none of all our blood should know 
 The shadow from the substance, and that one 
 Should come to fight with shadows and to fall. 10 
 
 For so, my mother said, the story ran. 
 And, truly, waking dreams were, more or less. 
 An old and strange affection of the house. 
 Myself too had weird seizures. Heaven knows what : 
 On a sudden in the midst of men and day, 1 5 
 
 And while I walk'd and talk'd as heretofore, 
 1 seem'd to move among a world of ghosts. 
 And feel myself the shadow of a dream. 
 Our great court-Galen poised his gilt-head cane. 
 And paw'd his beard, and mutter'd "catalepsy." 20 
 
 My mother pitying made a thousand prayers ; 
 My mother was as mild as any saint. 
 Half-canonized by all that look'd on her. 
 So gracious was her tact and tenderness : 
 But my good father thought a king a king ; 25 
 
 I 
 
 2. First introduced in 1850. Cf. Love' s Laiour' s Lost, IV. iii., "Love, whose 
 month is ever May," and King Henry IV., Part I. iv. i. loi, "As full of 
 spirit as the month of May." 
 
 5-21 inclusive. Added in 1831 (fourth edition). 
 
 20. 1851. and call'd it catalepsy. 
 
 23. 1847-48. And nearly canonized by all she knew. 
 
168 THE PRINCESS 
 
 He cared not for the aflfectidn of the house ; 
 He held his sceptre hke a pedant's wand 
 To lash offence, and with long arms and hands 
 Reach'd out, and pick'd offenders from the mass 
 For judgment. 
 
 Now it chanced that I had been, 30 
 While life was yet in bud and blade, betroth'd 
 To one, a neighbouring Princess : she to me 
 Was proxy-wedded with a bootless calf 
 At eight years old ; and stiU from time to time 
 Came murmurs of her beauty from the South, 35 
 
 And of her brethren, youths of puissance ; 
 And still I wore her picture by my heart. 
 And one dark tress ; and all around them both 
 Sweet thoughts would swarm as bees about their queen. 
 
 But when the days drew nigh that I should wed, 40 
 My father sent ambassadors with furs 
 And jewels, gifts, to fetch her : these brought back 
 A present, a great labour of the loom ; 
 And therewithal an answer vague as wind : 
 Besides, they saw the king ; he took the gifts ; 45 
 
 He said there was a compact ; that was true : 
 But then she had a will ; was he to blame .'' 
 And maiden fancies ; loved to live alone 
 Among her women ; certain, would not wed. 
 
 That morning in the presence room I stood 50 
 
 With Cyi'il and with Florian, my two friends : 
 
 26. Added in 1851. 
 
 33. The reference here is to a ceremony occasionally observed in proxy- 
 marriages in the Middle Ages. The best commentary will be Bacon's account 
 of the proxy-marriage of MaximiUan of Austria and Anne of Brittany in 1489 : 
 "Maximilian ... so far prevailed, both with the young lady and with the 
 principal persons about her, as the marriage was consummated by proxy with 
 a ceremony at that time in these parts new. For she was not only publicly 
 contracted, but stated as a bride, and solemnly bedded ; and after she was laid 
 there came in Maximilian's ambassador with letters of procuration, and in the 
 presence of sundry noble personages, men and women, put his leg, stripped 
 naked to the knee, between the espousal sheets " (History of Henry VII., ad 
 med. ). But this ceremony was only observed in the case of adults, and Tennyson's 
 application of it to the betrothal of children is without warrant, and absurd. 
 See Mr. Dawson's elaborate and excellent note on this passage in his study of 
 The Princess, pp. 62, 63. 
 
 36. 1847-48. knights. 
 
A MEDLEY 169 
 
 The first, a gentleman of broken means 
 
 (His father's fault) but given to starts and bursts 
 
 Of revel ; and the last, my other heart. 
 
 And almost my half-self, for still we moved 55 
 
 Together, tw^inn'd as horse's ear and eye. 
 
 Now, while they spake, I saw my father's face 
 Grow long and troubled like a rising moon. 
 Inflamed with wrath : he started on his feet. 
 Tore the king's letter, snow'd it down, and rent 60 
 
 The wonder of the loom thro' warp and woof 
 From skirt to skirt ; and at the last he sware 
 That he would send a hundred thousand men. 
 And bring her in a whirlwind : then he chew'd 
 The thrice-turn'd cud of wrath, and cook'd his 
 
 spleen, 65 
 
 Communing with his captains of the war. 
 
 At last I spoke. " My father, let me go. 
 It cannot be but some gross error lies 
 In this report, this answer of a king. 
 Whom all men rate as kind and hospitable : 70 
 
 Or, maybe, I myself, my bride once seen, 
 Whate'er my grief to find her less than fame. 
 May rue the bargain made." And Florian said : 
 " I have a sister at the foreign court. 
 Who moves about the Princess ; she, you know, 75 
 
 Who wedded with a nobleman from thence : 
 He, dying lately, left her, as I hear, 
 The lady of three castles in that land : 
 Thro' her this matter might be sifted clean." 
 And Cyril whisper'd : "'"Take me with you too." 80 
 
 SS, 56. 1847-30. My shadow, my half-self, for still we moved 
 Together, kin as horse's ear and eye. 
 Forthe expression, cf. Horace, Odes, i. iii. 8 : " anim« dimidium meas." 
 
 65, 66. A Homeric phrase, es-J vypiai xo^v SvfjMKvia, ^ritrm, Iliad, iv. S""I3 {-A-t the 
 ships he cooks his heart-grieving spleen); cf., too, Iliad, i. 81, and Aristotle, 
 Ethics, IV. V. 10, h uirS 8S OT-vpaw rr,t o>j'i)» xp'"" *" (To digest internally one's wrjth 
 takes time); and the Latin poets have borrowed the term, c/". Silius Italicus 
 (Punica, ii. 327), "asperque coquebat Jamdudum immites iras," and again 
 (vii. 403). For the former image, Wallace well quotes Julius Ccesar, i. ii. 
 169 : — 
 
 Till then, my noble friend, chew upon this. 
 
 80. 1847-50. Then whisper'd Cyril. 
 
170 THE PRINCESS 
 
 Then laughing " what, if these weird seizures come 
 
 Upon you in those lands, and no one near 
 
 To point you out the shadow from the truth ! 
 
 Take me : I'll serve you better in a strait ; 
 
 I grate on rusty hinges here : " but " No ! " 85 
 
 Roar'd the rough king, " you shall not ; we ourself 
 
 Will crush her pretty maiden fancies dead 
 
 In iron gauntlets : break the council up." 
 
 But when the council broke, I rose and past 
 Thro' the wild woods that hung about the town ; 90 
 Found a still place, and pluck'd her likeness out ; 
 Laid it on flowers, and watch'd it lying bathed 
 In the green gleam of dewy-tassell'd trees : 
 What were those fancies ? wherefore break her 
 
 troth ? 
 Proud look'd the lips : but while I meditated 95 
 
 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." 
 
 Then, ere the silver sickle of that month 100 
 
 Became her golden shield, I stole from court 
 With Cyril and with Florian, unperceived, 
 
 81-88. 1847-48 :— 
 
 Trust me, I'll serve you better in a strait ; 
 I grate on rusty hinges here : " but " No ! " 
 Replied the king, " you shall not ; I myself 
 Will crush these pretty maiden fancies dead 
 In iron gauntlets : break the council up." 
 
 1850 also follows editions of 1847-48, one line only being altered to read 
 
 thus : — 
 
 Roar'd the rough king, "you shall not ; we ourself. 
 93. Hung with dewy catkins ; cf. In Mefnoriam^ Ixxxvi. 6, " Thro' all the 
 
 dewy-tassell'd wood." C/; Mrs. Hemans' Voice of Spring : " And the larch has 
 
 hung all his tassels forth. " 
 96-99. Cf. Shelley, Projnetheus Unbound, ii. i : — 
 
 A wind arose among the pines ; it shook 
 The clinging music from their boughs, and then 
 Low, sweet, faint sounds, Uke the farewell of ghosts, 
 Were heard, " O follow, follow, follow me ! " 
 
 Tennyson denied that the lines in the original were a reminiscence of Shelley, 
 
 but said they were suggested to him by the effects of a west wind in the New 
 
 Forest. See his letter to Mr. Dawson (Life, i. 258)., 
 
A MEDLEY 171 
 
 Cat-footed thro' the town and half in dread 
 
 To hear my father's clamour at our backs 
 
 With Ho ! from some bay-window shake the night ; 105 
 
 But all was quiet : from the bastion'd walls 
 
 Like threaded spiders, one by one, we dropt, 
 
 And flying reach'd the frontier : then we crost 
 
 To a livelier land ; and so by tilth and grange. 
 
 And vines, and blowing bosks of wilderness, 1 10 
 
 We gain'd the mother-city thick with towers. 
 
 And in the imperial palace found the king. 
 
 His name was Gama ; crack'd and small his voice. 
 But bland the smile that like a wrinkling wind 
 On glassy water drove his cheek in lines ; 115 
 
 A little dry old man, without a star, 
 Not like a king : three days he feasted us, 
 And on the fourth I spake of why we came. 
 And my betroth'd. " You do us. Prince," he said. 
 Airing a snowy hand and signet gem, 120 
 
 " All honour. We remember love ourselves 
 In our sweet youth : there did a compact pass 
 Long summers back, a kind of ceremony — 
 I think the year in which our olives fail'd. 
 I would you had her. Prince, with all my heart, 125 
 
 With my full heart : but there were widows here, 
 
 103-10. These lines were added later. 1847-48 runs thus : — 
 Down from the bastion'd walls we dropt by night, 
 And flying reach'd the frontier : then we crost 
 To a liveUer land ; and so by town and thorpe, 
 And tilth, and blowing bosks of wilderness. 
 
 1850 reads : — 
 
 Down from the bastion'd wall, suspense by night, 
 Like threaded spiders from a balk, we dropt, 
 And flying, etc. , as now. 
 
 Complete present reading of this passage therefore dates from 1851. 
 
 113. In 1848 "his voice" altered to "in voice," but in 1850 altered back 
 to its original and present reading. 
 
 114. Added in 1850, but in this form : — 
 
 But bland the smile that pucker'd up his cheeks. 
 Cf. Shelley ( Prince Athanase, Frag, ii.: — 
 
 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. 
 Line 114 in its present form and line 115 introduced in 1851. 
 
172 THE PRINCESS 
 
 Two widows, Lady Psyche, Lady Blanche ; 
 
 They fed her theories, in and out of place 
 
 Maintaining that with equal husbandry 
 
 The woman were an equal to the man. 130 
 
 They harp'd on this ; with this our banquets rang ; 
 
 Our dances broke and buzz'd in knots of talk ; 
 
 Nothing but this ; my very ears were hot 
 
 To hear them : knowledge, so my daughter held, 
 
 Was all in all ; they had but been, she thought, 135 
 
 As children ; they must lose the child, assume 
 
 The woman : then. Sir, awful odes she wrote. 
 
 Too awful, sure, for what they treated of. 
 
 But all she is and does is awful ; odes 
 
 About this losing of the child ; and rhymes 140 
 
 And dismal l3Trics, prophesying change 
 
 Beyond all reason : these the women sang ; 
 
 And they that know such things — I sought but peace ; 
 
 No critic I — ^would call them masterpieces : 
 
 They master'd me. At last she begg'd a boon 145 
 
 A certain summer-palace which I have 
 
 Hard by your father's frontier : I said no. 
 
 Yet being an easy man, gave it ; and there. 
 
 All wild to found an University 
 
 For maidens, on the spur she fled ; and more 150 
 
 We know not, — only this : they see no men, 
 
 Not ev'n her brother Arac, nor the twins 
 
 Her brethren, tho' they love her, look upon her 
 
 As on a kind of paragon ; and I 
 
 (Pardon me saying it) were much loth to breed 155 
 
 Dispute betwixt myself and mine : but since 
 
 (And I confess with right) you think me bound 
 
 In some sort, I can give you letters to her ; 
 
 And yet, to speak the truth, I rate your chance 
 
 Almost at naked nothing." 
 
 Thus the king ; l60 
 
 And I, tho' nettled that he seem'd to slur 
 With garrulous ease and oily courtesies 
 
 134-37 inclusive. Added 1850. 
 138, 139. Not added till 1851. 
 140-44. Added 1850. 
 
 145. 1847-48. To hear them. Last, my daughter begg'd a boon, "me" 
 till 187s, afterwards me. 
 
 151. 1847-48. We know not,— have not been ; they see no men. 
 
A MEDLEY 173 
 
 Our formal compactj yet, not less (all frets 
 
 But chafing me on fire to find my bride) 
 
 Went forth again with both my friends. We rode 165 
 
 Many a long league back to the North. At last 
 
 From hills, that look'd across a land of hope. 
 
 We dropt with evening on a rustic town 
 
 Set in a gleaming river's crescent-curve. 
 
 Close at the boundary of the liberties ; 170 
 
 There, enter'd an old hostel, call'd mine host 
 
 To council, plied him with his richest wines. 
 
 And show'd the late-writ letters of the king. 
 
 He with a long low sibilation, stared 
 As blank as death in marble ; then exclaim'd 175 
 
 Averring it was clear against all rules 
 For any man to go : but as his brain 
 Began to mellow, " If the king," he said, 
 " Had given us letters, was he bound to speak .'' 
 The king would bear him out ; " and at the last — 180 
 The summer of the vine in all his veins — 
 " No doubt that we might make it worth his while. 
 She once had past that way ; he heard her speak ; 
 She scared him ; life ! he never saw the like ; 
 She look'd as grand as doomsday and as grave : 185 
 
 And he, he reverenced his liege-lady there ; 
 He always made a point to' post with mares ; 
 
 163-64. Brackets not attached till 1851. 
 165-71. 1847-48;— 
 
 Set out once more with those two gallant boys ; 
 
 Then pushing onward under sun and stars 
 
 Many a long league back to the North, we came, 
 
 When the first fern-owl whirr'd about the copse, 
 
 Upon a little town within a wood 
 
 Close at the boundary of the liberties ; 
 
 There entering in an hostel call'd mine host, etc. 
 1850. Set out once more with those two gallant boys 
 
 Many a long league back to the North we past, 
 
 And came (the fern-owl whirring in the copse) 
 
 Upoii a little town within a wood 
 
 Close at the boundary, etc., as ai present. 
 The present text therefore dates from 1851. 
 181. Cf. Marriage of Geraint : " Now the wine made summer in his veins." 
 
 183. Added in 1850. 
 
 184. Not added tiU 1851. 
 
 185. Added in 1850. 
 
 186. 1847-48. For him, he reverenced his liege-lady there. 
 
174 THE PRINCESS 
 
 His daughter and his housemaid were the boys; 
 The land, he understood, for miles about 
 Was till'd by women ; all the swine were sows, 190 
 
 And all the dogs " — 
 
 But while he jested thus, 
 A thought flashed thro' me which I clothed in act. 
 Remembering how we three presented Maid 
 Or NjTiiph, or Goddess, at high tide of feast, 
 In masque or pageant at my father's court. 195 
 
 We sent mine host to purchase female gear ; 
 He brought it, and himself, a sight to shake 
 The midriff of despair with laughter, help 
 To lace us up, till, each, in maiden plumes 
 We rustled : him we gave a costly bribe 200 
 
 To guerdon silence, mounted our good steeds. 
 And boldly ventured on the liberties. 
 
 We follow'd up the river as we rode. 
 And rode till midnight when the college lights 
 Began to glitter firefly-like in copse 205 
 
 And linden alley : then we past an arch. 
 Whereon a woman-statue rose with wings \ 
 
 From four wing'd horses dark against the stars ;\ 
 And some inscription ran along the front. 
 But deep in shadow : fm-ther on we gain'd 210 
 
 A little street half garden and half house ; 
 But scarce could hear each other speak for noise 
 Of clocks and chimes, like silver hammers falling 
 On silver anvils, and the splash and stir 
 Of fountains spouted up and showering down 215 ' 
 
 In meshes of the jasmine and the rose : 
 And all about us peal'd the nightingale. 
 Rapt in her song, and careless of the snare. 
 
 197-200. 1847-48 : — 
 
 Which brought and clapt upon us, we tweezer'd out 
 What slender blossom lived on lip or cheek 
 Of manhood, gave mine host a costly bribe, etc. 
 
 203. Not introduced till 1851. 
 
 204. 1847-50. We rode. 
 206. 1847-48. and then. 
 207-9. Added in 1850. 
 
 210. 1847-48. Inscribed too dark for legible, and gain'd. 
 212. 1847-48. But could not hear. 
 
A MEDLEY 175 
 
 There stood a bust of Pallas for a sign, 
 By two sphere lamps blazon'd like Heaven and 
 
 Earth 220 
 
 With constellation and with continent. 
 Above an entry : riding in, we call'd ; 
 A plump-arm'd Ostleress and a stable wench 
 Came running at the call, and help'd us down. 
 Then stept a buxom hostess forth, and sail'd, 225 
 
 Full-blown, before us into rooms which gave 
 Upon a pillar'd porch, the bases lost 
 In laurel : her we ask'd of that and this. 
 And who were tutors. " Lady Blanche " she said, 
 " And Lady Psyche." " Which was prettiest, 230 
 
 Best - natured ? " " Lady Psyche." " Hers are 
 
 we." 
 One voice, we cried ; and I sat down and wrote. 
 In such a hand as when a field of corn 
 Bows all its ears before the roaring East ; 
 
 " Three ladies of the Northern empire pray 235 
 
 Your Highness would enroll them -with your own. 
 As Lady Psyche's pupils." 
 
 This I seal'd : 
 The seal was Cupid bent above a scroll. 
 And o'er his head Uranian Venus hung, 
 And raised the blinding bandage from his eyes : 240 
 I gave the letter to be sent with dawn ; 
 And then to bed, where half in doze I seem'd 
 
 222. 1847-48. archway. 
 
 226. Tennyson seems fond of this Gallicism {donner sur) ; cf. The Gardenei's 
 Daughter, 
 
 This, jrielding, gave into a grassy walk, 
 and Gareth and Lynette, 
 
 Two great entries 
 
 gave upon a range 
 Of level pavement. 
 231. 1847-48. Her pupils we. 
 233, 234. Cf, Iliad, ii. 147-48 : — 
 
 (As when the west wind tosses a deep cornfield, rushing down with furious 
 blast). 
 
 238-41. 1847-48. (A Cupid reading) to be sent with dawn. 
 
 239. 1850. And over him. For the best commentary on this, see the 
 speech of Pausanias in Plato's Symposium, pp. 180-88. 
 
176 THE PRINCESS 
 
 To float about a glimmering night, and watch 
 
 A full sea glazed with muffled moonlight, swell 
 
 On some dark shore just seen that it was rich. 245 
 
 244. Tennyson, in his letter to Mr, Dawson, says that this was suggested to 
 him by " the sea one night at Torquay, when Torquay was the most lovely 
 sea-viUage in England, tho' now a smoky town. The sky was covered with 
 thin vapour, and the moon behind it " {Life, i. 257). 
 
A MEDLEY 177 
 
 As thro' the land at eve we went, 
 
 And pluck'd the ripen'd ears, 
 We fell out, my wife and I, 
 O we fell out I know not why, 
 
 And kiss'd again with tears. 
 And blessings on the falling out 
 
 That all the more endears, 
 When we fall out with those we love 
 
 And kiss again with tears ! 
 For when we came where lies the child 
 
 We lost in other years, 
 There above the little grave, 
 O there above the little grave. 
 
 We kiss'd again with tears. 
 
 This song was added in 1850, but the fourth and thirteenth lines were 
 added in 1851 ; lines 6-9 inclusive were omitted after 1850, and not reinserted 
 till 1867. 
 
178 THE PRINCESS 
 
 II 
 
 At break of day the College Portress came : 
 
 She brought us Academic silks, in hue 
 
 The lilac, with a silken hood to each. 
 
 And zoned with gold ; and now when these were on, 
 
 And we as rich as moths from dusk cocoons, 5 
 
 She, curtsepng her obeisance, let us know 
 
 The Princess Ida waited : out we paced, 
 
 I first, and following thro' the porch that sang 
 
 All round with laurel, issued in a court 
 
 Compact of lucid marbles, boss'd with lengths 10 
 
 Of classic frieze, with ample awnings gay 
 
 Betwixt the pillars, and with great urns of flowers. 
 
 The Muses and the Graces, group'd in threes, 
 
 Enring'd a billowing fountain in the midst ; I 
 
 And here and there on lattice edges lay 15 
 
 Or book or lute ; but hastily we past. 
 
 And up a flight of stairs into the hall. 
 
 There at a board by tome and paper sat, 
 With two tame leopards couch'd beside her throne, 
 All beauty compass'd in a female form, 20 
 
 The Princess ; liker to the inhabitant 
 Of some clear planet close upon the Smi, 
 Than our man's earth ; such eyes were in her head, 
 And so much grace and power, breathing down 
 From over her arch'd brows, with every turn 
 Lived thro' her to the tips of her long hands. 
 And to her feet. She rose her height, and said : 
 
 " We give you welcome : not without redound 
 Of use and glory to yourselves ye come, 
 
 II 
 
 29. 1847-48. Of fame and profit unto yourselves. 
 
 25 
 
A MEDLEY 179 
 
 The first-fruits of the stranger : aftertime, So 
 
 And that full voice which circles round the grave, 
 
 Will rank you nobly, mingled up with me. 
 
 What ! are the ladies of your land so tall ? " 
 
 " We of the court " said Cyril. " From the court " 
 
 She answer'd, "then ye know the Prince .'' " and he : 35 
 
 " The climax of his age ! as tho' there were 
 
 One rose in all the world, your Highness that, 
 
 He worships your ideal : " she replied : 
 
 " We scarcely thought in our own hall to hear 
 
 This barren verbiage, current among men, 40 
 
 Light coin, the tinsel clink of compliment. 
 
 Your flight from out your bookless wilds would seem 
 
 As arguing love of knowledge and of power ; 
 
 Your language proves you still the child. Indeed, 
 
 We dream not of him : when we set our hand 45 
 
 To this great work, we purposed with om-selves 
 
 Never to wed. You likewise will do well. 
 
 Ladies, in entering here, to cast and fling 
 
 The tricks, which make us toys of men, that so. 
 
 Some future time, if so indeed you will, 50 
 
 You may with those self-styled our lords ally 
 
 Your fortunes, justlier balanced, scale with scale." 
 
 At those high words, we conscious of ourselves. 
 Perused the matting ; then an officer 
 Rose up, and read the statutes, such as these : 55 
 
 Not for three years to correspond with home ; 
 Not for three years to cross the liberties ; 
 Not for three years to speak with any men ; 
 And many more, which hastily subscribed. 
 We enter'd on the boards : and " Now," she cried, 60 
 " Ye are green wood, see ye warp not. Look, our 
 
 hall! 
 Our statues ! — not of those that men desire. 
 Sleek Odalisques, or oracles of mode, 
 
 38. 1847-48. and she replied. 
 
 39. 1847-48. We did not think. 
 42-44. Added in 1850, 
 
 44. .1850. "Eor us" instead of " Indeed." 
 
 45. 1847-48. We think not. 
 
 46. ourselves, so all the earlier editions, ourself, 1872 onward. 
 
 63. The female slaves in a Turkish harem ; their name is derived from odah, 
 I room. 
 
180 THE PRINCESS 
 
 Nor stunted squaws of West or East ; but she 
 
 That taught the Sabine how to rule, and she 65 
 
 The foundress of the Babylonian wall, 
 
 The Carian Artemisia strong in war. 
 
 The Rhodope, that built the pyramid, 
 
 Clelia, Cornelia, with the Palmyrene 
 
 That fought Aurelian, and the Roman brows 70 
 
 Of Agrippina. Dwell with these, and lose 
 
 Convention, since to look on noble forms 
 
 Makes noble thro' the sensuous organism 
 
 That which is higher. O lift your natures up : 
 
 Embrace our aims : work out your freedom. Girls, 75 
 
 Knowledge is now no more a fountain seal'd : 
 
 Drink deep, until the habits of the slave, 
 
 ? The sins of emptiness, gossip and spite 
 
 i And slander, die. Better not be at all 
 
 JThan not be noble. Leave us : you may go : 80 
 
 I To-day the Lady Psyche will harangue 
 
 JThe fresh arrivals of the week before ; 
 For they press in from all the provinces. 
 And fill the hive." 
 
 64. The reference is to Egeria and Numa Pompilius ; see Livy, i. 191. Cf. 
 Palace cf Art, 109-12, and Byron, Childe Harold, iv. st. cxviii.-cxix. 
 
 65-67. Semiramis, thewifeofNinus. For her romantic history, see Diodorus, 
 ii. 1-20. Artemisia was the queen of Halicarnassus and the ally of Xerxes ; her 
 exploits at the battle of Salamis are fully recorded by Herodotus. For her 
 career and services, see Herod, vii. 99, viii. 69, 87, 93, 101-3. 
 
 68. The reference is to Rhodopis, a Greek courtesan, who, tradition said, had 
 built the pyramid in question. But Herodotus (ii. 134), who gives a full account 
 of Rhodopis, tells us that the tradition was false, for the pyramid was really 
 built by Mycerinus, who, however, left it incomplete. Tennyson has no classical 
 authority for a false quantity and an erroneous inflection. The correct form 
 is Rhodopis ('PoSiSs'/t). He was probably misled by, or chose to follow, 
 Shakespeare and the Elizabethans ; cf. King Henry VI. , Part I. I. vi. 21 : — 
 
 A statelier pyramis to her I'll rear 
 Than Rhodopfe's of Memphis ever was. 
 
 69. For the story of Clelia, one of the hostages given to Lars Porsena when 
 he was besieging Rome, who made her escape by swimming over the Tiber, 
 see Livy, ii. 13. Cornelia, the sister of Scipio Africanus, and the mother of 
 Tiberius and Caius Gracchus. 
 
 70. The Palmyrene, etc., was Zenobia, queen of Palmyra, A.D. 266. For her 
 history, and her contest with Aurelian, see Gibbon, Decline and Fall, chaj). xi. 
 The Agrippina referred to was the youngest daughter of Vipsanius Agrippa 
 and of Julia, the daughter of Augustus Csesar, and was the wife of Caesar Ger- 
 manicus. She was a woman of great ability and of a very noble character, but 
 inordinately ambitious. Tacitus (Annales, i. 25) describes her as "aequi im- 
 patiens, dominandi avida, virilibus curis feminarum vitia exuerat." 
 
 71-74. Dwell . . . higher. Added in 1850. 
 74-80. O lift . . . die. Added in 1851. 
 
A MEDLEY 181 
 
 She spoke, and bowing waved 
 Dismissal : back again we crost the court 85 
 
 To Lady Psyche's : as we enter'd in. 
 There sat along the forms, like morning doves 
 That sun their milky bosoms on the thatch, 
 A patient range of pupils ; she herself 
 Erect behind a desk of satin-wood, 90 
 
 A quick brunette, well-moulded, falcon-eyed. 
 And on the hither side, or so she look'd. 
 Of twenty summers. At her left, a child. 
 In shining draperies, headed like a star. 
 Her maiden babe, a double April old, 95 
 
 Aglala slept. We sat : the Lady glanced : 
 Then Florian, but no livelier than the dame 
 That whisper'd " Asses' ears " among the sedge, 
 " My sister." " Comely, too, by all that's fair " 
 Said Cyi-il. " O hush, hush ! " and she began. 100 
 
 " This world was once a fluid haze of light. 
 Till toward the centre set the starry tides. 
 And eddied into suns, that wheeling cast 
 The planets : then the monster, then the man ; "A 
 Tattoo'd or woaded, winter-clad in skins, \ 105 
 
 Raw from the prime, and crushing down his mate ; I 
 As yet we find in barbarous isles, and here ■' 
 
 Among the lowest." 
 
 Thereupon she took 
 A bird's-eye-view of all the ungracious past ; 
 Glanced at the legendary Amazon 110 
 
 As emblematic of a nobler age ; 
 Appraised the Lycian custom, spoke of those 
 
 84. 1S47-48. So saying she bow'd and waved. 
 
 94. Cf. Homer of Astyanax (//. vi, 401) ; ''Exrapi^%v «.va^nTh, S^^iyxiov utrrepi xeckS. 
 
 97. The reference is to the well-linown story of Midas, but Tennyson deviates 
 from the story as told by Ovid (Mei. xi. 146-93) in making not the manservant 
 who cut his hair divulge the secret, but a dame, presumably his wife. He 
 seems to have followed Chaucer's version of the story {Wyfo/ BaiAe's Tale, 
 110-26). 
 
 101-4. A succinct and lucid summary of the nebular hypothesis of La Place. 
 Cf. In Mejnoriam, cxviii. 7-12. 
 
 112. From Herodotus (i. 173). Speaking of the Lycians, he says: "Their 
 customs are partly Cretan and partly Carian, but they have one peculiar to them- 
 selves, in which they differ from all other nations ; for they take their name from 
 their mothers, and not from their fathers, so that if anyone will ask another who 
 he is, he will describe himself by his mother's side. " 
 
182 THE PRINCESS 
 
 That lay at wine with Lar and Lucumo ; 
 
 Ran down the Persian, Grecian, Roman lines 
 
 Of empire, and the woman's state in each, 115 
 
 How far from just ; 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 : 
 
 When some respect, however slight, was paid 120 
 
 To woman, superstition all awry : 
 
 However then commenced the dawn : a beam 
 
 Had slanted forward, falling in a land 
 
 Of promise ; fruit would follow. Deep, indeed. 
 
 Their debt of thanks to her who first had dared 125 
 
 To leap the rotten pales of prejudice, 
 
 Disyoke their necks from custom, and assert 
 
 None lordlier than themselves but that which made 
 
 Woman and man. She had founded ; they must build. 
 
 Here might they learn whatever men were taught : 130 
 
 Let them not fear : some said their heads were less : 
 
 Some men's were small ; not they the least of men ; 
 
 For often fineness compensated size : 
 
 Besides the brain was like the hand, and grew 
 
 With using ; thence the man's, if more was more ; 135 
 
 He took advantage of his strength to be 
 
 First in the field : some ages had been lost ; 
 
 But woman ripen' d earlier, and her life 
 
 Was longer ; and albeit their glorious names 
 
 Were fewer, scatter'd stars, yet since in truth 140 
 
 The highest is the measure of the man, 
 
 1 12-13. Lar, or Lars, was a prsenomen of Etruscan origin, and the title 
 usually given to the eldest son. It became an honorary appellation, and came to 
 signify something like our "lord" ; sowefind(Livy, iii. 65), "Lar Herminus con- 
 sul," " LarTolumnius"(/ii. iv. 58), " Lars Porsena, " etc. Lucumo was also an 
 appellation of the Etruscan princes or priests ; so Servius (Commentary on Virgil, 
 J^neid, viii. 475), "Tuscia duodecim Lucumones habuit, id est reges quibus 
 unus prseerat " ; so that the terms simply mean the old Etruscan aristocracy, civil 
 and religious. It seems from the paintings at Volterra that women were admitted 
 to banquets on equal terms with men in ancient Etruria, and as the ancient 
 Etruscans, like the later Romans, took their meals reclining on couches, the 
 women "lay at wine with Lar and Lucumo." Tennyson's ponderous and 
 affected erudition, which is worthy of Lycophron, would have been better 
 employed on some less simple subject. 
 
 117. A word coined by Spenser (Faerie Queene, in. ii. 5), "through bright 
 heaven fulmined," and adopted by Milton (Paradise Regained, iv. 270), " shook 
 the Arsenal, andfulmin'd over Greece." 
 
A MEDLEY 183 
 
 And not the Kaffir, Hottentotj Malay, 
 
 Nor those horn-handed breakers of the glebe. 
 
 But Homer, Plato, Verulam ; even so 
 
 With woman : and in arts of government 145 
 
 Elizabeth and others ; arts of war 
 
 The peasant Joan and others ; arts of grace 
 
 Sappho and others vied with any man : 
 
 And, last not least, she who had left her place. 
 
 And bow'd her state to them, that they might grow 150 
 
 To use and power on this Oasis, lapt 
 
 In the arms of leisure, sacred from the blight 
 
 Of ancient influence and scorn. 
 
 At last 
 She rose upon a wind of prophecy 
 
 Dilating on the future ; "everywhere 155 
 
 Two heads in council, two beside the hearth. 
 Two in the tangled business of the world. 
 Two in the liberal offices of life, 
 Two plummets dropt for one to soimd the abyss 
 Of science, and the secrets of the mind : l60 
 
 Musician, painter, sculptor, critic, more : 
 T^d everywhere the broad and bounteous Earth 
 Should bear a double growth of those rare souls. 
 Poets, whose thoughts enrich the blood of the world." 
 
 She ended here, and beckon'd us : the rest 1 65 
 
 Parted ; and, glowing full-faced welcome, she 
 
 Began to address us, and was moving on 
 
 In gratulation, till as when a boat 
 
 Tacks, and the slacken'd sail flaps, all her voice 
 
 Faltering and fluttering in her throat, she cried 170 
 
 " My brother ! " " Well, my sister." " O," she said, 
 
 " What do you hete ? and in this dress ? and these ? 
 
 Why who are these } a wolf within the fold ! 
 
 A pack of wolves ! the Lord be gracious to me ! 
 
 A plot, a plot, a plot to ruin all ! " 175 
 
 "No plot, no plot," he answer'd. "Wretched boy. 
 
 How saw you not the inscription on the gate. 
 
 Let no man enter in on pain op death ? " 
 
 "And if I had," he answer'd, " who could think 
 
 The softer Adams of your Academe, 180 
 
 142. 1847-48, Caifre. 
 
 149. 1847-48. And she, tho' last not least, who had left her place. 
 
J8i. THE PRINCESS 
 
 sister. Sirens tho' they be, were such 
 
 As chanted on the blanching bones of men ? " 
 
 " But you will find it otherwise " she said. 
 
 "You jest : ill jesting with edge-tools ! my vow 
 
 Binds me to speak, and O that iron wUl, 185 
 
 That axelike edge unturnable, our Head, 
 
 The Princess." " Well then. Psyche, take my life, 
 
 And nail me like a weasel on a grange 
 
 For warning : bury me beside the gate. 
 
 And cut this epitaph above my bones ; ipo 
 
 Here lies a brother by a sister slain, 
 
 All for the common good of womankind." 
 
 " Let me die too " said Cyril " having seen 
 
 And heard the Lady Psyche." 
 
 I struck in : 
 " Albeit so mask'd. Madam, I love the truth ; 195 
 
 Receive it ; and in me behold the Prince 
 Your countr3m!ian, affianced years ago 
 To the Lady Ida : here, for here she was, 
 And thus (what other way was left) I came.'' 
 " O Sir, O Prince, I have no country ; none ; 200 
 
 If any, this ; but none. Whate'er I was 
 Disrooted, what I am is grafted here. 
 Affianced, Sir ? love-whispers may not breathe 
 Within this vestal limit, and how should I, 
 Who am not mine, say, live : the thunderbolt 205 
 
 Hangs silent ; but prepare : I speak ; it falls." 
 " Yet pause," I said : " for that inscription there, 
 
 1 think no more of deadly lurks therein. 
 Than in a clapper clapping in a garth. 
 
 To scare the fowl from fruit : if more there be, 210 
 
 If more and acted on, what follows ? war ; 
 
 Your own work marr'd : for this your Academe, 
 
 Whichever side be Victor, in the halloo 
 
 Will topple to the trumpet down, and pass 
 
 With all fair theories only made to gild 215 
 
 A stormless summer." "Let the Princess judge 
 
 Of that " she said : " farewell Sir — and to you. 
 
 I shudder at the sequel, but I go." 
 
 1S4. 1847-48. You jest : ill jesting with edge-tools I I am bound 
 To tell her. O, she has an iron will, 
 An axelike edge, etc. 
 
A MEDLEY 185 
 
 « Are you that Lady Psyche " I rejoin'd, 
 " The fifth in line from that old Florian, 220 
 
 Yet hangs his portrait in my father's hall 
 (The gaunt old Baron with his beetle brow 
 Sun-shaded in the heat of dusty fights) 
 As he bestrode my Grandsire when he fell. 
 And all else fled : we point to it, and we say 225 
 
 The loyal warmth of Florian is not cold, 
 But branches current yet in kindred veins." 
 " Are you that Psyche " Florian added " she 
 With whom I sang about the morning hills. 
 Flung ball, flew kite, and raced the purple fly, 230 
 
 And snared the squirrel of the glen ? are you 
 That Psyche, wont to bind my throbbiag brow, 
 To smoothe my pillow, mix the foaming draught 
 Of fever, tell me pleasant tales, and read 
 My sickness down to happy dreams ? are you 235 
 
 That brother-sister Psyche, both in one ? 
 You were that Psyche, but what are you now ? " 
 " You are that Psyche," Cyril said, " for whom 
 I would be that for ever which 1 seem. 
 Woman, if I might sit beside your feet, 240 
 
 And glean your scatter'd sapience." 
 
 Then once more, 
 " Are you that Lady Psyche " I began, 
 " That on her bridal morn before she past 
 From all her old companions, when the king 
 Kiss'd her pale cheek, declared that ancient ties 245 
 Would still be dear beyond the southern hills ; 
 That were there any of our people there 
 In want or peril, there was one to hear 
 And help them : look ! for such are these and L" 
 " Are you that Psyche " Florian ask'd " to whom, 250 
 In gentler days, your arrow-wounded fawn 
 Came flying while you sat beside the well ? 
 The creature laid his muzzle on your lap. 
 And sobb'd, and you sobb'd with it, and the blood 
 Was sprinkled on your kirtle, and you wept. 255 
 
 That was fawn's blood, not brother's, yet you wept. 
 O by the bright head of my little niece. 
 You were that Psyche, and what are you now ? " 
 240. 1847-48. A woman. 
 
186 THE PRINCESS 
 
 "You are that Psyche," Cyril said again, 
 
 " The mother of the sweetest little maid, 260 
 
 That ever crow'd for kisses." 
 
 " Out upon it ! " 
 She answer'd, " peace ! and why should I not play 
 The Spartan Mother with emotion, be 
 The Lucius Junius Brutus of my kind?, 
 Him you call great : he for the common weal, 265 
 
 The fading politics of mortal Rome, 
 As I might slay this child, if good need were, 
 Slew both his sons : and I, shall I, on whom 
 
 The secular emancipation turns 
 
 OF'K'alf this world, be swerved from right to save 270 
 
 AT'pTJnce^-terther ? a little will I yield. 
 
 Best so, perchance for us, and well for you. 
 
 O hard, when love and duty clash ! I fear 
 
 My conscience wiU not count me ileckless ; yet — 
 
 Hear my conditions : promise (otherwise 275 
 
 You perish) as you came to slip away. 
 
 To-day, to-morrow, soon : it shall be said, 
 
 These women were too barbarous, would not learn ; 
 
 They fled, who might have shamed us : promise, all." 
 
 What could we else, we promised each ; and she 280 
 Like some wild creature newly-caged, commenced 
 A to-and-fro, so pacing till she paused 
 By Florian ; holding out her lily arms 
 Took both his hands, and smiling faintly said : 
 " I knew you at the first : tho' you have grown 285 
 
 You scarce have alter'd : I am sad and glad 
 To see you, Florian. / give thee to death 
 My brother ! it was duty spoke, not L 
 My needful seeming harshness, pardon it. 
 Our mother, is she well } " 
 
 With that she kiss'd 2.90 
 His forehead, then, a moment after, clung 
 About him, and betwixt them, blossom'd up 
 
 265. For the well-known incident referred to, see Livy, ii. 5. 
 285, 286. 1847-48 : — 
 
 You are grown, and yet I knew you at the first. 
 
 I am very glad, and I am very vext. 
 291. 1847-48. " and " (without a comma) instead of " then." 
 
A MEDLEY 187 
 
 From out a common vein of memory 
 
 Sweet household talk, and phrases of the hearth, 
 
 And far allusion, till the gracious dews 295 
 
 Began to glisten and to fall : and while 
 
 They stood, so rapt, we gazing, came a voice, 
 
 " I brought a message here from Lady Blanche." 
 
 Back started she, and turning round we saw 
 
 The Lady Blanche's daughter where she stood, 300 
 
 Melissa, with her hand upon the lock, 
 
 A rosy blonde, and in a college gown. 
 
 That clad her like an April daffodilly 
 
 (Her mother's colour) with her lips apart. 
 
