Harold is simply narrative throughout—spoken narrative, indeed. A drama must be act. Scenes prior to and leading up to the Norman Conquest of England are depicted with more or less beauty of limning, but they are loose, shifting, independent of each other. There is no secret thread to link the whole and give it a unity of purpose and of plan, without which there is no drama. There are five acts. There might have been fifty, or only two, or only one, so far as the slow working of the whole up to the catastrophe at the conclusion goes. The first act opens in London at King Edward’s palace. Almost the first twenty pages are occupied by various characters in discussing the appearance, meaning, and portent of a comet. This is, of course, the old stage trick used to knit the coming horror with troubles in the air. Shakspere uses it often, notably in Julius Cæsar, but with him the troubled elements obey the magic wand of Prospero and minister to man, and are but the accompaniment of great events. Tennyson’s comet is too much for his characters. They puzzle themselves about it until we grow tired of it and its three tails.
After the comet has run its course, the characters being brought together to discuss it, Harold intimates to the king his intention to go to Normandy; the king warns him not to go; then follows a lively discussion on personal matters between the queen, Harold, and his brothers, which almost ends in a fight; the comet or “grisly star” is introduced again, and the scene ends apropos of nothing in particular, unless a hint of a coming plot on the part of Aldwyth. The second scene, the best in the drama, is a very sweet piece of love-making between Harold and Edith, upon which Aldwyth again throws her shadow, and the act ends. The second act wrecks Harold at Ponthieu, whence his transition to the power of Count William of Normandy—or Duke William, as we are more in the habit of calling him—is easy. Indeed, to a dramatist there was no reason whatever for the first scene of this act, as the story of Harold’s capture might, if it were necessary, have been told in a line or two while Harold was actually in the power of William. The rest of this long act is taken up with William’s compelling Harold to swear, on the relics of the saints, to help him to the crown of England. The third act presents the death of King Edward, who wills the crown to Harold. The second scene gives another piece of love-making between Harold and Edith, not so happy as the first, and announces the invasion of Northumbria by Tostig and Harold Hardrada. The fourth act opens in Northumbria. In the first scene of it the factions of the rival chieftains are put an end to by the marriage of Harold with Aldwyth, and thus the only attempt at a shadow even of a plot is summarily disposed of. The other scenes are before and after the battle of Stamford Bridge, and the act closes with news of the landing of the Normans. The fifth act opens on the field of Senlac. Harold has a dream in his tent, too like that of Richard III. in conception. Stigand describes the battle of Hastings to Edith, and the death of Harold. Here the drama should have closed. Anything after it on the stage would certainly come tamely. But Tennyson cannot resist the temptation to search for the body of Harold, and with the finding of it, the death of Edith on it, and what in ordinary parlance would be called William’s directions for the funeral arrangements, the play closes.
Such is Harold—narrative, narrative, narrative throughout; very excellent narrative some of it, but no drama, no centre of interest around which the whole is made to turn. The misfortune about all historical plays is that the reader begins with a full knowledge of all the circumstances, and to make them dramatically interesting needs a most skilful adaptation of plot and counterplot, a slow unfolding of events from some necessary cause, a development of character, a silent Fate, so to say, moving in and out, and, in spite of all things, shaping events to one great end, so that, while we feel the consummation impending, we yet know not how, or when, or where, or by what instrumentality it will come. There is nothing of this in Harold.
It has been seen that Tennyson has no great love for the Pope. Indeed, if some of the lines quoted represent the man, he has, of late years at least, the heartiest hatred for the Catholic Church. We cannot help that, however much we may regret it. We must take men as they are, and, if Tennyson hates the Pope, why let him hate him and be happy. The Pope can exist and rule the Catholic Church, and be obeyed, revered, loved, and honored by intellects as bright at least as Mr. Tennyson’s, for all that gentleman’s hate. A true dramatist, however, sinks, or at least disguises, all his private personal feelings in depicting known characters or types of character. This is only to be true to nature, to art, and to history. Where there is question regarding the right reading of a character or a period, a writer is of course at liberty, after having consulted respectable authorities, to form his own estimate. Men who lived in the eleventh century must be true to their time. To make such men think, argue, reflect, question, doubt on most matters, particularly on matters of faith, just as do men of the nineteenth century, is a gross solecism. It is absurd and self-condemnatory on the face of it. To make eleventh-century Catholics speak of the Catholic faith, and Rome, and the pope after the fashion of the average Protestant or infidel journalist in these days, is absurd, not to characterize such practice by a harsher expression. This is what Tennyson has gone out of his way to do in Harold; and the only impression with which we rise from its perusal is that the writer detests Normans and Catholics. Between the Vere de Veres and the Pope Tennyson has lost his temper and his right hand has forgotten its cunning.
The drama presents no character of any special interest. Harold, Edward the Confessor, and William of Normandy, the three principal personages, are much the same first as last. In stage terms, William may be set down as the “heavy villain” of the piece, and a very heavy villain he is; Edward the Confessor as the “first old man”; and Harold as the “walking gentleman.” Edward is made—unintentionally too, it would seem—one of the silliest old men that ever walked the boards. As for his sanctity, imagine a saint speaking of himself in this style:
“And I say it
For the last time, perchance, before I go
To find the sweet refreshment of the Saints.”
Saints, in the Catholic Church at least, are not, as a rule, quite so sure about finding “the sweet refreshment of the saints.” Indeed, they have far graver doubts on this point often than sinners. But lest some of his courtiers might feel tempted to doubt the rapid transit to heaven of a man so thoroughly sure of his place beforehand, the king informs them:
“I have lived a life of utter purity: