Tennyson and his friends

by Unknown

for there was a note among his papers to that effect.

And there is one note about Béranger (written in a letter):

It was he too who introduced me to Béranger, e.g. “Le Roi d’Yvetot,” and the refrain:

Toute l’aristocratie à la lanterne![60]

And how he read it! Like the Conturbabimus illa, ne sciamus of Catullus quoted above—with fire and fury, tauriformis Aufidus-like—a refrain which, like the “Marseillaise,” stirred my republican spirit νόσφιν δίκας, inordinately, I mean, and in a monstrous cruel sort of way: but what he liked was the form and force of the language, the pure art and horror of it, I imagine.

Mr. Dakyns, in the short time I knew him, often spoke to me about Tennyson, and always with stress on “the width of his humanity,” and how he could appreciate works at which a smaller man might have been shocked; how, for example, he sympathized with the inmost spirit of Hugo’s cry to the awful vastness of God:

Je sais que vous avez bien autre chose à faire
Que de nous plaindre tous;

saw nothing irreverent in it, as lesser critics have done; found in it rather a fortifying quality against “the grief that saps the mind.” “I wish you could have heard him read it,” he wrote afterwards, “in his organ-voice.” Once he said to me how much he had wanted Tennyson to write the Ode on the Stars which was always floating before his mind: “He could have done it, for he had the sense of vastness. And it would have been a far finer work than the ‘Idylls of the King.’”

Tennyson also, he told me, was the first man to tell him about Walt Whitman, and the first passage he showed him was one of the most daring Whitman ever wrote. On his side Whitman had a deep feeling for Tennyson and used to write of him affectionately as “the Boss,” a touch that pleased Mr. Dakyns greatly, for he admired and loved Walt. He gave me a vivid impression of Tennyson’s large-heartedness in all kinds of ways: for instance, his own opinions were always intensely democratic, and the Tennysons sympathized rather with the old Whig and Unionist policy, but he said it never made any difference or any jar between them. “I remember his coming into my little study at the top of the house and finding me absorbed in Shelley, and asking me what I was reading, and I was struck at the time by the quiet satisfied way in which he took my answer, no cavil or criticism, though I knew he did not feel about Shelley as I did.... I don’t know how to give in writing the true impression of his dear genial nature. It often came out in what might seem like roughnesses when they were written down. He was very fond of Clough: and Clough at that time was very taciturn—he was ill really, near his death—and I remember once at a discussion on metre Clough would not say one word, and at last Tennyson turned to him with affectionate impatience, quoting Shakespeare in his deep, kindly voice, ‘Well, goodman Dull, what do you say?’ How can I put that down? I can’t give the sweet humorous tone that made the charm of it. And then people called him ‘gruff.’ His ‘gruffness’ only gripped one closer.”

Another time he told me with keen enjoyment of Tennyson’s discovering a likeness to him in some drawing on the cover of the old Cornhill—I think it was the figure of a lad ploughing—pointing to it like a child and saying, “Little Dakyns.” He would speak with delight of Tennyson’s humour, far deeper and wilder, he said, than most people would have guessed, Rabelaisian even in the noble sense of the word, and always fresh and pure.