No. S09. 
 
 PR 5568 
 .P3 
 1898 
 Copy 1 
 
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 MAYt^ARD'S 
 
 English • Classic • Series 
 
 ■i_i_i-i-i-i-i-i-i-i— i=T=r 
 
 4^ *^>?fe__. ^^^ 
 
 :>. 
 
 THE PALACE OPART 
 
 & OTHER POEMS 
 
 TENNYSON 
 
 L 
 
 J 
 
 i-i-i-'-'-i— '—■-'—'-■— ■—■-'- 
 
 1 
 
 NEW YORK; 
 
 Maynard, Merrill, & Co., 
 
 29, 31, AND 33 East NmETEENTH Street, 
 
ENGLISH CLASSIC SERIES, 
 
 1 
 
 Classes in English Literature, Beading, Grammar, etc. 
 
 EDITED BY EMINENT ENGLISH AND AMERICAN SCHOLARS, 
 
 Each Volume contains a Sketch of the Author's Life, Prefatory and 
 Explanatory Notes, etc., etc. 
 
 1 Byron's Prophecy of Dante. 
 
 (Cantos I. and II.) . 
 
 2 Milton's L.' Allegro, and II Pen- 
 
 seroso. 
 
 3 Lord Bacon's Essays, Civil and 
 
 Moral. (Selected.) 
 
 4 Byron's Prisoner of Chillon. 
 
 5 Moore's Fire Worshippers. 
 
 (LallaRookh. Selected.) 
 
 6 Goldsmith's Deserted Village. 
 
 7 Scott's Marinion. (Selections 
 
 from C^anto VI.) 
 
 8 Scott'sLiay of the Last Minstrel. 
 
 (Introduction and Canto I.) 
 
 9 Burns'sCotter'sSaturdayNight, 
 
 and other Poems 
 
 10 Crabbe's The Villagre. 
 
 11 Campbells Pleasures of Hope. 
 
 (Abridgment of Parti.) 
 
 12 Macaulay's Essay on Bunyan's 
 
 Pilgrim's Progress. 
 
 13 Macaulay's Armada, and other 
 
 Poems. 
 
 14 Shakespeare's Merchant of Ve- 
 
 nice. (Selections frona Acts I., 
 III., and IV.) 
 
 15 Goldsmith's Traveller. 
 
 16 Hogg's Queen's Wake, andKil- 
 
 meny. 
 
 17 Coleridge's Ancient Mariner. 
 
 18 Addison's Sir lioger de Cover- 
 
 ley. 
 
 19 Gray's Elegy in a Country 
 
 Churchyard. 
 
 20 Scott'sL-ady of the Lake. (Canto 
 
 I.) 
 
 21 Shakespeare's As You Like It, 
 
 etc. (Selections.) 
 
 22 Shakespeare's King John, and 
 
 Kichard II. (Selections.) 
 
 23 Shakespeare's Henry IV., Hen- 
 
 ry v., Henry VI. (Selections.) 
 
 24 Shakespeare's Henry VIII., and 
 
 Julius Caesar. (Selections.) 
 26 Wordsworth's Excursion. (Bk.I.) 
 
 26 Pope's Essay on Criticism. 
 
 27 Spenser'sFaerieQueene. (Cantos 
 
 I. and II.) 
 
 28 Cowper's Task. (Book I.) 
 
 29 Milton's Comus. 
 
 30 Tennyson's Enoch Arden, The 
 
 Lotus Eaters, Ulysses, and 
 Tithonus. 
 
 31 Irving's Sketch Book. (Selec- 
 
 tions ) 
 
 32 Dickens's Christmas Carol. 
 
 (Condensed.) 
 
 33 Carlyle's Hero as a Prophet. i 
 
 34 Macaulay's Warren Hastings.) 
 
 (Condensed.) j 
 
 35 Goldsmith's Vicar of Wake-j 
 
 field. (Condensed.) i 
 
 36 Tennyson's The Two Voices,! 
 
 and A Dream of Fair Women. | 
 
 37 Memory Quotations. I 
 
 38 Cavalier Poets. 
 
 39 Dryden's Alexander's Feast, 
 
 and MacFlecknoe. 
 