 And all her thoughts as fair within her eyes, 305 
 
 As bottom agates seen to wave and float 
 
 In crystal currents of clear morning seas. 
 
 So stood that same fair creature at the door. 
 
 Then Lady Psyche " Ah — Melissa — you ! 
 
 You heard us ? " and Melissa, " O pardon me ! 310 
 
 I heard, I could not help it, did not wish : 
 
 But, dearest Lady, pray you fear me not, 
 
 Nor think I bear that heart within my breast, 
 
 To give three gallant gentlemen to death." 
 
 "I trust you," said the other, "for we two 315 
 
 Were always friends, none closer, elm and vine : 
 
 But yet your mother's jealous temperament — 
 
 Let not your prudence, dearest, drowse, or prove 
 
 The Danaid of a leaky vase, for fear 
 
 This whole foundation ruin, and I lose 320 
 
 My honour, these their lives." " Ah, fear me not " 
 
 Replied Melissa " no — I would not tell, 
 
 305. Mr. Dawson quotes from Moore's Loves of the Angels : — 
 
 I soon could track each thought that lay 
 Gleaming within her heart, as clear 
 As pebbles within brooks appear ; 
 and Tennyson said that he had been accused of taking it partly from Beaumont 
 and Fletcher and partly from Shakespeare, but that it had occurred to him 
 when bathing in Wales (Life, ii. 385). The passage like it in Beaumont and 
 Fletcher is in The Two Noble Kinsmen, i. i : — 
 
 You cannot read it there : there through my tears. 
 Like wrinkled pebbles in a glassy stream. 
 You may behold them. 
 The passage in Shakespeare I cannot identify. 
 
 306. 1847-48. seem. 
 
 311. 1847-48. did not mean. 
 
 312. 1S47-48. I pray you. 
 
188 THE PRINCESS 
 
 No, not for all Aspasia's cleverness^ 
 
 No, not to answer. Madam, all those hard things 
 
 That Sheba came to ask of Solomon." 325 
 
 "Be it so" the other, "that we still may lead 
 
 The new light up, and culminate in peace, 
 
 For Solomon may come to Sheba yet." 
 
 Said Cjrril, " Madam, he the wisest man 
 
 Feasted the woman wisest then, in halls 330 
 
 Of Lebanonian cedar : nor should you 
 
 (Tho', madam, you should answer, rve would ask) 
 
 Less welcome find among us, if you came 
 
 Among us, debtors for our lives to you. 
 
 Myself for something more." He said not what, 335 
 
 But " Thanks," she answer'd " go : we have been 
 
 too long 
 Together : keep your hoods about the face ; 
 They do so that affect abstraction here. 
 Speak little ; mix not with the rest ; and hold 
 Your promise : all, I trust, may yet be well." 340 
 
 We turn'd to go, but Cyril took the child. 
 And held her round the knees against his waist. 
 And blew the swoU'n cheek of a trumpeter. 
 While Psyche watch'd them, smiling, and the child 
 Push'd her flat hand against his face and laugh'd ; 345 
 And thus our conference closed. 
 
 And then we stroll'd 
 For half the day thro' stately theatres 
 Bench'd crescent-wise. In each we sat, we heard 
 The grave Professor. On the lecture slate 
 The circle rounded under female hands 350 
 
 With flawless demonstration : follow'd then 
 A classic lecture, rich in sentiment. 
 With scraps of thundrous Epic lilted out 
 By violet-hooded Doctors, elegies 
 And quoted odes, and jewels five- words-long 355 
 
 324. See I Kings x. i. 
 
 326. 1847-48. that we may live to lead. 
 
 332. In 1872-77, ' ' Madam " ; in 1880, the " madam ' ' reintroduced ; in 1885, 
 the capital again introduced, with the addition of a comma before and after 
 the word ; final reading returns to 1872-77. 
 
 333. 1847-48. if e'er you came. 
 
 347. 348- 1847-48. From room to room : in each we sat, we heard. 
 
A MEDLEY 189 
 
 That on the stretch' d forefinger of all Time 
 
 Sparkle for ever : then we dipt in all 
 
 That treats of whatsoever is, the state. 
 
 The total chronicles of man, the mind, 
 
 The morals, something of the frame, the rock, 360 
 
 The star, the bird, the fish, the shell, the flower. 
 
 Electric, chemic laws, and all the rest. 
 
 And whatsoever can be taught and known ; 
 
 Till like three horses that have broken fence, 
 
 And glutted all night long breast-deep in corn, 365 
 
 We issued gorged with knowledge, and I spoke : 
 
 "\5Qjj^irs^Aejjio--ail-this"as well-as-wev^;! 
 
 " Theyliunt old trails " said C3rril "very well ; 
 
 But when did woman ever yetr invent ? «-~ 
 
 " Ungracious i" answer'd Florian ; " have you learnt 370 
 
 No more from Psyche's lecture, you that talk'd 
 
 The trash that made me sick, and almost sad ? " 
 
 " O trash " he said, " but with a kernel in it. 
 
 Should I not call her wise, who made me wise ? 
 
 And learnt ? I learnt more from her in a flash, 375 
 
 Than if my brainpan were an empty hull. 
 
 And every Muse tumbled a science in. 
 
 A thousand hearts lie fallow in these halls. 
 
 And round these halls a thousand baby loves 
 
 Fly twanging headless arrows at the hearts, 380 
 
 Whence follows many a vacant pang ; but O 
 
 With me. Sir, enter'd in the bigger boy. 
 
 The Head of all the golden-shafted firm. 
 
 The long-limb'd lad that had a Psyche too ; 
 
 He cleft me thro' the stomacher ; and now 385 
 
 What think you of it, Florian ? do I chase 
 
 The substance or the shadow ? will it hold ? 
 
 369, With this cf. Archbishop Whately : "It does appear that women have 
 little inventive power. They learn readily, but very rarely originate anything 
 of importance. I have long sought for some instances of invention or discovery 
 by a woman. And the best I have been able to find is Thwaites' Soda-water. 
 A Miss Thwaites of Dublin, an amateur chemist, hit on an improvement in 
 soda-water which enabled her to drive all others out of the market. But 
 besides this, some small musical compositions and some pretty novels and 
 poems are all the female inventions I can find " (Remains, p. 189). 
 
 384. A reference to the myth of Eros and Psyche. 
 
 386-87. The sentence 
 
 do I chase 
 The substance or the shadow ? 
 was inserted in 1851. 
 
190 THE PRINCESS 
 
 I have no sorcerer's malison on me, 
 
 No ghostly hauntings like his Highness. I 
 
 Flatter myself that always everywhere 390 
 
 I know the substance when I see it. Well, 
 
 Are castles shadows ? Three of them ? Is she 
 
 The sweet proprietress a shadow ? If not. 
 
 Shall those three castles patch my tatter'd coat? 
 
 For dear are those three castles to my wants, 395 
 
 And dear is sister Psyche to my heart. 
 
 And two dear things are one of double worth. 
 
 And much I might have said, but that my zone 
 
 Unmann'd me : then the Doctors ! O to hear 
 
 The Doctors ! O to watch the thirsty plants 400 
 
 Imbibing ! once or twice I thought to roar. 
 
 To break my chain, to shake my mane : but thou, 
 
 Modulate me, Soul of mincing mimicry ! 
 
 Make liquid treble of that bassoon, my throat ; 
 
 Abase those eyes that ever loved to meet 405 
 
 Star-sisters answering under crescent brows ; 
 
 Abate the stride, which speaks of man, and loose 
 
 A flying charm of blushes o'er this cheek. 
 
 Where they like swallows coming out of time 
 
 Will wonder why they came : but hark the bell 410 
 
 For dinner, let us go ! " 
 
 And in we stream'd 
 Among the columns, pacing staid and still 
 By twos and threes, till all from end to end 
 With beauties every shade of brovni and fair 
 In colours gayer than the morning mist, 415 
 
 The long hall glitter'd like a bed of flowers. 
 How might a man not wander from his viits 
 Pierced thro' with eyes, but that I kept mine own 
 Intent on her, who rapt in glorious dreams. 
 The second-sight of some Astrsean age, 420 
 
 388-93. Added in 1851. 
 
 402. 1847-4B. but come. 
 
 419-26. 1847-^48 runs as follows : — 
 
 Intent upon the Princess, where she sat 
 Among her grave Professors, scattering gems 
 Of Art and Science : only Lady Blanche, 
 A double-rouged and treble-wrinkled Dame, 
 With all her faded Autumns falsely brown. 
 The present text dates from 1850, except that that edition in line 419 reads 
 " awful dreams," and till 1875 " autumn " is spelt with a capital A. 
 
\ MEDLEY 191 
 
 Sat compass'd with professors : they, the while, 
 
 Discuss'd a doubt and tost it to and fro : 
 
 A clamour thicken'd, mixt with inmost terms 
 
 Of art and science : Lady Blanche alone 
 
 Of faded form and haughtiest lineaments, 425 
 
 With all her autumn tresses falsely brown, 
 
 Shot sidelong daggers at us, a tiger-cat 
 
 In act to spring. 
 
 At last a solemn grace 
 Concluded, and we sought the gardens : there 
 One walk'd reciting by herself, and one 430 
 
 In this hand held a volume as to read. 
 And smoothed a petted peacock down with that : 
 Some to a low song oar'd a shallop by. 
 Or under arches of the marble bridge 
 Hung, shadow'd from the heat : some hid and 
 
 sought 435 
 
 In the orange thickets : others tost a ball 
 Above the fountain-jets, and back again 
 With laughter : oth^re la^jbout^the X^TSjiS* 
 Of the qlder^rtj ancfmurmur'd that their May 
 Was passing : what was learning uritb them ? 440 
 
 ThejjWTshy to marry ; they could_rule a house ; 
 Men hated Je^SS^ JKQBa^n flbut we three 
 Sat muffled like the Fates ; and often came 
 Melissa hitting all we saw with shafts 
 Of gentle satire, kin to charity, 445 
 
 That harm'd not : then day droopt ; the chapel bells 
 Call'd us : we left the walks ; we mixt with those 
 Six hundred maidens clad in purest white, 
 Before two streams of light from wall to wall. 
 While the great organ almost burst his pipes, 450 
 
 Groaning for power, and rolling thro' the court 
 A long melodious thunder to the sound 
 Of solemn psalms, and silver litanies. 
 The work of Ida, to call down from Heaven 
 A blessing on her labours for the world. 455 
 
 428. Till 1851 no paragraph at " At last." 
 
 442, 443. 1847-48. Men hated learned women : and to us came. 
 446, 447. 1847-48. That harm'd not : so we sat ; and now when day 
 Droop'd, and the chapel tinkled, mixt with those. 
 
192 THE PRINCESS 
 
 Sweet and low, sweet and low, 
 
 Wind of the western sea, 
 Low, low, breathe and blow, 
 
 Wind of the western sea ! 
 Over the rolling waters go, 
 Come from the dying moon, and blow. 
 
 Blow him again to me ; 
 While my little one, while my pretty one, sleeps. 
 
 Sleep and rest, sleep and rest. 
 
 Father will come to thee soon ; 
 Rest, rest, on mother's breast. 
 
 Father will come to thee soon ; 
 Father will Come to his babe in the nest, 
 Silver sails all out of the west 
 
 Under the silver moon : 
 Sleep, my little one, sleep, my pretty one, sleep. 
 
 The song was added in 1850. 
 Line 6. 1850. dropping. 
 
A MEDLEY 193 
 
 III 
 
 Morn in the white wake of the morning star 
 
 Came furrowing all the orient into gold. 
 
 We rose, and each by other drest with care 
 
 Descended to the court that lay three parts 
 
 In shadow, but the Muses' heads were touch'd 5 
 
 Above the darkness from their native East. 
 
 There while we stood beside the fount, and watch'd 
 Or seem'd to watch the dancing bubble, approach'd 
 Melissa, tinged with wan from lack of sleep. 
 Or grief, and glowing round her dewy eyes 10 
 
 The circled Iris of a night of tears ; 
 " And fly " she cried, " O fly, while yet you may 1 
 My mother knows : " and when I ask'd her " how " 
 " My fault " she wept " my fault ! and yet not mine ; 
 Yet mine in part. O hear me, pardon me. 1 5 
 
 My mother, 'tis her wont from night to night 
 To rail at Lady Psyche and her side. 
 She says the Princess should have been the Head, 
 Herself and Lady Psyche the two arms ; 
 And so it was agreed when first they came ; 20 
 
 But Lady Psyche was the right hand now, 
 And she the left, or not, or seldom used ; 
 Hers more than half the students, "all the love. 
 And so last night she fell to canvass you : 
 Her countrywomen ! she did not envy her. 25 
 
 III 
 
 i, a. With these lines c/. Love and Duty : — 
 
 And morning driv'n her plow of pearl 
 Far furrowing into light the mounded rack. 
 For illustrations, see the annotations on that poem. 
 7. 1847-48. And while. 
 10. 1847-48. Or sorrow. 
 13. 1847-48. and we demanding " how. " 
 
 13 
 
194 THE PRINCESS 
 
 "Who ever saw such wild barbarians ? 
 
 " Girls ? — more like men ! " and at these words the snake. 
 
 My secret, seem'd to stir within my breast ; 
 
 And oh. Sirs, could I help it, but my cheek 
 
 Began to burn and burn, and her lynx eye 30 
 
 To fix and make me hotter, till she laugh'd : 
 
 " O marvellously modest maiden, you ! 
 
 Men ! girls, like men ! why, if they had been men 
 
 You need not set your thoughts in rubric thus 
 
 For wholesale comment." Pardon, I am asham'd 35 
 
 That I must needs repeat for my excuse 
 
 What looks so little graceful : " men " (for still 
 
 My mother went revolving on the word) 
 
 " And so they are, — very like men indeed — 
 
 And with that woman closeted for hom-s ! " 40 
 
 Then came these dreadful words out one by one, 
 
 " Why — these — are — men : " I shudder'd : " and you 
 
 know it." 
 " O ask me nothing,'' I said : " And she knows too. 
 And she conceals it." So my mother clutch'd 
 The truth at once, but with no word from me ; 45 
 
 And now thus early risen she goes to inform 
 The Princess : Lady Psyche will be crush'd ; 
 But you may yet be saved, and therefore fly : 
 But heal me with your pardon ere you go." 
 
 " What pardon, sweet Melissa, for a blush ? " SO 
 
 Said Cyril : " Paleone,_blusfe^again : than wear 
 Those lilies,_bgttoEHll§lLQ]j£TiyeS~away. "" 
 YetTe tus br eathe for one hour more" iii Heaven " 
 He added, " lest some classic Angel speak 
 In scorn of us, " They mounted, Ganymedes, 55 
 
 To tumble, Vulcans, on the second morn." 
 But I will melt this marble into wax 
 To yield us farther furlough : " and he went. 
 
 Melissa shook her doubtful curls, and thought 
 He scarce would prosper. " Tell us," Florian ask'd, 60 
 
 34. 1847-48. And in their fulsome fashion woo'd you, child, 
 You need not take so deep a rouge : like men — 
 And so they are, — very like men indeed — 
 And closeted with her for hours. Aha ! " 
 Then came, etc. 
 
A MEDLEY 195 
 
 " How grew this feud betwixt the right and left." 
 
 " O long ago," she said, " betwixt these two 
 
 Division smoidders hidden ; 'tis my mother. 
 
 Too jealous, often fretftil as the wind 
 
 Pent in a crevice : much I bear with her : 65 
 
 I never knew my father, but she says 
 
 (God help her) she was wedded to a fool ; 
 
 And still she rail'd against the state of things. 
 
 She had the care of Lady Ida's youth. 
 
 And from the Queen's decease she brought her up. 70 
 
 But when your sister came she won the heart 
 
 Of Ida : they were still together, grew 
 
 (For so they said themselves) inosculated ; 
 
 Consonant chords that shiver to one note ; 
 
 One mind in all things : yet my mother still 75 
 
 Affirms your Psyche thieved her theories. 
 
 And angled with them for her pupil's love : 
 
 She calls her plagiarist ; I know not what : 
 
 But I must go : I dare not tarry," and light. 
 
 As flies the shadow of a bird, she fled. 80 
 
 Then murmur'd Florian gazing after her, 
 " An open-hearted maiden, true and pure. 
 If I could love, why this were she : how pretty 
 Her blushing was, and how she blush'd again. 
 As if to close with C3T:irs random wish : 85 
 
 67. 1847-48. (God pardon her). 
 
 71. 1847-48. love. 
 
 72. 1847-48. Of the Princess. 
 
 74. Cf. Walton's Life of Donne: " 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." This is frequently referred to in our old writers. Long 
 before Walton, Lyly had noticed it {Sappho and Phaon, iv. iii. ): "Such 
 is the lying of two in Wedlock as is the tuning of two lutes in one key, 
 for striking the strings of the one, straws will stir upon the strings of the 
 other." Cf., too, Marvell's Flecknoe, and Owen Feltham's Lusoria, "The 
 Sympathy" : — 
 
 Two lutes are strung 
 
 And on a table, tun'd ahke for song ; 
 
 Strike one, and that which none did touch 
 
 Shall sympathizing sound as much. 
 
 73. 1847-48. only Lady Blanche. 
 77. 1847-48. for the Royal heart. 
 
196 THE PRINCESS 
 
 Not like your Princess cramm'd with erring pride, 
 Nor like poor Psyche whom she drags in tow." 
 
 " The crane," I said, " may chatter of the crabe. 
 The dove may murmur of the dove, but I 
 An eagle clang an eagle to the sphere. 90 
 
 My princess, O my princess ! true she errs. 
 But in her own grand way : being herself 
 Three times more noble than threescore of men. 
 She sees herself in every woman else. 
 And so she wears her error like a crown 95 
 
 To blind the truth and me : for her, and her, 
 Hebes are they to hand ambrosia, mix 
 The nectar ; but — ah she — whene'er she moves 
 The Samian Here rises and she speaks 
 A Memnon smitten with the morning Sun." 100 
 
 So saying from the court we paced, and gain'd 
 The terrace ranged along the Northern front, 
 And leaning there on those balusters, high 
 Above the empurpled champaign, drank the gale 
 That blown about the foliage underneath, 105 
 
 And sated with the innumerable rose. 
 Beat balm upon our eyelids. Hither came 
 C3rril, and yawning " O hard task," he cried ; 
 '' No fighting shadows here ! I forced a way 
 Thro' solid opposition crabb'd and gnarl'd. 110 
 
 Better to clear prime forests, heave and thump 
 A league of street in summer solstice down. 
 Than hammer at this reverend gentlewoman. 
 I knock'd and, bidden, enter'd ; found her there 
 At point to move, and settled in her eyes 115 
 
 The green malignant light of coming storm. 
 Sir, I was courteous, every phrase well-oil'd, 
 
 92. 1847-48. For being, and wise in knowing that she is. 
 97. 1847-48. The;^ are Hebes meet to hand ambrosia, mix. 
 100. The allusion is to Pausanias, lib. i. 42, ad med. Cf. Palace of Art, 
 171, 172, and for further illustrations the note to that passage. 
 loi. 1847-48. from out the court. 
 109, no. Added in 1851. 
 
 114, 115. 1847-48. I knock'd and bidden went in : I found her there 
 At point to sally, etc. 
 
A MEDLEY 197 
 
 As man's could be ; yet maiden-meek I pray'd 
 
 Concealment : she demanded who we were. 
 
 And why we came ? I fabled nothing fair, 1 20 
 
 But, your example pilot, told her all. 
 
 Up went the hush'd amaze of hand and eye. 
 
 But when I dwelt upon your old affiance. 
 
 She answer'd sharply that I talk'd astray. 
 
 I urged the fierce inscription on the gate, 125 
 
 And our three lives. True — we had limed ourselves 
 
 With open eyes, and we must take the chance. 
 
 But such extremes, I told her, well might harm 
 
 The woman's cause. " Not more than now," she said, 
 
 "So puddled as it is with favouritism." 130 
 
 I tried the mother's heart. Shame might befal 
 
 Melissa, knowing, saying not she knew : 
 
 Her answer was "Leave me to deal with that." 
 
 I spoke of war to come and many deaths, 
 
 And she replied, her duty was to speak, 135 
 
 And duty duty, clear of consequences. 
 
 I grew discouraged. Sir ; but since I knew 
 
 No rock so hard but that a little wave 
 
 May beat admission in a thousand years, 
 
 I recommenced ; " Decide not ere you pause. 140 
 
 I find you here but in the second place. 
 
 Some say the third — the authentic foundress you. 
 
 I offer boldly : we will seat you highest : 
 
 Wink at our advent : help my prince to gain 
 
 His rightful bride, and here I promise you 145 
 
 Some palace in our land, where you shall reign 
 
 The head and heart of all our fair she-world. 
 
 And your great name flow on vidth broadening time 
 
 For ever." Well, she balanced this a little. 
 
 And told me she would answer us to-day, 150 
 
 Meantime be mute : thus much, nor more I gajn'd." 
 
 He ceasing, came a message from the Heatd. 
 " That afternoon the Princess rode to take 
 
 Ii8. 1847-48-50. man. 
 
 120. 1847-48. I minted nothing false. 
 
 126. 1847-48. — she said we had lime4 ourselves. 
 
 146. 1847-48. A palace in our own land. 
 
 153. 1847-48. In the afternoon. 
 
198 THE PRINCESS 
 
 The dip of certain strata to the North. 
 
 Would we go with her ? we should find the land 155 
 
 Worth seeing ; and the river made a fall 
 
 Out yonder : " then she pointed on to where 
 
 A double hill ran up his furrowy forks 
 
 Beyond the thick-leaved platans of the vale. 
 
 Agreed to, this, the day fled on thro' all l6o 
 
 Its range of duties to the appointed hour. 
 Then summon'd to the porch we went. She stood 
 Among her maidens, higher by the head. 
 Her back against a pillar, her foot on one 
 Of those tame leopards. Kittenlike he roll'd 165 
 
 And paw'd about her sandal. I drew near ; 
 I gazedi__On,a..S]jlidgn.mj;^teange seizurejiajne 
 """Upaaane, the weird visiira of ouFlTouse : 
 The Princess Ida seem'd a hollow show, 
 Her gay-furr'd cats a painted fantasy, 170 
 
 Her college and her maidens, empty masks, 
 And I myself the shadow of a dream. 
 For all things were and were not. Yet I felt 
 My heart beat thick with passion and with awe ; 
 Then from my breast the involuntary sigh 175 
 
 Brake, as she smote me T(fith the light of eyes 
 That lent my knee desire to kneel, and shook 
 My pulses, till to horse we got, and so 
 Went forth in long retinue following up 
 The river as it narrow'd to the hills. 180 
 
 I rode beside her and to me she said : 
 " O friend, we trust that you esteem'd us not 
 Too harsh to your companion yestermorn ; 
 Unwillingly we spake." " No — not to her," 
 I answer'd, "but to one of whom we spake 185 
 
 Your Highness might have seem'd the thing you say." 
 " Again ? " she cried " are you ambassadresses 
 
 158. 1847-48-S0. "dark-blue" for "furrowy." 
 
 159. 1847-48-50. full-leaved. C/.Moschns, Itfyll, v.: M trXm-im ^nB^'fi'-'-f 
 (under the thick-leaved plane). 
 
 167-73. Not added till 1851. 
 
 17s. 1847-48-50. "And" for "Then." 
 
 178. 1847-48-50. clomb. 
 
A MEDLEY 199 
 
 From him to me ? we give yoUj being strange, 
 A license : speak, and let the topic die." 
 
 I stammer'd that I knew him — could have 
 wish'd — 190 
 
 " Our king expects — was there no precontract ? 
 There is no truer-hearted — ah, you seem 
 All he prefigured, and he-could not see 
 The bird of passage flying south but lonp'd 
 To follow : surely, if your Highness keep 195 
 
 Your purport, you will shock him ev'n to death. 
 Or baser courses, children of despair." 
 
 " Poor boy," she said, " can he not read — no books ? 
 Quoit, tennis, ball — no games ? nor deals in that 
 Which men delight in, martial exercise ? 200 
 
 To nurse a blind ideal like a girl, 
 Methinks he seems no better than a girl ; 
 As girls were once, as we ourselves have been : 
 We had our dreams ; perhaps he mixt with them : 
 We touch on our dead self, nor shun to do it, 205 
 
 Being other — since we learnt our meaning here. 
 To lift the woman's fall'n divinity "I 
 Upon an even pedestal with man." ( 
 
 She paused, and added with a haughtier smile 
 "And as to precontracts, we move, my friend, 210 
 
 At no man's beck, but know ourselves and thee, 
 
 Vashti, noble Vashti ! Summon'd out 
 She kept her state, and left the drunken king 
 To brawl at Shushan underneath the palms." 
 
 "Alas your Highness breathes full East," I said, 215 
 " On that which leans to you. I know the Prince, 
 
 1 prize his truth : and then how vast a work 
 To assail this gray preeminence of man ! 
 
 You grant me license ; might I use it ? think ; 
 
 200. 1847-48-50. exercises. 
 
 203. 1872 and onward, ourself. 
 
 207. 1847-48. To uplift. 
 
 211. 1877 and onward, ourself. 
 
 212. Or Vashi ; cf. Esther i. 11, 12, and passim. 
 
200 THB PRINCESS 
 
 Ere half be done perchance your life may fail ; 220 
 
 Then comes the feebler heiress of your plan. 
 
 And takes and ruins all ; and thus your pains 
 
 May only make that footprint upon sand 
 
 Which old-recurring waves of prejudice 
 
 Resmooth to nothing : might I dread that you, 225 
 
 With only Fame for spouse and your great deeds 
 
 For issue, yet may live in vain, and miss. 
 
 Meanwhile, what every woman counts her due. 
 
 Love, children, happiness ? " 
 
 And she exclaim'd, 
 " Peace, you young savage of the Northern wild ! 230 
 What ! tho' your Prince's love were like a God's, 
 Have we not made om-self the sacrifice ? 
 You are bold indeed : we are not talk'd to thus : 
 Yet will we say for children, would they grew 
 Like field-flowers everjrwhere ! we like them weU : 235 
 But children die ; and let me tell you, girl, 
 Howe'er you babble, great deeds cannot die : 
 They with the sun and moon renew their light 
 For ever, blessing those that look on them. 
 Children — that men may pluck them from our 
 
 hearts, 240 
 
 Kill us with pity, break us with ourselves — 
 O — children- — there is nothing upon earth 
 More miserable than she that has a son 
 And sees him err : nor would we work for fame ; 
 Tho' she perhaps might reap the applause of Great, 245 
 Who learns the one pou sto whence after-hands 
 May move the world, tho' she herself effect 
 But little : wherefore up and act, nor shrink 
 For fear our solid aim be dissipated 
 
 232. 1847-48. ourselves. 
 
 237. For the sentiment, cf. Plato, Symposium, p. 208, " Men whose bodies 
 only are creative betake themselves to women and beget children ; their 
 offspring, as they hope, will preserve their memory ; . . . but creative souls 
 conceive that which is proper for the soul to conceive'or retain ; " and Bacon 
 (Discourse in the Praise of his Sovereign), " Let them leave children that leave 
 no other memory in their times." 
 
 246. The well-known remark of Archimedes, ' ' Give me a place to stand on 
 (literally, where I may stand), and I will move the world." The anecdote is 
 
 related by TzetzeS, sAsyi H xki iupitrrt ^vf, 'SupebxoufftKt n« crSj sceu xtpurrimi T«v vitf 
 
 xiviiciu ■rHa-it.t: (And he said in Doric, in the Syracusan dialect, where may I 
 stand, and with my lever I will move the world). 
 
A MEDLEY 201 
 
 By frail successors. Would, indeed, we had been, 250 
 
 In lieu of many mortal flies, a race 
 
 Of giants living, each, a thousand years. 
 
 That we might see our own work out, and watch 
 
 The sandy footprint harden into stone." 
 
 I answer'd nothing, doubtful in myself 255 
 
 If that strange Poet-princess with her grand 
 Imaginations might at all be won. 
 And she broke out interpreting my thoughts : 
 
 " No doubt we seem a kind_of_riaQj;^tfir.ixJ..yoii ; 
 WearejSe3To~(Ea?ET for women, up till this , 260 
 
 Cramp^djimJerjwoSe^ 
 DwaHS of the gynaeceum, fail so far 
 In high derfre, they Toiow not, cannot guess 
 Ho>v much thMr"li?dfere-1s^ k^passiqn to us. - 
 If we'could givethem sufe'f, quicker proof — 265 
 
 Oh if our end were less achievable 
 By slow approaches, than by single act 
 Of immolation, any phase of death. 
 We were as prompt to spring against the pikes, 
 Or down the fiery gulf as talk of it, 270 
 
 To com pass our dear sist er's liberties." 
 
 She bow'd as if to veil a noble tear ; 
 And up we came to where the river sloped 
 To plunge in cataract, shattering on black blocks 
 A breadth of thunder. O'er it shook the woods, 275 
 And danced the coloui-, and, below, stuck out - 
 The bones of some vast bulk that lived and roar'd 
 Before man was. She gazed awhile and said, 
 " As these rude bones to us, are we to her 
 That will be." " Dare we dream of that," I a^k'd, 280 
 "Which wrought us, as the workman and his work, 
 Thsit practice betters ? " " How," she cried, " you love 
 The metaphysics ! read and earn our prize, 
 
 2S0. 1847-48-50. Of frail. 
 
 256,257. 1847-48-50. Jf that strange maiden could at all be won. 
 
 261. A Polynesian word signifying restraint, particularly of a religious kind ; 
 it has another form, tapu. 
 
 262. 1847-48, spelt "gynecaeum." The women's apartments in a Greek 
 house (to yvvoLiKUM^ 
 
 269, 270. As Arnold von Winkelried did at the battle of Sempach in 1388, 
 as Marcus Curtius did in the forum of Rome in B.C. 362. 
 271. So till i860 ; afterwards, sisters'. 
 
202 THE PRINCESS 
 
 A golden broach : beneath an emerald plane 
 
 Sits Diotima, teaching him that died 285 
 
 Of hemlock ; our device ; wrought to the life ; 
 
 She rapt upon her subject, he on her : 
 
 For there are schools for all." "And yet" I said 
 
 " Methinks I have not found among them all 
 
 One anatomic." "Nay, we thought of that/' 290 
 
 She answer' d, " but it pleased us not : in truth 
 
 We shudder but to dream our maids should ape 
 
 Those monstrous males that carve the living hound, 
 
 And cram him with the fragments of the grave. 
 
 Or in the dark dissolving human heart, 295 
 
 And holy secrets of this microcosm. 
 
 Dabbling a shameless hand with shameful jest, 
 
 Encarnalize their spirits : yet we know 
 
 Knowledge is knowledge, and this matter hangs : 
 
 Howbeit ourself, foreseeing casualty, 300 
 
 Nor willing men should come among us, learnt, 
 
 For many weary moons before we came. 
 
 This craft of healing. Were you sick, ourself 
 
 Would tend upon you. To your question now. 
 
 Which touches on the workman and his work. 305 
 
 Let there be light and there was light : 'tis so : 
 
 For was, and is, and will be, are but is ; 
 
 And all creation is one act at once. 
 
 The birth of light : but we that are not all, 
 
 As parts, can see but parts, now this, now that, 310 
 
 And live, perforce, from thought to thought, and make 
 
 One act a phantom of succession : thus 
 
 Our weakness somehow shapes the shadow. Time ; 
 
 But in the shadow we will work, and mould 
 
 The woman to the fuller day." 
 
 384. 1877 and onward, brooch. 
 
 285. A priestess of Mantineia, who is said to have been the instructress of 
 Socrates. Her opinions on the origin, nature, and objects of life are introduced 
 in Plato's Sym-posiwm, pp. 201-12. 
 
 294. A reference to a horrible report that dogs kept for the purpose of 
 dissection sometimes fed on the bodies which had already been dissected. 
 See Hogarth's ghastly picture of a dissecting-room, where a dog is represented 
 as doing what is here described. 
 
 300 and 303. 1847-48. ourselves. 
 
 313. This fine expression is Wordsworth's ( Yew-trees) : — 
 
 Death the Skeleton 
 And Time the Shadow. 
 
 314. So all the earlier editions. 1875. will we. 
 
A MEDLEY 203 
 
 She spake 3] 5 
 
 With kindled eyes : we rode a league beyond. 
 And J o'er a bridge of pinewood crossing, came 
 On flowery levels underneath the crag. 
 Full of all beauty. " O how sweet " I said 
 (For I was half-oblivious of my mask) 320 
 
 "To linger here with one that loved us." "Yea," 
 She answer' d, " or with fair philosophies 
 That lift the fancy ; for indeed these fields 
 Are lovely, lovelier not the Elysian lawns. 
 Where paced the Demigods of old, and saw 325 
 
 The soft white vapour streak the crowned towers 
 BuUt to the Sun : " then, turning to her maids, 
 " Pitch our pavilion here upon the sward ; 
 Lay out the viands." At the word, they raised 
 A tent of satin, elaborately wrought 330 
 
 With fair Corinna's triumph ; here she stood, 
 Engirt with many a florid maiden-cheek, 
 The woman-conqueror ; woman-conquer'd there 
 The bearded Victor of ten thousand hymns. 
 And all the men mourn'd at his side : but we 335 
 
 Set forth to climb ; then, climbing, Cyril kept 
 With Psyche, with Melissa Florian, I 
 With mine affianced. Many a little hand 
 Glanced like a touch of sunshine on the rocks. 
 Many a light foot shone like a jewel set 340 
 
 In the dark crag : and then we turn'd, we wound 
 About the cliffs, the copses, out and in, 
 Hammering and clinking, chattering stony names 
 Of shale and hornblende, rag and trap and tuif. 
 Amygdaloid and trachyte, till the Sun 345 
 
 Grew broader toward his death and fell, and all 
 The rosy heights came out above the lawns. 
 
 316-17. 1847-48. rode a little higher 
 
 To cross the flood by a narrow bridge, and came. 
 
 319. 1847. and " O how sweet " etc. 
 
 324, The allusion, as Mr. Wallace points out, seems to be to Pindar 
 (Olymp. ii. 123-36), the "towers built to the Sun" being the tower of Chronos, 
 but it is so faint and vague as to be scarcely discernible. 
 
 331. Corinna,the famous Boeotian poetess,and tlie most distinguished of Greek 
 poetesses, who is said to have instructed Pindar, " the bearded Victor of ten 
 thousand hymns," and to have beaten him afterwards in competition, according 
 to .(Elian ( Var. Hist. xiii. 25), five times ; according to Pausanias (ix. 22), once. 
 
 337. 1847-48. With Psyche, Florian with the other, and I. 
 
 343-45. For these terras, see any of the popular handbooks on geology. 
 
204 THE PRINCESS 
 
 The splendour falls on castle walls 
 
 And snowy summits old in story : 
 The long light shakes across the lakes. 
 And the wild cataract leaps in glory. 
 Blow, bugle, blow, set the wild echoes flymg, 
 Blow, bugle ; answer, echoes, dying, dying, d}dng. 
 
 O hark, O hear ! how thin and clear. 
 And thinner, clearer, farther going ! 
 O sweet and far from cliff and scar 
 The horns of Elfland faintly blowing ! 
 Blow, let us hear the purple glens replying : 
 Blow, bugle ; answer, echoes, dying, dying, dying. 
 
 O love, they die in yon rich sky. 
 
 They faint on hill or field or river : 
 Our echoes roll from soul to soul. 
 And grow for ever and for ever. 
 Blow, bugle, blow, set the wild echoes flying. 
 And answer, echoes, answer, dying, dying, dying. 
 
 The song was introduced in 1850, and has not been altered. 
 9, 10. Of. Haynes Bayly, 
 
 Oh, blow the horn ! oh, blow the horn ! 
 Hark ! faeries are replying, 
 burden to his " Come over the lake, Love " (Poetical Works, i. 212). 
 
A MEDLEY 205 
 
 IV 
 
 " There sinks the nebulous star we call the ShiI, 
 
 If that hypothesis of theirs be sound " 
 
 Said Ida ; " let us down and rest ; " and we 
 
 Down from the lean and wrinkled precipiceSj 
 
 By every coppice-feather'd chasm and cleft, 5 
 
 Dropt thro' the ambrosial gloom to where below 
 
 No bigger than a glow-worm shone the tent 
 
 Lamp-lit from the inner. Once she lean'd on me. 
 
 Descending ; once or twice she lent her hand. 
 
 And blissful palpitations in the blood, 10 
 
 Stirring a sudden transport rose and fell. 
 
 But when we planted level feet, and dipt 
 Beneath the satin dome and enter'd in. 
 There leaning deep in broider'd down we sank 
 Our elbows : on a tripod in the midst 1 5 
 
 A fragrant flame rose, arid before us glow'd 
 Fruit, blossom, viand, amber wine, and gold. 
 
 Then she, " Let some one sing to us : lightlier move 
 The minutes fledged with music : " and a maid. 
 Of those beside her, smote her harp, and sang. 20 
 
 " Tears, idle tears, I know not what they mean, 
 Tears from the depth of some divine despair 
 
 IV 
 17, 1847-48. Fruit, viand, blossom, and amber wine and gold. 
 21 segq. Of tliis beautiful blank-verse lyric Tennyson said {Life, i. 253) : 
 "The passion of the past, the abiding in the transient, was expressed in 
 'Tears, idle Tears,' which was written in the yellowing autumn-tide at 
 Tintem Abbey, full for me of its bygone memories." The germ of it may 
 be found in a short poem contributed by Tennyson in 1831 to The Gem, 
 which runs thus : — 
 
 Oh sad No more I Oh sweet No inorel 
 
 Oh strange No more I 
 By a mossed brookband on a stone 
 I smelt a wildweed-fiower alone : 
 There was a ringing in my ears. 
 And both my eyes gushed out with tears. 
 Surely all pleasant things had gone before, 
 Lowburled fathomdeep beneath with thee. No More ! 
 
 (The Gem for 1831, p. 87.) 
 With the sentiment of the poem may be compared Macpherson's Ossian, 
 
206 THE PRINCESS 
 
 Rise in the heart, and gather to the eyes, 
 
 In looking on the happy Autumn-fields, 
 
 And thinking of the days that are no more. 25 
 
 " Fresh as the first beam glittering on a sail, 
 That brings our friends up from the underworld. 
 Sad as the last which reddens over one 
 That sinks with all we love below the verge ; 
 So sad, so fresh, the days that are no more. 30 
 
 " Ah, sad and strange as in dark summer dawns 
 The earliest pipe of half-awaken'd birds 
 To dying ears, when unto dying eyes 
 The casement slowly grows a glimmering square ; 
 So sad, so strange, the days that are no more. 35 
 
 " Dear as remember'd kisses after death. 
 And sweet as those by hopeless fancy feign'd 
 On lips that are for others ; deep as love. 
 Deep as first love, and wild with all regret ; 
 O Death in Life, the days that are no more." 40 
 
 She ended with such passion that the tear, 
 She sang of, shook and fell, an erring pearl 
 Lost in her bosom : but with some disdain 
 Answer'd the Princess " If indeed there haunt 
 About the moulder' d lodges of the Past 45 
 
 So sweet a voice and vague, fatal to men. 
 Well needs it we should cram our ears with wool 
 And so pace by : but thine are fancies hatch'd 
 In silken-folded idleness ; nor is it 
 Wiser to weep a true occasion lost, 60 
 
 But trim our sails, and let old bygones be. 
 While down the streams that float us each and all 
 
 Conleth and Cuthona, ad init. : " Did not Ossian hear a voice ? Or is it the 
 sound of days that are no more ? Often does the memory of former times 
 come like the evening sun upon my soul." 
 
 21. This lyric after 1875 generally in small type. 
 33; 34' ^- Leigh Hunt, Hero and Leander, canto ii, , ad Jin. '. — 
 ;- And when the casement at the dawn of light 
 Began to show a square of ghastly white. 
 50. 1847-48. gone. 
 51-52. 1847-48. and let the old proverb serve 
 
 While down the streams that buoy each separate craft. 
 
A MEDLEY 207 
 
 To the issue, goes, like glittering bergs of ice, 
 
 Throne after throne, and molten on the waste 
 
 Becomes a cloud : for all things serve their time 55 
 
 Toward that great year of equal mights and rights. 
 
