Tennyson and his friends

by Unknown

All nature widens upward. Evermore
The simpler essence lower lies,
More complex is more perfect, owning more
Discourse, more widely wise.

At any rate the preservation of these unpublished verses adds much to the value of the biography; and we may rank Tennyson among the very few poets whose reputation has rather gained than suffered by the posthumous appearance of pieces that the writer had deliberately withdrawn or withheld.

Of Tennyson’s own literary opinions one or two specimens, belonging to this time, may be given.

“Byron and Shelley, however mistaken they were, did yet give the world another heart and new pulses; and so we are kept going”—a just tribute to their fiery lyrical energy, which did much to clear insular prejudice from the souls of a masculine generation. “Lycidas” he held to be the test of any reader’s poetic instinct; and “Keats, with his high spiritual vision, would have been, if he had lived, the greatest of us all, though his blank verse lacked originality of movement.” It is true that Keats, whose full metrical skill was never developed, may have imitated the Miltonic construction; yet after Milton he was the finest composer up to Tennyson’s day. And the first hundred lines of “Hyperion” have no slight affinity, in colouring and cadence, to the Tennysonian blank verse. For indeed it was Keats who, as Tennyson’s forerunner, passed on to him the gift of intense romantic susceptibility to the influences of Nature, the “dim mystic sympathies with tree and hill reaching back into childhood.” But Tennyson’s art inclined more toward the picturesque, toward using words, as a painter uses his brush, for producing the impression of a scene’s true outline and colour; his work shows the realistic feeling of a later day, which delights in precision of details. In one of his letters he mentions that there was a time when he was in the habit of chronicling, in four or five words or more, whatever might strike him as a picture, just as an artist would take rough sketches. The subjoined fragment, written on revisiting Mablethorpe on the Lincolnshire coast, contains the quintessence of his descriptive style; the last three lines are sheer landscape painting.

Mablethorpe
Here often when a child I lay reclined,
I took delight in this fair land and free;
Here stood the infant Ilion of the mind,
And here the Grecian ships all seemed to be.
And here again I come, and only find
The drain-cut level of the marshy lea,
Gray sand-banks, and pale sunsets, dreary winds,
Dim shores, dense rains, and heavy-clouded sea.

More frequently, however, he employed his wonderful image-making power to illustrate symbolically some mental state or emotion, availing himself of the mysterious relation between man and his environment, whereby the outer inanimate world is felt to be the resemblance and reflection of human moods. So in the “Palace of Art” the desolate soul is likened to

A still salt pool, lock’d in with bars of sand,
Left on the shore; that hears all night
The plunging seas draw backward from the land
Their moon-led waters white.

And there are passages in the extracts given from his letters written to Miss Emily Sellwood, during the long engagement that preceded their marriage, which indicate the bent of his mind toward philosophic quietism, with frequent signs of that half-veiled fellow-feeling with natural things, that sense of life in all sound and motion, whereby poetry is drawn upward, by degrees and almost unconsciously, into the region of the “Higher Pantheism.” Nor has any English poet availed himself more skilfully of a language that is peculiarly rich in metaphors, consisting of words which still so far retain their original meaning as to suggest a picture while they convey a thought.

It is partly due to these qualities of mind and style that no chapter in this book, which mingles grave with gay very attractively, contains matter of higher biographical interest than that which is headed “In Memoriam.” For it is in this noble poem, on the whole Tennyson’s masterpiece, that he is stirred by his own passionate grief to dwell on the contrast between irremediable human suffering and the calm aspect of Nature, between the short and sorrowful days of man and the long procession of ages. From the doubts and perplexities, the tendency to lose heart, engendered by a sense of forces that are unceasing and relentless, he finds his ultimate escape in the spirit of trust in the Powers invisible, and in the persuasion that God and Nature cannot be at strife. In a letter contributed to this Memoir Professor Henry Sidgwick has described the impression produced on him and others of his time by this poem, showing how it struck in, so to speak, upon their religious debates at a moment of conflicting tendencies and great uncertainty of direction, giving intensity of expression to the dominant feeling, and wider range to the prevailing thought:

The most important influence of “In Memoriam” on my thought, apart from its poetic charm as an expression of personal emotion, opened in a region, if I may so say, deeper down than the difference between Theism and Christianity: it lay in the unparalleled combination of intensity of feeling with comprehensiveness of view and balance of judgment, shown in presenting the deepest needs and perplexities of humanity. And this influence, I find, has increased rather than diminished as years have gone on, and as the great issues between Agnostic Science and Faith have become continually more prominent. In the sixties I should say that these deeper issues were somewhat obscured by the discussions on Christian dogma and Inspiration of Scripture, etc. ... During these years we were absorbed in struggling for freedom of thought in the trammels of a historical religion; and perhaps what we sympathized with most in “In Memoriam” at this time, apart from the personal feeling, was the defence of “honest doubt,” the reconciliation of knowledge and faith in the introductory poem, and the hopeful trumpet-ring of the lines on the New Year.... Well, the years pass, the struggle with what Carlyle used to call “Hebrew old clothes” is over, Freedom is won, and what does Freedom bring us to? It brings us face to face with atheistic science; the faith in God and Immortality, which we had been struggling to clear from superstition, suddenly seems to be in the air; and in seeking for a firm basis for this faith we find ourselves in the midst of the “fight with death” which “In Memoriam” so powerfully presents.