 40 Keats's The Eve of St. Agnes. 
 
 41 Irving.'s Legend of Sleepy Hoi- 1 
 
 low. i 
 
 42 Lamb's Tales from Shake- 1 
 
 speare. 
 
 43 Le Kow's How to Teach Read- 
 
 ing, 
 
 44 Webster's Bunker Hill Ora- 
 
 tions. 
 
 45 The Academy Orthoepist. A 
 
 Manual of Pronunciation. 
 
 46 Milton's Lycidas, and Hymn 
 
 on the Nativity. 
 
 47 Bryant's Thanatopsis, and other 
 
 Poems. 
 
 48 Buskin's Modern Painters. 
 
 (Selections.) 
 
 49 The Shakespeare Speaker. 
 
 50 Thackeray's Roundabout Pa- 
 
 pers. 
 
 51 Webster's Oration on Adams 
 
 and Jeff'erson. 
 
 52 Brown's Rab and his Friends. 
 
 53 Morris's Life and Death of 
 
 Jason. 
 
 54 Burke's Speech OD American 
 
 Taxation. 
 
 55 Pope's Rape of the Lock. 
 
 56 Tennyson's Blaine. 
 
 57 Tennyson's In Memoriam. 
 
 58 Church's Story of the .^neid. 
 
 59 Church's Story of the Iliad. 
 
 60 Swift's Gulliver's Voyage to 
 
 Lilliput. 
 
 61 Macaulay's Essay on Lord Ba- 
 
 con. (Conden«ed.) 
 
 62 The A Icestis of Euripides. Eng- 
 
 lish Version by Rev. R. Potter,M.A. 
 
 (Additional numbers on next page.) 
 
MAYNARD'S ENGLISH CLASSIC SERIES.— No. 209 
 
 THE PALACE OF ART 
 
 AlfKuQWER POEMS 
 ALFRM>, L&R^ TENNYSON 
 
 WITH INTRODUCTION AND NOTES 
 
 BY 
 
 E. H. TURPIN 
 
 NEW YORK 
 MAYNARD, MERRILL, & CO. 
 
 3 RECEIVED. 
 
 New Series, No 60. May 18, i8q8. Published semi-weekly. Subscription 
 price $10. Entered at Post-Office, New York, as Second-Class Matter. 
 

 e'j? 
 
 CONTENTS 
 
 PAGE 
 
 Introduction, 3 
 
 Critical Opinions, 6 
 
 The Palace of Art lo 
 
 GoDivA, 25 
 
 LocKSLEY Hall, 28 
 
 "Break, Break, Break," 41 
 
 Songs from The Princess, 41 
 
 Charge of the Light Brigade, 45 
 
 The Revenge, 47 
 
 Ode on the Death of the Duke of Wellington, . 53 
 
 The Brook Song, 62 
 
 A Farewell, . 64 
 
 Copyright, iS^s, by Maynakd, Merrill, & Co. 
 
