'a <\- s- 't. % ^^- ■x^^' '-^'i^ xV .S- -<: >^ '^^ ,-y' ^,. s* .x^-^ ->• ^,. * 9 1 -*" v'^ .'?■' \v ,s-. \' . '^^.^^' --.^^•\ -^.^ .-J^^ <^^ O o. A '^. x^^- ^^ ''t. %.' '^^• o i -A > .^^' .^^ 1^ .* %\ %<^- '"-.. ^^■ A'' ,0 o ^> \^ >^% ■ ' » « s- x^^ '''^^ .-v '^ ^-^..,^^ v^^: .^^• In Memoriam by/ ALFRED T^ENNYSON WITH A PREFACE BV HENRY ..VAN DYKE ¥' ILLUSTRATED BY HARRY, FENN AlfV:l FORDS, HO[VARD, &■ HULBERT NEW YORK MDCCCXCyil L. %SS OF C(fe NOVieiauY \\ v^ ^ of Coy TIT 56 4^ Copyright, 1897, by FORDS, HOWARD, & HULBERT losophy, and in argumentative discussion. He did not incline strongly to the study of the classics; and towards mathematics, the favour- ite discipline of Cambridge, he was almost en- tirely indifferent. These mental indispositions, together with a lack of power or willingness to retain in his memory the mass of uninteresting facts and dates which are required for success in examinations, and a delicacy of health which at times made him subject to serious depression of spirits, unfitted him to contend for university honours. But he was a natural leader among the high-spirited youth who found in the reality of college life and the freedom of intellectual intercourse a deeper and broader education than the routine of the class-room could give. There was a debating society in Cambridge at this time, familiarly called " The Twelve Apostles," which included such men of proin- ise as Richard Monckton Milnes (afterwards Lord Houghton), W. H. Thompson (after- wards Master of Trinity), Richard Chevenix Trench (afterwards Archbishop of Dublin), Henry Alford (afterwards Dean of Canterbury), Frederic Dennison Maurice, W. H. Brookfield, James Spedding, Edmund Lushington, and G. S. Venables. In this society of kindling genius Hallam shone with a singular lustre, not only by reason of the depth and clearness of his vii thought and the masterful vigour of his ex- pression, but also because of the sweetness and purity of his character and the sincerity of his religious spirit, strengthened and ennobled by conflict with honest doubt.* One of his friends wrote of him : " I have met with no man his superior in metaphysical subtlety ; no man his equal as a philosophical critic on works of taste ; no man whose views on all subjects connected with the duties and dignities of humanity were more large, more generous, and enlightened." Mr. Gladstone, recalling his intimacy with Hallam at Eton, bears wit- ness to "his unparalleled endowments, and his deep enthusiastic affections, both religious and human." It was by such qualities that Alfred Tenny- son was drawn to Arthur Hallam; and al- though, or perhaps because, they were unlike in many things,'' their minds and hearts were wedded in a friendship which was closer than brotherhood, and in which Tennyson felt that Hallam's influence was the stronger and more masculine element, so that he always spoke of himself as "widowed" by his loss.' ' In Memorianty cantos xxiii ; xli ; Ixxxv, 12 ; Ixxxvii, 8 ; Ixxxix • xcv, 8 ; xcvi ; cix : ex ; cxi ; cxii ; cxiii ; cxiv, 7. ' Canto Ixxix, 5. ' Cantos ix, xvii, xl, xlii, Ixxxv, xcvii. viii 1832, the year of his graduation at Cam- bridge, he was engaged to Miss Emily Ten- nyson, the poet's sister.' His home was with his father in Wimpole Street, called the longest street in London ;^ and on leaving college he began the study of law,' looking forward to the higher life of public service, in which so many of England's best young men find their mission. "* In August, 1833, he went with his father to Germany. On the way from Pesth to Vienna he was exposed to inclement weather, and contracted an intermittent fever. The symptoms were slight and seemed to be abat- ing ; but the natural frailty of his constitution involved unforeseen danger. There was a weakness of the heart, which the strength of the spirit concealed. On the 15th of Septem- ber, while he seemed to be reposing quietly, the silver cord was loosed and the golden bowl was broken. " In Vienna's fatal walls God's finger touch'd him, and he slept." ^ The sharp and overwhelming shock of losing such a friend, suddenly, irretrievably, in ab- ' In Memoriaiii, canto Ixxxiv ; Epithalaraium, stanza 2. ^ Canto vii. ^ Canto ix, line 12. * Canto cxiii. ^ Cantos Ixxxv, 5 ; xcviii, 2. sence, with no opportunity of speaking a word of love and farewell, brought Tennyson face to face with the intense and inexorable reality of Death — the great mystery which must either darken all life and quench the springs of poesy, or open a new world of victory to the spirit and refresh it with deeper and never failing fountains of inspiration. hi Metiioriani begins with the confession of this dreadful sense of loss, and the firm resolve to hold fast the memory of his grief, even though he doubts whether he can " reach a hand thro' time to catch The far-off interest of tears." Tiie arrangement of the poem does not follow strictly the order of logic or the order of time. It was not written consecutively, but at inter- vals, and the period of its composition extends over at least sixteen years. The Epithalamium with which it closes was made in 1842, the date of the marriage of Miss Emily Tennyson to Edmund Law Lushington, the friend ad- dressed in canto LXXXV. The Proem, "Strong Son of God, Immortal Love," was added in 1849, to sum up and express the final signifi- cance of the whole lyrical epic of the inner life which had grown so wonderfully through these long years of spiritual experience, xii " The general way of its being written," said Tennyson, " was so queer that if there were a blank space I would put in a poem." And yet there is a profound coherence in the series of separate lyrics ; and a clear advance towards a definite goal of thought and feeling can be traced through the freedom of structure which characterizes the poem. The first division of the poem, from the first to the eighth canto (I follow here the grouping of the sections which was made by Tennyson himself), moves with the natural uncertainty of a lonely and sorrowful heart ; questioning whether it is possible or wise to hold fast to sorrow, questioning whether it be not half a sin to try to put such a grief into words, ques- tioning whether the writing of a memorial poem can be anything more than a " sad mechanic exercise, Like dull narcotics, numbing pain." But the conclusion is, that since the lost friend loved the poet's verse, the poem shall be writ- ten for his sake and consecrated to his mem- ory, like a flower planted on a tomb, to live or die. The second division, beginning with the ninth canto and closing with the nineteenth, describes in lyrics of wondrous beauty the xiii home-bringing of Artliur's body in a ship from Italy, and the burial in Clevedon Church, which stands on a solitary hill, overlooking the Bris- tol Channel. This took place on January the third, 1834. A calmer, stronger, steadier spirit now enters into the poem, and from this point it moves forward with ever deepening power and beauty, to pay its rich tribute to the im- mortal meaning of friendship and to pour its triumphant light through the shadows of the grave. The third division, beginning with the twen- tieth canto, returns again to the subject of personal bereavement and the possibility of ex- pressing it in poetry. It speaks of tlie neces- sity in the jioet's heart for finding such an expression, which is as natural as song is to the bird. He turns back to trace the path- way of friendship, and remembers how love made it fair and sweet, doubling all joy, and dividing all pain. That companionship is now broken and the way is dreary. The love to which he longs to prove himself still loyal is now the minister of lonely sorrow. And yet the very capacity for such suffering is better than the selfish placidity of the loveless life : " 'Tis better to have loved and lost Than never to have loved at all.* The fourth division opens, in the twenty- eighth canto, with a Christmas poem. The poet wonders how it is possible to l