 Nor would I fight with iron laws, in the end 
 
 Found golden : let the past be past ; let be 
 
 Their canceU'd Babels : tho' the rough kex break 
 
 The starr'd mosaic, and the wild goat hang 60 
 
 Upon the shaft, and the wild figtree split 
 
 Their monstrous idols, care not while we hear 
 
 A trumpet in the distance pealing news 
 
 Of better, and Hope, a poising eagle, burns 
 
 Above the unrisen morrow : " then to me ; 65 
 
 " Know you no song of your own land," she said, 
 
 " Not such as moans about the retrospect. 
 
 But deals with the other distance and the hues 
 
 Of promise; not a death's-head at the wine." 
 
 Then I remember'd one myself had made, 70 
 
 What time I watch'd the swallow winging south 
 From mine own land, part made long since, and part 
 Now while I sang, and maidenlike as far 
 As I could ape their treble, did I sing. 
 
 " O Swallow, Swallow, flying, flying South, 75 
 
 Sg. The reference is to Genesis xi. i-g. 
 
 Sg. Kex, or kecksie, is a dry stalk of hemlock or some similar plant. 
 Cotgrave under "canon" has " canon de sulo, a kex or elder stick." Cf. 
 Henry V., v. ii. : — 
 
 And nothing teems 
 But hateful docks, rough thistles, kecksies, burs. 
 So in Ray's Proverbs, "As hollow as a gun, or as a kex." See Nares' note. 
 We should naturally take the "starr'd mosaic" as meaning "flawed," as we 
 speak of glass being "starred," and quoting from Tennyson himself (Pro- 
 logue to Morte d' Arthur), "I bump'd the ice into three several stars." 
 But he himself, on this interpretation being submitted to him, rejected it, and 
 said that what he meant was " decorated with stars." 
 
 60. In or before 1871. beard-blown goat 
 
 Hang on the shaft. 
 
 61. 1847-48. Upon the pillar. 1850-1-3. Upon the shaft. For this 
 effect of die wild fig-tree, see Juvenal (x. 144-45), speaking of sepulchres, 
 
 ad quae 
 Discutienda valent sterilis mala robora ficus, 
 and Persius (i. 25) ; and for further illustrations, the commentators on these 
 passages. 
 65. 1847. and then. 
 
 fig. See Herodotus, ii. 78, for the custom referred to. 
 75 seqq. After 1875 this lyric generally in small type. 
 
208 THE PRINCESS 
 
 Fly to hei-j and fall upon her gilded eaves, 
 And tell her, tell her, what I tell to thee. 
 
 " O tell her. Swallow, thou that knowest each, 
 That bright and fierce and fickle is the South, 
 And dark and true and tender is the North. 80 
 
 " O Swallow, Swallow, if I could follow, and light 
 Upon her lattice, I would pipe and trill. 
 And cheep and twitter twenty million loves. 
 
 " O were I thou that she might take me in. 
 And lay me on her bosom, and her heart 85 
 
 Would rock the snowy cradle till I died. 
 
 " Why lingereth she to clothe her heart with love, 
 Delaying as the tender ash delays 
 To clothe herself, when all the woods are green ? 
 
 " O tell her. Swallow, that thy brood is flown : 90 
 Say to her, I do but wanton in the South, 
 But in the North long since my nest is made. 
 
 " O tell her, brief is life but love is long, 
 And brief the sun of summer in the North, 
 And brief the moon of beauty in the South. 95 
 
 " O Swallow, flying from the golden woods, 
 Fly to her, and pipe and woo her, and make her mine, 
 And tell her, tell her, that I follow thee." 
 
 I ceased, and all the ladies, each at each. 
 Like the Ithacensian suitors in old time, 100 
 
 Stared with great eyes, and laugh'd with alien lips. 
 And knew not what they meant ; for still my voice 
 Rang false : but smiling " Not for thee," she said, 
 " O Bulbul, any rose of Gulistan 
 Shall burst her veil : marsh-divers, rather, maid, 105 
 
 loi. The German and French phrases are familiar: "laugh'd with alien 
 lips " is a translation of Homer's Odyssey, xx. 347, u/ 5' ^S»j yvAdfiiiin yo^m 
 ixurpUixm, "And now they began to laugh with alien jaws," i.e. with jaws 
 which did not belong to them, i.e. with constrained or unnatural laughter. 
 Horace borrowed the same phrase {Sai. 11. iii. 72), but gives it a difeenl 
 meaning. 
 
 104. Bulbul is the Persian for nightingale, and Gulistan for rose-garden. 
 According to the Persian poets, the nightingale woos the rose, which unfolds 
 if the charm of the song holds her. 
 
A MEDLEY 209 
 
 Shall croak thee sister, or the meadow-crake 
 
 Grate her harsh kindred in the grass : and this 
 
 A mere love-pqem ! O for such, my friend, 
 
 We hold them slight : they mind us of the time 
 
 When we made bricks in Egypt. ^HaiesjarejpafiEj 110 
 
 That lute and flute fantastic tenderness, 
 
 AflflTlTSss'the VictTiiiTo "EEe~bSfering up, 
 
 AnffpalBt themtjis of Hell with Paradise, 
 
 And piay*^ the slave to gain the tyranny. 
 
 PooTSOutt I had a matd of honour once ; 115 
 
 She wept her true eyes blind for such a one, 
 
 A rogue of canzonets and serenades. 
 
 I loved her. Peace be with her. She is dead. 
 
 So they blaspheme the muse ! But great is song 
 
 Used to great ends : ourself have often tried 120 
 
 Valkyrian hymns, or into rhythm have dash'd 
 
 The passion of the prophetess ; for song 
 
 Is duer unto freedom, force and growth 
 
 Of spirit than to junketing and love. 
 
 Love is it ? Would this same mock-love, and this 125 
 
 Mock-Hymen were laid up like winter bats, 
 
 Till all men grew to rate us at our worth, 
 
 Not vassals to be beat, nor pretty babes ' 
 
 To be dandled, no, but living wills, and sphered 
 
 Whole in ourselves and owed to none. Enough ! 1 30 
 
 But now to leaven play with profit, you. 
 
 Know you no song, the true growth of your soil, 
 
 That gives the manners of your countrywomen ? " 
 
 She spoke and tum'd her sumptuous head with 
 eyes 
 Of shining expectation fixt on mine. 135 
 
 Then whUe I dragg'd my brains for such a song, 
 Cyril, with whom the bell-mouth'd flask had wrought, 
 
 109. 1847-48. prize. 
 
 114. Cy: Tacitus, Hist. i. 36: "Omnia serviliter pro dominatione."' 
 
 115-24. Added in 1850. 
 
 121. In Scandinavian mythology tlie Vallcyrs were the warrior deities, who 
 with wild cries accompanied the heroes into battle, and escorted the slain to 
 Valhalla ; the word seems to mean " wildly inspiring." 
 
 125. 1847-48. I would. 
 
 130. 1847-48-50. due to none. 
 
 137. 1847-48. Did Cyril. 
 
 137. 187s and'onward. "glass." 
 
 14 
 
210 THE PRINCESS 
 
 Or master'd by the sense of sport, began 
 To troll a careless, careless tavern-catch 
 Of Moll and Meg, and strange experiences 140 
 
 Unmeet for ladies. Florian nodded at him, 
 I frowning ; Psyche flush'd and wann'd and shook ; 
 The lilylike Melissa droop'd her brows ; 
 " Forbear " the Princess cried ; " Forbear, Sir " I ; 
 And heated thro' and thro' with wrath and love, 145 
 I smote him on the breast ; he started up ; 
 There rose a shriek as of a city sack'd ; 
 Melissa clamom-'d "Flee the death ;" "To horse" 
 Said Ida ; " home ! to horse ! " and fled, as flies 
 A troop of snowy doves athwart the dusk, 150 
 
 When some one batters at the dovecote-doors. 
 Disorderly the women. Alone I stood 
 With Florian, cursing Cyril, vext at heart. 
 In the pavilion : there like parting hopes 
 I heard them passing from me : hoof by hoof, 155 
 
 And every hoof a knell to my desires, 
 Clang'd on the bridge ; and then another shriek, 
 " The Head, the Head, the Princess, O the Head ! " 
 For blind with rage she miss'd the plank, and roll'd 
 In the river. Out I sprang from glow to gloom : l60 
 There whirl'd her white robe like a blossom'd branch 
 Rapt to the horrible fall : a glance I gave. 
 No more ; but woman-vested as I was 
 Plunged ; and the flood drew ; yet I caught her ; then 
 Oaring one arm, and bearing in my left l65 
 
 The weight of all the hopes of half the world. 
 Strove to buffet to land in vain. A tree 
 Was half-disrooted from his place and stoop'd 
 To drench his dark locks in the gurgling wave 
 Mid-channel. Right on this we drove and caught, 170 
 , And grasping down the boughs I gain'd the shore. 
 
 There stood her maidens glimmeringly group'd 
 In the hollow bank. One reaching forward drew 
 My burthen from mine arms ; they cried " she lives ! " 
 
 138. 1847-48. begin. 
 
 149. 1847-48. Said Lady Ida ; and fled at once, as flies. 
 
 172. 1848. group (plainly a misprint). 
 
 174. 1847-48. and crying. 
 
A MEDLEY 211 
 
 They bore her back into the tent : but I, 175 
 
 So much a kind of shame within me MTOught, 
 
 Not yet endured to meet her opening eyes, 
 
 Nor found my friends ; but push'd alone on foot 
 
 (For since her horse was lost I left her mine) 
 
 Across the woods, and less from Indian craft 1 80 
 
 Than beelike instinct hiveward, found at length 
 
 The garden portals. Two great statues. Art 
 
 And Science, Caryatids, lifted up 
 
 A weight of emblem, and betwixt were valves 
 
 Of open-work in which the hunter rued 185 
 
 His rash intrusion, manlike, but his brows 
 
 Had sprouted, and the branches thereupon 
 
 Spread out at top, and grimly spiked the gates. 
 
 A little space was left between the horns. 
 Thro' which I clamber'd o'er at top with pain, 190 
 
 Dropt on the sward, and up the linden walks. 
 And, tost on thoughts that changed from hue to hue, 
 Now poring on the glowworm, now the star, 
 I paced the terrace, till the bear had wheel'd 
 Thro' a great arc his seven slow suns, 
 
 A step 195 
 
 Of lightest echo, then a loftier form 
 Than female, moving thro' the uncertain gloom, 
 Disturb'd me with the doubt " if this were she," 
 But it was Florian. " Hist O hist," he said, 
 " They seek us : out so late is out of rules. 200 
 
 Moreover ' seize the strangers ' is the cry. 
 How came you here ? " I told him : " I " said he, 
 " Last of the train, a moral leper, I, 
 To whom none spake, half-sick at heart, retum'd. 
 Arriving all confused among the rest 205 
 
 With hooded brows I crept into the hall. 
 And, couch'd behind a Judith, underneath 
 The head of Holofernes peep'd and saw. 
 
 i8o. 1847. Across the thicket. 
 
 182. 1847-4B. The gates of the garden. 
 
 185. 1847. Of open metal in which the old hunter rued. 
 
 194. 187S 3nd onward. Bear. 
 
 196. 1847. and then. 
 
 199. 187S and onward. " Hist O Hist." 
 
 202. 1847-48. I found the key in the doors : how came you here ? 
 
212 THE PRINCESS 
 
 Girl after girl was call'd to trial : each 
 
 Disclaim'd all knowledge of us : last of all, 210 
 
 Melissa : trust me. Sir, I pitied her. 
 
 She, question'd if she knew us men, at first 
 
 Was silent ; closer prest, denied it not : 
 
 And then, demanded if her mother knew, 
 
 Or Psyche, she affirm'd not, or denied : 215 
 
 From whence the Royal mind, familiar with her. 
 
 Easily gather'd either guilt. She sent 
 
 For Psyche, but she was not there ; she call'd 
 
 For Psyche's child to cast it from the doors ; 
 
 She sent for Blanche to accuse her face to face ; 220 
 
 And I slipt out : but whither will you now ? 
 
 And where are Psyche, Cjfril ? both are fled : 
 
 What, if together ? that were not so well. 
 
 Would rather we had never come ! I dread 
 
 His wildness, and the chances of the dark." 225 
 
 " And yet," I said, " you wrong him more than 1 
 That struck him : this is proper to the clown, 
 Tho' smock' d, or furr'd and purpled, still the clown. 
 To harm the thing that trusts him, and to shame 
 That which he says he loves : for Cyril, howe'er 230 
 He deal in frolic, as to-night — the song 
 Might have been worse and sinn'd in grosser lips 
 Beyond all pardon — as it is, I hold 
 These flashes on the surface are not he. 
 He has a solid base of temperament : 235 
 
 But as the waterlily starts and slides 
 Upon the level in little puffs of wind, 
 Tho' anchor'd to the bottom, such is he." 
 
 2IS. 1847-48. Or Lady Psyche, affirm'd not, or denied. 
 236. Cf. Wordsworth of moral truth (Excursion, v.) : — 
 
 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 waves. 
 Tennyson denied that he was indebted to Wordsworth for this simile, 
 and said it was suggested to him by ' ' water-lilies in my own pond, seen on a 
 gusty day with my own eyes. They did start and slide in the sudden puffs of 
 wind till caught and stayed by the tether of their own stalks, quite as true as 
 Wordsworth's simile and more in detail" (Life, i. 257), 
 
A MEDLEY 213 
 
 Scarce had I ceased when from a tamarisk near 
 Two Proctors.leapt upon us, crying " Names : " 240 
 
 He, standing still, was clutch'd ; but I began 
 To thrid the musky-circled mazes, wind 
 And double in and out the boles, and race 
 By all the fountains : fleet I was of foot : 
 Before me shower'd the rose in flakes ; behind 245 
 
 I heard the pufF'd pursuer ; at mme ear 
 Bubbled the nightingale and heeded not. 
 And secret laughter tickled all my soul. 
 At last I hook'd my ancle in a vine. 
 That claspt the feet of a Mnemosyne, 250 
 
 And falling on my face was caught and known. 
 
 They haled us to the Princess where she sat 
 High in the hall : above her droop'd a lamp. 
 And made the single jewel on her brow 
 Bum like the mystic fire on a mast-head, 255 
 
 Prophet of storm : a handmaid on each side 
 Bow'd toward her, combing out her long black hair 
 Damp from the river ; and cjiose behind her stood 
 Eigh^ daughters of the plough^ stronger than men. 
 Huge women blowzed with health, and wind, and rain, 260 
 And labour. Each was like a Druid rock ; 
 Oyiike a spire of land that stands apart 
 Cleft from the main, and wail'd about with mews. 
 
 Then, as we came, the crowd dividing clove 
 An advent to the throne : and therebeside, 265 
 
 Half-naked as if caught at once from bed 
 And tumbled on the purple footcloth, lay 
 The lily-shining child ; and on the left, 
 Bow'd on her palms and folded up from wrong, 
 
 242. 1847-48. To thrid thro' all the musky mazes, wind. 
 249. 1847-48. took. 1875 and onward, ankle. 
 
 255. An allusion to St. Elmo's fire, the phosphorescent light which appears 
 on the tops of ships' masts or other pointed objects when the air is full of 
 electricity, storm impending. Mr. Rolfe appositely quotes Longfellow's 
 Golden Legend : — 
 
 Last night I saw St. Elmo's stars. 
 With their glimmering lanterns all at play 
 On the tops of the masts and the tips of the spars. 
 And I knew we should have foul weather to-day. 
 Cf. Shakespeare, too, Tempest, I. ii. 197. 
 
214 THE PRINCESS 
 
 Her round white shoulder shaken with her sobs, 270 
 Melissa knelt ; but Lady Blanche erect 
 Stood up and spake, an affluent orator. 
 
 " It was not thus, O Princess, in old days : 
 You prized my counsel, lived upon my lips : 
 I led you then to all the Castalies ; 275 
 
 I fed you with the milk of every Muse ; 
 I loved you like this kneeler, and you me 
 Your second mother : those were gracious times. 
 Then came your new friend : you began to change — 
 I saw it and grieved — to slacken and to cool ; 280 
 
 Till taken with her seeming openness 
 You turn'd your warmer currents all to her, 
 To me you froze : this was my meed for all. 
 Yet I bore up in part from ancient love. 
 And partly that I hoped to win you back, 285 
 
 And partly conscious of my own deserts. 
 And partly that you were my civil head. 
 And chiefly you were born for something great. 
 In which I might your fellow-worker be. 
 When time should serve ; and thus a noble scheme 290 
 Grew up from seed we two long since had sown ; 
 In us true growth, in her a Jonah's gourd. 
 Up in one night and due to sudden sun : 
 We took this palace ; but even from the first 
 You stood in your own light and darken'd mine. 295 
 What student came but that you planed her path 
 To Lady Psyche, younger, not so wise, 
 A foreigner, and I your countrywoman, 
 I your old friend and tried, she new in all ? 
 But still her lists were swell'd and mine were lean ; 300 
 Yet I bore up in hope she would be known : 
 Then came these wolves : thetf knew her : they endured, 
 Long-closeted with her the yestermorn. 
 To tell her what they were, and she to hear : 
 And me none told : not less to an eye like mine, 305 
 A lidless watcher of the public weal, 
 
 273. 1847-48. in the old days. 
 
 275. All the sources of poetry. Castalia was a fountain on Parnassus, sacred 
 to Apollo and the Muses. 
 283. 1847-48. You froze to me. 
 
A MEDLEY 215 
 
 Last nightj their mask was patent, and my foot 
 
 Was to you : but I thought again : I fear'd 
 
 To meet a cold " We thank you, we shall hear of it 
 
 From Lady Psyche : " you had gone to her, 310 
 
 She told, perforce ; and winning easy grace, 
 
 No doubt, for slight delay, remain'd among us 
 
 In our young nursery still unknown, the stem 
 
 Less grain than touchwood, while my honest heat 
 
 Were all miscounted as malignant haste 315 
 
 To push my rival out of place and power. 
 
 But public use required she should be known ; 
 
 And since my oath was ta'en for public use, 
 
 I broke the letter of it to keep the sense. 
 
 I spoke not then at first, but watch'd them well, 320 
 
 Saw that they kept apart, no mischief done ; 
 
 And yet this day (tho' you should hate me for it) 
 
 I came to tell you ; found that you had gone, 
 
 Ridd'n to the hills, she likewise : now, I thought. 
 
 That surely she will speak ; if not, then 1 : 325 
 
 Did she ? ' These monsters blazon'd what they were, 
 
 According to the coarseness of their kind. 
 
 For thus I hear ; and known at last (my work) 
 
 And full of cowardice and guilty shame, 
 
 I grant in her some sense of shame, she flies ; 330 
 
 And I remain on whom to wreak your rage, 
 
 I, that have lent my life to build up yours, 
 
 I that have wasted here health, wealth, and time. 
 
 And talents, I — you know it — I will not boast : 
 
 Dismiss me, and I prophesy your plan, 335 
 
 Divorced from my experience, will be chaff 
 
 For every gust of chance, and men will say 
 
 We did not loiow the real light, but chased 
 
 The wisp that flickers where no foot can tread." 
 
 She ceased : the Princess answer'd coldly, " Good : 340 
 Your oath is broken : we dismiss you : go. 
 For this lost lamb (she pointed to the child) 
 Our mind is changed : we take it to ourselves." 
 
 323. 1847-48. I judged it best to speak ; but you had gone. 
 
 324. 1847-48. Ridden. 
 32s. 1847-48. will tell you. 
 
 330. 1847-48. the merit of shame. 
 
 334. 1873, talent ; 1877, talents ; 1884, talent ; and so all editions since. 
 
 343. 1847-48. we assume it to ourselves. 1875 and onward, ourself. 
 
216 THE PRINCESS 
 
 Thereat the Lady stretch'd a vulture throat, 
 And shot from crooked lips a haggard smile. 345 
 
 " The plan was mine. I built the nest " she said 
 " To hatch the cuckoo. Rise ! " and stoop'd to updrag 
 Melissa : she, half on her mother propt. 
 Half-drooping from her, tum'd her face, and cast 
 A liquid look on Ida, full of prayer, 350 
 
 Which melted Florian's fancy as she hung, 
 A Niobean daughter, one arm out. 
 Appealing to the bolts of Heaven ; and while 
 We gazed upon her came a little stir 
 About the doors, and on a sudden rush'd 355 
 
 Among us, out of breath, as one pursued, 
 A woman-post in flying raiment. Fear 
 Stared in her eyes, and chalk'd her face, and wing'd 
 Her transit to the throne, whereby she fell 
 Delivering seal'd dispatches which the Head 36o 
 
 Took half-amazed, and in her lion's mood 
 Tore open, silent we with blind surmise 
 Regarding, while she read, till over brow 
 And cheek and bosom brake the wrathful bloom 
 As of some fire against a stormy cloud, 365 
 
 When the wild peasant rights himself, the rick 
 Flames, and his anger reddens in the heavens ; 
 For anger most it seem'd, while now her breast. 
 Beaten with some great passion at her heart. 
 Palpitated, her hand shook, and we heard 370 
 
 In the dead hush the papers that she held 
 Rustle : at once the lost lamb at her feet 
 Sent out a bitter bleating for its dam ; 
 The plaintive cry jarr'd on her ire ; she crush'd 
 The scrolls together, made a sudden turn 375 
 
 As if to speak, but, utterance failing her. 
 She whirl'd them on to me, as who should say 
 " Read," and I read — two letters — one her sire's. 
 
 " Fair daughter, when we sent the Prince your way 
 We knew not your ungracious laws, which learnt, 380 
 We, conscious of what temper you are built, 
 
 3S2. A reference to the famous Niobe group at Florence. 
 
 355. 1847. ran in. 
 
 356. 1847-48. all out of breath, as pursued. 
 
A MEDLEY 217 
 
 Came all in haste to hinder wrong, but fell 
 
 Into his father's hands, who has this night, ■ 
 
 You lying close upon his territory, 
 
 Slipt round and in the dark invested you, 385 
 
 And here he keeps me hostage for his son." 
 
 The second was my father's running thus : 
 " You have our son : touch not a hair of his head : 
 Render him up unscathed : give him your hand : 
 Cleave to your contract : tho' indeed wejiear 390 
 
 You hold t he w.gm"" ^^ *^'' Vig-ttgy- ™an : 
 A rampant heresy ^ such as if it spread 
 Would make lilllwoinen Jdek'against their Ijprds 
 Thro^^i the world, and which might well deserve 
 Thatjyejthlg.night should pluck your palace down,;' 395 
 5nd we will do it, unless you send us back 
 Our son, on the instant, whole." 
 
 So far I read ; 
 And then stood up and spoke impetuously. 
 
 " O not to pry and peer on your reserve. 
 But led by golden wishes, and a hope 400 
 
 The child of regal compact, did I break 
 Your precinct ; not a scomer of your sex 
 But venerator, zealous it should be 
 AU that it might be : hear me, for I bear. 
 The' man, yet human, whatsoe'er your wrongs, 405 
 
 From the flaxen curl to the gray lock a life 
 Less mine than yours : my nurse would tell me of you ; 
 I babbled for you, as babies for the moon. 
 Vague brightness ; when a boy, you stoop'd to me 
 From all high places, lived in all fair lights, 410 
 
 Came in long breezes rapt from inmost south 
 And blown to inmost north ; at eve and dawn 
 With Ida, Ida, Ida, rang the woods ; 
 The leader wildswan in among the stars 
 Would] clang it, and lapt in wreaths of glowworm light 415 
 The mellow breaker murmur'd Ida. Now, 
 Because I would have reach'd you, had you been 
 
 389. 1847-48. Deliver. . - 
 
 403. 1847-48. and willing it should be. 
 411 and 412. 1847-48. the inmost. 
 417. 1847-48. tho' you had beeii. 
 
218 THE PRINCESS 
 
 Sphered up with Cassiopeia, or the enthroned 
 
 Persephone in Hades, now at length, 
 
 Those winters of abeyance all worn out, 420 
 
 A man I came to see you : but, indeed. 
 
 Not in this frequence can I lend full tongue, 
 
 noble Ida, to those thoughts that wait 
 On you, their centre : let me say but this, 
 
 That many a famous man and woman, town 425 
 
 And landskip, have I heard of, after seen 
 
 The dwarfs of presage ; tho' when known, there grew 
 
 Another kind of beauty in detail 
 
 Made them worth knowing ; but in you I found 
 
 My boyish dream involved and dazzled down 430 
 
 And master' d, while that after-beauty makes 
 
 Such head from act to act, from hour to hour, 
 
 Within me, that except you slay me here. 
 
 According to your bitter statute-book, 
 
 1 cannot cease to follow you, as they say 435 
 The seal does music ; who desire you more 
 
 Than growing boys their manhood ; djang lips. 
 With many thousand matters left to do. 
 The breath of life ; O more than poor men wealth, 
 Than sick men health — yours, yours, not mine — 
 
 but half 440 
 
 Without you ; with you, whole ; and of those halves 
 You worthiest ; and howe'er you block and bar 
 Your heart with system out from mine, I hold 
 That it becomes no man to nui'se despair. 
 But in the teeth of clench'd antagonisms 445 
 
 To follow up the worthiest till he die : 
 Yet that I came not all unauthorized 
 Behold your father's letter." 
 
 On one knee 
 Kneeling, I gave it, which she caught, and dash'd 
 Unopen'd at her feet : a tide of fierce 450 
 
 422. Latin, frequentia, a crowded assembly. Cf. Milton, Paradise Re- 
 gained, i. 128-29, 
 
 Who, in fuW frequence bright 
 Of angels, 
 and again, Id. ii. 130 ; and Browning, Bal. Advent. 2001, 
 "He, . knew the kindly «yae«« there," 
 427. This harsh and obscure expression appears to mean, falling short of 
 -what had been expected in or of them. 
 430. 1847-48. Mine old ideal. 
 450. 1847-48. on the marble. 
 
A MEDLEY 219 
 
 Invective seem'd to wait behind her lips. 
 
 As waits a river level with the dam 
 
 Ready to burst and flood the world with foam : 
 
 And so she would have spoken, but there rose 
 
 A hubbub in the court of half the maids 455 
 
 Gather'd together : from the illumined hall 
 
 Long lanes of splendour slanted o'er a press 
 
 Of snowy shoulders, thick as herded ewes. 
 
 And rainbow robes, and gems and gemlike eyes. 
 
 And gold and golden heads ; they to and fro ■ 460 
 
 Fluctuated, as flowers in storm, some red, some pale. 
 
 All open-mouth' d, all gazing to the light. 
 
 Some crying there was an army in the land, 
 
 And some that men were in the very walls. 
 
 And some they cared not ; till a clamour grew 465 
 
 As of a new-world Babel, woman-built. 
 
 And worse-confounded : high above them stood 
 
 The placid marble Muses, looking peace. 
 
 Not peace she look'd, the Head : but rising up 
 Robed in the long night of her deep hair, so 470 
 
 To the open window moved, remaining there 
 Fixt like a beacon-tower above the waves 
 Of tempest, when the crimson-rolling eye 
 Glares ruin, and the wild birds on the light 
 Dash themselves dead. She stretch'd her arms and 
 
 caU'd 475 
 
 Across the tumult and the tumult fell. 
 
 " What fear ye, brawlers ? am not I your Head ? 
 On me, me, me, the storm first breaks : / dare 
 All these male thunderbolts : what is it ye fear ? 
 Peace ! there are those to avenge us and they come : 480 
 If not, — myself were like enough, O girls. 
 To unfurl the maiden banner of our rights. 
 And clad in iron burst the ranks of war. 
 Or, falling, protomartyr of our cause, 
 
 456. "illumin'd" till 1851. 
 
 470. Cf. B. W. Procter (TAe Pearl- Wearer) :— 
 
 Within the midnight of her hair. 
 47a. Cf. Enoch Arden, 730-32. 
 474. 1847. and the wild sea-birds. 
 
220 THE PRINCESS 
 
 Die : yet I blame ye not so much for fear ; 485 
 
 Six thousand years of fear have made ye that 
 
 From which I would redeem ye : but for those 
 
 That stir this hubbub — you and you — I know 
 
 Your faces there in the crowd — to-morrow morn 
 
 We hold a great convention : then shall they 490 
 
 That love their voices more than duty, learn 
 
 With whom they deal, dismiss'd in shame to live 
 
 No wiser than their mothers, household stuff, 
 
 Live chattels, mincers of each other's fame. 
 
 Full of weak poison, turnspits for the clown, 495 
 
 The drunkard's football, laughing-stocks of Time, 
 
 Whose brains are in their hands and in their heels. 
 
 But fit to flaunt, to dress, to dance, to thrum. 
 
 To tramp, to scream, to burnish, and to scour. 
 
 For ever slaves at home and fools abroad." 500 
 
 She, ending, waved her hands : thereat the crowd 
 Muttering, dissolved : then with a smile, that look'd 
 A stroke of cruel sunshine on the cliff. 
 When all the glens are drown'd in azm-e gloom 
 Of thunder-shower, she floated to us and said : 505 
 
 " You have done well and like a gentleman^ 
 And like a prince : you have our thanks for all : 
 And you look well too in your woman's dress : 
 Well have you done and like a gentleman. 
 You saved our life : we owe you bitter thanks : 510 
 
 Better have died and spilt our bones in the flood — 
 Then men had said — but now — What hinders me 
 To take such bloody vengeance on you both .'' — 
 Yet since our father — Wasps in our good hive. 
 You would-be quenchers of the light to be, 515 
 
 Barbarians, grosser than your native bears — 
 O would I had his sceptre for one hour ! 
 You that have dared to break our bound, and guU'd 
 Our servants, wrong'd and lied and thwarted us — 
 
 485-6-7. 1875 and onward, you. 
 
 490. 1847-48. We meet to elect new tutors. 
 
 510. 1847-48. You have saved. 
 
 514. 1847-48. Wasps in the wholesome hive. 
 
 Siq. 1847-48. tutors. 
 
A MEDLEY 221 
 
 / wed with thee ! / bound by precontract 520 
 
 Your bride, your bondslave ! not tho' all the gold 
 That veins the world were pack'd to make your crown, 
 And every spoken tongue should lord you. Sir, 
 Yom- falsehood and yoiu-self are hateful to us : 
 I trample on your offers and on you : 525 
 
 Begone : we will not look upon you more. 
 Here, push them out at gates." 
 
 In wrath she spake. 
 Then those eight mighty daughters of the plough 
 Bent their broad faces toward us and address'd 
 Their motion : twice I sought to plead my cause, 530 
 But on my shoulder hung their heavy hands, 
 The weight of destiny : so from her face 
 They push'd us, down the steps, and thro' the court. 
 And with grim laughter thrust us out at gates. 
 
 We cross'd the street and gain'd a petty mound 535 
 Beyond it, whence we saw the lights and heard 
 The voices murmuring. While I listen' d, came 
 On a sudden the weird seizure and the doubt : 
 I seem'd to move among a world of ghosts ; 
 The Princess with her monstrous woman-guard, 540 
 
 The jest and earnest working side by side. 
 The cataract and the tumult and the kings 
 Were shadows ; and the long fantastic night 
 With all its doings had and had not been. 
 And all things were and were not. 
 
 This went by 545 
 As strangely as it came, and on my spirits 
 Settled a gentle cloud of melancholy ; 
 Not long ; I shook it off; for spite of doubts 
 And sudden ghostly shadowings I was one 
 To whom the touch of all mischance but came 550 
 
 As night to him that sitting on a hill 
 Sees the midsummer, midnight, Norway sun 
 Set into sunrise ; then we moved away. 
 
 524. 1847-48-50. your face are loathsome. 
 
 537-46- While I listen'd . . . came. Added in 1851. 
 
 S37. 1847-48-50. till upon my spirits. 
 
 548-49. 1847-48. Which I shook off, for I was young, and one. 
 
 1850. Which I shook off, for I was ever one. 
 550. 1847-48-50. shadow of all mischance. 
 
222 THE PRINCESS 
 
 Thy voice is heard thro' rolUng drums, 
 
 That beat to battle where he stands ; 
 Thy face across his fancy comes, 
 
 And gives the battle to his hands : 
 A moment, while the trumpets blow, 5 
 
 He sees his brood about thy knee ; 
 The next, like fire he meets the foe. 
 
 And strikes him dead for thine and thee. 
 
 So Lilia sang : we thought her half-possess'd. 
 
 She struck such warbling fury thro' the words ; 10 
 
 And, after, feigning pique at what she call'd 
 
 The raillery or grotesque, or false sublime — 
 
 Like one that wishes at a dance to change 
 
 The music-^clapt her hands and cried for war. 
 
 Or some grand fight to kill and make an end : 15 
 
 And he that next inherited the tale 
 
 Half turning to the broken statue, said, 
 
 " Sir Ralph has got your colours : if I prove 
 
 Your knight, and fight your battle, what for me ? " 
 
 It chanced, her empty glove upon the tomb 20 
 
 Lay by her like a model of her hand. 
 
 She took it and she flung it. " Fight " she said, 
 
 " And make us all we would be, great and good." 
 
 He knightlike in his cap instead of casque, 
 
 A cap of Tyrol borrow'd from the hall, 25 
 
 Arranged the favour and assumed the Prince. 
 
 The song (though alterfed) and the stanza following were added in 1850. 
 There is an interesting variant of this song, printed in the Selections from 
 Tennyson's poems published by Moxon in 1865, but afterwards suppressed. 
 1850. I, 2. When all among the thundering drums 
 
 Thy soldier in the battle stands, 
 1850. 8. Strikes him dead for them and thee ! 
 Tara ta tantara ! 
 10. 1850. through. 
 
A MEDLEY 223 
 
 Now, scarce three paces measured from the mound. 
 
 We stumbled on a stationary voice. 
 
 And " Stand, who goes ? " " Two from the palace " I. 
 
 " The second two : they wait," he said, " pass on ; 
 
 His Highness wakes : " and one, that clash'd in arms, 5 
 
 By glimmering lanes and walls of canvas, led 
 
 Threading the soldier-city, till we heard 
 
 The drowsy folds of our great ensign shake 
 
 From blazon'd lions o'er the imperial tent 
 
 Whispers of war. 
 
 Entering, the sudden light ] 
 
 Dazed me half-blind : I stood and seem'd to hear. 
 As in a poplar grove when a light wind wakes 
 A lisping of the innumerous leaf and dies. 
 Each hissing in his neighbour's ear ; and then 
 A strangled titter, out of which there brake 1 5 
 
 On all sides, clamouring etiquette to death. 
 Unmeasured mirth ; while now the two old kings 
 Began to wag their baldness up and down. 
 The fresh young captains flash'd their glittering teeth, 
 The huge bush-bearded Barons heaved and blew, 20 
 
 And slain with laughter roU'd the gilded Squire. 
 
 At length my Sire, his rough cheek wet with tears. 
 Panted from weary sides " King, you are free ! 
 We did but keep you surety for our son, 
 
 7. 1847-48. until we heard. 
 
 13. A form used by Milton and Henry More ; cf. Paradise Lost, vii. 455, 
 "Innumerous living creatures," and Comus, 349, "close dungeon of in- 
 numerous boughs " : it is the form commonly employed by Henry More. 
 
 15. 1847-48. out of which outbrake. 
 
 23.1847-48. " You are free, O King ! 
 
224 THE PRINCESS 
 
 If this be he, — or a draggled raawkin, thou, 25 
 
 That tends her bristled grunters in the sludge : " 
 
 For I was drench' d with ooze, and torn with briers, 
 
 More crumpled than a poppy from the sheath. 
 
 And all one rag, disprinced from head to heel. 
 
 Then some one sent beneath his vaulted palm 30 
 
 A whisper'd jest to some one near him, " Look, 
 
 He has been among his shadows." " Satan take 
 
 The old women and their shadows ! (thus the King 
 
 Roar'd) make yourself a man to fight with men. 
 
 Go : Cyril told us all." 
 
 As boys that slink 35 
 
 From ferule and the trespass-chiding eye. 
 Away we stole, and transient in a trice 
 From what was left of faded woman-slough 
 To sheathing splendours and the golden scale 
 Of harness, issued in the sun, that now 40 
 
 Leapt from the dewy shoulders of the Earth, 
 And hit the northern hills. Here Cyril met us, 
 A little shy at first, but by and by 
 We twain, with mutual pardon ask'd and given 
 For stroke and song, resolder'd peace, whereon 45 
 
 Follow' d his tale. Amazed he fled away 
 Thro' the dark land, and later in the night 
 Had come on Psyche weeping : " then we fell 
 Into your father's hand, and there she lies, 
 But will not speak, nor stir." 
 
 He show'd a tent 50 
 
 A stone-shot off: we enter'd in, and there 
 Among piled arms and rough accoutrements. 
 Pitiful sight, wrapp'd in a soldier's cloak. 
 Like some sweet sculpture draped from head to foot, 
 And push'd by rude hands from its pedestal, 55 
 
 All her fair length upon the ground she lay : 
 And at her head a follower of the camp, 
 
 25. A kitchen wench or dradge: a phonetic variation of malkin, a diminutive 
 of Mall or Mary. Cf. Shakespeare, Tempest, 11. ii., Coriolanus, n. i. 122, and 
 other places. 
 30-35. 1847-48-50 has merely 
 
 "But hence,' he said, " indue yourselves like men. 
 Your Cyril told us all." 
 Present text, 1851. 
 
 42. 1872 and afterwards. Northern, The comma after "us" not added 
 till 1853 ; edition of 1880, full stop ; 1885 goes back to comma. 
 
A MEDLEY 225 
 
 A charr'd and wrinkled piece of womanhood, 
 Sat watching Uke a watcher by the dead. 
 
 Then Florian knelt, and "Come," he whisper'd 
 to her, 60 
 
 " Lift up your head, sweet sister : lie not thus. 
 What have you done but right .^ you could not slay 
 Me, nor your prince : look up : be comforted : 
 Sweet is it to have done the thing one ought. 
 When fall'n in darker ways." And likewise 1 : 65 
 
 " Be comforted : have I not lost her too. 
 In whose least act abides the nameless charm 
 That none has else for me ? " She heard, she moved. 
 She moan'd, a folded voice ; and up she sat. 
 And raised the cloak from brows as pale and smooth 70 
 As those that mourn half-shrouded over death 
 In deathless marble. " Her," she said, " my friend — 
 Parted from her — betray'd her cause and mine — 
 Where shall I breathe ? why kept ye not your faith } 
 O base and bad ! what comfort ? none for me ! " 75 
 
 To whom remorseful Cyril, " Yet I pray 
 Take comfort : live, dear lady, for your child ! " 
 At which she lifted up her voice and cried. 
 
 " Ah me, my babe, my blossom, ah, my child, 
 My one sweet child, whom I shall see no more ! 80 
 
 For now will cruel Ida keep her back ; 
 And either she will die from want of care. 
 Or sicken with ill-usage, when they say 
 The child is hers — for every little fault. 
 The child is hers ; and they will beat my girl 85 
 
 Remembering her mother : O my flower ! 
 Or they will take her, they will make her hard. 
 And she wiU pass me by in after-hfe 
 With some cold reverence worse than were she dead. 
 Ill mother that I was to leave her there, 90 
 
 To lag behind, scared by the cry they made. 
 The horror of the shame among them all : 
 But I will go and sit beside the doors. 
 And make a wild petition night and day. 
 Until they hate to hear me like a wind 95 
 
 Wailing for ever, till they open to me, 
 
 15 
 
226 THE PRINCESS 
 
 And lay my little blossom at my feet, 
 
 My babe, my sweet Aglaia, my one child : 
 
 And I will take her up and go my way, 
 
 And satisfy my soul with kissing her : 100 
 
 Ah ! what might that man not deserve of me 
 
 Who gave me back my child ? " " Be comforted," 
 
 Said C3rril, " you shall have it : " but again 
 
 She veil'd her brows, and prone she sank, and so 
 
 Like tender things that being caught feign death, 105 
 
 Spoke not, nor stirr'd. 
 
 By this a murmur ran 
 Thro' all the camp and inward raced the scouts 
 With rumour of Prince Arac hard at hand. 
 We left her by the woman, and without 
 Found the gray kings at parle : and " Look you " 
 
 cried 110 
 
 My father " that our compact be fulfiU'd : 
 You have spoilt this child ; she laughs at you and man : 
 She wrongs herself, her sex, and me, and him : 
 But red-faced war has rods of steel and fire ; 
 She yields, or war." 
 