 ?;^r5 
 
INTRODUCTION 
 
 Of Alfred Tennyson it is pre-eminently true that the events 
 of his life took place in his intellect. It was a peaceful, well- 
 ordered life — that of this Lincolnshire rector's son, born 
 August 6, 1809, His first published poetry was in a slim vol- 
 ume (1827) in partnership with his brother Charles. This 
 brother, his senior by a 3^ear, was his close friend. Together 
 they attended the Louth grammar school (1816-20) and, after 
 being tutored by their father, together they went to Trinity 
 College, Cambridge (1828), where Alfred gained the Chancel- 
 lor's medal by his poem Tinibuctoo (1829). At Cambridge 
 then were many choice spirits — Thackeray, Helps, Sterling, 
 Kinglake, Maurice, Trench, Milnes, Merivale, Spedding. 
 Tennyson's closest friend was the gifted young Arthur Henry 
 Hallam, with whom he made a tour of the Pyrenees in their 
 summer vacation (1830). Hallam's early death (1833) was the 
 great sorrow of Tennyson's young manhood and the inspira- 
 tion of " Break, Break, Break," and l7t Me?uorta?n. Among 
 his other early friends were Hunt, Hare, Fitzgerald, Carlyle, 
 Gladstone, Rogers. Landor, Forster. These recognized his 
 genius, but the public and critics generally were slow in doing 
 so, and volume after volume of his poems met indifference, 
 censure, ridicule. At last (1842) a volume containing among 
 other noble poems Locksley Hall, Ulysses, The Two Voices, 
 and the revised Palace of Art, convinced the English people 
 that a new poet had arisen in its midst. Tennyson's ensuing 
 years were, for the most part, a progress from one literary 
 triumph to another. The year 1850 was his Annus Mirabilis. 
 In it he published /;/ Meinoriam he was made Poet Lau- 
 reate in place of the deceased Laureate, Wordsworth, and he 
 married Miss Emily Sellbrooke. The chief events in his later 
 tranquil life were the publication of various poems ; leaving 
 
4 INTRODUCTION 
 
 his Twickenham home for Farringford, Isle of Wight, and 
 later migrations to Aldworth in Sussex ; the birth of his sons 
 Hallam (1852) and Lionel (1854); and occasional journeys 
 about Great Britain or on the Continent. In 1884 he was 
 elevated to the peerage. In 1886 his younger son, Lionel, 
 died on his way home from India, and October 6, 1892, the 
 Poet Laureate, full of years and honors, died and was laid to 
 rest in the Poet's Corner of Westminster Abbey. 
 
 Carlyle gives a vivid word-picture of the poet at middle 
 age : " One of the finest-looking men in the world. A great 
 shock of rough dusky-dark hair ; bright, laughing hazel eyes ; 
 massive aquiline face, most massive yet most delicate ; of 
 sallow brown complexion, almost Indian-looking ; clothes 
 cynically loose, free-and-easy ; smokes infinite tobacco. His 
 voice is musical, metallic, fit for loud laughter and piercing 
 wail, and all that may lie between ; speech and speculation 
 free and plenteous ; I do not meet in these late decades such 
 company over a pipe." 
 
 The Princess (1847), a midsummer day's dream, has yet a 
 strong moral purpose, being Tennyson's contribution to the 
 discussion concerning woman's proper sphere. 
 
 /;/ Meniormm (1850) is perhaps the greatest of the four great 
 English elegies. It voices the religious feeling and thought 
 of the age. Doubts — born of woe, sorrow, heartbreak — are 
 overcome by triumphant faith in the God who is immortal 
 Life and hence immortal Love. 
 
 Maud (1857), Tennyson's favorite among his poems, is gen- 
 erally considered the poorest. It is a lyrical monodrama of 
 love and madness. 
 
 The Idylls of I he King (1859-85) is an epic of a series of 
 Idylls founded on the old British legends of King Arthur and 
 the Knights of his Round Table, which Tennyson imbued 
 with deep moral significance. "If this be not the greatest 
 narrative poem since Paradise Lost, what other English pro- 
 duction are you to name in its place ? "— Stedman. 
 
 Tennyson's genius is lyric and idylHc rather than dramatic. 
 Some of his character-pieces are dramatically powerful, but 
 his dramas are doubtful successes or unequivocal failures. 
 
INTRODUCTION 5 
 
 The best are Harold (1876), Bccket (1879), and Queen Mary 
 (1S75), which constitute an historical trilogy on the making of 
 England. His other dramas are The Falcon (1879), for the 
 plot of which Tennyson was indebted to Boccaccio ; The 
 Cup (1S81), founded on Plutarch's De Claris Mulierbms; 
 The Promise of May (1882) and The Foresters (1892), an 
 " idyllic masque " of Robin Hood days. 
 
