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white streams of dazzling gas,”

      like Sir Walter Scott at Abbotsford.

      “Thus her intense, untold delight,

       In deep or vivid colour, smell, and sound,

       Was flattered day and night.”

      Lockhart was not fond of Sir Walter’s experiments in gas, the “smell” gave him no “deep, untold delight,” and his “infamous review” was biassed by these circumstances.

      The volume of 1833 was in nothing more remarkable than in its proof of the many-sidedness of the author. He offered mediæval romance, and classical perfection touched with the romantic spirit, and domestic idyll, of which The May Queen is probably the most popular example. The “mysterious being,” conversant with “the spiritual world,” might have been expected to disdain topics well within the range of Eliza Cook. He did not despise but elevated them, and thereby did more to introduce himself to the wide English public than he could have done by a century of Fatimas or Lotos-Eaters. On the other hand, a taste more fastidious, or more perverse, will scarcely be satisfied with pathos which in process of time has come to seem “obvious.” The pathos of early death in the prime of beauty is less obvious in Homer, where Achilles is to be the victim, or in the laments of the Anthology, where we only know that the dead bride or maiden was fair; but the poor May Queen is of her nature rather commonplace.

      “That good man, the clergyman, has told me words of peace,”

      strikes a note rather resembling the Tennysonian parody of Wordsworth—

      “A Mr. Wilkinson, a clergyman.”

      The Lotos-Eaters, of course, is at the opposite pole of the poet’s genius. A few plain verses of the Odyssey, almost bald in their reticence, are the point de repère of the most magical vision expressed in the most musical verse. Here is the languid charm of Spenser, enriched with many classical memories, and pictures of natural beauty gorgeously yet delicately painted. After the excision of some verses, rather fantastical, in 1842, the poem became a flawless masterpiece—one of the eternal possessions of song.

      On the other hand, the opening of The Dream of Fair Women was marred in 1833 by the grotesque introductory verses about “a man that sails in a balloon.” Young as Tennyson was, these freakish passages are a psychological marvel in the work of one who did not lack the saving sense of humour. The poet, wafted on the wing and “pinion that the Theban eagle bear,” cannot conceivably be likened to an aeronaut waving flags out of a balloon—except in a spirit of self-mockery which was not Tennyson’s. His remarkable self-discipline in excising the fantastic and superfluous, and reducing his work to its classical perfection of thought and form, is nowhere more remarkable than in this magnificent vision. It is probably by mere accidental coincidence of thought that, in the verses To J. S. (James Spedding), Tennyson reproduces the noble speech on the warrior’s death which Sir Walter Scott places in the lips of the great Dundee: “It is the memory which the soldier leaves behind him, like the long train of light that follows the sunken sun, that is all that is worth caring for,” the light which lingers eternally on the hills of Atholl. Tennyson’s lines are a close parallel:—

      “His memory long will live alone

       In all our hearts, as mournful light

       That broods above the fallen sun,

       And dwells in heaven half the night.”

      Though Tennyson disliked the exhibition of “the chips of the workshop,” we have commented on them, on the early readings of the early volumes. They may be regarded more properly as the sketches of a master than as “chips,” and do more than merely engage the idle curiosity of the fanatics of first editions. They prove that the poet was studious of perfection, and wisely studious, for his alterations, unlike those of some authors, were almost invariably for the better, the saner, the more mature in taste. The early readings are also worth notice, because they partially explain, by their occasionally fantastic and humourless character, the lack of early and general recognition of the poet’s genius. The native prejudice of mankind is not in favour of a new poet. Of new poets there are always so many, most of them bad, that nature has protected mankind by an armour of suspiciousness. The world, and Lockhart, easily found good reasons for distrusting this new claimant of the ivy and the bays: moreover, since about 1814 there had been a reaction against new poetry. The market was glutted. Scott had set everybody on reading, and too many on writing, novels. The great reaction of the century against all forms of literature except prose fiction had begun. Near the very date of Tennyson’s first volume Bulwer Lytton, as we saw, had frankly explained that he wrote novels because nobody would look at anything else. Tennyson had to overcome this universal, or all but universal, indifference to new poetry, and, after being silent for ten years, overcome it he did—a remarkable victory of art and of patient courage. Times were even worse for poets than to-day. Three hundred copies of the new volume were sold! But Tennyson’s friends were not puffers in league with pushing publishers.

      Meanwhile the poet in 1833 went on quietly and undefeated with his work. He composed The Gardener’s Daughter, and was at work on the Morte d’Arthur, suppressed till the ninth year, on the Horatian plan. Many poems were produced (and even written out, which a number of his pieces never were), and were left in manuscript till they appeared in the Biography. Most of these are so little worthy of the author that the marvel is how he came to write them—in what uninspired hours. Unlike Wordsworth, he could weed the tares from his wheat. His studies were in Greek, German, Italian, history (a little), and chemistry, botany, and electricity—“cross-grained Muses,” these last.

      It was on September 15, 1833, that Arthur Hallam died. Unheralded by sign or symptom of disease as it was, the news fell like a thunderbolt from a serene sky. Tennyson’s and Hallam’s love had been “passing the love of women.” A blow like this drives a man on the rocks of the ultimate, the insoluble problems of destiny. “Is this the end?” Nourished as on the milk of lions, on the elevating and strengthening doctrines of popular science, trained from childhood to forego hope and attend evening lectures, the young critics of our generation find Tennyson a weakling because he had hopes and fears concerning the ultimate renewal of what was more than half his life—his friendship.

      “That faith I fain would keep,

       That hope I’ll not forego:

       Eternal be the sleep—

       Unless to waken so,”

      wrote Lockhart, and the verses echoed ceaselessly in the widowed heart of Carlyle. These men, it is part of the duty of critics later born to remember, were not children or cowards, though they dreamed, and hoped, and feared. We ought to make allowance for failings incident to an age not yet fully enlightened by popular science, and still undivorced from spiritual ideas that are as old as the human race, and perhaps not likely to perish while that race exists. Now and then even scientific men have been mistaken, especially when they have declined to examine evidence, as in this problem of the transcendental nature of the human spirit they usually do. At all events Tennyson was unconvinced that death is the end, and shortly after the fatal tidings arrived from Vienna he began to write fragments in verse preluding to the poem of In Memoriam. He also began, in a mood of great misery, The Two Voices; or, Thoughts of a Suicide. The poem seems to have been partly done by September 1834, when Spedding commented on it, and on the beautiful Sir Galahad, “intended for something of a male counterpart to St. Agnes.” The Morte d’Arthur Tennyson then thought “the best thing I have managed lately.” Very early in 1835 many stanzas of In Memoriam had taken form. “I do not wish to be dragged forward in any shape before the reading public at present,” wrote the poet, when he heard that Mill desired to write on him. His Œnone he had brought to its new perfection, and did not desire comments on work now several years old. He also wrote his Ulysses and his Tithonus.

      If ever the term “morbid” could have been applied to Tennyson, it would have been in the years immediately following the death of Arthur Hallam. But the application would have been unjust. True, the poet was living out

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