Or again, in “Locksley Hall,” the poem which, as we think deservedly, has had most influence on the minds of the young men of our day:
Eager-hearted as a boy when first he leaves his father’s field,
And at night along the dusky highway near and nearer drawn,
Sees in heaven the light of London flaring like a dreary dawn;
And his spirit leaps within him to be gone before him then,
Underneath the light he looks at, in among the throngs of men;
Men, my brothers, men the workers, over reaping something new:
That which they have done but earnest of the things which they shall do:
and all the grand prophetic passage following, which is said, we know not how truly, to have won for the poet the respect of that great statesman whose loss all good men deplore.
In saying that “Locksley Hall” has deservedly had so great an influence over the minds of the young, we shall, we are afraid, have offended some who are accustomed to consider that poem as Werterian and unhealthy. But, in reality, the spirit of the poem is simply anti-Werterian. It is man rising out of sickness into health—not conquered by Werterism, but conquering his selfish sorrow, and the moral and intellectual paralysis which it produces, by faith and hope—faith in the progress of science and civilisation, hope in the final triumph of good. Doubtless, that is not the highest deliverance—not a permanent deliverance at all. Faith in God and hope in Christ alone can deliver a man once and for all from Werterism, or any other moral disease; that truth was reserved for “In Memoriam:” but as far as “Locksley Hall” goes, it is a step forward—a whole moral æon beyond Byron and Shelley; and a step, too, in the right direction, just because it is a step forward—because the path of deliverance is, as “Locksley Hall” sets forth, not backwards towards a fancied paradise of childhood—not backward to grope after an unconsciousness which is now impossible, an implicit faith which would be unworthy of the man, but forward on the road on which God has been leading him, carrying upward with him the aspirations of childhood, and the bitter experience of youth, to help the organised and trustful labour of manhood. There are, in fact, only two deliverances from Werterism possible in the nineteenth century; one is into Popery, and the other is—
Forward, forward, let us range;
Let the peoples spin for ever down the ringing grooves of change;
Through the shadow of the world we sweep into the younger day:
Better fifty years of Europe than a cycle of Cathay.
But such a combination of powers as Mr. Tennyson’s naturally develop themselves into a high idyllic faculty; for it is the very essence of the idyl to set forth the poetry which lies in the simpler manifestations of Man and Nature; yet not explicitly, by a reflective moralising on them, as almost all our idyllists—Cowper, Gray, Crabbe, and Wordsworth—have been in the habit of doing, but implicitly, by investing them all with a rich and delightful tone of colouring, perfect grace of manner, perfect melody of rhythm, which, like a gorgeous summer atmosphere, shall glorify without altering the most trivial and homely sights. And it is this very power, as exhibited in the “Lord of Burleigh,” “Audley Court,” and the “Gardener’s Daughter,” which has made Mr. Tennyson, not merely the only English rival of Theocritus and Bion, but, in our opinion, as much their superior as modern England is superior to ancient Greece.
Yet in “The Princess,” perhaps, Mr. Tennyson rises higher still. The idyllic manner alternates with the satiric, the pathetic, even the sublime, by such imperceptible gradations, and continual delicate variations of key, that the harmonious medley of his style becomes the fit outward expression of the bizarre and yet harmonious fairyland in which his fancy ranges. In this work, too, Mr. Tennyson shows himself more than ever the poet of the day. In it more than ever the old is interpenetrated with the new—the domestic and scientific with the ideal and sentimental. He dares, in every page, to make use of modern words and notions, from which the mingled clumsiness and archaism of his compeers shrinks, as unpoetical. Though, as we just said, his stage is an ideal fairyland, yet he has reached the ideal by the only true method—by bringing the Middle Age forward to the Present one, and not by ignoring the Present to fall back on a cold and galvanised Medievalism; and thus he makes his “Medley” a mirror of the nineteenth century, possessed of its own new art and science, its own new temptations and aspirations, and yet grounded on, and continually striving to reproduce, the forms and experiences of all past time. The idea, too, of “The Princess” is an essentially modern one. In every age women have been tempted, by the possession of superior beauty, intellect, or strength of will, to deny their own womanhood, and attempt to stand alone as men, whether on the ground of political intrigue, ascetic saintship, or philosophic pride. Cleopatra and St. Hedwiga, Madame de Staël and the Princess, are merely different manifestations of the same self-willed and proud longing of woman to unsex herself, and realise, single and self-sustained, some distorted and partial notion of her own as to what the “angelic life” should be. Cleopatra acted out the pagan ideal of an angel; St. Hedwiga, the medieval one; Madame de Staël hers, with the peculiar notions of her time as to what “spirituel” might mean; and in “The Princess” Mr. Tennyson has embodied the ideal of that nobler, wider, purer, yet equally fallacious, because equally unnatural, analogue, which we may meet too often up and down England now. He shows us the woman, when she takes nor stand on the false masculine ground of intellect, working out her own moral punishment, by destroying in herself the tender heart of flesh: not even her vast purposes of philanthropy can preserve her, for they are built up, not on the womanhood which God has given her, but on her own self-will; they change, they fall, they become inconsistent, even as she does herself, till, at last, she loses all feminine sensibility; scornfully and stupidly she rejects and misunderstands the heart of man; and then falling from pride to sternness, from sternness to sheer inhumanity, she punishes sisterly love as a crime, robs the mother of her child, and becomes all but a vengeful fury, with all the peculiar faults of woman, and none of the peculiar excellences of man.
The poem being, as its title imports, a medley of jest and earnest, allows a metrical licence, of which we are often tempted to wish that its author had not availed himself; yet the most unmetrical and apparently careless passages flow with a grace, a lightness, a colloquial ease and frolic, which perhaps only heighten the effect of the serious parts, and serve as a foil to set off the unrivalled finish and melody of these latter. In these come out all Mr. Tennyson’s instinctive choice of tone, his mastery of language, which always fits the right word to the right thing, and that word always the simplest one, and the perfect ear for melody which makes it superfluous to set to music poetry which, read by the veriest schoolboy, makes music of itself. The poem, we are glad to say, is so well known that it seems unnecessary to quote from it; yet there are here and there gems of sound and expression of which, however well our readers may know them, we cannot forbear reminding them again. For instance, the end of the idyl in book vii. beginning “Come down, O maid” (the whole of which is perhaps one of the most perfect fruits of the poet’s genius):
Myriads of rivulets hurrying through the lawn,
The moan of doves in immemorial elms,
And murmuring of innumerable bees.
Who, after three such lines, will talk of English as a harsh and clumsy language, and seek in the effeminate and monotonous Italian for expressive melody of sound? Who cannot hear in them the rapid rippling of the water, the stately calmness of the wood-dove’s note, and, in the repetition of short syllables and soft liquids in the last line, the