 Of the short poems which have become household words, 
 some which are most characteristic are given in this volume. 
 Poetry was to Tennyson not the pastime of an idle day but 
 the serious work of a lifetime. He pruned and perfected his 
 verse until carping critics came to say it was too smooth and 
 polished, over sweet and beautiful. To the charge that he 
 lacked animation and strength, the ringing ballad The Re- 
 venge and The Charge of the Light Brigade and the power- 
 ful blank verse of Ulysses are all-sufficient answer. Among 
 the many perplexed and obscure voices of the age it behooves 
 us to be thankful for one true man and true poet who united 
 deep thought, calm wisdom, and serene faith with clarity of 
 expression. 
 
 The only authoritative biography is Tennyson's Mefnoir 
 by his son ; in the Harper edition of 1884 there is a pleas- 
 ant biographical sketch by Mrs. Anne Thackeray Ritchie. 
 There are many good critical works on Tennyson— those of 
 Brooke, Van Dyke, Dixon, Stedman, and others, and special 
 studies by Gatty, Genung, Dawson, Robertson, Rolfe, and 
 many more, which are all helpful in their degree. But the 
 essential thing is the careful study of the works by which this 
 master soul reveals himself to us. 
 
 [For information and courtesy, the editor of this little book 
 is grateful to Miss Winston, Washington, D. C, and to the 
 officials of the Reading Room of the Library of Congress.] 
 
CRITICAL OPINIONS 
 
 " It seems to me that the only just estimate of Tennyson's 
 position is that which declares him to be, by eminence, the 
 representative poet of the recent era. Not, like one or 
 another of his compeers, representative of the melody, 
 wisdom, passion, or other partial phase of the era, but of 
 the time itself, with its diverse elements in harmonious 
 conjunction. . . 
 
 " In his verse he is as truly ' the glass of fashion and the 
 mold of form ' of the Victorian generation in the nineteenth 
 century as Spenser was of the Elizabethan court, Milton of 
 the Protectorate, Pope of the reign of Queen Anne. During 
 his supremacy there have been few great leaders at the head 
 of different schools, such as belonged to the time of Byron, 
 Wordsworth, and Keats, His poetry has gathered all the 
 elements which find vital expression in the complex modern 
 art." — Stedmaji's Victorian Poets. 
 
 " To describe his command of language by any ordinary 
 terms expressive of fluency or force would be to convey an 
 idea both inadequate and erroneous. It is not only that he 
 knows every word in the language suited to express his every 
 idea ; he can select with the ease of magic the word that 
 above all others is best for his purpose ; nor is it that he can 
 at once summon to his aid the best word the language affords ; 
 with an art which Shakspere never scrupled to apply, though 
 in our day it is apt to be counted mere Germanism, and pro- 
 nounced contrary to the genius of the language, he combines 
 old words into new epithets, he daringly mingles all colors to 
 bring out tints that never were on sea or shore. His words 
 gleam like pearls and opals, like rubies and emeralds. He 
 yokes the stern vocables of the English tongue to the chariot 
 of his imagination, and they become gracefully brilliant as 
 
CRITICAL OPINIONS 7 
 
 the leopards of Bacchus, soft and glowing as the Cytherean 
 doves. He must have been born with an ear for verbal 
 sounds, an instinctive appreciation of the beautiful and 
 delicate in words, hardly ever equaled. Though his later 
 works speak less of the blossom-time— show less of the efflo- 
 rescence and iridescence, and mere glance and gleam of 
 colored words— they display no falling off, but rather an 
 advance, in the mightier elements of rhythmic speech."— 
 Peter Bayiie. 
 
 "The formal restrained poetry of Wordsworth wedded 
 itself to the melody and color of Keats and Shakspere and 
 the vigor of Byron, and the result was Tennyson."— Waugh. 
 
