From the portrait in the possession of Lady Henry Somerset, painted by G. F. Watts, R.A., in 1859
ALFRED TENNYSON
exceptional mind might find room for both. Nothing was more characteristic of the age than the reaction towards medieval ideas, headed by Newman, except the rival and seemingly incompatible gospel of “the railway and the steamship” and all their corollaries. It cannot be said that Tennyson, like Gladstone, found equal room for both ideals in his mind, for until old age had made him mistrustful and querulous he was essentially a man of progress. But his choice of the Arthurian legend for what he intended to be his chief work, and the sentiment of many of his most beautiful minor poems, show what attraction the mediæval spirit also possessed for him; nor, if he was to be in truth the poetical representative of his period, could it have been otherwise. He is not, however, like Gladstone, alternately a mediæval and a modern man; but he uses mediæval sentiment with exquisite judgment to mellow what may appear harsh or crude in the new ideas of political reform, diffusion of education, mechanical invention, free trade, and colonial expansion. The Victorian, in fact,
From the chalk drawing by M. Arnault in the National Portrait Gallery
ALFRED TENNYSON
Rischgitz Collection