The significance of philosophical and prophetic teaching in religion is a frequent subject of thought in our circles, and now the recent publication of Tennyson's life enables us to say something of the Religio Poetae—the idealism which inspired the soul of a nineteenth century poet.
The poet's name is not without significance and interest. It is a Greek word signifying "maker" or "creator"—Poiêtês. There is a philosophy in language however much we continue to ask, "What's in a name?" When those wonderful Greeks wished to express the thinker's art, they spoke of Sophia or wisdom; when they heard the first preacher who told them of their innermost selves, they called him the Prophêtês or prophet, the man that speaketh forth as from an illimitable deep; and when they listened to the soul of music coming from the lips of a Homer or a Sappho, they called it by the most expressive name of all, "making" or "creation". The poet was a creator. And so he is if we come to think of it. Out of the materials supplied to him by the thinking of other intelligences, he weaves his song of joy and beauty which holds our senses as in a spell, and steeps our souls in ecstasy. He is a "reed," to use an expression of Tennyson himself, "through which all things blow to music". He is the creator of the ideal world par excellence; the keys of the Unseen are in his keeping.
We say that he transfigures the thoughts of other intelligences, that he turns his genius to the rhythmic expression of the towering fantasies of the philosopher. And he does. Poetry without thought would be a jingle—a word which, if we may trust the reviews, is a satisfactory account of much of the "minor" poetry of the day. If a man does not see somewhat deeper into himself and things than the average human being, never among the sacred band of lyric souls can he find a lasting place. Philosophy is the propaedeutic of poetry. But surely, it may be urged, the book of nature is open to every one, and a poet's soul may sing of that without any need of the philosopher's interpretation. Has not some of the sublimest verse been Nature poetry? True, but this undoubted fact only confirms our statement. When Wordsworth interprets nature in song, he is borrowing from a philosopher; he is reading the thoughts of an intelligence other than his own. He is revealing to you the innermost thoughts of that supreme Mind, who conceived the beautiful whole, and made it to be a thought of himself. The deepest thinker is he who thinks his thoughts into deeds. There is a First Philosopher as there is a First Poet or Maker, and because we are in our innermost selves of his kindred, we have the power to think his thoughts again, and create an ideal world which shall be the counterpart of his own. Men may be philosophers and poets because the First Poet and First Thinker is their Parent.
This is not mysticism, still less imagination, but the soberest of realities. In it you read the interpretation of the indisputable fact that the world's greatest poets were men of intensely religious feeling. They come so near to the Supreme Poet that their sense of the Infinite is extraordinarily developed. It is gravely questionable whether a man can be a great poet unless the influence of his great prototype be a power in his life; unless his religious instincts be reverently cultivated. A religious sense is needful to the highest flights. Go over the greatest names of the past and present and you will see how "the Over-soul" has been the truest source of inspiration. The unknown singers of the Vedic hymns, Homer, Sophocles, Virgil, Dante, Shakespeare, Milton, Goethe, Wordsworth, and in our days, Tennyson and Browning—in them all the religious sense, the instinct of communion with the unseen world, is a distinguishing mark and characteristic. A name here and there may be quoted on the other side, but as far as my memory serves me for the moment, it would appear on closer examination that such were exceptions only in appearance. An excess, not a defect, of reverential feeling is often the explanation of such non-manifestation of religious emotion as we may notice. With Goethe, they would appear to feel the presumption of individualising, the great Soul of the worlds by even so much as naming him.
Who dare name him, and who confess I believe him!
There is a reverent as well as an irreverent impatience of forms associated with the Formless and the Infinite; and because of it one never yet heard or read of a man truly great who had not the profoundest reverence for religion. But, however that may be, it is plain that we are justified in speaking of a poet's religion, and in discussing the religious conceptions which took shape in the soul of one of the two great poets of the Victorian era.
Five years ago Tennyson passed hence, "crossing the bar" on that tideless sea, still as the silent life which left its worn-out frame to "turn again home". So much as the great poet desired that the world should know of his own aspirations, his hopes and fears of the great Hereafter, has been given to us in his own sweet singing, and a memoir written by his son. It turns out that Tennyson was no exception to his noble order. Like all the great singers he was a man of faith—a man penetrated to his heart's core with the sense of the indestructible character of the religious instinct, and of man's deep need of communion with the Great Life which is within and beyond him—the Soul of souls whom men call God.
The significance of this fact is not to be lost upon reflective minds. In an age when positive science has made a progress which borders almost on the miraculous; when discoveries of the innermost secrets of nature, coupled with astounding combinations of her elements and forces, which supply us with the chemical contrivances and implements for further research surpassing the wildest dreams of astrologers and alchemists of old, there has been an unmistakable tendency to push the Divine agency farther and farther back in the chain of phenomenal causation, until it would appear that it had been finally thrust out of the world altogether. "I have swept the heavens with my telescope," said Lalande, "and I have not found your God." "The heavens are telling no more the glory of God," said Auguste Comte, "but that of Herschel and Laplace." Is it indeed so? The past has done all in its power to make it so, and Lalande and Comte represent the inevitable and natural reaction against the incredible puerilities, the stupid, obstinate opposition to all science not in conformity with the Nicene and Athanasian Creeds, or the fables incorporated in the Hebrew Cosmogony. But that past is past indeed, and never can come back again. The world returns no more to discarded ideals; the conception of theology as "queen of the sciences" is as hopelessly impossible in the civilised world as the Divine right of kings.
The result is that prophets and poets are "men of God" still, and notwithstanding Lalande and Comte, the heavens are not so dazzling as to quench for them the glory of a Diviner revelation which they scarce conceal. I frankly say that I had rather believe all the fables of the Talmud and the Koran than that the empty shadows of a vulgar superstition are all that lie beneath the stately verse of "In Memoriam," or the "Rabbi Ben Ezra" of Browning.
The religion of Tennyson is a perfume which fills much that he writes. It is a "spirit" which broods over many a song, but is incarnate, so to speak, in the elegy which immortalises the tomb of his lost friend. For Tennyson, the spirit of poetry is the spirit of religion—a blowing to music of the deepest thoughts of the philosopher. In "Merlin and the Gleam" we may read this as in an allegory:—