 "As long as the English language is spoken, the word- 
 music of Tennyson will charm the ear ; and when English 
 has become a dead language, his wonderful concentration of 
 thought into luminous speech, the exquisite pictures in which 
 he has blended all the hues of reflection, feeling, and fancy 
 will cause him to be read as we read Homer, Pindar, and 
 Horace."— G^^r^f Eliot. 
 
 " I ranked Tennyson in the first order, because with great 
 mastery over his material,— words,— great plastic power of 
 versification, and a rare gift of harmony, he had also vision 
 or insight, and because feeling intensely the great questions 
 of the day— not as a mere man of letters, but as a man— he is 
 to some extent the interpreter of his age, not only in its 
 mysticism which [I tried to show you] is the necessary 
 reaction from the rigid formulas of science and the earthli- 
 ness of an age of work, into the vagueness which belongs to 
 infinitude, but also in his poetic and almost prophetic solution 
 of some of its great questions."— i^ IV. Robei'tson. 
 
 " So truly did the Laureate represent the country in which 
 he lived his long and noble life that in perhaps no way could 
 a foreigner get to understand the spirit of the English people 
 better than by making a close and careful study of his poems, 
 considering the thought and emotion there as largely typical 
 of the race. He would meet with some things in Maud, for 
 instance, which would lead him astray, but very little in the 
 other poems. He would certainly be far more likely to gain a 
 
8 CRITICAL OPINIONS 
 
 correct notion of England thus than by the perusal of a dozen 
 ordinary superficial books of travel. Yet Tennyson is the 
 only poet who could be read by a foreigner with this end 
 in view. Shakspere might assist him somewhat, but Shaks- 
 pere's men and women are too much ' citizens of the world ' 
 to be of aid in studying England merely. Spenser would give 
 him few suggestions. Milton's sublime but lonely egotism 
 would lead him astray. The more modern poets would give 
 false conceptions. Byron through his false and un-English 
 standards of life ; Shelley through his inability to cope with 
 his own enthusiasms and through his tendency to sublime 
 idealizing ; Browning because he was too busy telling the 
 world what all men and women thought to pay much atten- 
 tion to what the English people were or did. Moreover, 
 these three poets did not live enough of their lives in England 
 to understand thoroughly the popular feelings among their 
 countrymen ; all were to a greater or less degree wanderers 
 on the face of the earth, in strong contrast to Tennyson, who 
 spent far the greater portion of his long life at home. Mr. 
 Arthur, in his valuable and interesting work on Tennyson, 
 claims place for him as the greatest national poet of this cen- 
 tury. Why may we not go further and call him, not only the 
 greatest national poet, but the most national ? Why may we 
 not truthfully call him ' the Poet of the English Race ' ? " — 
 George IV. Alger. 
 
THE PALACE OF ART 
 
 TO 
 
 WITH THE FOLLOWING POEM 
 
 I SEND you here a sort of allegory, 
 
 (For you will understand it) of a soul, 
 
 A sinful soul possess'd of many gifts, 
 
 A spacious garden full of flowering weeds, 
 
 A glorious Devil, large in heart and brain, 5 
 
 That did love Beauty only (Beauty seen 
 
 In all varieties of mold and mind). 
 
 And Knowledge for its beauty; or if Good, 
 
 Good only for its beauty, seeing not 
 
 That Beauty, Good, and Knowledge are three sisters 
 
 That dote upon each other, friends to man, n 
 
 Living together under the same roof. 
 
 And never can be sundef'd without tears, 
 
 And he that shuts Love out, in turn shall be 
 
 Shut out from Love, and on her threshold lie I5 
 
 Howling in outer darkness. Not for this 
 
 Was common clay ta'en from the common earth 
 
 Molded by God, and temper'd with the tears 
 
 Of angels to the perfect shape of man. 
 
 ^^'^ • " You are an artist and will understand 
 
 Its many lesser meanings ; " 
 but " in the second edition these lines have disappeared It is as if the poet de- 
 sired to give wider range to his lesson ; as if he would say, 'you are a man, and 
 no matter what your occupation may be. you will feel the truth of th>s allegory. 
 — Vat! Dyke. 
 