 Then Gama tum'd to me : 115 
 " We fear, indeed, you spent a stormy time 
 With our strange girl : and yet they say that still 
 You love her. Give us, then, your mind at large : 
 How say you, war or not .'' " 
 
 " Not war, if possible, 
 O king," I said, " lest from the abuse of war, 120 
 
 The desecrated shrine, the trampled year. 
 The smouldering homestead, and the household flower 
 Torn from the lintel — all the common wrong — 
 A smoke go up thro' which I loom to her 
 Three times a monster : now she lightens scorn 125 
 At him that mars her plan, but then would hate 
 (And every voice she talk'd with ratify it. 
 And every face she look'd on justify it) 
 
 110. 1847-48. and " Look to it " cried. 
 
 111. 1847-48. is perfotmed. 
 
 112. 1847-48. girl. 
 
 113-15. 1847-48. She shall not legislate for nature, king, 
 
 But yields, etc. 
 117. 1847-48. child. 
 126. 1847-48. At the enemy of her plan. 
 
A MEDLEY 227 
 
 The general foe. More soluble is this knot, 
 
 By gentleness than war. I want her love. 130 
 
 What were I nigher this altho' we dash'd 
 
 Your cities into shards with catapults, 
 
 She would not love ; — or brought her chain'd, a slave, 
 
 The lifting of whose eyelash is my lord. 
 
 Not ever would she love ; but brooding turn 135 
 
 The book of scorn, till all my little chance 
 
 Were caught within the record of her wrongs. 
 
 And crush'd to death : and rather. Sire, than this 
 
 I would the old God of war himself were dead. 
 
 Forgotten, rusting on his iron hills, 140 
 
 Rotting on some wild shore with ribs of wreck. 
 
 Or like an old-world mammoth bulk'd in ice, 
 
 Not to be molten out." 
 
 And roughly spake 
 My father, " Tut, you know them not, the girls. 
 Boy, when I hear you prate I almost think 145 
 
 That idiot legend credible. Look you. Sir ! 
 Mgn is the hunter ; woman is his game : 
 The sleek and shining creatures of the chase. 
 We hunt them for the beauty of JthsJX.skins ; 
 They love us for it, and we ride them down. 150 
 
 Wheedling 4nd siding 'with them ! Out ! for shame ! 
 Boy, there's no rose that's half so dear to them 
 As he that does the thing they dare not do, 
 Breathing and sounding beauteous battle, comes 
 With the air of the trumpet round him, and leaps in 155 
 Among the women, snares them by' the score 
 Flatter'd and fluster'd, wins, tho' dash'd with death 
 He reddens what he kisses : thus I won 
 Your mother, a good mother, a good wife. 
 Worth winning ; but this firebrand — gentleness 16O 
 
 i To such as her ! if Cpil spake her true, 
 To catch a dragon in a cherry net. 
 
 The following line stood between 129 and 130 in 1847-48, 
 Like almost all the rest, if men were wise, 
 and this line between 132 and 133, 
 
 And dusted down your domes with mangonels. 
 136. 1875 and onward, flitting. 
 
 14s, 146. Not added till 1851. 1 
 
 147-51. First added in 1830, but in place of them the editions of 1847-48 
 have the following : — 
 
 They prize hard knocks, and to be won by force. 
 
228 THE PRINCESS 
 
 To trip a tigress with a gossamer, 
 Were wisdom to it." 
 
 " Yea but Sire/' I cried, 
 " Wild natures need wise curbs. The soldier? No: 165 
 What dares not Ida do that she should prize 
 The soldier ? I^bgh^ JlfiTj wheaLjshe xosfi 
 The yesternight, and storming in extremes. 
 Stood for her cause^ an£_ffun^ defi^ance down « 
 Gagelilie"to man, and had not shunn'd_the_dgathj___ 170 
 No, nofthe Soldier's : yet I KoldTier, king, 
 True woman : but you claslrthieTirail-in one,'""^ 
 That have as many differences as we. 
 The violet varies from the lily as far 
 As oak from elm : one loves the soldier, one 175 
 
 The silken priest of peace, one this, one that. 
 And some unworthily ; their sinless faith, 
 A maiden moon that sparkles on a sty. 
 Glorifying clown and satyr ; whence they need 
 More breadth of culture : is not Ida right ? 180 
 
 They worth it ? truer to the law within ? 
 Severer in the logic of a life ? 
 Twice as magnetic to sweet influences 
 Of earth and heaven ? and she of whom you speak, 
 My mother, looks as whole as some serene 185 
 
 Creation minted in the golden moods 
 Of sovereign artists ; not a thought, a touch. 
 But pure as lines of green that streak the white 
 Of the first snowdrop's inner leaves ; I say. 
 Not like the piebald miscellany, man, 190 
 
 Bursts of great heart and slips in sensual mire. 
 But whole and one : and take them all-in-all. 
 Were we ourselves but half as good, as kind. 
 As truthful, much that Ida claims as right 
 Had ne'er been mooted, but as frankly theirs 195 
 
 As dues of Natm-e. To our point : not war : 
 Lest I lose all." 
 
 " Nay, nay, you spake but sense " 
 Said Gama. " We remember love ourselves 
 
 184. First three editions, 1847-48-^50. Earth and Heaven. 
 190-92. 1847-48. Not like strong bursts of sample among men, 
 
 But all one piece : and take them all-in-all. 
 195. 1847-48. as easily. 
 198. 1872 and onward, ourself. 
 
A MEDLEY 229 
 
 In oui' sweet youth ; we did not rate him then 
 
 This red-hot iron to be shaped with blows. 200 
 
 You talk almost like Ida : she can talk ; 
 
 And there is something in it as you say : 
 
 But you talk kindlier : we esteem you for it. — 
 
 He seems a gracious and a gallant Prince, 
 
 I would he had our daughter : for the rest, 205 
 
 Our own detention, why, the causes weigh'd, 
 
 Fatherly fears — you used us courteously — 
 
 We would do much to gratify your Prince — 
 
 We pardon it ; and for your ingress here 
 
 Upon the skirt and fringe of our fair land, 210 
 
 You did but come as goblins in the night. 
 
 Nor in the furrow broke the ploughman's head. 
 
 Nor burnt the grange, nor buss'd the milking-maid. 
 
 Nor robb'd the farmer of his bowl of cream : 
 
 But let your Prince (our royal word upon it, 215 
 
 He comes back safe) ride with us to our lines. 
 
 And speak with Arac : Arac's word is thrice 
 
 As ours with Ida : something may be done — 
 
 I know not what — ^and ours shall see us friends. 
 
 You, likewise, our late guests, if so you will, 220 
 
 Follow us : who knows ? we four may build some plan 
 
 Foursquase to opposition." 
 
 Here he reach'd 
 White hands of farewell to my sire, who growl'd 
 An answer which, half-muffled in his beard. 
 Let so much out as gave us leave to go. 225 
 
 Then rode we with the old king across the lawns 
 Beneath huge trees, a thousand rings of Spring 
 In every bole, a song on every spray 
 Of bn-ds that piped their Valentines, and woke 
 Desire in me to infuse my tale of love 230 
 
 In the old king's ears, who promised help, and oozed 
 All o'er with honey'd answer as we rode ; 
 And blossom-fragrant slipt the heavy dews 
 Gather'd by night and peace, with each light air 
 
 201. Italics first in 1853. 
 
 212. " plowman" till i860. 
 
 227. Cf, The Talking Oak, 83, 84 :— 
 
 Tho' I circle in the grain 
 Five hundred rings of years. 
 
230 THE PRINCESS 
 
 On our maU'd heads : but other thoughts than Peace 235 
 
 Burnt in us, when we saw the embattled squares, 
 
 And squadrons of the Prince, trampling the flowers 
 
 With clamour : for among them rose a cry 
 
 As if to greet the king ; they made a halt ; 
 
 The horses yell'd ; they clash'd their arms ; the drum 240 
 
 Beat; merrily-blowing shrill'd the martial fife; 
 
 And in the blast and bray of the long horn 
 
 And serpent-throated bugle, undulated 
 
 The banner : anon to meet us lightly pranced 
 
 Three captains out ; nor ever had I seen 245 
 
 Such thews of men : the midmost and the highest 
 
 Was Arac : all about his motion clung 
 
 The shadow of his sister, as the beam 
 
 Of the East, that play'd upon them, made them glance 
 
 Like those three stars of the airy Giant's zone, 250 
 
 That glitter burnish'd by the frosty dark ; 
 
 And as the fiery Sirius alters hue. 
 
 And bickers into red and emerald, shone 
 
 Their morions, wash'd with morning, as they came. 
 
 And I that prated peace, when first I heard 255 
 
 War-music, felt the blind wildbeast of force. 
 Whose home is in the sinews of a man. 
 Stir in me as to strike : then took the king 
 His three broad sons ; with now a wandering hand 
 And now a pointed finger, told them all : 260 
 
 A common light of smiles at our disguise 
 Broke from their lips, and, ere the windy jest 
 Had labour'd down within his ample lungSj 
 The genial giant, Arac, roU'd himself 
 Thrice in the saddle, then burst out in words. 265 
 
 " Our land invaded, 'sdeath ! and he himself 
 Your captive, yet my father wills not war : 
 
 250. The three bright stars which form Orion's belt. Orion is brightest in 
 winter. 
 
 254. Steel helmets, from the Spanish morrion. With the phrase ' ' wash'd with 
 morning," cf. Bxovnins (Old Pictures at Florence), " wash'd by the morning's 
 water-gold. 
 
 262. 1847-48. Broke from theii- lips, and Arac, turning said. 
 
 263-65. Addedin 1850. 
 
 266. 1847-48-50. " Our land invaded, life and soul ! himself. 
 
A MEDLEY . 231 
 
 And, 'sdeath ! myself, what care I, war or no ? 
 
 But then this question of your troth remains : 
 
 And there's a downright honest meaning in her ; 270 
 
 She flies too high, she flies too high ! and yet 
 
 She ask'd but space and fairplay for her scheme ; 
 
 She prest and prest it on me— I myself. 
 
 What know I of these things ? but, life and soul ! 
 
 I thought her half-right talking of her wrongs ; 275 
 
 I say she flies too high, 'sdeath ! what of that ? 
 
 I take her for the flower of womankind. 
 
 And so I often told her, right or wrong. 
 
 And, Prince, she can be sweet to those she loves, 
 
 And, right or wrong, I care not : this is all, 280 
 
 I stand upon her side : she made me swear it — 
 
 'Sdeath — and with solemn rites by candle-light — 
 
 Swear by St. something — I forget her name — 
 
 Her that talk'd down the fifty wisest men ; 
 
 She was a princess too ; and so I swore. 285 
 
 Come, this is all ; she will not : waive your claim : 
 
 If not, the foughten field, what else, at once 
 
 Decides it, 'sdeath ! against my father's will." 
 
 268. Added in 1850 in the following form : — 
 
 AJiid, life I myself I care not, war or no. 
 
 269. 1847-48. But, Prince, the question of your troth remains. 
 271. Added in 1850. 
 
 273-8B. The remainder of this stanza added for the most part in 1850. 
 1847-48. She prest and prest it on me ; life I I felt 
 
 That she was half-right talking of her wrongs ; 
 And I'll stand by her. Waive your claim, or else 
 Decide it here : why not? we are three to three." 
 276-79. Added in 1851. 
 280. 1850. "And" for "Yet." 
 282 and 288. 1850. "Life" for "'Sdeath." 
 
 283. The reference is to the semi-mythical Saint Catherine of Alexandria, 
 who is said to have lived about the beginning of the fourth century, and to 
 have been the daughter of Costus, the half-brother of Constantine. She was 
 martyred at Alexandria. According to the legend commonly received, the 
 Emperor Maxentius, or some say Maximin, sent the fifty wisest men of his 
 court to convert her from Christianity; but she confuted them all, and 
 converted them. See the Latin Life of Saint Catherine, edited with the Early 
 English poem by Dr. Eugen Einenkel. She is one of the heroines of Dryden's 
 Tyrannic Love; or, The Royal Martyr. Cf. with Teimyson's reference the 
 account which Valerius gives of her (Act i, Sc. i. ) : — 
 
 The Christian princess in her tent confers 
 With fifty of your learn'd Philosophers, 
 Whom with such eloquence she does persuade 
 That they are captives to her reasons made. 
 I left them yielding up their vanquish'd cause, 
 And all the soldiers shouting her applause. 
 
232 THE PRINCESS 
 
 I lagg'd in answer loth to render up 
 My precontract, and loth by brainless war 290 
 
 To cleave the rift of diiFerence deeper yet ; 
 Till one of those two brothers, half aside 
 And fingering at the hair about his lip. 
 To prick us on to combat " Like to like ! 
 The woman's garment hid the woman's heart." 295 
 
 A taunt that clench'd his purpose like a blow ! 
 For fiery-short was Cyril's counter-scofF, 
 And sharp I answer' d, touch'd upon the point 
 Where idle boys are cowards to their shame, 
 " Decide it here : why not ? we are three to three." 300 
 
 Then spake the third " But three to three ? no more ? 
 No more, and in our noble sister's cause ? 
 More, more, for honour : every captain waits 
 Hungry for honour, angry for his king. 
 More, more, some fifty on a side, that each 305 
 
 May breathe himself, and quick ! by overthrow 
 Of these or those, the question settled die." 
 
 " Yea," answer'd I, " for this wild wreath of air, 
 This flake of rainbow flying on the highest 
 Foam of men's deeds — this honour, if ye will. 310 
 
 It needs must be for honour if at all : 
 Since, what decision ? if we fail, we fail, 
 And if we win, we fail : she would not keep 
 Her compact." " 'Sdeath ! but we will send to her," 
 Said Arac, "worthy reasons why she should 315 
 
 Bide by this issue : let our missive thro'. 
 And you shall have her answer by the word." 
 
 289. 1847-48. loth to strike her kin. 
 
 290. Added in 1850. 
 
 291. 1847-48. And cleave. 
 
 294-95. 1847-48. " Three to three? 
 
 But such a three to three were three to one." 
 296. 1847-48. boast. 
 298. 1847-48. sense. 
 
 300. This line having ended the preceding stanza in 1847-48, was not 
 introduced here, the following two lines taking its place : — 
 
 And tipt with sportive malice to and fro, 
 
 Like pointed arrows leapt the taunts and hit. 
 314-15. 1S47-48. " We will send to her " Arac said 
 
 " A score of worthy reasons, etc. 
 314. 1850. "Life ! " for " 'Sdeath ! " 
 
A MEDLEY 233 
 
 " Boys ! " shriek'd the old king, but vainlier than a hen 
 To her false daughters in the pool ; for none 
 Regarded ; neither seem'd there more to say : 320 
 
 Back rode we to my father's camp^ and found 
 He thrice had sent a herald to the gates. 
 To learn if Ida yet would cede our claim. 
 Or by denial flush her babbling wells 
 With her own people's life : three times he went : 325 
 The first, he blew and blew, but none appear'd : 
 He batter'd at the doors ; none came : the next. 
 An awful voice within had wam'd him thence : 
 The third, and those eight daughters of the plough 
 Came sallying thro' the gates, and caught his hair, 330 
 And so belabour'd him on rib and cheek 
 They made him wild : not less one glance he caught 
 Thro' open doors of Ida station'd there 
 Unshaken, clinging to her purpose, firm 
 Tho' compass'd by two armies and the noise 335 
 
 Of arms ; and standing like a stately Pine 
 Set in a cataract on an island-crag. 
 When storm is on the heights, and right and left 
 Suck'd from the dark heart of the long hills roll 
 The torrents, dash' J to the vale : and yet her will 340 
 Bred will in me to overcome it or fall. 
 
 But when I told the king that I was pledged 
 To fight in tourney for my bride, he clash'd 
 His iron palms together with a cry ; 
 Himself would tilt it out among the lads : 345 
 
 But overborne by all his bearded lords 
 With reasons drawn from age and state, perforce 
 He yielded, wroth and red, with fierce demur : 
 And many a bold knight started up in heat. 
 And sware to combat for my claim till death. 350 
 
 AH on this side the palace ran the field 
 Flat to the garden-wall : and likewise here. 
 Above the garden's glowing blossom-belts, 
 A column'd entry shone and marble stairs, 
 
 333. 1847-48. Thro' the open doors. 
 
 336. This simile, as we learn from Tennyson's Life (i. 47s), was suggested 
 by a pine-tree on an island situated in midstream between two waterfalls at 
 the Lac de Gaube, in the Pyrenees, 
 
234 THE PRINCESS 
 
 And great bronze valves^ emboss'd with Tomyris 355 
 
 And what she did to Cjrrus after fight, 
 
 But now fast barr'd : so here upon the flat 
 
 All that long mom the lists were hammer'd up, 
 
 And all that mom the heralds to and fro. 
 
 With message and defiance, went and came ; 360 
 
 Last, Ida's answer, in a royal hand. 
 
 But shaken here and there, and rolling words 
 
 Oration-like. I kiss'd it and I read. 
 
 " O brother, you have known the pangs we felt. 
 What Keats of indignation when we heard 365 
 
 Orthose that irdh-cramp'dJhEtr-womeiiUi-feet ; 
 QfTan3s~in which atjhealtajthe_pMr bride 
 
 rHvpg hpr"harKh^grnnm fnrhri rial -gift a spniirgp ; 
 
 Of Tiving hearts that crack jKitbicLthe.firie 
 
 Wh' ere sm ouldertheir dead despots ; and of those, — 370 
 
 Mothers, — that, all prophetic pity, fling 
 
 Their pretty maids in the running flood, and swoops 
 
 The vulture, beak and talon, at the heart 
 
 Made for all noble motion : and I saw 
 
 That e^jjal. baseness lived in^sleeker-tiines 375 
 
 With smoother men : the old leaven leaven'd all : 
 
 Millions of "throats would bawl for.cLvil rights, 
 
 No woman named : therefore I setmy^fece 
 
 Against an'meh, and livecfTSut for mine own. 
 
 FarofF from men I bUilt^a fold for them : "" 380 
 
 3SS- Tomyris was queen of the Massagetse, and the reference is to 
 Herodotus, i. 214 : " Tomyris, having filled a sldn with human blood, sought 
 for the body of Cyrus among the slain of the Persians, and having found it, 
 thrust the head into the skin, and insulting the dead body, said, 'Thou hast 
 indeed ruined me, though alive and victorious in battle, since thou hast taken 
 my son by stratagem ; but I will now glut thee with blood, as I threatened.' " 
 
 364. 1847-48. You have known, O brother, all the pangs we felt. 
 
 365. 1847-48. of moral anger. 
 
 366-74. The allusions are (1. 366) to cramping the feet of the Chinese 
 women, (1. 367-68) to the old custom in Russia of the presentation to the 
 bridegroom of a rod at marriage as a symbol of the bride s submission under 
 penalty of corporal chastisement, (1. 369-70) to the horrible Sail, that is, the 
 custom of burning widows on the funeral pyres of their husbands, and 
 (1; 370-74) 'o the ancient Hindu custom of murdering female children at 
 birth, to prevent the horrible dishonour of continual virgmity, the degradation 
 attaching to the name of father-in-law, and the heavy expenses of the marriage 
 ceremony. 
 
 375. 1847-48. That It was little better in better times. 
 
 380-1-2. 1847-48. we. 
 
A MEDLEY 235 
 
 I stored it full of rich memorial : 
 
 I fenced it round with gallant institutes. 
 
 And biting laws to scare the beasts of prey, 
 
 And prosper'd ; till a rout of saucy boys 
 
 Brake on us at our books, and marr'd our peace, 385 
 
 Mask'd like our maids, blustering I know not what 
 
 Of insolence and love, some pretext held 
 
 Of baby troth, invalid, since my will 
 
 Seal'd not the bond — the striplings ! — ^for their sport ! — 
 
 I tamed my leopards : shall I not tame these ? 390 
 
 Or you ? or I ? for since you think me touch'd 
 
 In honour — ^what, I would not aught of false — 
 
 Is not our cause pure ? and whereas I know 
 
 Your prowess, Arac, and what mother's blood 
 
 You draw from, fight ; you failing, I abide 395 
 
 What end soever : fail you will not. Still 
 
 Take not his life : he risk'd it for my own ; 
 
 His mother lives : yet whatsoe'er you do. 
 
 Fight and fight well ; strike and strike home, O dear 
 
 Brothers, the woman's Angel guards you, you 400 
 
 The sole men to be mingled with our cause. 
 
 The sole men we shall prize in the after-time. 
 
 Your very armour hallow'd, and your statues 
 
 Rear'd, sung to, when this gad-fly brush'd aside, 
 
 Weplant a solid foot into the 'IuSSj *05 
 
 Andi^uiara "generation strong ±a_nipye. 
 
 WrnTclaim on claim from right to right, till she 
 
 WHose'naine is yoked with children's, knojutherself ; 
 
 384. 1847-48. set. 
 
 386. 1847-48. we. 
 
 388. 1847-48. Of old affiance, invalid, since our will. 
 
 390-92. 1847-48:— 
 
 We have tamed our leopards : shall we not tame these ? 
 Or you ? or we ? for since you think we are touch'd 
 In honour — nay, we would not aught of false — 
 393. 1847-48. we. 
 
 395-97. 1847-48. You draw from, fight ; we abide what end soe'er, 
 You failing : but we know you will not. Still 
 You must not slay him : he risk'd his life for ours. 
 396. 1850. but you will not. 
 
 After line 407 this passage runs as follows in 1847-48-50 : — 
 The woman-phantom, she that seem'd no more 
 Than the man's shadow in a glass, her name 
 Yoked in his mouth with children's, know herself. 
 The edition of 1850 encloses the beginning of the above down to " children's " 
 in brackets. 
 
236 THE PRINCESS 
 
 Ajid Knowledge in ouf own-land. makfi_hexj&ge, 
 
 And, ever following those two crowned twins, 410 
 
 Commerce and conquest, shower the fiery grain 
 
 Of freedom broadcast over all that orbs 
 
 Between the Northern and the Southern morn." 
 
 Then came a postscript dash'd across the rest. 
 "See that there be no traitors in your camp : 415 
 
 We seem a nest of traitors — ^none to trust 
 Since our arms fail'd — this Egypt-plague of men ! 
 Almost our maids were better at their homes, 
 Than thus man-girdled here : indeed I think 
 Our chiefest comfort is the little child 420 
 
 Of one unworthy mother ; which she left : 
 She shall not have it back : the child shall grow 
 To prize the authentic mothef-oflier mind. 
 I took it for an hour in mine own bed 
 This morning : there the tender orphan hands 425 
 
 Felt at my heart, and seeni'djto, charm firom thence 
 The wrath I nursed against the world : farewell." 
 
 I ceased; he said: " Stubbonij^but she^may sit 
 Upon a king^s^nghthaniin thunder-storms,' 
 And breed Tip warriors ! See now, tho' yourself 430 
 Be dazzled by the wildfire Love to sloughs 
 That swallow common sense, the spindling king. 
 This Gama swamp'd in lazy tolerance. 
 When the man wants weight, the woman takes it up. 
 And topples down the scales ; but this is fixt 435 
 
 As are the roots of earth and base of all ; 
 Man for the field and woman for the hearth : 
 Mairfort'lie'sword and for the needle she": 
 ]\|an_with the head and wmnala with "ffie3ieail : 
 Man to command and woman to obey ; 440 
 
 ffll^else confusion. Loot you ! the gray mare 
 
 409. 1847-48. And knowledge liberate her, nor only here, 
 But ever, etc. 
 1851. Knowledge. 
 412. First three editions. Freedom. 
 419. 1847-48. we think. 
 424> 425- 1847-48. We took it for an hour this morning to us, 
 
 In our own bed : the tender orphan hands, etc. , 
 but "oiir" for "my," and "we" for "I." 
 441. 1847-48. Look to it : 
 
A MEDLEY 237 
 
 Is ill to live with, when her whinny shrills 
 From tile to scullery, and her small goodman , 
 Shrinks in his arm-chair while the fires of Hell 
 Mix with his hearth : but you-— she's yet a colt — 445 
 Take, break her : strongly groom'd and straitly curb'd 
 ^e'migErnot rank with those detestable 
 That let the bantliag scald at home, and brawl 
 Their rights or wrongs like potherbs in the street. 
 They say she's comely ; there's the fairer chance : 450 
 / like her none the less for rating at her ! 
 Besides, t^e woman wedLjg not as we. 
 But suffers change of iframe. A-hiai^hEace 
 "OCtwins may weed her of her folly. Boy, 
 TKeBearing and the training of a child 455 
 
 Is woman's wisdom." 
 
 Thus the hard old king : 
 I took my leave, for it was nearly noon : 
 I pored upon her letter which I held. 
 And on the little clause " take not his life : " 
 I mused on that wild morning in the woods, 460 
 
 And on the " Follow, follow, thou shalt win : " 
 I thought on all the wrathful king had said. 
 And how the strange betrothment was to end : 
 Then I remember' d that burnt sorcerer's curse . 
 That one should fight with shadows and should fall ; 465 
 And like a flash the weird affection came : 
 King, camp and college turn'd to hollow shows ; 
 I seem'd to move in old memorial tilts. 
 And doing battle with forgotten ghosts. 
 To dream myself the shadow of a dream : 470 
 
 And ere I woke it was the point of noon, , 
 The lists were ready. Empanoplied and plumed 
 We enter'd in, and waited, fifty there 
 Opposed to fifty, tiU the trumpet blared 
 At the barrier like a ■«rild horn in a land' 475 
 
 445, 446. 1847-748.' Mix with his hearth : but take and break her, you ! 
 
 She's yet a colt. Well groom'd and strongly curb'd. 
 448. 1847-48. That to the hireling leave their babe; and br&wl. . 
 
 457. 1847-48-50. it was the point of ndopi .1 1 
 458-71 inclusive. Added in 1851. . ■ • . : 
 
 474-76. 1847-48.- To fifty, till the terrible trumpet blared' 
 
 At the barrier — yet a moment, and once mote. 
 1850. Opposed to fifty, till the trumpet blared, 
 etc. , same as 1847. 
 
238 THE PRINCESS 
 
 Of echoes, and a moment, and once more 
 
 The trumpet, and again : at which the storm 
 
 Of galloping hoofs bare on the ridge of spears 
 
 And riders front to front, until they closed 
 
 In conflict with the crash of shivering points, 480 
 
 And thunder. Yet it seem'd a dream, I dream'd 
 
 Of fighting. On his haunches rose the steed. 
 
 And into fiery splinters leapt the lance. 
 
 And out of stricken helmets sprang the fire. 
 
 Part sat like rocks : part reel'd but kept their 
 
 seats : 485 
 
 Part roU'd on the earth and rose again and drew : 
 Part stumbled mixt with floundering horses. Do.wn 
 From those two bulks at Arac's side, and down 
 From Arac's arm, as from a giant's flail. 
 The large blows rain'd, as here and everywhere 490 
 
 He rode the mellay, lord of the ringing lists. 
 And all the plain, — brand, mace, and shaft, and shield — 
 Shock'd, like an iron-clanging anvil bang'd 
 With hammers ; till I thought, can this be he 
 From Gama's dwarfish loins ? if this be so, 495 
 
 The mother makes us most — and in my dream 
 I glanced aside, and saw the palace-front 
 Alive with fluttering scarfs and ladies' eyes. 
 And highest, among the statues, statuelike. 
 Between a cjnmbal'd Miriam and a Jael, 500 
 
 With Psyche's babe, was Ida watching us, 
 A single band of gold about her hair. 
 Like a Saint's glory up in heaven : but she 
 No saint — inexorable — ^no tenderness — 
 Too hard, too cruel : yet she sees me fight, 505 
 
 Yea, let her see me fall ! with that I drave 
 Among the thickest and bore down a Prince, 
 
 480. 1847-48. In the middle with. 
 
 481, 48a. 1847-48-50. And thunder. On his haunches rose the steed. 
 Between lines 484 and 485 in 1851 and 1853 only this line appears :— 
 
 A noble dream ! what was it else I saw? 
 492. The dashes were inserted in 1848. 
 
 496, 1847-48-50. and thinking thtis. 
 
 497. 1847-48. I glanced to the left. 
 
 500. Miriam, the sister of Moses, led a chorus of thanksgiving after the 
 passage of the Red Sea, the women following with cymbals (Exodus xv. 20, 21). 
 Jael, by assassinating Sisera, delivered the Jews from oppression (Judges iv.). 
 
 506. 1847-48-50. die. 
 
A MEDLEY 239 
 
 And Cyrilj one. Yea, let me make my dream 
 
 All that I would. But that large-moulded man. 
 
 His visage all agrin as at a wake, 510 
 
 Made at me thro' the press, and, staggering back 
 
 With stroke on stroke the horse and horseman, came 
 
 As comes a pillar of electric cloud. 
 
 Flaying the roofs and sucking up the drains. 
 
 And shadowing down the champain till it strikes 515 
 
 On a wood, and takes, and breaks, and cracks, and 
 
 splits. 
 And twists the grain with such a roar that Earth 
 Reels, and the herdsmen cry ; for everything 
 Gave way before him : only Florian, he 
 That loved me closer than his own right eye, 520 
 
 Thrust in between ; but Arac rode him down : 
 And Cjrril seeing it, push'd against the Prince, 
 With Psyche's colour round his helmet, tough. 
 Strong, supple, sinew-corded, apt at arms ; 
 But tougher, heavier, stronger, he that smote 525 
 
 And threw him : last I spurr'd ; I felt my veins 
 Stretch with fierce heat ; a moment hand to hand. 
 And sword to sword, and horse to horse we hung. 
 Till I struck out and shouted ; the blade glanced ; 
 I did but shear a feather, and dream and truth 530 
 
 Flow'd from me ; darkness closed me ; and I fell. 
 
 So8, 509. 1847-48-50. And Cyril one ; but that large-moulded man. 
 510. Added in 1850. 
 
 514. 1847-48. Flaying off the roofs. 
 
 515. 1884. champaign. 
 
 517. 1847-48. that the Earth. 
 
 523. 1847-48. "suppler" for "heavier." 
 
 530. 1847-48-50. and life arid love. 
 
240 THE PRINCESS 
 
 Home they brought her warrior dead : 
 She nor swoon'd, nor utter'd cry : 
 
 All her maidens, watching, said, 
 " She must weep or she will die." 
 
 Then they praised him, soft and low, 
 Call'd him worthy to be loved. 
 
 Truest friend and noblest foe ; 
 Yet she neither spoke nor moved. 
 
 Stole a maiden from her place, 
 Lightly to the warrior stept. 
 
 Took the face-cloth from the face ; 
 Yet she neither moved nor wept. 
 
 Rose a nurse of ninety years, 
 Set his child upon her knee — 
 
 Like summer tempest came her tears— 
 " Sweet my child, I live for thee." 
 
 The song was added in 1S50, and has not been altered. 
 With the incident embodied in the song, cf. Thorpe's Edda of Scemuni 
 the Learned, pp. 89-91, and the following passage in Scott's Lay of the Last 
 Minstrel : — 
 
 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. 
 
 Then fast the mother's tears did seek 
 
 To dew the infant's kindling cheek. 
 There is a variant of this song in the Selections from Tennyson's poems, 
 printed by Moxon in 1865, beginning, "Home they brought him, slain with 
 spears." 
 
A MEDLEY 241 
 
 VI 
 
 My dream had never died or lived again. 
 
 As in some imystic middle state I lay ; 
 
 Seeing I saw not, hearing not I heard : 
 
 Tho'j if I saw notj yet they told me all 
 
 So often that I speak as having seen. 5 
 
 For so it seem'dj or so they said to me. 
 That all things grew more tragic and more strange ; 
 That when our side was vanquish'd and my cause 
 For ever lost, there went up a great cry. 
 The Prince is slain. My father heard and ran 10 
 
 In on the lists, and there unlaced my casque 
 And grovell'd on my body, and after him 
 Came Psyche, sorrowing for Aglaia. 
 
 But high upon the palace Ida stood 
 With Psyche's babe in arm : there on the roofs 15 
 
 Like that great dame of Lapidoth she sang. 
 
 " Our enemies have fall'n, have fall'n : the seed. 
 The little seed they laugh'd at in the dark. 
 Has risen and cleft the soil, and grown a bulk 
 Of spanless girth, that lays on every side 20 
 
 A thousand arms and rushes to the Sun. 
 
 1-3. Added in 1851. 
 
 4. 1847-48-50. What foUow'd, tho' I saw not, yet I heard. 
 
 6, 7, Added in 1851. 
 
 The first three editions therefore start as follows : — 
 
 What follow'd, tho' I saw not, yet I heard 
 So often that I speak as having seen. 
 For when our side was vanquished, etc. 
 15. The reference is to Deborah, the wife of Lapidoth, according to some, 
 though, according to others, belonging to a place named Lapidoth ; the text 
 judiiiiously leaves the matter ambiguous. For the paean referred to, see 
 Judges iv., V. After 1875 the song generally printed in small type. 
 
 16 
 
242 THE PRINCESS 
 
 " Our enemies have fall'n, have fall'n : they came ; 
 The leaves were wet with women's tears : they heard 
 A noise of songs they would not understand : 
 They mark'd it with the red cross to the fall, 25 
 
 And would have strown it, and are fall'n themselves. 
 
 " Our enemies have fall'n, have fall'n : they came, 
 The woodmen with their axes : lo the tree ! 
 But we will make it faggots for the hearth. 
 And shape it plank and beam for roof and floor, 30 
 
 And boats and bridges for the use of men. 
 
 " Our enemies have fall'n, have fall'n : they struck ; 
 With their own blows they hurt themselves, nor knew 
 There dwelt an iron nature in the grain : 
 The glittering axe was broken in their arms, 35 
 
 Their arms were shatter'd to the shoulder blade. 
 
 " Our enemies have fall'n, but this shall grow 
 A night of Summer from the heat, a breadth 
 Of Autumn, dropping fruits of power, and roll'd 
 With music in the growing breeze of Time, 40 
 
 The tops shall strike from star to star, the fangs 
 Shall move the stony bases of the world. 
 
 " And now, O maids, behold our sanctuary 
 Is violate, our laws broken : fear we not 
 To break them more in their behoof, whose arms 45 
 Champion'd our cause and won it with a day 
 Blanch'd in our annals, and perpetual feast, 
 When dames and heroines of the golden year 
 Shall strip a hundred hollows bare of Spring, 
 To rain an April of ovation round 50 
 
 Their statues, borne aloft, the three : but come, 
 We will be liberal, since our rights are won. 
 Let them not lie in the tents with coarse mankind, 
 111 nurses ; but descend, and proffer these 
 The brethren of our blood and cause, that there 55 
 
 Lie bruised and maim'd, the tender ministries 
 Of female hands and hospitality." 
 
 40. 1847-4S. Ionian breeze. 
 
 47. An obscure and affected expression for marked with white chalk, as 
 propitious days among the Romans were. 
 
A MEDLEY 243 
 
 She spoke, and with the babe yet in her arms. 
 Descending, burst the great bronze valves, and led 
 A hundred maids in train across the Park. 60 
 
 Some cowl'd, and some bare-headed, on they came. 
 Their feet in flowers, her loveliest : by them went 
 The enamour'd air sighing, and on their curls 
 From the high tree the blossom wavering fell. 
 And over them the tremulous isles of light 65 
 
 ' Slided, they moving under shade : but Blanche 
 At distance follow'd : so they came : anon 
 Thro' open field into the lists they wound 
 Timorously ; and as the leader of the herd 
 That holds a stately fretwork to the Sun, 70 
 
 And follow'd up by a hundred airy does. 
 Steps with a tender foot, light as on air. 
 The lovely, lordly creature floated on 
 To where her wounded brethren lay ; there stay'd ; 
 Knelt on one knee, — the child on one, — and prest 75 
 • Their hands, and call'd them dear deliverers. 
 And happy warriors, and immortal names, 
 And said " You shall not lie in the tents but here. 
 And nursed by those for whom you fought, and served 
 With female hands and hospitality." 80 
 
 Then, whether moved by this, or was it chance, 
 She past my way. Up started from my side 
 The old lion, glaring with his whelpless eye, 
 Silent ; but when she saw me lying stark, 
 Dishelm'd and mute, and motionlessly pale, 85 
 
 Cold ev'n to her, she sigh'd ; and when she saw 
 The haggard father's face and reverend beard 
 Of grisly twine, all dabbled with the blood 
 Of his own son, shudder'd, a twitch of pain 
 Tortured her mouth, and o'er her forehead past 90 
 
 A shadow, and her hue changed, and she said : 
 
 65, 66. The ' ' tremulous isles of light " Tennyson himself explained as ' ' spots 
 of sunshine coming through the leaves and seeming to slide from one to the 
 other as the procession of girls moves under the shade." Mr. Wallace 
 appositely quotes CEnone, 176-78 : — 
 
 and o'er her rounded form 
 Between the shadows of the vine-bunches 
 Floated the glowing sunlights, as she moved. 
 68, 1847-48. Thro' the open field. 
 91. 1847, and all her hue. 
 
244 THE PRINCESS 
 
 " He saved my life : my brother slew him for it," 
 
 No more : at which the king in bitter scorn 
 
 Drew from my neck the painting and the tress, 
 
 And held them up : she saw them, and a day 95 
 
 Rose from the distance on her memory, 
 
 When the good Queen, her mother, shore the tress 
 
 With kisses, ere the days of Lady Blanche : 
 
 And then once more she look'd at my pale face : 
 
 Till understanding all the foolish work 100 
 
 Of Fancy, and the bitter close of all. 
 
 Her iron will was broken in her mind ; 
 
 Her noble heart was molten in her breast ; 
 
 She bow'd, she set the child on the earth ; she laid 
 
 A feeling finger on my brows, and presently 105 
 
 " O Sire," she said, " he lives : he is not dead : 
 
 O let me have him with my brethren here 
 
 In our own palace : we will tend on him 
 
 Like one of these ; if so, by any means, 
 
 To lighten this great clog of thanks, that make 110 
 
 Our progress falter to the woman's goal." 
 
 She said : but at the happy word " he lives " 
 My father stoop'd, re-father'd o'er my wounds. 
 So those two foes above my fallen Hfe, 
 With brow to brow like night and evening mixt 115 
 Their dark and gray, while Psyche ever stole 
 A little nearer, till the babe that by us, 
 Half-lapt in glowing gauze and golden brede. 
 Lay like a new-fall'n meteor on the grass, 
 Uncared for, spied its mother and began 120 
 
 A blind and babbling laughter, and to dance 
 Its body, and reach its fatling innocent arms 
 And lazy lingering fingers. She the appeal 
 Brook'd not, but clamouring out " Mine — mine — 
 
 not yours. 
 It is not yours, but mine : give me the child " 125 
 
 Ceased all on tremble : piteous was the cry : 
 So stood the unhappy mother open-mouth'd, 
 And turn'd each face her way : wan was her cheek 
 
 110. 1847-48. makes. ' 
 
 118. Cf. Co]lms, Ode to Evening: " With brede ethereal wove." 
 
A MEDLEY 245 
 
 With hollow watch, her blooming mantle torn. 
 
 Red grief and mother's hunger in her eye, 130 
 
 And down dead-heavy sank her curls, and half 
 
 The sacred mother's bosom, panting, burst 
 
 The laces toward her babe ; but she nor cared 
 
 Nor knew it, clamouring on, till Ida heard, 
 
 Look'd up, and rising slowly from me, stood 135 
 
 Erect and silent, striking with her glance 
 
 The mother, me, the child ; but he that lay 
 
 Beside us, Cyril, batter'd as he was, 
 
 Trail'd himself up on one knee : then he drew 
 
 Her robe to meet his lips, and down she look'd 140 
 
 At the arm'd man sideways, pitying, as it seem'd. 
 
 Or self-involved ; but when she learnt his face. 
 
 Remembering his ill-omen'd song, arose 
 
 Once more thro' all her height, and o'er him grew 
 
 Tall as a figure lengthen'd on the sand 145 
 
 When the tide ebbs in sunshine, and he said : 
 
 " O fair and strong and terrible ! Lioness 
 That with your long locks play the Lion's mane ! 
 But Love and Nature, these are two more terrible 
 And stronger. See, your foot is on our necks, 1 50 
 
 We vanquish'd, you the Victor of your will. 
 What would you more .'' give her the child ! remain 
 Orb'd in your isolation : he is dead, 
 Or all as dead : henceforth we let you be : 
 Win you the hearts of women ; and beware 1 55 
 
 Lest, where you seek the common love of tEeie,,. 
 Thjejcommon hate with the revolving "wheel 
 Should draff vou down, and some great Nemesis 
 Bjggk^gm a darken'd future, crdWh'd"wilh fire, 
 
 AaidJa;jead you. ojit for ever: buFTiowsoB'er l6o 
 
 Fix'd in yourself, never in your own arms 
 
 To hold your own, deny not her's to her. 
 
 Give her the child ! O if, I say, you keep 
 
 One pulse that beats true woman, if you loved 
 
 The breast that fed or arm that dandled you, l65 
 
 i37> 138- 1847-48. but Cyril, who lay 
 
 Bruised, where he fell, not far off, much in pain. 
 162. 1875 onward, hers to her. 
 165. 1847-48. or the arm. 
 
246 THE PRINCESS 
 
 Or own one part of sense not flint to prayer, 
 < Give her the child ! or if you scorn to lay it. 
 Yourself, in hands so lately claspt with yours, 
 Or speak to her, your dearest, her one fault 
 The tenderness, not yours, that could not kill, 170 
 
 Give roe it : / will give it her." 
 
 He said : 
 At first her eye with slow dilation roU'd 
 Dry flame, she listening ; after sank and sank 
 And, into mournful twilight mellowing, dwelt 
 Full on the child ; she took it : " Pretty bud ! 175 
 
 Lily of the vale ! half open'd bell of the woods ! 
 Sole comfort of my dark hour, when a world 
 Of traitorous friend and broken system made 
 No purple in the distance, mystery. 
 Pledge of a love not to be mine, farewell ; 180 
 
 ' These men are hard upon us as of old. 
 We two must part : and yet how fain was I 
 To dream thy cause embraced in mine, to think 
 I might be something to thee, when I felt 
 Thy helpless warmth about my barren breast 185 
 
 In the dead prime : but may thy mother prove 
 
 ' As true to thee as false, false, false to me ! 
 And, if thou needs must bear the yoke, I wish it 
 Gentle as freedom" — here she kiss'd it : then — 
 " All good go with thee ! take it Sir," and so 190 
 
 Laid the soft babe in his hard-mailed hands, 
 Who turn'd half-round to Psyche as she sprang 
 To meet it, with an eye that swum in thanks ; 
 Then felt it sound and whole from head to foot, 
 And hugg'd and never hugg'd it clbse enough, 195 
 
 And in her hunger mouth'd and mumbled it, 
 And hid her bosom with it ; after that 
 Put on more calm and added suppliantly : 
 
 " We two were friends : I go to mine own land 
 For ever : find some other : as for me 200 
 
 i66. From i88o onward, port. 
 
 171, 1847-48. and X. 
 
 185. 1847-48-50. Thy waxen warmth about my milkless breast. 
 
 193. 1847-48. To embrace it. 
 
A MEDLEY 247 
 
 I scarce am fit for your great plans : yet speak to me, 
 Say one soft word and let me part forgiven." 
 
 But Ida spoke not, rapt upon the child. 
 Then Arac. " Ida — 'sdeath ! you blame the man ; 
 You wrong yourselves — the woman is so hard 205 
 
 Upon the woman. Come, a grace to me ! 
 I am your warrior, I and mine have fought 
 Your battle : kiss her ; take her hand, she weeps : 
 'Sdeath ! I would sooner fight thrice o'er than see it." 
 
 But Ida spoke not, gazing on the ground, 210 
 
 And reddening in the furrows of his chin. 
 And moved beyond his custom, Gama said : 
 
 " I've heard that there is iron in the blood. 
 And I believe it. Not one word ? not one ? 
 Whence drew you this steel temper ? not from me, 215 
 Not from your mother, now a saint with saints. 
 She said you had a heart — I heard her say it — 
 ' Our Ida has a heart ' — just ere she died — 
 ' But see that some one with authority 
 Be near her still ' and I — I sought for one — 220 
 
 All people said she had authority — 
 The Lady Blanche : much profit ! Not one word ; 
 No ! tho' your father sues : see how you stand 
 Stiff as Lot's wife, and all the good knights maim'd, 
 I trust that there is no one hurt to death, 225 
 
 For your wild whim : and was it then for this. 
 Was it for this we gave our palace up, 
 Where we withdrew from summer heats and state. 
 And had our wine and chess beneath the planes. 
 And many a pleasant hour with her that's gone, 230 
 Ere you were born to vex us .'' Is it kind ? 
 Speak to her I say : is this not she of whom, 
 When first she came, all flush'd you said to me 
 Now had you got a friend of your own age, 
 
 204. 1847-48-50. " Soul and life 1 
 
 After line 206 in 1S47-48 comes this line, afterwards excised : — 
 
 I am your brother ; I advise you well. 
 2og. 1847-48-50. Life ! 
 225. Added in 1850. 
 233. Editions up to and including 1853. all-flush'd. 
 
248 THE PRINCESS 
 
 Now could you share your thought ; now should men 
 
 see 235 
 
 Two women faster welded in one love 
 Than pairs of wedlock ; she you walk'd with, she 
 You talk'd with, whole nights long, up in the tower, 
 Of sine and arc, spheroid and azimuth. 
 And right ascension. Heaven knows what ; and now 240 
 A word, but one, one little kindly word, 
 Not one to spare her : out upon you, flint ! 
 You love nor her, nor me, nor any ; nay. 
 You shame your mother's judgment too. Not one ? 
 You will not ? well — no heart have you, or such 245 
 As fancies like the vermin in a nut 
 Have fretted all to dust and bitterness." 
 So said the small king moved beyond his wont. 
 
 But Ida stood nor spoke, drain'd of her force 
 By many a varying influence and so long. 250 
 
 Down thro' her limbs a drooping languor wept : 
 Her head a little bent ; and on her mouth 
 A doubtful smile dwelt like a clouded moon 
 In a still water : then brake out my sire, 
 Lifting his grim head from my wounds. " O you, 255 
 Woman, whom we thought woman even now. 
 And were half fool'd to let you tend our son. 
 Because he might have wish'd it — but we see 
 The accomplice of your madness unforgiven, 
 And think that you might mix his draught with death, 260 
 When your skies change again : the rougher hand 
 Is safer : on to the tents : take up the Prince." 
 
 He rose, and while each ear was prick'd to attend 
 A tempest, thro' the cloud that dimm'd her broke 
 A genial warmth and light once more, and shone 265 
 Thro' glittering drops on her sad friend. 
 
 " Come hither, 
 O Psyche," she cried out, " embrace me, come. 
 Quick while I melt ; make reconcilement sure 
 With one that cannot keep her mind an hour : 
 Come to the hoUow heart they slander so ! 270 
 
 Kiss and be friends, like children being chid ! 
 262. 1847-48. prince. 
 
A MEDLEY 249 
 
 / seem no more : / want forgiveness too : 
 
 I should have had to do with none but maids. 
 
 That have no links with men. Ah false but dear. 
 
 Dear traitor, too much loved, why ? — why ? — Yet see, 275 
 
 Before these kings we embrace you yet once more 
 
 With aU forgiveness, all oblivion. 
 
 And trust, not love, you less. 
 
 And now, O Sire, 
 Grant me your son, to nurse, to wait upon him. 
 Like mine own brother. For my debt to him, 280 
 
 This nightmare weight of gratitude, I know it ; 
 Taunt me no more : yourself and yours shall have 
 Free adit ; we will scatter all our maids 
 Till happier times each to her proper hearth : 
 What use to keep them here now ? grant my prayer. 285 
 Help, father, brother, help ; speak to the king : 
 Thaw this male nature to some touch of that 
 Which kills me with myself, and drags me down 
 From my fixt height to mob me up with all 
 The soft and milky rabble of womankind, 290 
 
 Poor weakling ev'n as they are." 
 
 Passionate tears 
 Follow'd : the king replied not : Cyril said : 
 " Your brother, Lady, — Florian, — ask for him 
 Of your great head — for he is wounded too — 
 That you may tend upon him with the Prince." 295 
 
 " Ay so," said Ida with a bitter smile, 
 " Our laws are broken : let him enter too." 
 Then Violet, she that sang the mournful song. 
 And had a cousin tumbled on the plain, 
 Petition'd too for him. " Ay so," she said, 300 
 
 " I stagger in the stream : I cannot keep 
 My heart an eddy from the braw:ling hour : 
 We break our laws with ease, but let it be." 
 " Ay so .' " said Blanche : " Amazed am I to hear 
 Your Highness : feut your Highness breaks with ease 305 
 
 275. The comma after " traitor " first inserted in 1853, likewise both commas 
 in 279 infra. 
 
 283. Generally used as a mining term, as a passage for the conveyance of 
 water under ground ; here in its strict Latin sense, entrance (aditus). 
 
 290. No comma in 1847. 
 
 298. No comma after ' ' song " till 1853. 
 
 304. 1847-48. I am all amaze to hear. 
 
250 THE PRINCESS 
 
 The law your Highness did not make : 'twas I. 
 I had been wedded wife, I knew mankind. 
 And block'd them out ; but these men came to woo 
 Your Highness — verily I think to win." 
 
 So she, and turn'd askance a wLntiy eye : 310 
 
 But Ida with a voice, that like a bell 
 Toll'd by an earthquake in a trembling tower. 
 Rang ruin, answer'd full of grief and scorn. 
 
 " Fling our doors wide ! all, all, not one, but all, 
 Not only he, but by my mother's soul, 315 
 
 Whatever man lies wounded, friend or foe. 
 Shall enter, if he will. Let our girls flit. 
 Till the storm die ! but had you stood by us. 
 The roar that breaks the Pharos from his base 
 Had left us rock. She fain would sting us too, 320 
 
 But shall not. Pass, and mingle with your likes. 
 We brook no further insult but are gone." 
 
 After 313 in 1847-48 came this passage, afterwards excised : — 
 ' ' What 1 in our time of glory, when the cause 
 Now stands up, first, a trophied pillar — now 
 So dipt, so stinted in our triumph — barr'd 
 Ev'n from our free heart-thanks, and every way 
 Thwarted and vext, and lastly catechised 
 By our own creature ! one that made our laws ! 
 Our great she-Solon I her that built the nest 
 To hatch the cuckoo ! whom we call'd our friend ! 
 But we will crush the lie that glances at us 
 As cloaking in the larger charities 
 Some baby predilection : all amazed ! 
 We must amaze this legislator more. 
 Fling our doors, etc. 
 319. Pharos was properly the island in the Bay of Alexandria on which 
 Ptolemy Philadelphus built the famous lighthouse ; afterwards the word be- 
 came a synonym for a lighthouse, as more than once in the Greek Anthology, 
 and here. 
 
 Between lines 321 and 322 comes this passage in 1847-48, afterwards excised :— 
 Go, help the half-brain'd dwarf. Society, 
 To find low motives unto noble deeds, 
 To fix all doubt upon the darker side ; 
 Go, fitter thou for narrowest neij^ourhoods, 
 Old talker, haunt where gossip fMeds and seethes 
 And festers in provincial sloth : and, you, 
 That think we sought to practise on a life 
 Risk'd for our own, and trusted to our hands. 
 What say you. Sir? you hear us ; deem ye not 
 'Tis all too like that even now we scheme. 
 In one broad death confounding friend and foe. 
 To drug them all ? revolve it : you are man. 
 And therefore no doubt wise ; but after this, etc. 
 
A MEDLEY 251 
 
 She tum'd ; the very nape of her white neck 
 Was rosed with iadignation : but the Prince 
 Her brother came ; the king her father charm'd 325 
 Her wounded soul with words : nor did mine own 
 Refuse her proffer^ lastly gave his hand. 
 
 Then us they lifted up, dead weights, and bare 
 Straight to the doors : to them the doors gave way 
 Groaning, and in the Vestal entry shriek'd 330 
 
 The virgin marble under iron heels : 
 And on they moved and gain'd the hall, and there 
 Rested : but great the crush Was, and each base. 
 To left and right, of those tall columns drown'd 
 In silken fluctuation and the swarm 335 
 
 Of female whisperers : at the further end 
 Was Ida by the throne, the two great cats 
 Close by her, like supporters on a shield, 
 Bow-back'd with fear : but in the centre stood 
 The common men with rolling eyes ; amazed 340 
 
 They glared upon the women, and aghast 
 The women stared at these, all silent, save 
 When armour clash'd or jingled, while the day, 
 Descending, struck athwart the hall, and shot 
 A flying splendour out of brass and steel, 345 
 
 That o'er the statues leapt from head to head, 
 Now fired an angry Pallas on the helm. 
 Now set a wrathful Dian's moon on flame. 
 And now and then an echo started up. 
 And shuddering fled from room to room, and died 350 
 Of fright in far apartments. 
 
 Then the voice 
 Of Ida sounded, issuing ordinance : 
 And me they bore up the broad stairs, and thro' 
 The long-laid galleries past a himdred doors 
 To one deep chamber shut from sound, and due 355 
 
 To languid limbs and sickness ; left me in it ; 
 And others othei-where they laid ; and all 
 
 332. 1847-48. And they moved on. 
 
 340. The second edition (1848) has "amaze," evidently a misprint.^ 
 
 347, 348. The symbolism in " aw.fr)' Pallas "and " wrathful Hwa," as before 
 
 in the "groaning" doors and in the "shrieking" of the "virgin marble," is 
 
 obvious and happy. 
 
252 THE PRINCESS 
 
 That afternoon a sound arose of hoof 
 
 And chariotj many a maiden passing home 
 
 Till happier times ; but some were left of those 360 
 
 Held sagest, and the great lords out and in. 
 
 From those two hosts that lay beside the walls, 
 
 Walk'd at their will, and everything was changed. 
 
A MEDLEY 253 
 
 Ask me no more : the moon may draw the sea ; 
 The cloud may stoop from heaven and take the shape 
 With fold to fold, of mountain or of cape ; 
 
 But O too fond, when have I answer'd thee? 
 Ask me no more. 
 
 Ask me no more : what answer should I give ? 
 I love not hollow cheek or faded eye : 
 Yet, O my friend, I will not have thee die ! 
 
 Ask me no more, lest I should bid thee live ; 
 Ask me no more. 
 
 Ask me no more : thy fate and mine are seal'd : 
 I strove against the stream and all in vain : 
 Let the great river take me to the main : 
 
 No more, dear love, for at a touch I yield ; 
 Ask me no more. 
 
 The song added in 1850, no variants since. 
 
254 THE PRINCESS 
 
 VII 
 
 So was their sanctuary violated. 
 
 So thjeirJair^cioIlege tuMt'd ta hospital ; 
 
 At first with all confusion : by and by 
 
 Sweet order lived again with other laws : 
 
 A kindlier influence reign'd ; and ever5rwhere 5 
 
 Low voices with the ministering hand 
 
 Hung round the sick : the maidens came, they talk'd. 
 
 They sang, they read : tilj^he not fair, began 
 
 To gather light, and she that was, became 
 
 Her forme? "beauSy treble ; and to and fro 10 
 
 W;th books, with flowers, with Angel offices, 
 
 Like creatures native.untp gracious act, . ,. 
 
 And in their own clear element, they moved. 
 
 But sadness on the soul of Ida fell, 
 And hatred of her weakness, blent with shame. 15 
 
 Old studies fail'd ; seldom she spoke, but oft 
 Clomb to the roofs, and gazed alone for hours 
 On that disastrous leaguer, swarms of men 
 Darkening her female field : void was her use. 
 And she as one that climbs a peak to gaze 20 
 
 O'er land and main, and sees a great black cloud 
 
 VII 
 3. 187s, by and by ; 1880, by and bye ; subsequently, by and by. 
 20 seqq. With this cf. Iliad, iv. 275 : — 
 
 Epxofj,6V0)i xxTot 1TCVTOV inn Zt^poto Jaiyis' 
 tS si t, avlvBtv kovTty fxiXotiTipeVj yjuTi ^iffffeb^ 
 tpuimr' (OV xotTot TovToVj SvyEi it n ketiXet^ret ttekXriv 
 (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 sea, and it brings a great 
 whirlwind with it). Virgil also imitates it, jSneid, xii. 451-55. Cf., too, 
 Lucretius, vi. 256 sejg. But Tennyson said the simile in the text was not 
 suggested to him by Homer, but by " a coming storm seen from the top of 
 Snowdon," which adds greatly to the interest of the parallel. 
 
A MEDLEY 255 
 
 Drag inward from the deeps, a wall of night, 
 
 Blot out the slope of sea firom verge to shore. 
 
 And suck the blinding splendour from the sand. 
 
 And quenching lake by lake and tarn by tarn 25 
 
 Expimge the world : so fared she gazing there ; 
 
 So blacken'd all her world in secret, blank 
 
 And waste it seem'd and vain ; till down she came. 
 
 And found fair peace once more among the sick. 
 
 And twilight dawn'd ; and morn by morn the lark 30 
 Shot up and shrill'd in flickering gyres, but I 
 Lay silent in the muffled cage of life : 
 And twilight gloom'd ; and broader-grown the bowers 
 Drew the great night into themselves, and Heaven, 
 Star after star, arose and fell ; but I, 35 
 
 Deeper than those weird doubts could reach me, lay 
 Quite sunder'd from the moving Universe, 
 Nor knew what eye was on me, nor the hand 
 That nursed me, more than infants in their sleep. 
 
 But Psyche tended Florian : with her oft, 40 
 
 Melissa came ; for Blanche had gone, but left 
 Her child among us, willing she should keep 
 Court-favour : here and there the small bright head, 
 A light of healing, glanced about the couchj 
 Or thro' the parted silks the tender face 45 
 
 Peep'd, shining in upon the wounded man 
 With blush and smile, a medicine in themselves 
 To wUe the length from languorous hours, and draw 
 The sting from pain ; nor seem'd it strange that soon 
 He rose up whole, and those fair charities 50 
 
 Join'd at her side ; nor stranger seem'd that hearts 
 So gentle, so employ'd, should close in love. 
 Than when two dewdrops on the petal shake 
 To the same sweet au", and tremble deeper down. 
 And slip at once all-fragrant into one. 55 
 
 33. 1847-48. broader grown (no hyphen). 
 
 34. Commas after " Heaven" and "star" inserted in 1850, and in the two 
 earlier editions only a comma after " fell." ' 
 
 36. Added in 1851. 
 
 37. 1847-48-50. Lay sunder'd from the moving Universe. 
 
 40. The commaafter " oft " was first inserted in i860 ; it is dropped in 1885, 
 but subsequently reappears. 
 48. Comma was first inSertied in il8'53. 
 54. Comma after " air" added in 1831. 
 
256 THE PRINCESS 
 
 Less prosperously the second suit obtain'd 
 At first with Psyche. Not tho' Blanche had sworn 
 That after that dark night among the fields, 
 She needs must wed him for her own good name ; 
 Not the' he built upon the babe restored ; 60 
 
 Nor tho' she liked him, yielded she, but fear'd 
 To incense the Head once more ; till on a day 
 When Cyril pleaded, Ida came behind 
 Seen but of Psyche : on her foot she hung 
 A moment, and she heard, at which her face , 65 
 
 A little flush'd, and she past on ; but each 
 Assumed from thence a half-consent involved 
 In stillness, phghted troth, and were at peace. 
 
 Nor only these : Love in the sacred halls 
 Held carnival at will, and flying struck 70 
 
 With showers of random sweet on maid and man. 
 Nor did her father cease to press my claim. 
 Nor did mine own now reconciled ; nor yet 
 Did those twin brothers, risen again and whole ; 
 Nor Arac, satiate with his victory. 75 
 
 But I lay still, and with me oft she sat : 
 Then came a change ; for sometimes I would catch 
 Her hand in wild delirium, gripe it hard. 
 And fling it like a viper off, and shriek 
 " You are not Ida ; " clasp it once again, 80 
 
 And call her Ida, tho' I knew her not. 
 And call her sweet, as if in irony, 
 And call her hard and cold which seem'd a truth : 
 And stUl she fear'd that I should lose my mind, 
 And often she believed that I should die : 85 
 
 Till out of long frustration of her care. 
 And pensive tendance in the all-weary noons. 
 And watches in the dead, the dark, when clocks 
 Throbb'd thunder thro' the palace floors, or call'd 
 On flying Time from all their silver tongues — 90 
 
 The comma after line $8 disappeared after 1875. 
 60. 1847-48. Spelt " though in this line — 
 
 Not though he built on what she said of the child. 
 
 64. 1847. Full stop after " Psyche." 
 
 65, 66. Commas after " moment " and " flush'd " were added in 1853. 
 Comma after line 80 added in 1853. 
 
A MEDLEY 257 
 
 And out of memories of her kindlier days. 
 
 And sidelong glances at my father's grief. 
 
 And at the happy lovers heart in heart — 
 
 And out of hauntings of my spoken love, 
 
 And lonely listenings to my mutter'd dream, 95 
 
 And often feeling of the helpless hands. 
 
 And wordless broodings on the wasted cheek — 
 
 From aU a closer interest flourish'd up. 
 
 Tenderness touch by touch, and last, to these. 
 
 Love, hke an Alpine harebell hung with tears 100 
 
 By some cold morning glacier ; frail at first 
 
 And feeble, all unconscious of itself. 
 
 But such as gather'd colour day by day. 
 
 Last I woke sane, but well-nigh close to death 
 For weakness : it was evening: silent light 105 
 
 Slept on the painted walls, wherein were wrought 
 Two grand designs ; for on one side arose 
 The women up in wild revolt, and storm'd 
 At the Oppian law. Titanic shapes, they cramm'd 
 The forum, and half-crush'd among the rest 110 
 
 A dwarflike Cato cower'd. On the other side 
 Hortensia spoke against the tax ; behind, 
 A train of dames : by axe and eagle sat. 
 With all their foreheads drawn in Roman scowls. 
 And half the wolf s-milk curdled in their veins, 115 
 
 The fierce triumvirs ; and before them paused 
 Hortensia pleading : angry was her face. 
 
 98. Comma added in 1850. 
 
 107 seqq. In B.C. 213, in the middle of the second Punic War, Caius Oppius 
 carried a law to curtail the expenses and luxuries of the Roman women, enact- 
 ing that no woman should have more than an ounce of gold, nor wear a dress 
 of different colours, nor ride in a carriage in the city nor in any town, or within 
 a mile of it, unless on account of public sacrifices. In B. c. 195 the women, who 
 had found a champion in L. Valerius, Tribune of the Plebs, rose in rebellion 
 against it, and in spite of the opposition of the elder Cato, forced its repeal. 
 Seefor a full and graphic account of this, Livy, xxxiv. 1-8. The tax Hortensia, 
 the daughter of Quintus Hortensius, opposed was levied on wealthy Roman 
 matrons, after the assassination of Julius Caesar, to defray the expenses of 
 the war against Brutus and Cassius, and she pleaded before the triumvirs, 
 Antony, Octavian, and Lepidus, procuring its rejection. See Valerius Maximus, 
 viii. 3. 
 
 III. 1847-48. little. 1850. dwartlike. In and after 1872. dwarf-like. 
 
 17 
 
258 THE PRINCESS 
 
 I saw the forms : I knew not where I was : 
 They did but look hke hollow shows ; nor more 
 Sweet Ida : palm to palm she sat: the dew ' 120 
 
 Dwelt in her eyes, and softer all her shape 
 And rounder seem'd : I moved : I sigh'd : a touch 
 Came round my wrist, and tears upon my hand : 
 Then all for languor and self-pity ran 
 Mine down my face, and with what life I had, 125 
 
 And like a flower that cannot all unfold, 
 • ' So drench'd it is with tempest, to the sun. 
 Yet, as it may, turns toward him, I on her 
 Fixt my faint eyes, and utter'd whisperingly : 
 
 " If you be, what I think you, some sweet dream, 130 
 I would but ask you to fulfil yourself: 
 But if you be that Ida whom I knew, ' 
 
 I ask you nothing t only, if a dream, 
 Sweet dream, be perfect. I shall die to-night. 
 Stoop down and seem to kiss me ere I die." 135 
 
 I could no more, biit lay like one in trance, , 
 That hears his burial talk'd of by his friends. 
 And cannot speak, nor move, nor make one sign, 
 But lies and dreads his doom. She tum'd ; she paused ; 
 She stoop'd ; and out of languor leapt a cry; 140 
 
 Leapt fiery Passion from the brinks of death; 
 And I believed that in the living world 
 My spirit closed with" Ida's. at theJJBS ; : 
 Till back I fell, arid from mine arms she rose 
 plowing aU over noble shame ; and all 145 
 
 After ii8 in 1847-48-30 appears this line:— 
 
 Sadi phantoms conjured out of circtirrtstance. 
 itg. 1847-48-50. Ghosts of the fading brain, they seem'd ; nor more. 
 
 1851-33. seem as hollow shows. 
 122. 1847^-50-1-3. And rounder show'd. 
 140. 1847-48: — 
 
 She Stoop'd'; and with a great shock of the heart 
 Our mouths met : out of languor leapt a of, 
 Crown'd 2 Passion from the brinks of death, and up 
 ^Along the shuddering senses struck the sotil,, ; 
 And closed on fire with Ida's at flie lips. 
 The present reading dates from 1850, except that line 142 was added in 1851. 
 
 > 1850. Strange. 2 1848. Leapt. 
 
A MEDLEY 259 
 
 Her falser self slipt from her like a robe, ' 
 
 AMn^^Klwomaiij. Ja«eUei? in 4iier~>mood 
 Than-inher mould that other, when she came 
 From barren deeps td. citMquar stl\Wtli love ; 
 AndTdown the streaming crystal dropt ; and she 150 
 
 Far-fleeted by the purple island-sides, > 
 
 ' Naked, a double light in air and wave^ • 
 
 To meet her Graces, where they decfc'd her out 
 For worship without end; nor end of mine, 
 Statehest, for thee ! but mute she glided forth, '■ 155 
 Nor glanced behind her, and I sank and slept, 
 Fill'd thro' and thro?! with: Love, a happy sleep. 
 
 Deep in Jjie night I woke : she, near me, held 
 A volume of the Poets of her lan4 : , , , 
 
 , There to herself,: ^11 ill. low tones,, she read. • . ' l60 
 
 "Now sleeps the Grijnson. petaJj now the white; ; 
 Nor waves the C3?press in the palace walk ; 
 
 Nor winks the :g<dd fini in the porphyry font : 
 
 The fire-fly .tfAkeiis: waken thou with me. 
 
 Now droops the milkwhite peacock like a ghoStj 165 
 And' Jike a ghost she glimniejfs on 1;d me. 
 
 Now ues the Earth all Danae to the starsy ' i 
 And all thy heart lies open unto me. ' 
 
 Now slides the silent meteor on, and leaves 
 A shining fiirrow, as thy thoughts in me, : 170 
 
 Now folds the lily all her s\5^eetness upi ' 
 
 And slips into the bosom of the lake: j ;,, y, 
 
 So fold thyself, :my dearest, tho% and sKp 'i 
 
 Into my bosoin and be; lost ii* rke." ' ' ' ,;, ' 
 
 . ■ . . : ' ■. !■' •,: !„, , .. . I 
 
 '■ 14S sefy. In ' these lines we have as it were iln>qTlintessence> tte lovely; passage 
 in the Horrieric .Hymn ta ApArediie, : sS-6S: fmithe rising, from., theisea,^. 
 Hesiod, TAei^. igo-grji 1,1,, ' ,: 
 
 161. After 187s this and the following^lank'-vttse lyric printed in anall. type. 
 
 169, 170. Cf. Virgil, /Eneid, ii. 93-98. . , • ■ .'., 
 
260 THE PRINCESS 
 
 I heard her turn the page ; she found a small 175 
 
 Sweet Idyl, and once more, as low, she read : 
 
 " Come down, O maid, from yonder mountain height : 
 What pleasure lives in height' (the shepherd sang) 
 In height and cold, the splendour of the hills ? 
 But cease to move so near the Heavens, and cease 180 
 To glide a sunbeam by the blasted Pine, 
 To sit a star upon the sparkling spire ; 
 And come, for Love is of the valley, come. 
 For Love is of the valley, come thou down 
 And find him ; by the happy threshold, he, 185 
 
 Or hand ui hand with Plenty in the maize. 
 Or red with spirted purplje of the vats. 
 Or foxUke in the vine ; nor cares to walk 
 With Death and Morning on the silver horns. 
 Nor wilt thou snare him in the white ravine, 190 
 
 Nor find him dropt upon the firths of ice. 
 That huddling slaiit in furrow-cloven falls 
 
 vjT seqq. Well might Tennysqn say of this "Idyl" that it ranks with his 
 " most successful work," exquisite alike in its magical touches of description, in 
 its subtle allegorical suggestiveness, and in the charm of its diction and music. 
 In its picture of Swiss mountain scenery it may be compared with Coleridge's 
 magnificent Hymn before Sunrise in the Vale of Chamouni. But it owes its 
 exquisitely felicitous touches to studies on the spot, for it was written, as we 
 learn from Tennyson's Life, chiefly at Lauterbrunnen and Grindelwald. It 
 is interesting also as an illustration of his most characteristic work. 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 dis- 
 cernible, it supports the work. This "small sweet Idyl" is modelled on the 
 Cyclops' invocation to Galatea in Theocritus (Idyll, xi. 20-79), ''it in the 
 details one touch only has been directly imitated from the original : — 
 
 Leave 
 The monstrous ledges there to slope, 
 
 ' Tar •yXBtvjtobl Vi 6a.\ourtfa.t f« 3-0Ti XSP^OI cplxfKf 
 
 (Leave the blue sea to roll against the land). 
 But throughout it is the note of Theocritus, not of the eleventh idyll alone, 
 but of Idyll iii., and of the song of Battus in Id. x. 
 
 185-88. A glorification of the Terentian sine Cerere et Baccho friget Venus. 
 For the fondness of the fox for grapes, see Song of Solomon ii. 15, jEsop's 
 well-known fable, Aristophanes' Mquites, 1076, Theocritus, Id, i. 45, and 
 many other passages in classical and modern literature. 
 
 188. This is one of those subtleties of suggestive symbol so common in 
 Tennyson and in his master Virgil. Beside the more obvious image of Love 
 not caring to haunt the icy loneliness of the mountain peaks, the reference to 
 the Silberhorn, one of the spurs of the Jungfrau, being obvious, there is also a 
 suggestion of the crescent of Diana, the symbol of virginity, and the assdciatioii 
 of virginity with "mom" and "death" needs no comment. 
 
 189. All editions till i860. Silver Horns. 
 
A MEDLEY 261 
 
 To roll the torrent out of dusky doors : 
 
 But follow ; let the torrent dance thee down 
 
 To find him in the valley ; let the wild 195 
 
 Lean-headed Eagles yelp alone, and leave 
 
 The monstrous ledges there to slope, and spill 
 
 Their thousand wreaths of dangling water-smoke. 
 
 That like a broken purpose waste in air : 
 
 So waste not thou ; but come ; for all the vales 200 
 
 Await thee ; azure pillars of the hearth 
 
 Arise to thee ; the children call, and I 
 
 Thy shepherd pipe, and sweet is every sound. 
 
 Sweeter thy voice, but every sound is sweet ; 
 
 Mjrriads of rivulets hurrying thro' the lawn, 205 
 
 The moan of doves in immemorial elms. 
 
 And murmuring of innumerable bees." 
 
 So she low-toned ; while with shut eyes I lay 
 Listening ; then look'd. Pale was the perfect face ; 
 The bosom with long sighs labour'd ; and meek 210 
 
 Seem'd the full lips, and mild the luminous eyes, 
 And the voice trembled and the hand. She said 
 Brokenly, .that she knew it, she had faU'd 
 In sweet humility ; had fail'd in all ; 
 That all her labour was but as a block 215 
 
 Lefb in the quarry ; but she still were loth. 
 She st^jEerfiJsthrto yield herselfjtp one^ 
 That wholly scom'd to help their equal ri^ts 
 Against the sons oFmen, an3rBarbarous"laws. 
 She^ray'd'me not to judge their causie; frdm her 220 
 T hat wrong 'd it, sought far less for truth "tKan power 
 Iri JmpwJedge : something wild within her breast, 
 A greater than all knowledge, beat her down. 
 And she had nursed me there from week to week : 
 Much had she learnt in little time. In part 225 
 
 It was ill counsel had misled the girl 
 To vex true hearts : yet was she but a girl — 
 " Ah fool, and made myself a queen of farce ! 
 
 201. The extreme artificiality of the expression is perhaps justified by what 
 is symbolised, the steady serenity of domestic life as contrasted with the wild, 
 bleak turmoil of elemental nature associated with "the dangling water- 
 smoke." 
 
 2o6. Recalls Virgil's Eel. i. 59 : — 
 
 Nee gemere aeri& cessabit tiurtur ab ulmo. 
 
262 THE PRINCESS 
 
 When comes another such ? never, I think, 
 Till the Sun drop dead from the signs." 
 M Her voice 230 
 
 Choked, and her forehead sank upon her hands, 
 And her greg,t heart thro' all the faultful Past 
 Went soTiQynng in a pause I dared not break ; , : , ! 
 Till notice of a change in the dark world 
 !• Was lispt about: the acacias^ 3,nd a bird, 235 
 
 That early woke to feed her little ones, 
 Sent from a dewy breast a cry for light : ; , 
 She moved, and at her feet the volume fell. 
 
 "Blame not thyself too much," I said, "iior blame 
 ' '' Too lauch the sons of men and barbarous laws j'"*"" 240 
 These were the! rough ways of the world till now. 
 Henceforth thou hast a helpeir, me, that know 
 The woman's cause is man's : they rise or sink 
 TogebherrdWarf d oi-'^dlike, bond-or freeiT 
 For she"^at out of Lethe scales "With'Wah ■ 245 
 
 The bhiiiing steps of Nature, shares with man 
 His nights, his days, moves with him to one goal. 
 Stays all the fair youlig planet in her hands— ^ 
 If she be sniall, slight-natured, miserable, ■ . 
 
 230. Commas after ' ' drop " and ' ' dead " were added in 1880. 
 334 sefg. On this Mr. Wallace has an admirable nolte : " It is noteworthy, 
 as testifying to Tennyson's minute handling of- details, that in the moment of 
 her supreme sorrbwfm remprse, when the Prince is awed from intrusion upon 
 her musings, it is the cry of a bird on her motherly duties that breaks the spell 
 and recalls her to the pleadings of her lover." 
 23s, 236. The commas after these lines first added in 1850. 
 239 sega. With this cf. Mary Wollstonecraft's Vindication of the Rights of 
 ^Women (Dedication): "If woman be not prepared by education to become 
 the companion of man, she will stop the progress of knowledge and virtue ; for 
 truth mu^t be common to all, or it will be inefficacious with respect to its 
 influence on general practice. And how can woman be expected to ccopeiate 
 unless she Imow why she ought to be virtuous, unless freedom strengthen her 
 reason till she comprehend her duty and see in what manner it is connected 
 with her real good. If children are to be educated to understand the true 
 jirinciple of patriotism, their mother must be a patriot ; and the love of man- 
 kind, from which an orderly train of virtues spring, can only be produced by 
 considering the moral and civil interest of mankind." 
 24s. Out of Lethe. Cf. Plato, Ref. x. 621, and Virgil, j^neid, vi. 748 :— 
 Has omnes, ubi mille rotam volvere per annos, 
 Lethseum ad fluvium deus, evocat agmjne magno, 
 , Scilicet iminemores'supera ut convexa revisant , 
 ' ' 'RorsUs, etindpiant in 'corpora vellereterti. 
 248. Cy. ' the 'well-^knovi'h song, recently traded to William Ross Wallace 
 (see Notes and Queries for October 29, 1898) : — 
 
 For the hand that rocks the cradle 
 ■ Is the'hahd that rules the world. 
 
A MEDLEY 263 
 
 How shall men gi-ow ? but work no more alone ! 250 
 
 Our place is much : as far as in us lies 
 
 We two Tvill serve them both in aiding her— 
 
 WiU clear away the parasitic forms 
 
 That seem to keep her up but drag her down — 
 
 Will leave her space to burgeon out of all 255 
 
 Within her — lecher make herself her own 
 
 Xo.iave^orjseep, to live-and learn and be 
 
 A]JLifeM.B^^Ki™S'ffiafi;^fiy£JiKxiaiaxihood^ 
 
 For wqman^isjnot undevelopt umu, " "■ 
 
 B ut diverse : cguH we make her as ^Le.'?5iij___, 260 
 
 S;^et Love were slain : Tils dearest bond is this. 
 
 Not like WlJEe, but like m difference. 
 
 "5?eL3ii:ll)tCl6ilg37*ars^lik|rjaii'st they grow; 
 
 Tlje man be more of woman, she of man; 
 
 He gam'in svreetiiess'and m moral height^ 265 
 
 Nor lose the wrestling thews that throw the world ; 
 
 She mental breadth, nor fail in childward care, 
 
 Nor loseTKe chiidlike in the larger mind_j 
 
 TiTraFtEeTasrghe si^-11gfsdn6 min,' 
 
 Like perfect music unto noble words ; 270 
 
 And so these twain, upon the skirts of Time, 
 
 Sit side by side, full-sumin'd in all their powers. 
 
 Dispensing harvest, sowing the To-be, 
 
 Self-reverent each and reverencing each, 
 
 Distinct in individualities, 275 
 
 But like each other ev'n as those who love. 
 
 Theii comes the statelier Eden back to men : 
 
 Then reign the world's greit bridals, chaste and calm : 
 
 Then springs the crowning race of humankind. 
 
 May these things be ! " 
 
 Sighing she spoke " I fear 280 
 They will not. 
 
 250-56. i847^48 :— 
 
 How shall men grow? We two will serve them both 
 In aiding her, strip off, as in us lies, 
 (Our place is much) the parasitic forms 
 That seem to keep her up but drag her down — 
 Will leave her field to burgeon and to bloom 
 , . , From all vrithin hfir, make )ierself her, own. 
 i26i. 1847-48. Sweet love were slaiii, whose dearest bond is ttiis. "Love" 
 is not spelt with a capital till i860. 
 268. 1847-48. The former line ends with a, colon, and this line reads: — 
 More as the double-natured 'Poet each : 
 
264 THE PRINCESS 
 
 " Dear, but let us tjrpe them now 
 In our own lives, and this proud watchword rest 
 Of equal ; seeing either sex alone 
 Is half itself, and in friie marriage lies 
 Nor-e()tffl:l,''n6f unequal : eacFfulfils 285 
 
 l|efect ineach, and always tJiought in thought, 
 Purpose in purpose^ will in will, they grgw. 
 The single pure and perfectanimal. 
 The two-cell'd heart beating, with one full strokcj 
 
 And again sighing she spoke : " A dream 290 
 That once was mine ! what woman taught you this ? " 
 
 " Alone " I said " from earlier than I know. 
 Immersed in rich foreshadowings of the world, 
 I loved the woman : he, that doth not, lives 
 A drowning hfe, besotted in sweet self, 295 
 
 Or pines in sad experience worse than death, 
 Or keeps his wing'd affections clipt with crime : 
 Yet was there one thro' whom I loved her, one 
 Not learned, save in gracious household ways. 
 Not perfect, nay, but full of tender wants, 300 
 
 No Angel, but a dearer being, all di£t 
 In Angermstmctej,.6SaIhjHg^^P«Ss^e, 
 Interpreter betw^^fl^bfi.GjcS,§jaidmenj^ 
 Who look'd all native to her place, ancTyet 
 On tiptoe seem'd to tbiiclT upoBTS'liphePe'^ 305 
 
 Too gross to .<a:«ad, and all male minds pCTforce_ 
 Sway'd to -herfrom their orbits as they moved, 
 Ancl.girdled.'hjer with music. Happy he "~~^ 
 With such^a^mother ! faith in womankind 
 Beats with his blood, and trust in all things high 310 
 Comes easy to him, and tho' he trip and fall 
 He shall not blind his soul with clay." 
 
 "But I," 
 Said Ida, tremulously, " so all unlike — 
 
 286. See Plato's Symposium, Aristophanes' discourse, 189-90. 
 
 289, Commas added in 1850. 
 
 299. With this picture of the "ideal" woman, which it is interesting to 
 know was in some respects a sketch of Tennyson's own mother, cf. Words- 
 worth's poem, "She was a phantom of delight," and the picture of "the 
 maid " in the Prelude, xii. 151 seqq. ; and cf. , too, "Tennyson's own fuller sketch, 
 in the character of Edith, in Aylmet's Field. 
 
 313. 1847-48. Said Ida, "so unlike, so all unlike — 
 
A MEDLEY 265 
 
 It seems you love to cheat yourself with words : 
 
 This mother is your model. I have heard 315 
 
 Of your strange doubts : they well might be : I seem 
 
 A mockery to my own self. Never, Prince ; 
 
 You cannot love me." 
 
