The reward of Tennyson's purity, according to Mr. Hughes, was that "he was able to understand women." "The English race," exclaims the eulogist, "has never contemplated a nobler or more inspiring womanhood than that which glows on every page of Tennyson." This is the hectic exaggeration in which Mr. Hughes habitually indulges. Tennyson never drew a live woman. Maud is a lay figure, and the heroine of "The Princess" is purely fantastic. George Meredith beats the late Laureate hollow in this respect. He is second only to Shakespeare, who here, as elsewhere, maintains his supremacy.
Mr. Hughes's remarks on Locksley Hall are, to use his own expression, amazing. "How terribly," he says, "does he [Tennyson] paint the swift degeneration of the faithless Amy." Mr. Hughes forgets—or does he forget?—that in the sequel to this poem, entitled Sixty Years After, Tennyson unsays all the high-pitched dispraise of Amy and her squire. Locksley Hall is a piece of splendid versification, but the hero is a prig, which is a shade worse than a Philistine. Young fellows mouth the poem rapturously; their elders smile at the disguises of egotism.
Loveless marriage was reprobated by Tennyson, and Mr. Hughes goes into ecstacies over the tremendous fact. Like the Psalmist, he is in haste; he cannot point to a poet who ever hinted the dethronement of love.
A choice Hughesean sentence occurs in this connexion. "I very much regret," the preacher says, "that Maud's lover was such a conventional idiot that he should have been guilty of the supreme folly of challenging her brother to a duel." Shade of Lindley Murrey, what a sentence! A boy who wrote thus would deserve whipping. And what right, we ask, has a Christian minister to rail at duelling? It was unknown to Greek or Roman society. Indeed, it is merely a form of the Ordeal, which was upheld by Christianity. The duel was originally a direct and solemn appeal to Providence. Only a sceptic has the right to call it a folly.
Enough of Mr. Hughes as a stylist, a critic, and teacher. What he really shines in is invention.
His story of the converted Atheist shoemaker displays a faculty which has no scope in a sermon on Tennyson.
LORD BACON ON ATHEISM.
The pedants will be down upon us for speaking of Lord Bacon. It is true there never was such a personage. Francis Bacon was Baron of Verulam, Viscount St. Alban, and Lord High Chancellor of England. But this is a case in which it is impossible to resist the popular usage. After all, we write to be understood. The pedants, the heralds, and all the rest of the tribe of technical fanatics, rejoice to mouth "Lord Verulam." But the ordinary man of letters, like the common run of readers, will continue to speak of Lord Bacon; for Bacon was his name, and the "Lord" was but a pretty feather in his hat. And when his lordship took that splendid pen of his, to jot down some of his profoundest thoughts for posterity, did he not say in his grand style, "I, Francis Bacon, thought on this wise"? You cannot get the "Bacon" out of it, and as the "Lord" will slip in, we must let it stand as Lord Bacon.
Lord Bacon was was a very great man. Who does not remember Pope's lines?—