 16. Cf. Matt, viii., 12. 
 
 17. Cf. Gen. ii., 7- 
 
lO THE PALACE OF ART 
 
 THE PALACE OF ART* 
 
 I BUILT my soul a lordly pleasure house, 
 
 Wherein at ease for aye to dwell. 
 I said, " O Soul, make merry and carouse, 
 
 Dear Soul, for all is well." 
 
 * The Palace of Art as it first appeared in the volume of Tennyson's poems 
 published in 1832, contained eighty-three stanzas. " Of the original number, 
 thirty-one have been omitted, and in place of them twenty-two new stanzas have 
 been added, making a change of fifty-three stanzas. The fifty-two that remain 
 have almost all been retouched and altered, so that very few stand to-day in the 
 same shape which they had at the beginning." — Van Dyke. Probably no poem 
 was ever revised more carefully and with better effect. A study of the changes 
 made gives us, not only a lesson in the art of poetry but an insight into Tenny- 
 son's character, a realizing sense of the desire for perfection, the patient, steady 
 pursuit of it, the vast capacity for taking pains, — qualities which distinguish the 
 artist in any kind from the mere artisan. True, in the revision many beautiful 
 details are lost, but " their absence leaves the Palace of Art standing more clear 
 and noble before the inward eye. , . The new lines and stanzas are framed, 
 almost without exception, with a wondrous skill to intensify the allegory." — Van 
 Dyke. 
 
 The Palace oJ~ A?-t is an allegory with a deep spiritual meaning : it is the nine- 
 teenth-century version of the old cry of the soul which has sought and vainly 
 sought joy and peace in things of earth — the vanitas vanitatuni of the Preacher. 
 In the prefatory lines addressed to an unnamed friend Tennyson explains the 
 poem's purportyH It is the history of a soul which loved beauty, knowledge, 
 and goodness, b^t selfishly, forgetting that these should be the servitors of love — 
 the charity of St, Paul. The Palace of Art is her " lordly pleasure-house "stored 
 with all treasures of art and science. At first these foster vain-glory, intellectual 
 pride, selfish and cruel contempt of her kind. But physical and intellectual de- 
 lights cloy on the soul devoid of spiritual resource, and there come despair, 
 self-scorn, hatred of life and death. Then even as sin brought punishment, pun- 
 ishment brings repentance. The soul learns humility and true wisdom. And 
 then her palace, corrupted by selfish pride, is purified and reglorified, and it 
 is hers to abide there in peace and joy, but " with others " now instead of alone. 
 
 It is noteworthy that Tennyson himself learned the lesson which he taught, of 
 art — not for art's sake, but for love's sake. He turned from exquisite melody and 
 picture-poems, to "the poetry of common human life, the ordinary joys and sor- 
 rows of men." Claridel, The Sea-Fairies, The Dying Szi.^an first, then The Pal- 
 ace 0/ Art, axiA Siit&rv/ard The May-Qtteen, The Miller'' s Daughter, The Brook^ 
 Dora, Enoch Arden. 
 
 2. For aye (AS. a, ever): Forever. 
 
THE PALACE OF ART II 
 
 A huge crag-platform, smooth as burnish'd brass 5 
 
 I chose. The ranged ramparts bright 
 From level meadow-bases of deep grass 
 
 Suddenly scaled the light. 
 
 Thereon I built it firm. Of ledge or shelf 
 
 The rock rose clear, or winding stair. 10 
 
 My soul would live alone unto herself 
 
 In her high palace there. 
 
 And " while the world runs round and round," I said, 
 
 " Reign thou apart, a quiet king, 
 Still as, while Saturn whirls, his steadfast shade 15 
 
 Sleeps on his luminous ring." 
 