 " Nay but thee " I said 
 " From yearlong poring on thy pictured eyes. 
 Ere seen I loved, and loved thee seen, and saw 320 
 
 Thee woman thro' the crust of iron moods 
 That mask'd thee from men's reverence up, and forced 
 Sweet love on pranks of saucy boyhood : now, 
 Giv'n back to life, to life indeed, thro' thee. 
 Indeed I love : the new day comes, the light 325 
 
 Dearer for night, as dearer thou for faults 
 Lived over : lift thine eyes ; my doubts are dead. 
 My haunting sense of hollow shows : the change. 
 This truthful change in thee has kill'd it. Dear, 
 Look up, and let thy nature strike on mine, 330 
 
 Like yonder morning on the blind half-world ; 
 Approach and fear not ; breathe upon my brows ; 
 In that fine air I tremble, all the past 
 Melts mist-like into this bright hour, and this 
 Is morn to more, and all the rich to-come 335 
 
 Reels, as the golden Autumn woodland reels 
 Athwart the smoke of burning weeds. . Forgive me, 
 I waste my heart in signs : let be. My bride. 
 My wife, my life. O we will walk this world. 
 Yoked in all. exercise of noble end, , 340 
 
 And so thro' those dark gates across the wild 
 That no man knows. Indeed I love thee : come, 
 ' Yield thyself up : my hopes and thine are one : 
 Accomplish thou my manhood and thyself; 
 Lay thy sweet hands in mine and trust to me." 345 
 
 315. 1847-48-50. This mother is your model. Never, Prince. 
 
 316, 317. Added in 1851. 
 
 Between 319 and 320. 1847-48. Or some mysterious or magnetic touch. 
 324. Comma after this line added in 1853. 
 
 327. 1847-48-50. doubt me no more. 
 
 328, 329. Added in 1851. ' 
 330. The first comma added in 1851, and the second in 1853. 
 
 335. 1847-48-50. I scarce believe, and all the rich to come (without hyphen). 
 337. 1847-48. flowers. 1850. leaves. 
 344, Semicolon was inserted in 1S51. 
 
266 THE PRINCESS 
 
 CONCLUSION 
 
 So closed our tale, of wHicli I give you all 
 
 The random scheme as wildly as it rose : 
 
 The words are mostly mine ; for when we ceased 
 
 There came a minute's pause, and Walter said, 
 
 " I wish she had not yielded ! '" then to m6, , 5 
 
 " What, if you drest it up poetically ! " 
 
 So pray'd the men, the women : I gave assent : 
 
 Yet how to bind the scatter' d scheme of seven 
 
 Together in one sheaf ? ' What style could suit ? 
 
 The men required that I should give throughout 10 
 
 The sort of mock-heroic gigantesque^ 
 
 With which we banter'd little Liha fii;st :, 
 
 The women — and perhaps they felt their pOwer, 
 
 CONCLUSION 
 
 In the first two editions the opening lines ran thus : — 
 
 Here closed our compound story which at first 
 Had only^ meant to banter little maids 
 With mock-heroics and with parody : 
 But slipt in some strange way, crost with burlesque, 
 From mock to earnest, even into tones 
 Of tragic, and with less and less of jest 
 To such a serious end that Lilia fixt 
 A showery glance upon her Aunt and said, 
 " You — tell us what we are ; " who there began 
 A treatise, growing with it, and might have flow'd 
 In axiom worthier to be grav'n on rock, 
 Than all that lasts of old-world hieroglyjih, 
 Or lichen-fretted Rune and arrowhead ; , 
 
 But that there rose a shout : the gates were closed , 
 At sundown, and the crowid were swarming now. 
 To take their leave, about the garden rails. 
 And I and some went out, and mingled with them. 
 And there we saw Sir Walter, etc. 
 In 1850 the former opening was excised, and the opfniijg as it now stands 
 substituted. 
 
 ' 1848. Perhaps, but. 
 
A MEDLEY 267 
 
 For something in the ballads which they sang, 
 
 Or in their silent influence as they sat, 15 
 
 Had ever seem'd to *irestle with burlesque, 
 
 And drove us, last, to quite a solemn close — 
 
 They hated banter, wish'd for something real, 
 
 A gallant fight, a noble princess — why 
 
 Not make her true-heroic — true-sublime? 20 
 
 Or all, they said, as earnest as the close ? 
 
 Which yet with such a framework scarce could be. 
 
 Then rose a little feud betwixt the two. 
 
 Betwixt the mockers and the realists : 
 
 And I, betwixt Ihesa both, to please them both, 25 
 
 And yet to give the story as it rose, 
 
 I moved as in a strange diagonal, 
 
 And maybe neither pleased myself nor them. 
 
 But Lilia pleased me, for she took no part 
 In our dispute .-the sequel of the tale 30 
 
 Had touch'd her ; and she sat, she pluck'd the grass. 
 She flung it from her, thinking : last, she fixt 
 A showery glance upon her aunt, and said j 
 " Ydu'i^tiell us what we are " who might have told. 
 For she was cramm'd with theories out of books, 35 
 
 But that there rose a shout : the gates were closed 
 At sunset, and the crowd were swarmmg now. 
 To take their leave, about the garden rails. 
 
 So I and some went out to these : we climb'd 
 The slope to Vivian-place, and turning saw' 40 
 
 The happy valleys, half in light, and half 
 Far-shadowing from the west, a land of peace ; 
 Gray halls alone among their massive groves ; 
 Trim hamlets ; here and there a rustic tower 
 Half-lost in belts of hop and breadths of wheat ; 45 
 
 The shimmering glimpses of a stream ; the seas ; 
 A red sail, or a white ; and far beyond. 
 Imagined more than seen, the skirts of France. 
 
 " Look there, a garden ! " said my college friend. 
 The Tory member's elder son, " and there ! 50 
 
 41. 1850-51. vallies. 
 
268 THE PRINCESS 
 
 God bless the narrow sea which keeps her oflj 
 
 And keeps our Britain, whole within herself, 
 
 A nation yet, the rulers and the ruled — 
 
 Some sense of duty, something of a faith, 
 
 Some reverence for the laws ourselves have made, 55 
 
 Some patient force to change them when we will. 
 
 Some civic manhood firm against the crowd — 
 
 But yonder, whiff! there comes a sudden heat. 
 
 The gravest citizen seems to lose his head. 
 
 The king is scared, the soldier will not fight, 60 
 
 The little boys begin to shoot and stab, 
 
 A kingdom topples over with a shriek 
 
 Like an old woman, and down rolls the world 
 
 In mock heroics stranger than our own ; 
 
 Revolts, republics, revolutions, most 65 
 
 No graver than a schoolboys' barring out ; 
 
 Too comic for the solemn things they are. 
 
 Too solemn for the comic touches in them. 
 
 Like our wild Princess with as wise a dream , 
 
 As some of theirs — God bless the narrow seas ! 70 
 
 I wish they were a whole Atlantic broad." 
 
 " Have patience," I replied, " ourselves are full 
 
 Of social wrong ; and maybe wildest dreams 
 
 Are but the needful preludes of the truth : 
 
 For me, the genial day, the happy crowd, 75 
 
 The sport half-science, fill me with a faith. 
 
 This fine old world of ours is but a child 
 
 Yet in the go-cart. Patience ! Give it time 
 
 To learn its limbs : there is a hand that guides." 
 
 In such discourse we gain'd the garden rails, 80 
 
 51. Cf. Ode on. the Death of Wellington : — 
 
 A people's voice ! we are a people yet. 
 The' all men else their nobler dreams forget, 
 Confused by brainless mobs and lawless Powers ; 
 Thank Him who isled us here, and roughly set 
 His Briton in blown seas and storming showers. 
 58 seqq. A reference to the Revolution in Paris, February 1848, which 
 dethroned Louis Philippe and set up a Republic ; a description as truthful as 
 it is sarcastic. 
 65. 1850-51. all. 
 70. C; Merchant of Venice, 11. viii.: — 
 
 Marry, well remember'd. 
 
 The narrow seas that part 
 The French and English. 
 72. In and after 1875 " Have patience " began a new paragraph. 
 
A MEDLEY 269 
 
 And there we saw Sif Walter where he stood, . 
 
 Before a tower of crimson holly-oaks. 
 
 Among six boys, head under head, and look'd 
 
 No little lily-handed Baronet he, 
 
 A great broad-shoulder'd genial Englishman, 85 
 
 A lord of fat prize-oxen and of sheep, 
 
 A raiser of huge melons and of pine, 
 
 A patron of some thirty charities, 
 
 A pamphleteer on guano and on grain, 
 
 A quarter-sessions chau-man, abler none ; 90 
 
 Fair-hair'd and redder than a windy morn ; 
 
 Now shaking hands with liim, now him, of those 
 
 That stood the nearest — now address'd to speech — 
 
 Who spoke few words and pithy, such as closed 
 
 Welcome, farewell, and welcome for the year 95 
 
 To follow : a shout rose again, and made 
 
 The long line of the approacMng rookery swerve 
 
 From the elms, and shook the branches of the deer 
 
 From slope to slope thro' distant ferns, and rang 
 
 Beyond the bourn of sunset ; O, a shout 100 
 
 More joyful than the city-roar that hails 
 
 Premier or king! Why should not these great 
 
 Sirs 
 Give up their parks some dozen times a year 
 To let the people breathe ? So thrice they cried, 
 I likewise, and in groups they stream'd away. 105 
 
 But we went back to the Abbey, and sat on. 
 So much the gathering darkness charm'd : we sat 
 But spoke not, rapt in nameless reverie. 
 Perchance upon the future man : the walls 
 Blacken'd about us, bats wheel'd, and owls whoop'd, 110 
 And gradually the powers of the night. 
 That range above the region of the wind. 
 Deepening the courts of twilight broke them up 
 
 96. 1847-48. arose. 
 
 102-4. 1847-48. Why don't these acred Sirs 
 
 Throw up their parks some dozen times a year 
 And let the people breathe? 
 108. 1847-48. Saying little. 
 113 seqg. Cf. Mariana in the South : — 
 
 And deepening thro' the silent spheres 
 Heaven over Heaven rose the night. 
 
270 THE PRINCESS 
 
 Thro' all the silent spaces of the worlds, 
 
 Beyond aU thought into the Heaven of Heavens. 115 
 
 Last little LUia, rising quietly. 
 Disrobed the glimmering statue of Sir Ralph 
 From those rich sUks, and home well-pleased we went. 
 
 ii6. 1847-48. without sound. 
 
MAUD 
 
 2T1 
 
INTRODUCTION 
 
 Tenkyson never reprinted the beautiful poem of which 
 Maud is the expansion, but a transcript of it, which I here 
 give, is a necessary preliminary to a critical study of the 
 longer poem. It appeared under the title of " Stanzas by 
 Alfred Tennyson, Esq.," and it runs thus : — 
 
 Oh ! that; 'twere possible,! 
 After! long grief and pain, 
 To find the arms of my true-love 
 Round me once again,! 
 
 When I was wont to meet her 
 In the silent woody places 
 Of the land that gave me birth, 
 We stood tranced in long embraces, 
 Mixt with kisses sweeter, sweeter. 
 Than any^thing on earth, 
 
 A shadow flits before me — 
 
 Not thou, but like to thee. 
 
 Ah God ! that it were possible 
 
 For one short hour to see 
 
 The souls we loved, that they might tell us 
 
 What and where they be. 
 
 It leads me forth at Evening,; 
 
 It lightly winds and steals 
 
 In a cold white robe before me, 
 
 When all my spirit reels 
 
 At the shouts, the leagues of lights, 
 
 And the roaring of the wheels. 
 
274 INTRODUCTION 
 
 Half the night I waste in sighs, 
 In a wakeful dose I sorrow 
 For the hand, the lips, the eyes — 
 For the meeting of to-morrow, 
 The delight of happy laughter. 
 The delight of low replies. 
 
 Do I hear the pleasant ditty. 
 That I heard her chant of old ? 
 But I wake — my dream is fled. 
 Without knowledge, without pity — 
 In the shuddering dawn behold, 
 By the curtains of my bed. 
 That abiding phantom cold. 
 
 Then I rise : the eave-drops fall 
 And the yellow-vapours choke. 
 The great city sounding wide ; 
 The day comes — a dull red ball, 
 Wrapt in drifts of lurid smoke. 
 On the misty river-tide. 
 
 Thro' the hubbub of the market 
 
 I steal, a wasted frame ; 
 
 It crosseth here, it crosseth there — 
 
 Thro' all that crowd, confused and loud, 
 
 The shadow still the same ; 
 
 And on my heavy eyelids 
 
 My anguish hangs like shame. 
 
 Alas for her that met me. 
 That heard me softly call — 
 Came glimmering thro' the laurels 
 At the quiet even-fall, 
 In the garden by the turrets 
 Of the old Manorial Hall. 
 
 Then the broad light glares and beats. 
 And the sunk eye flits and fleets, 
 And will not let me be. 
 I loathe the squares and streets, 
 And the faces that one meets. 
 Hearts with no love for me ; 
 
INTRODUCTION 275 
 
 Always I long to creep 
 To some stUl cavern deep, 
 And to weep, and weep and weep 
 My whole soul out to Thee. 
 
 Get thee hence, nor come again, 
 Pass and cease to move about — 
 Pass, thou death-like type of pain. 
 Mix not memory with doubt. 
 'Tis the blot upon the brain 
 That will show itself without. 
 
 Would the happy Spirit descend 
 In the chamber or the street 
 As she looks among the blest ; 
 Should I fear to greet my friend. 
 Or to ask her, " Take me, sweet, 
 To the region of thy rest." 
 
 But she tarries in her place, 
 And I paint the beauteous face 
 Of the maiden, that I lost. 
 In my inner eyes again. 
 Lest my heart be overborne 
 By the thing I hold in scorn. 
 By a dull mechanic ghost 
 And a juggle of the brain. 
 
 I can shadow forth my bride 
 As I knew her fair and kind. 
 As I woo'd her for my wife ; 
 She is lovely by my side 
 In the silence of my life — 
 'Tis a phantom of the mind. 
 
 'Tis a phantom fair and good ; 
 I can call it to my side, 
 So to guard my life from ill, 
 Tho' its ghastly sister glide 
 And be moved around me still 
 With the moving of the blood. 
 That is moved not of the will. 
 
are introduction 
 
 Let it pass, the dreary brow, 
 Let the dismal fece go by. 
 Will it lead me to the grave ? 
 Then I lose it: it will fly: 
 Can it overlast the nerves? 
 Can it overlive the eye? 
 
 But the other, lilip 3. star. 
 Thro' the channel windeth far 
 Till it fade and fail and die. 
 To its Archetype that waits. 
 Clad in light by golden gates — 
 Clad in light the Spirit waits 
 To embrace me in the sky. 
 
 These verses, entitled only Stanzas, were contributed 
 by Tennyson in 1837 to a collection of miscellaneous 
 unpublished poems edited in that year by Lord North- 
 ampton.^ Some years afterwards, Sir John Simeon, who 
 greatly admired the poem, observed to Tennyson that 
 to make it ,more fully intelligible a preceding one was 
 necessary. Tennyson took the suggestion, and in the 
 autumn and winter of 1854 composed a poem which he 
 at first entitled " Maud or the Madness." It was written 
 at Farringford, was finished on the 10th of January 1855, 
 copied out for the press at the end of April, but it was 
 not till the 7th of July that the last touches were put 
 to it. It was published together with The Brook, The 
 Letters, the Ode on the Death of the Duke of Wellington, 
 The Daisy, To the Rev. F. D. Maurice, WUl, The Charge 
 of the Light Brigade. 
 
 If we compare this poem with the Stanzas, and 
 most of them are incorporated in section xxvi., we 
 shall see that it is, with certain political interpolations, 
 
 1 TAe Tribute: A Collection of Miscellaneous Unpublished Poems. 
 By various Authors. Edited by Lord Northampton. London: John 
 Murray. MDCCCXXXVii. 
 
INTRODUCTION 277 
 
 little more than an interpretation and expansion of 
 what in the Stmizas finds only lyrical expression; 
 in other words, it is the translation of a lyrical into 
 a dramatic monologiie, or mnS~aii"at_temptTto blend 
 both. ~S53 "tKe" process'"was " simpIeT Tennyson had 
 alitady sketched in Locksley Hall a young man with a 
 tragical history, "a trampled orphan," without fortune, 
 without sanity, whom disappointed love had soured into a 
 cynical railer against his kind and against society^ but 
 who had had at last the good sense to see that the true 
 remedy for his state lay in "mixing with action." In 
 Maud this hero reappears, but with a different history. 
 The son of a once wealthy man, who, having been tempted 
 to embark his money on " a vast speculation," had lost it, 
 had gone mad and met with a violent death, probably by 
 his own hand, he has settled in the neighbourhood of the 
 estates and manorial hall which had once belonged to his 
 family. Here he broods over his misfortunes, and becomes, 
 according to his measure, a sort of Timon-Hamlet, his 
 unhappiness and mortification being increased by the fact 
 that the man who had been instrumental in ruining his 
 father is now in possession of the mansion and property 
 which had belonged to him. Though their near neighbour, 
 and though formerly he had been intimately acquainted 
 with the family at the Hall, having indeed been the play- 
 fellow of the daughter Maud when they were children, he 
 declines to be on speaking terms with any one of them. 
 The father is " a gray old wolf," the brother " an oil'd and 
 cur'l'd Assyrian Bull, smelling of musk and of insolence." 
 The tirades against wealth, mercenary marriage^, and 
 the likej iti which his prototype in Locksley Hall indulged 
 more briefly, he repeats and expands, his misanthrfapy 
 indeed extending much further. At last he finds bis 
 Amy in Maiid, the daughter and sister of the subjects of 
 
278 INTRODUCTION 
 
 his invectives. Gradually he yields to the fescination 
 which she exercises over him, and what for a time 
 irradiated the life of his prototype irradiates his. Sud- 
 denly and tragically comes the catastrophe, not as in 
 Locksley Hall, but in consequence of his killing Maud's 
 brother in a duel and his being therefore obliged to fly 
 the country. All this in some way involves Maud's death, 
 and Maud's death the insanity of the hero. At this point is 
 interwoven, but surely somewhat awkwardly, the romance 
 on which the Stanzas turn. There the hero, while yearning 
 for the spirit presence of his dead Love, is haunted by; a 
 I mere "mechanic ghost" of her, which is, as he well knows, 
 ; a figment of his own morbid fancY,]" a blot upon the brain," 
 " a death-like type of pain,": while the ghost which he 
 would fain see — the real Spirit of his Beloved, which is in 
 heaven, " clad in light " " to embrace him in the sky " — ^he 
 can only see in his mmd. In Mavd the first of these- 
 phantoms appears as " the ghastly Wraith " which glided 
 out of the wood when Maud's brother fell, and is the 
 shadow which is described as haunting him in section xxiii. ; 
 which is with him in his madness, and which finally leaves 
 him when he is on the deck of the ship carrying him to 
 the Crimean War ; the second is the one which 
 
 L 
 
 seem'd to divide in a dream from a band of the blest, 
 And spoke of a hope for the world in the coming wars. 
 
 (xxviii. I.) 
 
 The hero in Locksley Hall having made up his mind that 
 
 " action " and sympathy were the remedy for his maladies, 
 
 simply " goes," we are not told whither ; the hero of Mavd 
 
 coming to the same conclusion, embarks for the Crimean 
 
 War. 
 
 f "By representing the Crimean War as having roused his 
 
INTRODUCTION 279 
 
 hero from his egotism and despair, as well as by the 
 commentaries on that war which he puts in his mouth, 
 Tennyson made the poem bear very immediately on con- 
 temporary politics. It was composed and appeared when 
 the excitement about the Crimean War was at its height, 
 when the " peace-party," represented by John Bright and 
 others, was clamouring in opposition to the war, and the 
 Government and the " war-party " were on their defence. 
 Tennyson's own sympathies, as his other writings show, 
 wejeJ like those of his friends Henry and Franklin 
 Lusliington,^Senthusiastically on the side of the war-party, 
 and it was not perhaps very skilful advocacy to make so 
 crazy a person as the hero of this poem the mouthpiece, in 
 all seriousness, of the opinions and sentiments of that 
 party. Thus the poem was, in some respects, the mani- 
 festo pf a political faction, and into the very unfavourable 
 contemporary critiques of the work political prejudice 
 undoubtedly entered. It has passed now into a serener! 
 region. 
 
 As Tennyson always maintained that Maud was one of 
 his masterpieces, and as it appears to have been his 
 favourite among his poems, we may well pause before 
 accepting the verdict which some even of his most 
 enthusiastic admirers have passed on it. The substance 
 of his own account of the poem is this : " ' This poem is 
 a little Hamlet,^ the history of a morbid poetic soul, under 
 the blighting influence of a recklessly speculative age. He 
 is the heir of madness, an egotist with the makings of a 
 cynic, raised to sanity by a pure and holy love which 
 elevates his whole nature, passing from the height of 
 triuinph to the lowest depth of misery, driven into mad- 
 ness by the loss of her whom he has loved, and, when 
 
 1 See their spirited verses on the war, reprinted in 1900 under the title 
 of Wagers of Battle. 
 
280 INTRODUCTION 
 
 he has at length passed through, the fiery furnace, and 
 has recovered his reason, giving himself up to work, for 
 the good of mankind through the unselfishness born of 
 his great passion. . . . The peculiarity of this poem is 
 that diiferent phases of passion in one person take the 
 place of different characters." ^ 
 
 The chief infirmities of the poem from a dramatic point 
 of view are probably these. The hero is too esseptiaUj 
 commonplace to create the interest which the protagonist 
 in an elaborate work of art in poetry should create. Sfi 
 is a young man who has nothing but his misfortunes to 
 distinguish him from other young men of the average, 
 order; he has neither wit nor humoin:, he is neither 
 original nor brilliant. His serious reflections and senti- 
 ments never rise above platitudes, variously coloin-ed by a 
 temperament vulgarly, morbid or trivially sane. With a 
 strong dash of the mere snob, he is without dignity , or 
 even self-respect.;" He is what the Greeks .called, paD^o?, 
 and therefore a most improper person for the hero of a 
 serious poem. (The poem, too, is an attempt to blend 
 wholly incongruous elements. The monologues are at 
 once drama and lyricr — at times purely dramatic, at times 
 purely lyric. The consequence is that what becomes 
 absurd in relation to drama becomes exquisitely beautiful 
 as lyric, and what is absurd as lyric becomes appropriate 
 as drama. What, for example, could be feebler, or, to 
 speak plainly, more silly, than " Go not, happy day," when 
 regarded intrinsically as lyric, but what , cquM , be more 
 appropriate when regarded in relation to thei drama? It 
 is so throughout the poem. Sections composed in the 
 baldest, flattest, and most prosaically colloquial style jostle 
 with sections composed in a tone and style so exquisitdy 
 poetical and finished that Tennyson has scarcely equalled 
 • Zife, vol. i. p. 396. 
 
INTRODUCTION 281 
 
 them elsewhere. Tennyson spoke of the poem as ani 
 experiment, but surely it was an experiment which (^nj 
 hardly be regarded as a success. 
 
 But when we regard the poem not as a dramatic study 
 and in relation to dramatic art, but in its relation to pm-e 
 lyric, it is not difficult to account for the fascination which . , 
 it had for its author, and which it must have for all to ''" 
 whom lyric and music appeal. ^As a masterpiece of 
 rhythm it must rank among the wonders of art. Never 
 perhaps have emotion and passioh in their various phases 
 found in words a medium of expression so subtly 
 responsive, so wholly adequate. The stormy wail of the 
 opening section ; the reposeful pause when the youth first 
 meets Maud and her tranquil beauty begins to win on him; 
 the contrast between re-orient Nature's joy and the fierce, 
 troubled, and gloomy unrest of the again despairing youth ; 
 the trumpet note of Maud's song; the jarring discord struck 
 by the meeting with the brother; the rapid alternations 
 of. hope, of depression, of despair, of joy, of longing, till 
 joy culminates in the " Gome into the garden, Maud " ; 
 the wail of agony and horror in "The fault was mine" ; 
 the moan of despair and hopeless misery in the 
 '* Courage, poor heart of stone " ; the passion of the 
 past in the exquisitely pathetic verses incorporated 
 from the Stanzas ; the dislocated jabberings of the insane 
 man; the bounding lilt of renewed hope and life in the 
 closing section — all these are marvellous triumphs ' of 
 rhythmic expression. 
 
 Another great charm of the poem is the exquisite 
 treatment of Nature, which, as in In MemoriafHi is 
 penetrated subjectively with emotion, and becomes in 
 symbol a sort of chorus — to employ the term in the Greek 
 dramatic sense-^to the action. This note is struck in the 
 first section, where " the flying gbld of the ruin'd wdod- 
 
282 INTRODUCTION 
 
 lands " is associated with the wreck of the father's fortunes. 
 So just befote the love of Maud is to bring Spring into 
 the hero's stormy hfe, it is described how, " walking in a 
 wintry wind," he found 
 
 The shining daffodil dead, and Orion low in his grave. 
 
 And when, again, at the end of the poem, another Spring 
 is to come to him, not through the love of Maud, but 
 through his resolve to mix with action and be " one with 
 his kind," the same symbolism indicates it. 
 
 My mood is changed, for it fell at a time of year 
 When the face of night is fair on the dewy downs, 
 And the shining daffodil dies, and the Charioteer 
 And starry Gemini hang like glorious crowns 
 Over Orion's grave low down in the west. 
 
 (xxviii. i.) 
 
 So the approaching joy is heralded by "the million 
 emeralds" which "break from the ruby-budded lime"; 
 the meeting with the brother, by mom arising " stormy 
 and pale"; the interview in the rose-garden, by every 
 flower in it aglow with the transforming ecstasy ; while the 
 heavens " falling in a gentle rain, when they should buKt 
 and drown with deluging storms," is as pathetically 
 significant as " Mars glowing like a ruddy shield on the 
 Lion's breast " is significant in another sense. 
 
 Maud is the least classical, both in diction and colour^ of 
 all Tennyson's longer poemsJ reminding us, and sometimes 
 very disagreeably, of what was known in the second de- 
 cade of the last centiu-y as the " Cockney School," and still 
 more frequently of the " Spasmodic School," the influence 
 of such works ^ Bailey's, FeStus and Alexander Smith's 
 lAfe Dramufhemg very perceptible throughout the poem. 
 fWe see%,jin "the dozing pimpernel," the "perky pines,?' 
 "the dry-tongued laurels' pattering talk," in the "beating 
 
INTRODUCTION 283 
 
 stars," in "the enchanted moan of the long waves," in< 
 "the Mood-red blossom of war with a heart of fire," an^t' 
 the like. And, indeed, the hero bears very little rese^i- 
 blance to Hamlet, with whom Tennyson compared laflmj 
 and a very close resemblance to a hero whom Teqaiyson 
 would perhaps have been ashamed to own as an aroiietype. 
 Smith's Walter, j That such a poem should have ^Cceeded 
 In Memoriam is at least a proof of its author's /versatility. 
 Maud was not received with much favour^by Tenny- 
 son's contemporaries. Shortly after its appeaipice it wa^ 
 parodied in a ludicrous travesty by a writer calling 
 himself " A Poet of the People," in a poem entitled Anti' 
 Maud. Another poetical coimterblast to it was a poem 
 with the title of Vindicice Pa^isj inserted in a collection 
 called, Modern Manichasism and Jjuhcywr's Utopia, by , one 
 W. T. Thornton. (Blackwood, speaking more in grief than 
 in anger, " rose from its perusal dispirited and sorrowful," 
 feeling that "it was not a light thing nor a trivial 
 annoyance to have it forced upon one's conviction that 
 the man who has unquestionably occupied for years the 
 first place among British poets is losing ground with each 
 successive eflFort."j What the rest of the canaille of the 
 press and of letters thought of it is not worth recording,^ 
 but their verdicts had the effect of bringing into the field 
 the author ofTa work which Tennyson honoured by ex- 
 pressing a wish that it should be permanently associated, 
 as a commentary, with his poem« — ^Sris. was Maud 
 Vindicated, an explanatory essay written by Dr. R. J. 
 Mann, an essay of which Tennyson said at the time, 
 " No one with this essay before him can in future pretend 
 to misunderstand my dramatic poem," And at the end 
 of his life we are told that he desired Dr. Mann's com- 
 mentary on the position of the hero when the poem 
 ^ See Life, vol. i. p. 400. 
 
284 INTRODUCTION 
 
 opens to be inserted among the authentic "notes" on 
 the worLJ George Brimley wrote a heartily appreciative 
 review of it ; but the most precious testimony in its favour 
 was that of the author of lonka in the beautiful verses 
 inscribed After reading Maud. 
 
 Tentiyson appears to have been under the impression 
 that Maud was not popularly appreciated because it was 
 not understood, and he has therefore left an annotated 
 analysis oft it, which will be found in the Zj/fe, vol. i. 
 pp. 402-4&'5. Of that I have availed myself in the notes. 
 
 The text of Maud as it now stands was practically 
 settled in the second edition of 1856. The first edition 
 was published in 1855, an important excision having 
 been made in the proof-sheets, and in the same year in 
 America. In a copy, of the American edition now in the 
 British Museum, Tennyson made a few alterations, some 
 in pencil and some in ink, most of which appeared i*i the 
 second edition. In the second edition what now form 
 stanzas 14, 15, and 16 in section i., lines 34-35 and 
 lines 53-59 and 67-68 of section x., the whole of sections 
 xix. and xxv., and lines 54-59 in the last section, were 
 added. Since then the alterations have been few and 
 unimportant. In 1859 the poem was divided into two 
 parts, and in or about 1872 into three. 
 
MAUD 
 
 [Part I] 
 I 
 
 I HATE the dreadful hollow behind the little wood. 
 Its lips in the field above are dabbled with blood-red heath, 
 The red-ribb'd ledges drip with a silent horror of blood. 
 And Echo there, whatever is ask'd her, answers " Death." 
 
 For there in the ghastly pit long since a body was found, 5 
 His who had given me life — O father! O God! was it 
 
 well?— 
 Mangled, and flatten' d, and crush'd, and dinted into the 
 
 ground : 
 There yet lies the rock that fell with him when he fell. 
 
 3 
 
 Did he fling himself down ? who knows ? for a vast specula- 
 tion had fail'd, 
 
 And ever he mutter'd and madden'd, and ever wann'd with 
 despair, 10 
 
 And out he walk'd when the wind like a broken worldling 
 wail'd. 
 
 And the flying gold of the ruin'd woodlands drove thro' 
 the air. 
 
 I 
 
 Introduces the hero and describes his position. 
 
 3. C/. ^schylus, Agamemnon^ 1280 : (fi^ov ii[Mt uvUmfiv Ki/jtMroffre^yii (all the 
 palace reeks of blood-cGripping horror). 
 
 4. Cf. Paradise Lost, li. 787-89. 
 
 9. 1855. great speculation. 
 
 10. Cf. Hamlet, 11. ii. : " from her working, all his visage wann'd." 
 
 285 
 
286 MAUD 
 
 I remember the time, for the roots of my hair were stirr'd 
 By a shuffled step, by a dead weight trail'd, by a whisper'd 
 
 fright, 
 And my pulses closed their gates with a shock on my heart 
 
 as I heard 15 
 
 The shrill-edged shriek of a mother divide the shuddering 
 
 night. 
 
 5 
 
 Villainy somewhere! whose? One says, we are villains 
 
 all. 
 Not he : his honest fame shoidd at least by me be main- 
 
 tain'd : 
 But that old man, now lord of the broad estate and the 
 
 Hall, 
 Dropt off gorged from a scheme that had left us flaccid and 
 
 drain'd. 20 
 
 Why do they prate of the blessings of Peace ? we have made 
 
 . them a curse, 
 Pickpockets, each hand lusting for all that is not its own ; 
 And lust of! gain!, in the spirit of Cain, is it better or worse 
 Than the heart of the citizen hissing in war on his own 
 
 hearthstone ? 
 
 But these are the days of advance, the works of the men of 
 mind, 25 
 
 When who but a fool would have faith in a tradesman's ware 
 or his word ? 
 
 Is it peace or war ? Civil war, as I think, and that of a 
 kind 
 
 The viler, as underhand, not openly bearing the sword. 
 
 I 
 
 23 seqq. All that follows to the end of stanza 12 may be compared with 
 Teufelsdrockh's soliloquy in Sartor Resartus, book i. chap. ii. , which it follows 
 so closely that it would seem to be something more than an accidental co- 
 incidence. 
 
MAUD 287 
 
 8 
 
 Sooner or later I too may passively take the print 
 
 Of the golden age — why not ? I have neither hope nor 
 
 trust; 30 
 
 May make my heart as a millstone, set my face as a flint. 
 Cheat and be cheated, and die : who knows ? we are ashes 
 
 and dust. , 
 
 9 
 
 Peace sitting under her olive, and slurring the days gone 
 
 by, 
 When the poor are hovell'd and hustled together, each sex, 
 
 like swine, 
 When only the ledger lives, and when only not all men 
 
 lie; 35 
 
 Peace in her vineyard — yes ! — but a company forges the 
 
 wine. 
 
 10 
 
 And the vitriol madness flushes up in the ruffian's head, 
 Till the filthy by-lane rings to the yell of the trampled 
 
 wife, 
 WhUe chalk and alum and plaster are sold to the poor for 
 
 bread, 
 And the spirit of murder works in the very means of life. 40 
 
 11 
 
 And Sleep must lie down arm'd, for the vUlainous centre- 
 bits 
 
 Grind on the wakeful ear in the hush of the moonless 
 nights. 
 
 While another is cheating the sick of a few last gasps, as he 
 sits 
 
 To pestle a poison'd poison behind his crimson lights. 
 
 I 
 
 39. 1865. "And" substituted for "While." 
 
 40. Later editions substitute comma for full stop at " life." 
 
 41. A centre-bit is an instrument used for drilling cylindrical holes, and is a 
 common tool of burglars. Cf. Sikes in Dickens' Oliver Twist, ch. xix.,. " Is 
 there no help wanted?" - . , " None 'cept a centre-bit and a boy," 
 
288 MAUD 
 
 12 
 
 When a Mammonite mother kills her babe for' a burial' 
 
 fee, ' 45 
 
 And Timour-Mammon grins on a pile of children's bones, , , 
 Is it peace or war ? better, war ! loud war by larid and by ' 
 sea, " ■ .. i J . • 
 
 War with a thousand battles, and shaking a hundred thrones. 
 
 13 
 
 For I trust if an enemy's fleet came yonder round by the 
 hill. 
 
 And the rushing battle-bolt sang from the three-decker out 
 of the foam, 50 
 
 That the smoothfaced snubnosed rogue would leap from his 
 I counter and till, 
 
 And strike, if he could, were it but with his cheating yard- 
 wand, home. 
 
 14 
 
 What ! am I raging alone as my father raged in his mood ? , 
 Must / too creep to the hollow and dash myself down and 
 
 die 
 Rather than hold by the law that I made, nevermore to 
 
 brood 55 
 
 On a horror of shatter'd limbs and a wretched swindler's 
 
 lie.? 
 
 15 
 
 Would there be sorrow for me ? there was love in the 
 
 passionate shriek. 
 Love for the silent thing that had made false haste to the 
 
 grave — 
 Wrapt in a cloak, as I saw him, and thought he would rise 
 
 and speak 
 And rave at the lie and the liar, ah God, as he used to 
 rave. 60 
 
 I 
 46. A reference to the alleged brutalities of Timour, or Tamerlane, the 
 great Mongolian conqueror, at the capture of Siwas, where he is said to have 
 had a thousand children crushed under the feet of his horsemen. 
 53 segg. Stanzas 14, 15, 16, added in 1856. 
 
MAUD 289 
 
 16 
 
 I am sick of the Hall and the hillj I am sick of the moor and 
 
 the main. 
 Why should I stay ? can a sweeter chance ever come to me 
 
 here? 
 O, having the nerves of motion as well as the nerves of pain. 
 Were it not wise if I fled from the place and the pit and 
 
 the fear ? 
 
 17 
 
 There are workmen up at the Hall : they are coming back 
 
 from abroad ; 65 
 
 The dark old place will be gilt by the touch of a million- 
 
 naire : 
 I have heard, I know not whence, of the singular beauty of 
 
 Maud; 
 I play'd with the girl when a child ; she promised then to 
 
 be fair. 
 
 18 
 
 Maud with her venturous climbings and tumbles and childish 
 
 escapes, 
 Maud the delight of the village, the ringing joy of the 
 
 Hall, 70 
 
 Maud with her sweet purse-mouth when my father dangled 
 
 the grapes, 
 Maud the beloved of my mother, the moon-faced darling of 
 
 all,— 
 
 19 
 
 What is she now ? My dreams are bad. She may bring 
 
 me a curse. 
 No, there is fatter game on the moor; she will let me 
 
 alone. 
 Thanks, for the fiend best knows whether woman or man 
 
 be the worse. 75 
 
 I will bury myself in my books, and the Devil may pipe 
 
 to his own. 
 
 I 
 
 65. "There are" deleted in 1862. , 
 
 76. 1865. myself in myself. A return to the reading of the original MS.<~ 
 (see Life, i. 118). 
 
 19 
 
290 MAUD 
 
 II 
 
 Long have I sigh'd for a calm : God grant I may. find it at 
 
 last ! 
 It will never be broken by Maud, she has neither savour nor 
 
 salt, 
 But a ccJd and clear-cut face, as I found when her carriage 
 
 past. 
 Perfectly beautiful : let it be granted her : where is the 
 
 fault ? 
 All that I saw (for her eyes were downcast, not to be 
 
 seen) 5 
 
 Faultily faultless, icily regular, splendidly null. 
 Dead perfection, no more ; nothing more, if it had not been 
 For a chance of travel, a paleness, an hour's defect of the 
 
 rose. 
 Or an underlip, you may call it a little too ripe, too full, , 
 Or the least little delicate aquiline ciu've in a sensitive 
 
 nose, 10 
 
 From which I escaped heart-free, with the least little touch 
 
 of spleen. 
 
 Ill 
 
 Cold and clear-cut face, why come you so cruelly meek, 
 Breaking a slumber in which all spleenfiil folly was drown'd, 
 Pale with the golden beam of an eyelash dead on the cheek. 
 Passionless, pale, cold face, star-sweet on a gloom profound ; 
 Womanlike, taking revenge too deep for a transient wrong 5 
 Done but in thought to your beauty, and ever as pale as 
 
 before 
 Growing and fading and growing upon me without a sound. 
 Luminous, gemlike, ghostlike, deathlike, half the night 
 
 long 
 
 II 
 
 First sight of Maud. 
 
 6. Cf. the younger Pliny's remark about a certain orator : " His only fault is 
 that he has no fault," Nihil feccat nisi quod nihil peccai (EpisfiX. rxvi.). 
 Cf. Idylls, Lancelot and Blaine : — 
 
 He is all fault who hath no fault at all. 
 
 Ill 
 Visions of the night. 
 
MAUD 291 
 
 Growing and fading and growing, till I could bear it no 
 
 more, 
 But arose, and all by myself in my own dark garden 
 
 ground^ 10 
 
 Listening now to the tide in its broad-flung shipwrecking 
 
 roar. 
 Now to the scream of a madden'd beach dragg'd down by 
 
 the wave, 
 Walk'd in a wintry wind by a ghastly glimmer, and found 
 The shining daffodil dead, and Orion low in his grave. 
 
 IV 
 
 A million emeralds break from the ruby-budded lime 
 
 In the little grove where I sit — ah, wherefore cannot I be 
 
 Like things of the season gay, like the bountiful season 
 
 bland. 
 When the far-off sail is blown by the breeze of a softer 
 
 clime. 
 Half-lost in the liquid azure bloom of a crescent of sea. 
 The silent sapphire-spangled marriage ring of the land f 
 
 2 
 
 Below me, there, is the village, and looks how quiet and 
 
 small ! 
 And yet bubbles o'er like a city, with gossip, scandal, and 
 
 spite ; 
 
 III 
 
 II, 12. C/. Mann's Maud Vindicated, ^p. i6, 17: " The roar of the breakers 
 on the shore of Chale Bay, in the Isle of Wight, is occasionally heard nine miles 
 away, and all around the rocky parts of the island the coast is edged with deep 
 beds of coarse shingle, which actually screams as the backwater following every 
 broken wave drags it do>yn again towards the deep." 
 
 14. Cf. xxviii. 7, 8. On its significance, see Introduction. The first proofs 
 read " The sweet Narcissus." 
 
 IV 
 Mood of bitterness after fancied disdain. 
 
292 MAUD 
 
 And Jack on his ale-house bench has as many Ues as a Czar ; 
 And here on the landward side, by a red rock, glimmers 
 
 the Hall; 10 
 
 And up in the high Hall-garden I see her pass like a 
 
 light; 
 But sorrow seize me if ever that light be my leading star ! 
 
 When have I bow'd to her father, the wrinkled head of the 
 
 race? 
 I met her to-day with her brother, but not to her brother 
 
 I bow'd ; 
 I bow'd to his lady-sister as she rode by on the moor ; 15 
 But the fire of a foolish pride flash'd over her beautiful 
 
 face. 
 O child, you wrong your beauty, believe it, in being so 
 
 proud ; 
 Your father has wealth well-gotten, and I am nameless and 
 
 poor. 
 
 I keep but a man and a maid, ever ready to slander and 
 
 steal ; 
 I know it, and smile a hard-set smile, like a stoic, or like 20 
 A wiser epicurean, and let the world have its way : 
 For nature is one with rapine, a harm no preacher can 
 
 heal ; 
 The Mayfly is torn by the swallow, the sparrow spear'd by 
 
 the shrike. 
 And the whole little wood where I sit is a world of plunder 
 
 and prey. 
 
 IV 
 
 g. Cf. xxviii. 4 : "God's just wrath shall be wreak'd on a giant liar." The 
 reference is to the double dealing of the Emperor Nicholas, his assurance that 
 his interference with Turkey was solely in the interests of the Christian 
 communities in Turkey, whereas his real object was the destruction of the 
 Ottoman Empire, the main cause of the Crimean War. See London Gazette 
 for March 28, 1854. 
 
 14. 1855. abroad. 
 
 22. Cf, In Memoriam, Ivi. 13, 16, and the note. 
 
MAUD 293 
 
 We are puppets, Man in his pride, and Beauty fair in her 
 iJower ; 25 
 
 Do we move ourselves, or are moved by an unseen hand at a 
 game 
 
 That pushes us ofF from the board, and others ever succeed ? 
 
 Ah yet, we cannot be kind to each other here for an hour ; 
 
 We whisper, and hint, and chuckle, and grin at a brother's 
 shame ; 
 
 However we brave it out, we men are a little breed. 30 
 
 6 
 
 A monstrous eft was of old the Lord and Master of 
 
 Earth, 
 For him did his high sun flame, and his river billowing ran, 
 And he felt himself in his force to be Nature's crowning 
 
 race. 
 As nine months go to the shaping an infant ripe for his 
 
 birth. 
 So many a million of ages have gone to the making of man : 35 
 He now is first, but is he the last } is he not too base ? 
 
 The man of science himself is fonder of glory, and vain. 
 An eye well-practised in nature, a spirit bounded and poor i 
 The passionate heart of the poet is whirl'd into folly and"^ 
 
 vice. 
 I would not marvel at either, but keep a temperate brain ; 40 
 For not to desire or admire, if a man could learn it, were 
 
 more 
 Than to walk all day like the sultan of old in a garden of 
 spice. 
 
 IV 
 26, 27. Cf. Fitzgerald's version of the Ruhaiyat : — 
 Impotent pieces of the game he plays 
 Upon this checquer board of nights and days ; 
 Hither and thither moves and checks and slays. 
 And one by one back in the closet lays. 
 31. Eft is placed probably for the Ichthyosaurus, and that monster for those 
 which preceded the formation of man. 
 
 41. The tenet both of the Epicureans and Stoics. See the commentators 
 on Horace, Epist. I. vi. i, 2. 
 
294 MAUD 
 
 Far the drift of the Maker is dark, an Isis hjd by the yeil^ > i 
 Who knows the ways of the world, how God will bring them 
 
 about ? , 
 
 Our planet is one, the suns are many, the world is ■v^ide. 45 
 Shall 1 weep if a Poland fall ? shall I shriek if a Hungary 
 
 fail? • ■ ' 
 
 Or an infant civilisation be ruled with rod or with kwuti', , / 
 I have not made the world, and He that made it will guide. 
 
 9 
 
 Be mine a philosopher's life in the quiet woodland ways, 
 
 Where if I cannot be gay let a passionless peace be Jny 
 lot, 50 
 
 Far-off from the clamour of liars belied in the hubbub, of ' 
 lies ; 
 
 From the long-neck'd geese of the w:orld that are ever 
 hissing dispraise 
 
 Because then* natures are little, and, whether he heed it or 
 not. 
 
 Where each man walks with his head in a cloud of poison- 
 ous flies. 
 
 10 , 
 
 And most of all would I flee from the cruel madness of' 
 
 love, 55 
 
 The honey of poison-flowers and all the measureless ill. 
 Ah Maud, you milk-white fawn, you are all unmeet for a 
 
 vrife. . 
 Your mother is mute in her grave as her image in marble 
 
 above ; 
 Your father is ever in London, you wander about at your 
 
 will; 
 You have but fed on the roses, and lain in the lilies of life. 60 
 
 IV 
 
 43-45- (y. Pope, Essay on Man, Epist. i. 21-28. 
 
 46, 47. , References respectively to the Russian and Austrian occupation of 
 Cracow, the final dismemberment of Poland in March 1846. and to the defeat 
 of the Hungarians under Gbrgei in 1849. , 
 
 48. After 1874, " I " italicised. 
 
MAUD 295 
 
 A voice by the cedar tree. 
 
 In the meadow under the Hall ! 
 
 She is singing an air that is known to me, 
 
 A passionate ballad gallant and gay, 
 
 A martial song like a tnimpet's call ! 5 
 
 Singing alone in the morning of life. 
 
 In the happy morning of life and of May, 
 
 Singing of men that in battle array. 
 
 Ready in heart and ready in hand, 
 
 March with banner and bugle and fife 10 
 
 To the death, for their native land. 
 
 2 
 
 Maud with her exquisite face, 
 And wild voice pealing up to the sunny sky, 
 And feet like sunny gems on an English green, 
 Maud in the light of her youth and her grace, 1 5 
 
 ' ' Singing of Death, and of Honour that cannot die. 
 Till I well could weiep for a time so sordid and mean, 
 And myself so languid and base. 
 
 3 
 Silence, beautiful voice ! 
 
 Be still, for you only trouble the mind 20 
 
 With a joy in which I cannot rejoict, 
 A glory I shall not find. 
 StiU ! I will hear you no more. 
 For your sweetness hardly leaves me a choice 
 But to move to the meadow and fall before 25 
 
 Her feet on the meadow grass, and adore. 
 Not her, who is neither courtly nor kind. 
 Not her, not her, but a voice. 
 
 V 
 /Maud's song : he fights against his growing passion. 
 
 4, s. Cf. Sidney : " I never heard the old song of Percy and Douglas that I 
 found not my heart moved more than with a trumpet " (Afol. for Poetrie, 
 ed. Arber, p. 46). ' 
 
296 MAUD 
 
 VI 
 
 1 
 
 Morning arises stormy and pale. 
 
 No sun, but a wannish glare 
 
 In fold upon fold of hueless cloud. 
 
 And the budded peaks of the wood are bow'd 
 
 Caught and culF'd by the gale : 5 
 
 I had fancied it would be fair. 
 
 2 
 Whom but Maud should I meet 
 Last night, when the sunset bum'd 
 On the blossom' d gable-ends 
 
 At the head of the village street, 10 
 
 Whom but Maud should I meet ? 
 And she touch'd my hand with a smile so sweet 
 She made me divine amends 
 For a courtesy not retum'd. 
 
 3 
 And thus a delicate spark 15 
 
 Of glowing and growing light 
 Thro' the livelong hours of the dark 
 Kept itself warm in the heart of my dreams, 
 Ready to burst in a colour'd flame ; 
 Till at last when the morning came 20 
 
 In a cloud, it faded, and seems 
 But an ashen-gray delight. 
 
 4 
 What if with her sunny hair. 
 And smile as sunny as cold. 
 
 She meant to weave me a snare 25 
 
 Of some coquettish deceit, 
 Cleopatra-Uke as of old 
 To entangle me when we met. 
 To have her lion roll in a silken net 
 And fawn at a victor's feet. 30 
 
 VI 
 First interview with Maud : she casts her spell over him. 
 
MAUD 297 
 
 Ah, what shall I be at fifty 
 
 Should Nature keep me alive. 
 
 If I find the world so bitter 
 
 When I am but twenty-five ? 
 
 Yet, if she were not a cheat, 35 
 
 If Maud were all that she seem'd. 
 
 And her smile were all that I dream' d. 
 
 Then the world were not so bitter 
 
 But a smUe could make it sweet. 
 
 What if tho' her eye seem'd full 40 
 
 Of a kind intent to me, 
 
 What if that dandy-despot, he. 
 
 That jeweU'd mass of millinerj-. 
 
 That oil'd and curl'd Assyrian Bull 
 
 Smelling of musk and of insolence, 45 
 
 Her brother, from whom I keep aloof, 
 
 Who wants the finer politic sense 
 
 To mask, tho' but in his own behoof, 
 
 With a glassy smile his brutal scorn — 
 
 What if he had told her yestermom 50 
 
 How prettily for his own sweet sake 
 
 A face of tenderness might be feign' d. 
 
 And a moist mirage in desert eyes, 
 
 That so, when the rotten hustings shake 
 
 In another month to his brazen lies, 55 
 
 A wretched vote may be gain'd. 
 
 For a raven ever croaks, at my side. 
 
 Keep watch and ward, keep watch and ward. 
 
 Or thou wilt prove their tool. 
 
 Yea, too, myself from myself I guard, 60 
 
 For often a man's own angiy pride 
 
 Is cap and bells for a fool. 
 
298 MAUD 
 
 Perhaps the smile and tender tone 
 
 Came out of her pitying womanhoodj 
 
 For am I not, am I not, here alone 65 
 
 So many a summer since she died,: 
 
 My mother, who was so gentle and good ? 
 
 Living alone in an empty house. 
 
 Here half-hid in the gleaming wood. 
 
 Where I hear the dead at midday moan, 70 
 
 And the shrieking rush of the wainscot mouse, 
 
 And my own sad name in comers cried. 
 
 When the shiver of dancing leaves is thrown 
 
 About its echoing chambers wide, 
 
 TiH a morbid hate and horror have grown 75 
 
 Of a world in which I have hardly mixt. 
 
 And a morbid eating lichen fixt 
 
 On a heart half-tum'd to stone. 
 
 9 
 
 heart of stone, are you flesh, and caught 
 
 By that you swore to withstand ? 80 
 
 For what was it else within me wrought 
 But, I fear, the new strong wine of love. 
 That made my tongue so stammer and trip 
 When I saw the treasured splendour, her hand. 
 Come sliding out of her sacred glove, 85 
 
 And the sunlight broke from her lip ? 
 
 10 
 
 1 have play'd with her when a child ; 
 She remembers it now we meet. 
 
 Ah well, well, well, I may be beguiled 
 
 By some coquettish deceit. 90 
 
 Yet, if she were not a cheat. 
 
 If Maud were all that she seem'd. 
 
 And her smile had all that I dream'd. 
 
 Then the world were not so bitter 
 
 But a smile could make it sweet. 95 
 
 VI 
 71. Cf. Mariana in the Moated Grange \ — . .'' 
 
 The mouse 
 Behind the mouldering wainscot shriek'd. 
 89. In or before 1875. may. 
 
MAUD 299 
 
 VII 
 
 1 
 
 Did I hear it half in a doze 
 
 Long since, I know not where ? 
 
 Did I dream it an hour ago, 
 When asleep in this arm-chair ? 
 
 Men were drinking together. 
 Drinking and talking of me ; 
 
 " Well, if it prove a girl, the boy 
 WiU have plenty: so let it be." 
 
 Is it an echo of something 
 
 Read with a boy's delight, 10 
 
 Viziers nodding together 
 
 In some Arabian night ? 
 
 Strange, that I hear two men. 
 
 Somewhere,, talking of me ; 
 " Well, if it prove a girl, my boy 15 
 
 Will have plenty : so let it be." 
 
 VIII 
 
 She came to the village chm-ch. 
 And sat by a pillar alone ; 
 An angel watching an m-n 
 Wept over her, carved in stone ; 
 
 VII 
 He remembers a conversation between Maud's father and his own just before 
 Maud was born. 
 
 VIII 
 In the village church. 
 
300 MAUD 
 
 And once, but once, she lifted her eyes, 5 
 
 And suddenly, sweetly, strangely blush'd 
 
 To find they were met by my own ; 
 
 And suddenly, sweetly, my heart beat stronger 
 
 And thicker, until I heard no longer 
 
 The snowy-banded, dilettante, 10 
 
 Delicate-handed priest intone ; 
 
 And thought, is it pride, and mused and sigh'd 
 
 " No surely, now it cannot be pride." 
 
 IX 
 
 I was walking a mile, 
 
 More than a mile from the shore. 
 
 The sun look'd out with a smile 
 
 Betwixt the cloud and the moor, 
 
 And riding at set of day 5 
 
 Over the dark moor land. 
 
 Rapidly riding far away. 
 
 She waved to me with her hand. 
 
 There were two at her side. 
 
 Something flash'd in the sun, 10 
 
 Down by the hill I saw them ride. 
 
 In a moment they were gone : 
 
 Like a sudden spark 
 
 Struck vainly in the night. 
 
 And back returns the dark 15 
 
 With no more hope of light. 
 
 X 
 
 Sick, am I sick of a jealous dread ? 
 
 Was not one of the two at her side 
 
 This new-made lord, whose splendour plucks 
 
 The slavish hat from the villager's head ? 
 
 IX 
 Sees Maud's suitor first. 
 15. 1865. Then. 
 
 X 
 Maud's suitor described. 
 
 3. Tennyson's MS. altered "new-made" into "pale young," but this 
 alteration never appeared in printed text. 
 
MAUD 301 
 
 Whose old grand-father has lately died, 5 
 
 Gone to a blacker pit, for whom 
 
 Grimy nakedness dragging his trucks 
 
 And laying his trams in a poison'd gloom 
 
 Wrought, till he crept from a gutted mine 
 
 Master of half a servile shire, 10 
 
 And left his coal all tum'd into gold 
 
 To a grandson, first of his noble line, 
 
 Rich in the grace all women desire. 
 
 Strong in the power that all men adore. 
 
 And simper and set their voices lower, 15 
 
 And soften as if to a gu'l, and hold 
 
 Awe-stricken breaths at a work divine. 
 
 Seeing his gewgaw castle shine. 
 
 New as his title, buUt last year. 
 
 There amid perky larches and pine, 20 
 
 And over the sullen-purple moor 
 
 (Look at it) pricking a cockney ear. 
 
 What, has he found my jewel out ? 
 
 For one of the two that rode at her side 
 
 Bound for the Hall, I was sure was he : 25 
 
 Bound for the Hall, and I think for a bride. 
 
 Blithe would her brother's acceptance be. 
 
 Maud could be gracious too, no doubt, 
 
 To a lord, a captain, a padded shape, 
 
 A bought commission, a waxen face, 30 
 
 A rabbit mouth that is ever agape — 
 
 Bought .'' what is it he cannot buy ? 
 
 And therefore splenetic, personal, base, 
 
 A wounded thing with a rancourous cry. 
 
 At war with myself and a wretched race, 35 
 
 Sick, sick to the heart of hfe, am I. 
 
 22. After line 22 in the original proof sheets were inserted four sections, 
 excised in proof : a transcript of them by Mr. Heme Shepherd will be found 
 in the North American Review for October 1884, in an article entitled "The 
 Genesis of Maud " : two of, them are given in Tennyson's Life, i. 403, but 
 erroneously as belonging to xi. 
 
 34, 35. Added in 1856. 
 
302 MAUD 
 
 Last week came one to the country town. 
 
 To preach our poor little army down, 
 
 And play the game of the despot kings, 
 
 Tho' the state ha,s done it and thrice as well : 40 
 
 This broad-brim'd hawker, of holy things, 
 
 Whose ear is stuff 'd with his cotton, and rings 
 
 Even in dreams to the chink of his pence, 
 
 This huckster put down war ! can he tell 
 
 Whether war be a cause or a consequence ? 45 
 
 Put down the passions that make earth Hell ! 
 
 Down with ambition, avarice, pride. 
 
 Jealousy, dowii! cut ofiffrom the mind 
 
 The bitter springs of anger and fear ; 
 
 Down too, down at your own fireside, 50 
 
 With the evil tongue and the evil ear. 
 
 For each is at war with mankind. 
 
 4 
 I wish I could hear again 
 The chivalrous battle-song 
 
 That she warbled alone in her joy ! 55 
 
 I might persuade myself then 
 She would not do herself this great wrong 
 To take a wanton dissolute boy 
 For a man and leader of men. 
 
 5 
 Ah God, for a man with heart, head, hand, 60 
 
 Like some of the simple great ones gone 
 For ever and ever by. 
 One still strong man in a blatant land, 
 
 X 
 
 41, 42. As John Bright was most prominent among the party which was at 
 the time this poem was written opposing the war with Russia, it is difficult to 
 believe that this was not a reference to him ; but Tennyson denied this, saying 
 that he did not know at the time that Bright was a Quaker (see Life, i. 403). 
 Bright certainly took it as referring to himself (see Mr. Jennmgs' Lord 
 Tennyson,rp. g6). Cf. The Third of Fetruary: — , , / 
 
 Tho' niggard throats of Manchester may bawl, 
 
 What England was, shall her true sons forget ? 
 We are not cotton-spinners all. 
 
 42. 1862 onwards, cramm'd. 
 
 S3 ■'*??• The whole of this stanza added in 1856. 
 
MAUD 303 
 
 Whatever they call him, what care I, 
 Aristocrat, democrat, autocrat — one 65 
 
 Who can rule and dare not lie. 
 
 6 
 And ah for a man to arise in me. 
 That the man I am may cease to be ! 
 
 XI 
 
 1 
 
 let the solid ground 
 Not fail beneath my feet 
 
 Before my life has found 
 
 What some have found so sweet ; 
 Then let come what come miay, 5 
 
 What matter if I go mad, 
 
 1 shall have had my day. 
 
 2 
 Let the sweet heavens endure, 
 
 Not close and darken above me 
 Before I am quite quite sure 10 
 
 That there is one to love me ; 
 Then let come what come may . 
 To a life that has been so sad, 
 I shall have had my day. 
 
 XII 
 
 Birds in the high Hall-garden 
 
 When twilight was falling, 
 Maud, Maud, Maud, Maud, 
 
 They were crying and calling. 
 
 X 
 
 67, 68. Added in 1856. 
 
 XI 
 He yields to his passion. 
 12, Cf. Macbeth, I. iii.: " Come what come may." 
 
 XII 
 Interview with Maud. 
 
 1-4. Tennyson's comment on this is : " 'Maud, Maud, Maud,' is like the rook's 
 caw. ' Maud is here, here, here ' (st. 3) is like the call of the little birds." 
 
304 MAUD 
 
 Where was Maud ? in our wood ; 
 
 And I, who else, was with her, 
 Gathering woodland lilies. 
 
 Myriads blow together. 
 
 Birds in our wood sang 
 
 Ringing thro' the valleys, 10 
 
 Maud is here, here, here 
 
 In among the lilies. 
 
 I kiss'd her slender hand. 
 
 She took the kiss sedately ; 
 Maud is not seventeen, 1 5 
 
 But she is taU and stately. 
 
 5 
 
 I to cry out on pride 
 
 Who have won her favour ! 
 
 Maud were sure of Heaven 
 
 If lowliness could save her, 20 
 
 6 
 
 1 know the way she went 
 
 Home with her maiden posy. 
 For her feet have touch'd the meadows 
 And left the daisies rosy. 
 
 7 
 Birds in the high Hall-garden 25 
 
 Were crying and calling to her, 
 Where is Maud, Maud, Maud, 
 
 One is come to woo her. 
 
 XII 
 
 24. Not a subjective touch, but pure nature. "Anyone with eyes could 
 surely have known how a woman's dress brushing across the daisies tilts their 
 heads and lets us see the rosy under petals." — ^Tennyson's own remark on the 
 passage (Ra\yhsley's Memories of the Tennysons, p. 109). 
 
 28. Later editions after 1871 have mark of interrogation. 
 
MAUD 305 
 
 8 
 Look, a horse at the door, 
 
 And little King Charley snarling, 30 
 
 Go back, my lord, across the moor, 
 
 You are not her darling. 
 
 XIII 
 
 Scorn'd, to be scorn'd by one that I scorn. 
 
 Is that a matter to make me fret ? 
 
 That a calamity hard to be borne ? 
 
 Well, he may live to hate me yet. 
 
 Fool that I am to be vext with his pride ! 5 
 
 I past him, I was crossing his lands ; 
 
 He stood on the path a little aside ; 
 
 His face, as I grant, in spite of spite. 
 
 Has a broad-blown comeliness, red and white. 
 
 And six feet two, as I think, he stands ; 10 
 
 But his essences turn'd the live air sick. 
 
 And barbarous opulence jewel-thick 
 
 Sunn'd itself on his breast and his hands. 
 
 Who shall call me ungentle, unfair, 
 
 I long'd so heartily then and there 1 5 
 
 To give him the grasp of fellowship ; 
 
 But while I past he was humming an air, 
 
 Stopt, and then with a riding whip 
 
 Leisurely tapping a glossy boot. 
 
 And curving a contumelious lip, 20 
 
 Gorgonised me from head to foot 
 
 With a stony British stare. 
 
 XIL 
 30. 1855. King Charles is. 
 
 XIII 
 Maud's brother slights him. 
 IS. 1855. earnestly. 
 
 22. Cf. Spenser, Faerie Queene, 1. v. 32 : — 
 staring wide 
 With stonie eyes. 
 
 20 
 
306 MAUD 
 
 Why sits he here in his father's chair ? 
 
 That old man never comes to his place : 
 
 Shall I believe him ashamed to be seen ? 25 
 
 For only once, in the village street. 
 
 Last year, I caught a glimpse of his face, 
 
 A gray old wolf and a lean. 
 
 Scarcely, now, would I call him a cheat ; 
 
 For then, perhaps, as a child of deceit, 30 
 
 She might by a true descent be untrue ; 
 
 And Maud is as true as Maud is sweet : 
 
 Tho' I fancy her sweetness only due 
 
 To the sweeter blood by the other side ; 
 
 Her mother has been a thing complete, 35 
 
 However she came to be so aUied. 
 
 And fair without, faithful within, 
 
 Maud to him is nothing akin : 
 
 Some peculiar mystic grace 
 
 Made her only the child of her mother, 40 
 
 And heap'd the whole inherited sin 
 
 On that huge scapegoat of the race. 
 
 All, all upon the brother. 
 
 Peace, angry spirit, and let him be ! 
 
 Has not his sister smiled on me .'' 45 
 
 XIV 
 
 Maud has a garden of roses 
 And lilies fair on a lawn ; 
 There she walks in her state 
 And tends upon bed and bower, 
 
 XIII 
 42. Cf. Leviticus xvi. 20-22. 
 
 XIV 
 
 The shaddw of the future. 
 
MAUD 307 
 
 And thither I climb'd at dawn 5 
 
 And stood by her garden-gate ; 
 
 A lion ramps at the top. 
 
 He is claspt by a passkmt-flower. 
 
 Maud's own little oak-Toom 
 
 (Which Mau^, like a precious stone 10 
 
 Set in the heart of the carven gloom, 
 
 Lights with herself, when alone 
 
 She sits by her music and books, 
 
 And her brother lingers late 
 
 With a roystering company) looks 15 
 
 Upon Maud's own garden-gate : 
 
 And I thought as I stood, if a hand, as white 
 
 As ocean-foam in the moon, were laid 
 
 On the hasp of the window, and my Delight 
 
 Had a sudden desire, like a glorious ghost, to glide, 20 
 
 Like a beam of the seventh Heaven, down to my side. 
 
 There were but a step to bemade. 
 
 3 
 The fancy flatter'd my mind, 
 And again seem'd overbold ; 
 
 Now I thought that she cared for me, 25 
 
 Now I thought she was kind 
 Only because she was cold. 
 
 I heard no sound where I stood 
 But the rivulet on from the. lawn 
 
 Running down to my own dark wood ; 30 
 
 Or the voice of the long sea-wave as it swell'd 
 Now and then in the dim-gray dawn ; 
 But I look'd, and round, all round the house I beheld 
 The death-white curtain drawn ; 
 
 Felt a horror over me creep, 35 
 
 Prickle my skin and catch my breath, 
 Knew that the death-white curtain meant but sleep. 
 Yet I shudder'd and thought like a fool of the sleep 
 of death. 
 
308 MAUD 
 
 XV 
 
 So dark a mind within me dwells. 
 
 And I make myself such evil cheer, 
 That if I be dear to some one else. 
 
 Then some one else may have much to fear ; 
 But if I be dear to some one else, 5 
 
 Then I should be to myself more dear. 
 Shall I not take care of all that I tihink. 
 Yea ev'n of wretched meat and drinkj 
 If I be dear. 
 If I be dear to some one else. 10 
 
 XVI 
 
 This lump of earth has left his estate 
 
 The lighter by the loss of his weight ; 
 
 And so that he find what he went to seek, 
 
 And fulsome Pleasure clog him, and drown 
 
 His heart in the gross mud-honey of town, 5 
 
 He may stay for a year who has gone for a week : 
 
 But this is the day when I must speak. 
 
 And I see my Oread coming down, ' 
 
 O this is the day ! 
 
 O beautiful creature, what am I 10 
 
 That I dare to look her way ; 
 
 Think I may hold dominion sweet. 
 
 Lord of the pulse that is lord of her breast. 
 
 And dream of her beauty with tender dread. 
 
 From the delicate Arab arch of her feet 15 
 
 To the grace that, bright and light as the crest 
 
 Of a peacock, sits on her shining head. 
 
 And she knows it not : O, if she knew it. 
 
 To know her beauty might half undo it. 
 
 XV 
 Duty of self-preservation. 
 
 3. Maud. 
 
 4. Maud's suitor. 
 
 3-5. Later editions italicise " I." 
 
 XVI 
 
 He resolves to declare his love. 
 
MAUD 309 
 
 I know it the one bright thing to save 20 
 
 My yet young hfe in the wilds of Time, 
 Perhaps from madness, perhaps from crime. 
 Perhaps from a selfish grave. 
 
 What, if she be fasten'd to this fool lord, 
 
 Dare I bid her abide by her word ? 25 
 
 Should I love her so well if she 
 
 Had given her word to a thing so low ? 
 
 Shall I love her as well if she 
 
 Can break her word were it even for me ? 
 
 I trust that it is not so. 30 
 
 3 
 
 Catch not my breath, O clamorous heart, 
 Let not my tongue be a thrall to my eye. 
 For I must tell her before we partj 
 I must tell her, or die. 
 
 XVII 
 
 Gp not, happy day. 
 
 From the shining fields, 
 Go not, happy day. 
 
 Till the maiden yields. 
 Rosy is the West, 5 
 
 Rosy is the South, 
 Roses are her cheeks. 
 
 And a rose her mouth. 
 When the happy Yes 
 
 Falters from her lips, 10 
 
 Pass and blush the news 
 
 O'er the blowing ships. 
 Over blowing seas, 
 
 Over seas at rest. 
 Pass the happy news, 1 5 
 
 Blush it thro' the West ; 
 
 XVII 
 His joy at finding his love returned. 
 12. " Over glowing ships," substituted 18712, and retained since. 
 
310 MAUD 
 
 Till the red man dance 
 
 By his red cedar tree, 
 And the red man's babe 
 
 Leap, beyond the sea. 20 
 
 Blush from West to East, 
 
 Blush from East to West, 
 Till the West is East, 
 
 Blush it thro* the West. 
 Rosy is the West, SS 
 
 Rosy is the South, 
 Roses are her cheeks. 
 
 And a rose her mouth. 
 
 XVIII 
 
 1 
 
 I have led her home, my lovej my only friend. 
 
 There is none like her, none. 
 
 And never yet so warmly ran my blood 
 
 And sweetly, on and on 
 
 Calming itself to the long-wish'd-for end, 6 
 
 Full to the banks, close on the promised good. 
 
 2 
 None like her, none. 
 
 Just now the dry-tongued laurels' pattering talk 
 Seem'd her light foot along the garden walk, 
 And shook my heart to think she comes once more ; 10 
 But even then I heard her close the door. 
 The gates of Heaven are closed, and she is gone. 
 
 3 
 
 There is none like her, none. 
 
 Nor will be when our summers have deceased. 
 
 O, art thou sighing for Lebanon 15 
 
 In the long breeze that streams to thy delicious East, 
 
 Sighing for Lebanon, 
 
 Dark cedar, tho' thy limbs have here increased, 
 
 XVIII 
 
 The lower's, happiness. 
 
MAUD 311 
 
 Upon a pastoral slope as fair, 
 
 And looking to the South, and fed 20 
 
 With honey'd rain and delicate air, 
 
 And haunted by the starry head 
 
 Of her whose gentle will has changed my fate, 
 
 And made my life a perfumed altar-flame ; 
 
 And over whom thy darkness must have spread 25 
 
 With such delight as theirs of old, thy great 
 
 Forefathers of the thornless garden, there 
 
 Shadowing the snow-limb'd Eve from whom she came. 
 
 Here will I lie, while these long branches sway. 
 And you fair stars that crown a happy day 30 
 
 Go in and out as if at merry play, 
 I Who am no more so all forlorn. 
 
 As when it seem'd far better to be bom 
 
 To labour and the mattock-harden'd hand. 
 
 Than nursed at ease and brought to understand 35 
 
 A sad astrology, the boundless plan 
 
 That makes you tyrants in your iron skies. 
 
 Innumerable, pitiless, passionless eyes. 
 
 Cold fires, yet with power to bum and brand 
 
 His nothingness into man. 40 
 
 5 
 But now shine on, and what care I, 
 Who in this stormy gulf have found a pearl 
 The countercharm of space and hollow sky. 
 And do accept my madness, and would die 
 To save from some slight shame one simple girl. 45 
 
 6 
 Would die ; for sullen-seeming Death may give 
 More life to Love than is or ever was 
 In our low world, where yet 'tis sweet to live. 
 
 XVIII 
 
 21. Qf., Z._x«»rfaf, 140 : "honied showers." 
 
 36,, Tennyson's comment on this is :: " Modern astronomy, for of old 
 astrology was thought to sympathize with and rule man's fate" yjfe; i. 404)1 
 Cf. Hazlitt's remark : ' ' The heavens have gone farther off and become 
 astronomical" (Talfourd, Final Memorials of Lamh, chap. viii.). 
 
 40. The sad grand note of Lucretius {De Her. Na,t. v. 1204 segq. ). 
 
312 MAUD 
 
 Let no one ask me how it came to pass ; 
 
 It seems that I am happy, that to me 50 
 
 A Hvelier emerald twinkles in the grass, 
 
 A purer sapphire melts into the sea. 
 
 7 
 Not die ; but live a life of truest breath. 
 And teach true life to fight with mortal wrongs. 
 O, why should Love, like men in drinking-songs, 55 
 Spice his fair banquet with the dust of death .'' 
 Make answer, Maud my bliss, 
 Maud made my Maud by that long lover's kiss, 
 Life of my life, wilt thou not answer this ? 
 " The dusky strand of Death inwoven here 60 
 
 With dear Love's tie, makes Love himself more dear," 
 
 8 
 Is that enchanted moan only the swell 
 Of the long waves that roll in yonder bay .■' 
 And hark the clock within, the silver knell 
 Of twelve sweet hours that past in bridal white, 65 
 
 And died to live, long as my pulses play ; 
 But now by this my love has closed her sight 
 And given false death her hand, and stol'n away 
 To dreamful wastes where footless fancies dwell 
 Among the fragments of the golden day. 70 
 
 May nothing there her maiden grace affright ! 
 Dear heart, I feel with thee the drowsy spell. 
 My bride to be, my evermore delight. 
 My own heart's heart and ownest own farewell ; 
 It is but for a little space I go 75 
 
 And ye meanwhile far over moor and fell 
 Beat to the noiseless music of the night ! 
 
 XVIII 
 
 53, Tennyson's coniment on this is: "This is the central idea, the holy 
 power of Love " (Life, i. 404), and the best comment on it is In Memoriam. 
 
 SSiSS. Cf. ThePrincess,'n.: "Not a death's-head at the wine." In the convivial 
 poetry of the Greeks and Romans the certainty of quick-coming death at once 
 saddens and gives a zest to the enjoyment of which it is the expression. See 
 Pseudo Anacreon, xliii., xlviii. (edit. Bergk) ; Horace, Odes, ii., iii. ; Petronius, 
 Arbiter Satyricon, cap. xxiv. 
 
 58. So till 1881 inclusive; in 1884 "loving" substituted for "lover's," the 
 final reading. 
 
 74. 1872. my ownest own. 
 
MAUD 313 
 
 Has our whole earth gone nearer to the glow 
 
 Of your soft splendours that you look so bright ? 
 
 / have climb'd nearer out of lonely Hell. 80 
 
 Beat, happy stars, timing with things below. 
 
 Beat with my heart more blest than heart can tell. 
 
 Blest, but for some dai-k undercurrent woe 
 
 That seems to draw — but it shall not be so : 
 
 Let all be well, be well. 85 
 
 XIX 
 
 1 
 Her brother is coming back to-night. 
 Breaking up my dream of delight. 
 
 2 
 My dream ? do I dream of bliss ? 
 I have walk'd awake with Truth. 
 O when did a morning shine 5 
 
 So rich in atonement as this 
 For my dark-dawning youth, 
 Darken'd watching a mother decline 
 And that dead man at her heart and mine : 
 For who was left to watch her but I ? 10 
 
 Yet so did I let my freshness die. 
 
 I trust that I did not talk 
 
 To gentle Maud in our walk 
 
 (For often in lonely wanderings 
 
 I have cursed him even to lifeless things) 15 
 
 But I trust that I did not talk. 
 
 Not touch on her father's sin : 
 
 I am sure I did but speak 
 
 Of my mother's faded cheek 
 
 XVIII. 
 81-83. With these verses cf. Alexander Smith, A Life Drama, sc. ii. : — 
 One great life in my myriad veins, in leaves, in flowers, in cloudy cars, 
 beating overhead in stars. 
 
 XIX 
 Confidences explaining the past and preparing the way for the future. 
 The whole of this section was added in 1856. 
 
314 MAUD 
 
 When it slowly grew so thin, 20 
 
 That I felt she, was slowly djdng 
 
 Vext with lawyers and harass'd with debt : 
 
 For how often I caught, her with eyes all wet. 
 
 Shaking her head at her son and sighing 
 
 A world of trouble within ! 25 
 
 And Maud too, Maud was moved 
 
 To speak of the mother she loved 
 
 As one scarce less forlorn. 
 
 Dying abroad and it seems apart 
 
 From him who had ceased to share her heart, 30 
 
 And ever mourning over the feud, 
 
 The household Fury sprinkled with blood 
 
 By which our houses are torn : 
 
 How strange was what she said. 
 
 When only Maud and the brother 35 
 
 Hung over her dying bed — 
 
 That Maud's dark father and mine 
 
 Had bound us one to the otherj 
 
 Betrothed us over their wine. 
 
 On the day when Maud was born ; 40 
 
 Seal'd her mine from her first sweet breath. 
 
 Mine, mine by a right, from birth till death, 
 
 Mine, mine — our fathers have sworn. 
 
 But the true blood spilt had in it a heat 
 
 To dissolve the precious seal on a bond, 45 
 
 That, if left uncancell'd, had been so sweet : 
 
 And none of us thought of a something beyond, 
 
 A desire that awoke ui the heart of the child. 
 
 As it were a duty done to the tomb. 
 
 To be friends for her sake, to be reconciled ; 50 
 
 And I was cursing them and my doom. 
 
 And letting a dangerous thought run wild 
 
 While often abroad in the fragrant gloom 
 
 Of foreign churches — I see her there. 
 
 Bright English lily, breathing a prayer 55 
 
 To be friends, to be reconciled ! 
 
MAUD 315 
 
 But then what a flint is he ! 
 
 Abroadj at Florence, at Rome,, 
 
 I find whenever she touch'd on me 
 
 This brother had laugh'd her down, 60 
 
 And at last, when each came home, 
 
 He had darken'd into a frown. 
 
 Chid her, and forbid her to speak 
 
 To me, her friend of the years before ; 
 
 And this was what had redden'd her cheek 65 
 
 When I bow'd to her on the moor. 
 
 Yet Maud, altho' not blind 
 
 To the faults of his heart and mind, 
 
 I see she cannot but love him. 
 
 And says he is rough but kind, 70 
 
 And wishes me to approve him. 
 
 And tells me, when she lay 
 
 Sick once, with a fear of worse. 
 
 That he left his wine and horses and play. 
 
 Sat with her, read to her, night and day, 75 
 
 And tended her like a nm-se. 
 
 8 
 
 Kind ? but the deathbed desire 
 
 Spurn'd by this heir of the liar — 
 
 Rough but kind ? yet I know 
 
 He has plotted against me in this, 80 
 
 That he plots against me stUl. 
 
 Kind to Maud ? that were not amiss. 
 
 Well, rough but kind ; why let it be so : 
 
 For shall not Maud have her will ? 
 
 9 
 
 For, Maud, so tender and true, 85 
 
 As long as my life endures 
 I feel I shall owe you a debt. 
 That I never can hope to pay ; 
 
316 MAUD 
 
 And if ever I should forget 
 
 That I owe this debt to you 90 
 
 And for your sweet sake to yours ; 
 
 then, what then shall I say ? — 
 If ever I should forget, 
 
 May God make me more wretched 
 
 Than ever I have been yet ! 95 
 
 10 
 
 So now I have sworn to bury 
 All this dead body of hate, 
 
 1 feel so free and so clear 
 
 By the loss of that dead weight. 
 
 That I should grow light-headed, I fear, 100 
 
 Fantastically merry ; 
 
 But that her brother comes, like a blight 
 
 On my fresh hope, to the Hall to-night. 
 
 XX 
 
 Strange, that I felt so gay. 
 
 Strange, that I tried to-day 
 
 To beguile her melancholy ; 
 
 The Sultan, as we name him, — 
 
 She did not wish to blame him — 5 
 
 But he vext her and perplext her 
 
 With his worldly talk and folly : 
 
 Was it gentle to reprove her 
 
 For stealing out of view 
 
 From a little lazy lover 10 
 
 Who but claims her as his due ? 
 
 Or for chilling his caresses 
 
 By the coldness of her manners. 
 
 Nay, the plainness of her dresses ? 
 
 Now I know her but in two, 15 
 
 Nor can pronounce upon it 
 
 XX 
 
 Eve of the festival. 
 2. Later editions italicise "I." 
 
MAUD 317 
 
 If one should ask me whether 
 
 The habit, hat, and feather, 
 
 Or the frock and gipsy bonnet 
 
 Be the neater and completer ; 20 
 
 For nothing can be sweeter 
 
 Than maiden Maud in either. 
 
 But to-morrow, if we live. 
 
 Our ponderous squire will give 
 
 A grand political dinner 25 
 
 To half the squirelings near ; 
 
 And Maud will wear her jewels. 
 
 And the bird of prey will hover. 
 
 And the titmouse hope to win her 
 
 With his chirrup at her ear. 30 
 
 A grand political dinner 
 
 To the men of many acres, 
 
 A gathering of the Tory, 
 
 A dinner and then a dance 
 
 For the- maids and marriage-makers, 35 
 
 And every eye but mine will glance 
 
 At Maud in all her glory. 
 
 For I am not invited. 
 
 But, with the Sultan's pardon, 
 
 I am all as well delighted, 40 
 
 For I know her own rose-garden. 
 
 And mean to linger in it 
 
 Till the dancing wiU be over ; 
 
 And then, oh then, come out to me 
 
 For a minute, but for a minute, 45 
 
 Come out to your own true lover. 
 
 That your true lover may see 
 
 Your glory also, and render 
 
 All homage to his own darling, , 
 
 Queen Maud in all her splendour. 50 
 
318 MAUD 
 
 XXI 
 
 Rivulet crossing my ground. 
 
 And bringing me down from the Hall 
 
 This garden-rose that I found. 
 
 Forgetful of Maud and me, 
 
 And lost in trouble and moving round 5 
 
 Here at the head of a tinkling fall, 
 
 And trying to pass to the sea ; 
 
 O Rivulet, born at the Hall, 
 
 My Maud has sent it by thee 
 
 (If I read her sweet will ri^ht) 10 
 
 On a blushing mission to me. 
 