 To which my soul made answer readily: 
 
 "Trust .me, in bliss I shall abide 
 In this great mansion that is built for me, 
 
 So royal-rich and wide." 20 
 
 6-7. In the edition of 1833, 
 
 " I chose, whose ranged ramparts briglit 
 From great, broad meadow bases," etc. 
 16. Through the telescope the shadow of the planet Saturn on its surrounding 
 ring is clearly seen. Theodore Watts,, commenting on a passage excised from later 
 editions of this poem, remarks that Tennyson's allusions to the starry heavens 
 have always " the beauty of poetry and the beauty of scientific truth." The 
 omitted stanzas describe thus the soul's delight in astronomical investigation : 
 " Hither when all the deep unsounded skies 
 Shuddered with silent stars, she clomb. 
 And as with optic glasses her keen eyes 
 Pierced through the mystic dome. 
 " Regions of lucid matter taking forms. 
 Brushes of fire, hazy gleams, 
 Clusters and beds of worlds, and bee-like swarms 
 Of suns and starry streams. 
 " She saw the snowy poles of moonless Mars, 
 That marvelous round of milky light 
 Below Orion, and those double stars 
 Whereof the one more bright 
 " Is circled by the other." 
 Very beautiful are these lines, yet the remorseless critic of his own work saw 
 that they were superfluous, and omitted them. 
 
12 THE PALACE OF ART 
 
 Four courts I made, East, West and South and North, 
 
 In each a squared lawn, wherefroni 
 The golden gorge of dragons spouted forth 
 
 A flood of fountain-foam. 
 
 And round the cool green courts there ran a row 25 
 Of cloisters, branch'd like mighty woods, 
 
 Echoing all night to that sonorous flow 
 Of spouted fountain-floods. 
 
 And round the roofs a. gilded gallery 
 
 That lent broad verge to distant lands, 30 
 
 Far as the wild swan wings, to where the sky 
 
 Dipt down to sea and sands. 
 
 From those four jets four currents in one swell 
 
 Across the mountain stream'd below 
 In misty folds, that floating as they fell 35 
 
 Lit up a torrent-bow. 
 
 And high on every peak a statue seem'd 
 
 To hang on tiptoe, tossing up 
 A cloud of incense of all odor steam'd 
 
 From out a golden cup. 40 
 
 So that she thought, " And who shall gaze upon 
 
 My palace with unblinded eyes, 
 While this great bow will waver in the sun. 
 
 And that sweet incense rise?" 
 
 For that sweet incense rose and never fail'd, 45 
 
 And, while day sank or mounted higher. 
 
 The light aerial gallery, golden-rail'd. 
 Burnt like a fringe of fire. 
 
 30. Verge (L. vergo^ incline) : Horizon. 
 
THE PALACE OF ART 13 
 
 Likewise the deep-set windows, stain'd and traced. 
 
 Would seem slow-flaming crimson fires 50 
 
 From shadow'd grots of arches interlaced, 
 
 And tipt with frost-like spires. 
 
 Full of long-sounding corridors it was, 
 
 That over-vaulted grateful gloom, 
 Thro' which the livelong day my soul did pass, 55 
 
 Well-pleased, from room to room. 
 
 Full of great rooms and small the palace stood, 
 
 All various, each a perfect whole 
 From living Nature, fit for every mood 
 
 And change of my still soul. 60^ 
 
 For some were hung with arras green and blue, 
 
 Showing a gaudy summer-morn, 
 Where with puff'd cheek the belted hunter blew 
 
 His wreathed bugle-horn. 
 
 One seem'd all dark and red— a tract of sand, 65 
 
 And someone pacing there alone, 
 Who paced forever in a glimmering land, 
 
 Lit with a low large moon. 
 
 49. Traced (Fr. tracer) : " Ornamented with tracery."— i?^//^. 
 53. In the first edition, the corridors are described as 
 
 " Roofed with thick plates of green and orange glass 
 Ending in stately rooms," 
 
 but these unlovely details are omitted in later editions. 
 