 Saying in odour and colour, " Ah, be 
 
 Among the roses to-night." 
 
 XXII 
 
 Come into the garden, Maud, 
 
 For the black bat, night, has flown. 
 
 Come into the garden, Maud, 
 I am here at the gate alone ; 
 
 And the woodbine spices are wafted abroad, 5 
 
 And the musk of the roses blown. 
 
 2 
 For a breeze of morning moves. 
 
 And the planet of Love is on high. 
 Beginning to faint in the light that she loves 
 
 On a bed of daffodil sky, 10 
 
 To faint in the light of the sun she loves. 
 
 To faint in his light, and to die. 
 
 XXI 
 
 The invitation. 
 
 XXII 
 In the rose-garden. 
 For the form and to some extent for the rhythm of the stanza employed in 
 this section Tennyson was indebted to Dryden. See song intended for the 
 madhouse scene in The Pilgrim, printed in Dryden's Miscellanies (Globe 
 edit. p. 38s), but much of the niusic is the music of Shelley's Cloud. 
 6. " rose is " substituted in 1872, and retained since. 
 
MAUD 319 
 
 3 
 All night have the roses heard 
 
 The flute, violin, bassoon; 
 All night has the casement jessamine stirr'd 15 
 
 To the dancers dancing in tune ; 
 Till a silence fell with the wakii:\g bird, 
 
 And a hush with the setting moon. 
 
 I said to the lily, " There is but one 
 
 With whom she has heart to be gay. 20 
 
 When will the dancers leave her alone ? 
 
 She is weary of dance and play." 
 Now half to the setting moon are gone, 
 
 And half to the rising day ; 
 Low on the sand and loud on the stone 25 
 
 The last wheel echoes away. 
 
 5 
 
 I said to the rose, " The brief night goes 
 
 In babble and revel and wine. 
 O young lord-lover, what sighs are those, 
 
 For one that will never be thine ? ' 30 
 
 But mine, but mine," so I sware to the rose, 
 
 " For ever and ever, mine." 
 
 6 
 
 And the soul of the rose went into my blood, 
 
 As the music clash'd in the hall ; 
 And long by the garden lake I ^tood, 35 
 
 For I heard your rivulet fall 
 From the lake to the meadow and on to the wood. 
 
 Our wood, that is dearer than all ; 
 
 7 
 
 From the meadow your walks have left so sweet 
 That whenever a March-wind sighs 40 
 
 He sets the jewel-print of your feet 
 In violets blue as your eyes. 
 
 To the woody hoMows in which we meet 
 And the valleys of Paradise. 
 
320 MAUD 
 
 The slender acacia would not shake 45 
 
 One long milk-bloom on the tree ; 
 The white lake-blossom fell into the lake 
 
 As the pimpernel dozed on the lea ; 
 But the rose was awake all night for your sake^ 
 
 Knowing your promise to me ; 50 
 
 The lilies and roses were all awake, 
 
 They sigh'd for the dawn and thee. 
 
 9 
 
 Queen rose of the rosebud garden of girls, 
 
 Come hither, the dances are done. 
 In gloss of satin and glimmer of pearls, 55 
 
 Queen lily and rose in one ; 
 Shine out, little head, sunning over with curls. 
 
 To the flowers, and be their sun. 
 
 10 
 
 There has fallen a splendid tear 
 
 From the passion-flower at the gate. 60 
 
 She is coming, my dove, my dear ; 
 
 She is coming, my life, my fate ; 
 The red rose cries, " She is near, she is near ; " 
 
 And the white rose weeps, " She is late ; " 
 The larkspur listens, " I hear, I hear ; " 65 
 
 And the lily whispers, " I wait." 
 
 11 
 
 She is coming, my own, my sweet ; 
 
 Were it ever so airy a tread. 
 My heart would hear her and beat, 
 
 Were it earth in an earthy bed ; 70 
 
 My dust would hear her and beat, 
 
 Had I lain for a century dead ; 
 Would start and tremble under her feet, 
 
 And blossom in purple and red. 
 
MAtJD 321 
 
 [Paet II] 
 XXIII 
 
 " The fault was mine, the fault was mine " — 
 
 Why am I sitting here so stunn'd and still. 
 
 Plucking the harmless wild-flower on the hill ? — 
 
 It is this guilty hand ! — 
 
 And there rises ever a passionate cry 5 
 
 From underneath in the darkening land — 
 
 What is it, that has been done ? 
 
 O dawn of Eden bright over earth and sky, 
 
 The fires of HeU brake out of thy rising sun. 
 
 The fires of Hell and of Hate ; 10 
 
 For she, sweet soul, had hardly spoken a word. 
 
 When her brother ran in his rage to. the gate. 
 
 He came with the babe-faced lord ; , , 
 
 Heap'd on her terms of disgrace. 
 
 And while she wept, and t strove to be cool, 15 
 
 He fiercely gave me the lie. 
 
 Till I with as fierce an anger spoke. 
 
 And he struck me, madman, over the face. 
 
 Struck me before the languid fool. 
 
 Who was gaping and grinning by : 20 
 
 Struck for himself an evil stroke ; 
 
 Wrought for his house an irredeemable woe ; 
 
 For front to front in an hour we stood, 
 
 And a million horrible beillowing" echoes broke 
 
 From the red-ribb'd hollow behind the wood, 25 
 
 And thunder'd up into Heaven the Christless code. 
 
 That must have life for a blow. 
 
 Ever and ever afresh they seem'd to grow. 
 
 Was it he lay there with a fading eye ? 
 
 ":The fault was mine," he whispeir*d,.:"flyf " 30 
 
 XXIII, '" ■■ " '■'' ■' 
 
 As the poem is now divided, this begins part ii.,.and some time is 
 supposed to intervene between this section aba the last. What had occurred 
 is raateii' in this section. ; j . •- 
 
 se.' The ' unwritten law regulating "affairs of honour" and authorising 
 duels. . 
 
 21 
 
322 MAUD 
 
 Then glided out of the joyous wood 
 
 The ghastly Wraith of one that I know ; 
 
 And there rang on a sudden a passionate cry, 
 
 A cry for a brother's blood : 
 
 It wUl ring in my heart and my ears, till I die, till I die. 35 
 
 Is it gone ? my pulses beat — 
 
 What was it ? a lying trick of the brain ? 
 
 Yet I thought I saw her stand, 
 
 A shadow there at my feet. 
 
 High over the shadowy land. 40 
 
 It is gone ; and the heavens fall in a gentle rain, 
 
 When they should burst and drown with deluging storms 
 
 The feeble vassals of wine and anger and lust. 
 
 The little hearts that know not how to forgive : 
 
 Arise, my God, and strike, for we hold Thee just, 45 
 
 Strike dead the whole weak race of venomous worms. 
 
 That sting each other here in the dust ; 
 
 We are not worthy to live. 
 
 XXIV 
 
 See what a lovely shell. 
 
 Small and pure as a pearl. 
 
 Lying close to my foot. 
 
 Frail, but a work divine, 
 
 Made so fairily well 5 
 
 With delicate spire and whorl, 
 
 How exquisitely minute, 
 
 A miracle of design ! 
 
 XXIII 
 31, 32. The " Wraith " is the phantom of Maud : see Introduction. The 
 epithet "joyous" is explained by the first stanza of the first section of the 
 poem, and implies a fine impersonation. 
 
 XXIV 
 Retrospect and anticipation. In Brittany, whither he had fled after the duel. 
 "The shell undestroyed amid the storm perhaps symbcdizes to him his own 
 first and highest nature preserved amid the storms of passion. "-^Tenny^s 
 note (Life, i, 404), 
 
MAUD 323 
 
 2 
 
 What is it ? a learned man 
 
 Could give it a clumsy name. 10 
 
 Let him name it who can, 
 
 The beauty -would be the same. 
 
 The tiny cell is forlorn, 
 
 Void of the little living will 
 
 That made it stir on the shore. 15 
 
 Did he stand at the diamond door 
 
 Of his house in a rainbow frill ? 
 
 Did he push, when he was uncurl'd, 
 
 A golden foot or a fairy horn 
 
 Thro' his dim water-world ? 20 
 
 Slight, to be crush' d with a tap 
 
 Of my finger-nail on the sand. 
 
 Small, but a work divine. 
 
 Frail, but of force to withstand, 
 
 Year upon year, the shock 25 
 
 Of cataract seas that snap 
 
 The three decker's oaken spine 
 
 Athwart the ledges of rock. 
 
 Here on the Breton strand ! 
 
 30 
 
 5 
 
 Breton, not Briton ; here 
 
 Like a shipwreck'd man on a coast 
 
 Of ancient fable and fear— 
 
 Plagued with a flitting to and ito, 
 
 A disease, a iiard mechanic ghost 
 
 That never came from on high 35 
 
 Nor ever arose from below, 
 
 XXIV 
 
 tea and . 
 
 By any other name would smell as sweet. 
 
 II, IS. Cf. Romeo and Juliet, ii. ii, : — 
 Arose 
 
324 MAUD 
 
 But only moves with the moving eye. 
 
 Flying along the land and the main — 
 
 Why should it look like Maud ? 
 
 Am I to be overawed 40 
 
 By what I cannot but know 
 
 Is a juggle bom of the brain ? 
 
 6 
 Back from the Breton coast. 
 Sick of a nameless fear. 
 
 Back to the dark sea-line 45 
 
 Looking, thinking of all I have lost ; 
 An old song vexes my ear ; 
 But that of Lamech is mine. 
 
 7 
 For years, a measureless ill. 
 
 For years, for ever, to part — 50 
 
 But she, she would love me still ; 
 And as long, O God, as she 
 Have a grain of love for me. 
 So long, no doubt, no doubt. 
 
 Shall I nurse in my dark heart, 55 
 
 However weary, a spark of will 
 Not to be trampled out. 
 
 8 
 Strange, that the mind, when fraught 
 With a passion so intense 
 
 One would think that it well 60 
 
 Might drown all life in the eye, — 
 XXIV 
 41, 42. So Macbeth of the dagger; one of the tests of "sanity," as dis- 
 tinguished from "insanity," is the consciousness that hallucination is hallucina- 
 tion. C/. xxvii., where the distinction is lost : — 
 
 Ever about me the dead men go. 
 48. Cf. Gen. iv. 23 : " And Lamech said unto his wives . . . Hear my voice ; 
 ye wives of Lamech, hearken unto my speech : for I have slain a man to my 
 wounding, and a young man to my hurt. " 
 
 58-70. This is profoundly true to nature. Miss Wordsworth very 
 appositely quotes Rossetti, The Wood-spurge : — 
 
 From perfect grief there need not be 
 Wisdom, or even memory. 
 One thing, then learnt, remains to me, 
 — The wood-spurge has a cup of three. 
 For further striking illustrations see Sophocles, Philocteles, 952-35, Byron's 
 Prisoner of Chilian, St, vii.', and QaiAx; Borough, Letter jodii. 264-^8. 
 
MAUD 325 
 
 That it shouldj by being so overwrought, 
 
 Suddenly strike on a sharper sense 
 
 For a shell, or a flower, little things 
 
 Which else would have been past by ! 65 
 
 And now I remember, I, 
 
 When he lay dying there, 
 
 I noticed one of his many rings 
 
 (For he had many, poor worm) and thought 
 
 It is his mother's hair. 70 
 
 Who knows if he be dead ? 
 
 Whether I need have fled ? 
 
 Am I guilty of blood ? 
 
 However this may be. 
 
 Comfort her, comfort her, all things good, 75 
 
 While I am over the sea ! 
 
 Let me and my passionate love go by. 
 
 But speak to her all things holy and high, 
 
 Whatever happen to me ! 
 
 Me and my harmful love go by ; 80 
 
 But come to her waking, /find her asleep. 
 
 Powers of the height, Powers of the deep, / 
 
 And comfort her tho' I die. 
 
 XXV 
 
 Courage, poor heart of stone ! 
 I will not ask thee why 
 Thou canst not understand 
 , That thou art left for ever alone : 
 
 Courage, poor stupid heart of stone. — 5 
 
 Or if I ask thee why, ,' 
 
 Care not thou to reply :, 
 
 She is but dead, and the time is at hand 
 
 When thou shalt more than die. 
 
 XXV 
 Despair. 
 Added in 1856 ; necessary to explain what follows. Tennyson's note on 
 this is : "He felt himself going mad. " 
 
326 MAUD 
 
 XXVI 
 
 1 
 
 O that 'twere possible 
 
 After long grief and pain 
 
 To find the arms of my true love 
 
 Round me once again 1 
 
 When I was wont to meet her 5 
 
 In the silent woody places 
 
 By the home that gave me birth, 
 
 We stood tranced in long embraces 
 
 Mixt with kisses sweeter sweeter 
 
 Than any thing on earth. 10 
 
 3 
 
 A shadow flits before me. 
 
 Not thou, but like to thee ; 
 
 Ah Christ, that it were possible 
 
 For one short hour to see 
 
 The souls we loved, that they might tell us 15 
 
 What and where they be. 
 
 It leads me forth at evening. 
 
 It lightly winds and steals 
 
 In a cold white robe before me. 
 
 When all my spirit reels 20 
 
 At the shouts, the leagues of lights, 
 
 And the roaring of the wheels. 
 
 XXVI 
 
 Tennyson's note to this masterpiece, this ' ' perfect chrysolite, " is : " Haunted 
 after Maud's death." The whole of this section, with the exception of stanza 6 
 and a portion of stanzas ^ and 13, is a reproduction of the Stanzas of 1837 : 
 see Introduction. 
 
 7. i8ss. Of the land. 
 
 10. 187a and onward, anything. 
 
 13-16. Cf. Webster, Duchess of Malfi, iv. li.: — 
 
 that it were possible we might 
 
 But hold some two days' conference with the dead I 
 From them I should learn somewhat, I am sure ' 
 
 1 never shall know here. 
 
MAUD 327 
 
 5 
 Half the night I waste in sighs, 
 Half in dreams I sorrow after 
 
 The delight of early skies ; 25 
 
 In a wakeful doze I sorrow 
 For the hand, the lips, the eyes. 
 For the meeting of the morrow, 
 The delight of happy laughter. 
 The delight of low replies. 30 
 
 'Tis a morning pure and sweet. 
 
 And a dewy splendour falls 
 
 On the little flower that clings 
 
 To the turrets and the walls ; 
 
 'Tis a morning pure and sweet, 35 
 
 And the light and shadow fleet ; 
 
 She is walking in the meadow. 
 
 And the woodland echo lings ; 
 
 In a moment we shall meet ; 
 
 She is singing in the meadow, 40 
 
 And the rivulet at her feet 
 
 Ripples on in light and shadow 
 
 To the ballad that she sings. 
 
 Do I hear her sing as of old, 
 
 My bird with the shining head, 45 
 
 My own dove with the tender eye ? 
 
 But there rings on a sudden a passionate cry. 
 
 There is some one djring or dead, 
 
 And a sullen thimder is roU'd ; 
 
 For a tumult shakes the city, 60 
 
 And I wake, my dream is fled ; 
 
 In the shuddering dawn, behold. 
 
 Without knowledge, without pity. 
 
 By the curtains of my bed 
 
 That abiding phantom cold. 55 
 
 XXVI 
 52. Cf. Marston, Antonio and Mellida, Act iii. Sc. i» : — 
 Is not yon gleam the shuddering raorne ? 
 
332 MAUD 
 
 8 
 
 But I know where a garden grows^ 
 
 Fairer than aught in the world beside, 
 
 All made up of the lily and rose 
 
 That blow by night, when the season is good, 75 
 
 To the sound of dancing music and flutes : 
 
 It is only flowers, they had no fruits. 
 
 And I almost fear they are not roses, but blood ; 
 
 For the keeper was one, so full of pride. 
 
 He linkt a dead man there to a spectral bride ; 80 
 
 For he, if he had not been a Sultan of brutes. 
 
 Would he have that hole in his side ? 
 
 9 
 But what will the old man say ? 
 He laid a cruel snare in a pit 
 
 To catch a fiiend of mine one stormy day ; 85 
 
 Yet now I could even weep to think of it ; 
 For what will the old man say 
 When he comes to the second corpse in the pit ? 
 
 10 
 
 Friend, to be struck by the public foe. 
 
 Then to strike him and lay him low, 90 
 
 That were a public merit, fair. 
 
 Whatever the Quaker holds, from sin ; 
 
 But the red life spilt for a private blow — 
 
 I swear to you, lawful and lawless war 
 
 Are scarcely even akin. 95 
 
 11 
 
 O me, why have they not buried me deep enough ? 
 
 Is it kind to have made me a grave so rough. 
 
 Me, that was never a quiet sleeper ? 
 
 Maybe still I am but half-dead ; 
 
 Then I cannot be wholly dumb ; 100 
 
 XXVII 
 88. "The second corpse is Maud's brother, the lover's father being the firet 
 corpse, whom the lover thinks that Maud's father has murdered." — Tennyson's 
 note {Li/e, i, 404). 
 
MAUD 333 
 
 I will cry to the steps above my head, 
 
 And somebody, surely, some kind heart will come 
 
 To bury me, bury me 
 
 Deeper, ever so little deeper. 
 
 [Paet III] 
 XXVIII 
 
 My life has crept so long on a broken wing 
 
 Thro' cells of madness, haunts of horror and fear,' 
 
 That I come to be grateful at last for a little thing : 
 
 My mood is changed, for it feU at a time of year 
 
 When the face of night is fair on the dewy downs, 5 
 
 And the'shiuing da£fodil dies, and the Charioteer 
 
 And starry Gemini hang like glorious crowns 
 
 Over Orion's grave low down in the west. 
 
 That like a silent lightning under the stars 
 
 She seem'd to divide in a dream from a band of the blest, 10 
 
 And spoke of a hope for the world in the coming wars — 
 
 " And in that hope, dear soul, let trouble have rest. 
 
 Knowing I tarry for thee," and pointed to Mars 
 
 As he glow'd like a ruddy shield on the Lion's breast. 
 
 And it was but a dream, yet it yielded a dear, delight 15 
 
 To have look'd, tho' but in a dream, upon eyes so fair. 
 That had been in a weary world my one thing bright ; 
 And it was but a dream, yet it lighten'd my despair 
 When I thought that a war would arise in defence of the 
 
 right, 
 That an iron tyranny now should bend or cease, , ^0 
 
 XXVIII 
 
 In the later editions of the poem this is arranged as part iii. Tennyson's 
 note to it is: "Sane but shattered." And he adds that it was writteniwhen the 
 cannon was heard booming from the battleships in the Solent before the 
 Crimean War. 
 
 6. See Introduction. 
 
 13, 14. The present Lord Tennyson says that on the i6th of March 1854 
 his father was looking through his study window at tlie planet Mars '/as he 
 glow'd like a ruddy shield on the Lion's breast" (tife, \. 372), and surely 
 nothing could be more felicitous than the application here given to a simple fact. 
 
330 MAUD 
 
 For I thought the dead had peace, but it is not so ; 15 
 
 To have no peace in the grave, is that not sad ? 
 
 But up and down and to and fro. 
 
 Ever about me the dead men go ; 
 
 And then to hear a dead man chatter 
 
 Is enough to drive one mad. 20 
 
 Wretchedest age, since Time began. 
 
 They cannot even bury a man ; 
 
 And tho' we paid our tithes in the days that are gone. 
 
 Not a bell was rung, not a prayer was read ; 
 
 It is that which makes us loud in the world of the 
 
 dead ; 25 
 
 There is none that does his work, not one ; 
 A touch of their office might have sufficed. 
 But the churchmen fain would kill their church. 
 As the churches have kill'd their Christ. 
 
 3 
 
 See, there is one of us sobbing, 30 
 
 No limit to his distress ; 
 
 And another, a lord of all things, praying 
 
 To his own great self, as I guess ; 
 
 And another, a statesman there, betraying 
 
 His party-secret, fool, to the press ; 
 
 And yonder a vile physician, blabbing 
 
 The case of his patient — aJl for what ? 
 
 To tickle the maggot bom in an empty head, 
 
 And wheedle a world that loves him not. 
 
 For it is but a world of the dead. 40 
 
 4 
 
 Nothing but idiot gabble ! 
 For the prophecy given of old 
 And then not understood. 
 Has come to pass as foretold ; 
 
 XXVII 
 42. It is perhaps idle to speculate about the prophecy referred to, but 
 probably, as an anonymous critic has suggested, it irefers to St. Luke's 
 Gospel, )cii. z, 3. 
 
MAUD 331 
 
 Not let any man think for the public good, 45 
 
 But babble, merely for babble. 
 
 For I never whisper'd a private affair 
 
 Within the hearing of cat or mouse. 
 
 No, not to myself in the closet alone, 
 
 But I heard it shouted at once from the top of the 
 
 house ; 50 
 
 Everything came to be known : 
 Who told him we were there ? 
 
 5 
 
 Not that gray old wolf, for he came not back 
 
 From the wilderness, full of wolves, where he used 
 
 to lie ; 
 He has gather'd the bones for his o'ergrown whelp 
 
 to crack ; 55 
 
 Crack them now for yourself, and howl, and die. 
 
 6 
 
 Prophet, curse me the blabbing lip, 
 
 And curse me the British vermin, the rat ; 
 
 I know not whether he came in the Hanover ship. 
 
 But I know that he lies and hstens mute 60 
 
 In an ancient mansion's crannies and holes : 
 
 Arsenic, arsenic, sure, would do it. 
 
 Except that now we poison our babes, poor souls ! 
 
 It is all used up for that. 
 
 7 
 
 Tell him now : she is standing here at my head ; 65 
 
 Not beautiful now, not even kind ; 
 
 He may take her now; for she never speaks her 
 
 mind. 
 But is ever the one thing silent here. 
 She is not of us, as I divine ; 
 
 She comes from another stiller world of the dead, 70 
 StUler, not fairer than mine. 
 
 XXVII 
 62. 1855. Arsenic, arsenic, sir. 
 69. 1884 and onward, of. 
 
332 MAUD 
 
 But I know where a garden grows. 
 
 Fairer than aught in the world beside, 
 
 All made up of the lily and rose 
 
 That blow by night, when the season is good, 75 
 
 To the sound of dancing music and flutes : 
 
 It is only flowers, they had no fruits. 
 
 And I almost fear they are not roses, but blood ; 
 
 For the keeper was one, so full of pride. 
 
 He liukt a dead man there to a spectral bride ; 80 
 
 For he, if he had not been a Sultan of brutes. 
 
 Would he have that hole in his side ? 
 
 9 
 But what will the old man say ? 
 He laid a cruel snare in a pit 
 
 To catch a friend of mine one stormy day ; 85 
 
 Yet now I could even weep to think of it ; 
 For what will the old man say 
 When he comes to the second corpse in the pit ? 
 
 10 
 
 Friend, to be struck by the public foe, 
 
 Then to strike him and lay him low, 90 
 
 That were a public merit, far. 
 
 Whatever the Quaker holds, from sin ; 
 
 But the red life spilt for a private blow — 
 
 I swear to you, lawful and lawless war 
 
 Are scarcely even akin. 95 
 
 11 
 
 O me, why have they not buried me deep enough ? 
 
 Is it kind to have made me a grave so rough. 
 
 Me, that was never a quiet sleeper ? 
 
 Maybe still I am but half-dead ; 
 
 Then I cannot be wholly dumb ; 100 
 
 XXVII 
 88. ' ' The second corpse is Maud's brotlier, the lover's father being the first 
 corpse, whom the lover thinks that Maud's father has murdered." — Tennyson's 
 note (Life, i. 404). 
 
MAUD 333 
 
 I will cry to the steps above my head, 
 
 And somebody, surely, some kind heart will come 
 
 To bury me, bury me 
 
 Deeper, ever so little deeper. 
 
 [Paet III] 
 XXVIII 
 
 My life has crept so long on a broken wing 
 
 Thro' cells of madness, haunts of horror and fear. 
 
 That I come to be grateful at last for a little thing : 
 
 My mood is changed, for it fell at a time of year 
 
 When the face of night is fair on the dewy downs, 5 
 
 And the shining daffodil dies, and the Charioteer 
 
 And starry Gemini hang like glorious crowns 
 
 Over Orion's grave low down in the west. 
 
 That like a silent lightning under the stars 
 
 She seem'd to divide in a dream from a band of the blest, 10 
 
 And spoke of a hope for the world in the coming wars — 
 
 " And in that hope, dear soul, let trouble have rest. 
 
 Knowing I tarry for thee," and pointed to Mars 
 
 As he glow'd like a ruddy shield on the Lion's breast. 
 
 2 
 And it was but a dream, yet it yielded a dear, delight 15 
 
 To have look'd, tho' but in a dream, upon eyes so fair, 
 That had been in a weary world my one thing bright,; 
 And it was but a dream, yet it lighten'd my despair 
 When I thought that a war would arise in defence of the 
 
 right, 
 That an iron tyranny now should bend or ceas6, 20 
 
 XXVIII 
 
 In the later editions of the poem this is arranged as part iii. Tennyson's 
 note to it is : " Sane but shattered." And he adds that it wsis writtenjwhen the 
 cannon was heard booming from the battleships in the Solent before the 
 Crimean War. 
 
 6. See Introduction. 
 
 13, 14. The present Lord Tennyson says that on the i6th of March 1854 
 his father was looking through his study window at ttie planet Mars "as he 
 glow'd like a ruddy shield on the Lion's breast" (Life, \. 372), and surely 
 nothing could be more felicitous than the application here given to a simple fact. 
 
334 MAUD 
 
 The gloiy of manhood stand on his ancient height. 
 
 Nor Britain's one sole God be the mUlionnaire : 
 
 No more shall conmierce be all in all, and Peace 
 
 Pipe on her pastoral hillock a languid note, 
 
 And watch her harvest ripen, her herd increase, 25 
 
 Nor the cannon-bullet rust on a slothful shore. 
 
 And the cobweb woven across the cannon's throat 
 
 Shall shake its threaded tears in the wind no more. 
 
 And as months ran on and rumour of battle grew, 
 
 " It is time, it is time, O passionate heart," said I 30 
 
 (For I cleaved to a cause that I felt to be pure and true), 
 
 " It is time, O passionate heart and morbid eye. 
 
 That old hysterical mock-disease should die." 
 
 And I stood on a giant deck and mix'd my breath 
 
 With a loyal people shouting a battle cry, 35 
 
 Till I saw the dreary phantom arise and fly 
 
 Far into the North, and battle, and seas of death. 
 
 Let it go or stay, so I wake to the higher aims 
 
 Of a land that has lost for a little her lust of gold. 
 
 And love of a peace that was full of wrongs and shames, 40 
 
 Horrible, hateful, monstrous, not to be told ; 
 
 And hail once more to the banner of battle unroU'd ! , 
 
 Tho' many a light shall darken, and many shall weep 
 
 For those that are crush'd in the clash of jarring claims, 
 
 Yet God's just wrath shall be wreak'd on a giant liar ; 45 
 
 And many a darkness into the light shall leap. 
 
 And shine in the sudden making of splendid names, 
 
 And noble thought be freer under the sun. 
 
 And the heart of a people beat with one desire ; 
 
 XXVIII 
 27. Cf, BaccbyUdes (Fragment on Peace) : — 
 
 rr iX e'lietpoiirote TO^x^ir ouBZv ' 
 
 (And in the iron-woven shield-handles are the looms of tawny spiders). 
 Theocritus, Id. xvi. 96, has the same image. 
 36. The false phantom of Maud, the " ghastly Wiaith " of xxiii. 32. 
 45. 1855. God's just doom. 
 48. 1875 onward, freer. 
 
MAUD 335 
 
 For the peace, that I deem'd no peace, is over and done, 50 
 And now by the side of the Black and the Baltic deep, 
 And deathful-grinning mouths of the fortress, flames 
 The blood-red blossom of war with a heart of fire. 
 
 Let it flame or fade, and the war roll down like a wind. 
 We have proved we have hearts in a cause, we are noble • 
 still, 55 
 
 And myself have awaked, as it seems, to the better mind ; 
 It is better to fight for the good, than to rail at the ill ; 
 I have felt with my native land, I am one with my kind, 
 I embrace the piirpose of God, and the doom assign'd. 
 
 XXVIII 
 so. 1855. For the long long canker of peace. In the MS. note in American 
 edition this line is first altered into "For the peace that had nothing noble," 
 then "For the peace that I thought no peace " ; "thought" being then deleted, 
 and present reading "deem'd" substituted. 
 
 54-59. Added in 1856. In American edition the MS. addition reads ' ' war " 
 for "the war." Two attempts at this stanza were made and afterwards 
 erased : — 
 
 (i) Let it go or stay, so I S**") henceforth resigned 
 walk/ 
 By the light of a love not lost, with a purer mind 
 And rejoice in my native land, and am one with my kind. 
 (2) And I rise from\ a life half-lost with a better mind 
 So a ftor j 
 I embrace the purpose of God and the doom assign'd 
 And rejoice in my native land and am one with my kind. 
 And lastly — 
 
 Let it iiame or fade and the war roll down like a wind. 
 We have proved we have hearts in a cause, we are noble still. 
 And myself have awaked, as it seems, to the better mind. 
 It is better to fight for the good than to rail at the ill. 
 I have felt with my native land, I am one with my kind 
 I embrace the purpose of God and the doom assign'd. 
 
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Fiction 
 
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36 
 
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Fiction 
 
 37 
 
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38 
 
 Messrs. Methuen's Catalogue 
 
 picture .of the struggle for Hfe In, London, 
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 — Manchester Guardian. 
 
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 THE PLATTNER STORY and Others. 
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 Seventeenth Edition, Crown Bvo, 6s, 
 
 'Every one who reads books at all must 
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 "'Zack*" draws her pictures with great 
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 Westminster Gazette, 
 
Fiction 
 
 39 
 
 Ube iFIeutf &c %i3 Novels 
 
 Crown Svo. 3J, 6d. 
 Messrs. Methuen are now publishing popular Novels in a new and most 
 charming style of binding. Ultimately, this Series will contain the following 
 books :— 
 
 Andrew Balfour. 
 
 To ARM51 
 
 VENGEANCE IS MINE. 
 
 M. C. Balfour. 
 
 THE FALL OF THE SPARROW. 
 
 Jane Barlow. 
 
 The Land of the shamrock. 
 a creel of irish stories. 
 From the east unto the West. 
 
 J. A. Barry. 
 
 In the 'Great deep, 
 
 E. F. Benson. 
 
 The Capsina. 
 
 Dodo : A Detail of the Day. 
 
 THE VINTAGE. 
 
 J. Bloundelle-Burton. 
 IN THE Day of adversity. 
 
 DENOUNCED. 
 
 THE CLASH OF ARMS. 
 
 AcR&ss THE Salt Seas. 
 
 SERVANTS OF SiN, 
 
 Mrs. CaStyn (Iota). 
 
 ANNE MAULEVEREK. 
 
 Ada Cambridge. 
 PATH AND Goal. 
 
 Mrs. W. K. Clifford. 
 A Woman Alone. 
 A Flash of Summer. 
 
 J. Maclaren Cobban, 
 
 THE ANGEL OF THE COVENANT. 
 
 Julian Corbett. 
 A BUSINESS IN Great Waters. 
 
 LCope Comford. 
 
 SONS OF Adversity. 
 
 Stephen Crane. 
 
 WOUNDS IN THE RAIN. 
 
 B. M. Croker. 
 
 A STATS Secret. 
 
 PEGGY OF THE BARTONS. 
 
 Hope Dawlish. 
 
 A Secretary of Legation. 
 
 A. J. Dawson. 
 
 Daniel white. , 
 
 Evelyn Dickinson. 
 
 A Vicar's Wife. 
 THE Sin OF Angels. 
 
 Harris Dickson. 
 The Black Wolf's Breed. 
 
 Menie Muriel Dowie. 
 THE Crook of the Bough. 
 
 Mrs. Dudeney. 
 THE Third Floor, 
 
 Sara Jeannette Duncan. 
 
 A VOYAGE of consolation. 
 
 THE Path of a Star. 
 
 6. Manvllle Fenn. 
 An electric Spark, 
 THE star Gazers. 
 Eli's Children. 
 A Double knot. 
 
 Jane H. Flndlater. 
 
 A Daughter of Stripe. 
 
 Rachel. 
 
 Mary Findlater. 
 
 Betty Muscrave. 
 
 Jane H. and Mary Findlater. 
 Tales that are told. 
 
 J. S. Fletcher. 
 
 The Paths of the Prudent, 
 the Builders. 
 
 M. E. Francis. 
 miss Erin. 
 
 Mary Gaunt. 
 
 KlRKHAM'5 FIND. 
 
 Deadhan's. 
 
 THE Moving Finger.* 
 
 Dorothea Gerard. 
 
 things that HAVE HAPPENED. 
 
 H. Murray Gilchrist, 
 Willowbrake. 
 
 George Gissing. 
 the Crown of Life. 
 
 Charles Gleig. 
 
 Bunter's Cruise. 
 
 S. Gordon. 
 
 A HANDFUL OF EXOTICS. 
 
 C. F. Goss. 
 
 The Redemption of David Corson. 
 
 E. M'Queen Gray. 
 
 My Stewardship. 
 Elsa. 
 
 Kobert Hlchens. 
 byeways. 
 
 I. Hooper. 
 
 THE SINGER OF MARLY. 
 
 Emily Lawless. 
 
 HURRISH. 
 MAELCHO. 
 
 Norma I.orimer. 
 
 Mirry-Ann. 
 josiAH's Wife. 
 
 Edna Lyall. 
 
 Derrick Vaughan, novelist. 
 Hannah tynch. 
 
 AN ODD EXPERIMENT, 
 
 Richard Marsh. 
 
 the seen and the unseen. 
 Marvels and Mysteries. 
 
 W. E. Norris. 
 
 Matthew Austin. 
 
 his Grace. 
 
 THE despotic Lady. 
 
 Clarissa furiosa. 
 
 Giles ingilby. 
 
 AN Octave. 
 
 jack's Father. 
 
 a deplorable affair, 
 
 Mrs. Oliphant. 
 Sir Robert's Fortune. 
 The two Marys. 
 
 THE LADYS walk. 
 
 THE Prodigals. 
 
 Mary A. Owen. 
 
 The Daughter of alouetth. 
 
 Mary L. Fendered, 
 
 An englishman. 
 
40 
 
 Messrs. Methuen's Catalogue 
 
 Mrs. Fenny. 
 A Forest Officer. 
 
 B. Orton Frowse, 
 TKB Poison of asps. 
 
 Richard Fryce. 
 
 Time and the woman. 
 THE Quiet Mrs. Fleming. 
 
 W. Fett Ridge. 
 A SON OF THE State. 
 Secretary to Bayne, M.P. 
 
 Morley Roberts. 
 
 THE FLimDERERS. 
 
 Marshall Saunders. 
 
 ROSE A CHARL.ITTE. 
 
 W. C. Scully. 
 
 THE WHITE Hecatomb. 
 
 BETWEEN SUN AND SAND. 
 
 A Vendetta of the desert. 
 
 B. N. Stephens. 
 AN Enemy to the King, 
 A Gentleman flayer. 
 
 E. H. Strain. 
 
 ELMSUE'9 Drag-Net. 
 
 Esmd Stuaxt. 
 A Woman of Forty. 
 Christalla. 
 
 I>uches3 of Sutherland. 
 
 One Hour and the Next. 
 
 Benjamin Swift. 
 Siren city. 
 
 Victor Waite. 
 Cross Trails. 
 
 Mrs. Walford. 
 
 SUCCESSORS TO THE TITLE. 
 
 Fercy White. 
 
 A Passionate pilgrim, 
 
 Mrs. C. N. Williamson. 
 
 THE Adventure of Princess Sylvia. 
 
 X. L. 
 
 AUT Diabolus aut nihil. 
 
 The Icelander's Sword. By s. Barinfir-Gould. 
 Two little children and ching. By Edith E. 
 
 Cuthell. 
 Toddlebbn'S Hero. By M. M. Blake. 
 ONLY A Guard-Room Dog. By Edith E. Cuthell. 
 The Doctor of the juliet. By Harry Colling- 
 
 wood. 
 Master Rockafellar's Voyage. By W. Clark 
 
 Russell. 
 
 3Booft0 for :!Qo^6 anJ) ©frls 
 
 Crown Svo, 3^. 6d, 
 
 Syd BBLTON : Or, the Boy who would not go tc Sea 
 
 By G. ManvUle Fenn. 
 The Red Grange. By Mrs. Molesworth. 
 
 THE SECRET OF MADAME DH MONLUC. By the 
 
 Author of ' Mdle. MorL" 
 Dumps. By Mrs. Parr. 
 
 A Girl of the People. By L. T. Meade. 
 HEPSY Gipsy, By L. T. Meade, as. 6d. 
 The HONOURABLE Miss. By L, T. Meade. 
 
 ITbe IRovelist 
 
 Messrs. Methuen are issuing under the above general title a Monthly Series 
 of Novels by popular authors at the price of Sixpence. Some of these Novels 
 have never been published before. Each number is as long as the average Six 
 Shilling Novel.- The first numbers of * The Novelist' are as follows : — 
 
 I, Dead Men Tell no Tales. By E. W, 
 
 Hornung'. 
 
 II. Jennie Baxter, journalist. By Robert 
 
 Earr. 
 
 III. The INCA'S Treasure. By Ernest Glanville. 
 
 IV, A SON of the State. By W. Pett Ridge. 
 V. furze bloom. By S. Barmg-Gould. 
 
 VI. HUNTER'S Cruise. By C. Gleie. 
 VII. The Gay Deceivers. By Arthur Moore. 
 VIII. Prisoners of War. By a, Boyson Weekes. 
 IX. Outo/prmt. 
 X, Veldt and Laager : Tales of the Transvaal. 
 
 ■ By E. S. Valentine. 
 
 XI. the Nigger knights. By F. Norreys 
 
 Connel. 
 XII. A Marriage at sea. By W. Clark Russell. 
 XIII. The Pomp of the lavilettes. By 
 Gilbert Parker. 
 
 XIV. A Man of Mark. By Anthony Hope. 
 
 XV. The CarisSIMA. By Lucas Malet. 
 XVI. THE LADY'S Walk. By Mrs. Oliphant. 
 
 XVII, Derrick Vaughan. By Edna LyalL. 
 
 XVIIL IN THE MIDST OF ALARMS. By Robert 
 Barr. 
 XIX. His Grace. By W. E. Norris. 
 XX. Dodo. By E. F. Benson. 
 XXI. Cheap Jack Zita. By S. Barlng-Gould. 
 XXIL When Valmond came to fontiac. By 
 
 Gilbert Parker. 
 
 XXIII, The human boy. By Eden Phillpotts. 
 
 XXIV, The Chronicles of Count Antonio. 
 
 By Anthony Hope. 
 XXV, By Stroke of Sword. By Andrew 
 
 Bairour. 
 XXVI. Kitty Alone. By S. Barlnfr-Gould. 
 XXVIL Giles InGILBY. By W. E. Norris. 
 XXVIII. Urith. By S. Baring-Gould. 
 XXIX. The Town Traveller. By George 
 
 Gissing. 
 XXX. Mr. Smith. By Mrs. Walford. 
 XXXI. A CHANGE OF Air, By Anthony Hope. 
 
 A New Series of Copyright and non- Copyright Books 
 
 By Major-General 
 By M^or-General 
 
 THE Matabelb Campaign. 
 
 Baden-Powell. 
 
 The Downfall of Prempeh. 
 Baden- Po we IL 
 
 My Danish sweetheart. By W. Clark Russell, 
 
 In the Roar of the Sea. By S. Baring- 
 Gould. 
 
 Peggy of the Bartons. By B. M. Croker. 
 
 The green Graves of Balcowrib. By Jane 
 H. Findlater. 
 
 The stolen Bacillus. By H. G. Wells. 
 
 MATTHEW AUSTIN. By W. E. Norris. 
 
 THE Conquest of London. By Dorothea 
 
 Gerard. 
 A VOYAGE OF Consolation. By Sara J. Duncan. 
 The mutable many. By Robert Barr. 
 BenHuR. By Genera Lew Wallace 
 Sir Robert's Fortune. By Mrs. Oliphant. 
 The Fair God. By General Lew Wallace. 
 Clarissa Furiosa. By w. E. Norris. 
 
 NOEMI. By S. Baring-Gould. 
 
 The THRONE OF David. By J. H. Ingraham. 
 
 Across the Salt Seas, By J. Bloundelle 
 
 Burton. 
 
■,3 
 
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