 61 Of such passages as these, Ruskin, one of the great English masters of the 
 an of word-painting, could say with no undue humility, that " no description of 
 his was worth four lines of Tennyson." See what a perfect picture each stanza 
 
 gives. ,, , 
 
 61 Arras (Arms in France, where manufactured) : 1 apestry ; wall-hangings. 
 62. Gaudy ( L. gaudium, joy) : Gay, without its later sense of tawdry or vul- 
 
 ear splendor. , , , n 
 
 65-68. One of the Lincolnshire scenes which Tennyson knew and loved so well. 
 
14 THE PALACE OF ART 
 
 One show'd an iron coast and angry waves. 
 
 You seem'd to hear them climb and fall 70 
 
 And roar rock-thwarted under bellowing caves, 
 
 Beneath the windy wall. 
 
 And one, a full-fed river winding slow 
 
 By herds upon an endless plain, 
 The ragged rims of thunder brooding low, 75 
 
 With shadow-streaks of rain. 
 
 And one, the reapers at their sultry toil. 
 
 In front they bound the sheaves. Behind 
 Were realms of upland, prodigal in oil,. 
 
 And hoary to the wind. 80 
 
 And one. a foreground black with stone and slags, 
 
 Beyond, a line of heights, and higher 
 All barr'd with long white cloud the scornful crags, 
 
 And highest, snow and fire. 
 
 And one, an English home — gray twilight pour'd 85 
 
 On dewy pastures, dewy trees. 
 Softer than sleep — all things in order stored, 
 
 A haunt of ancient Peace. 
 
 Nor these alone, but every landscape fair, 
 As fit for every mood of mind, . 90 
 
 Or gay, or grave, or sweet, or stern, was there, 
 Not less than truth design'd. 
 
 69-72. Yorkshire. 
 
 73-76. Lincolnshire again. 
 
 77-80. A Southern picture. " Hoary to the wind " shows us the gray under- 
 side of the olive leaves turned to the sunlight by the wind. 
 
 81-84. Note the contrast between this picture, vivid in its details, and the 
 'one which follows. Slags (Sw. slagg) : Volcanic scoria ; coarsely cellular lava. 
 
 85-88. An English home portrayed by skillful hand and loving heart. 
 " Softer than sleep." : A Vergil-like phrase. 
 
 92. In the first edition, after the description of the landscapes the soul indulged 
 in a rhapsody on the evolution of the intellect. This passage was omitted in the 
 edition of 1842. 
 
THE PALACE OF ART 
 
 15 
 
 Or the maid-mother by a crucifix, 
 
 In tracts of pasture sunny-warm. 
 Beneath branch-work of costly sardonyx 95 
 
 Sat smiling, babe in arm. 
 
 Or in a clear-wall'd city on the sea, 
 
 Near gilded organ-pipes, her hair 
 Wound with white roses, slept St. Cecily; 
 
 An angel look'd at her. 100 
 
 Or thronging all one porch of Paradise, 
 
 A group of Houris bow'd to see 
 The dying Islamite, with hands and eyes 
 
 That said. We wait for thee. 
 
 Or mythic Uther's deeply-wounded son 105 
 
 In some fair space of sloping greens 
 Lay, dozing in the vale of Avalon, 
 
 And watch d by weeping queens. 
 
 95. Sardonyx (Gr. Sardeis, Sardis ; L. onyx, onyx) : A variety' of onyx. 
 
 96. Lockhart, ridiculing this description of the Madonna, " babe in arm " cites 
 as kindred expressions " knight lance in rest " and " dragoon sword in hand," but 
 Tennyson retains the apt phrase and uses it elsewhere. 
 
 99. St. Cecily: St. Cecilia (177 ?), a Roman maid said to have been martyred 
 in Sicily ; she is the patron-saint of music. 
 
 102. Houris (Ar. /iMr^jj/^i, nymph of Paradise) : The beautiful maidens who, 
 according to Moslem faith, are to be the companions in Paradise of the true 
 believers. 
 
 T03. The Islamite (Ar. islam, submission) : A Mahometan, here specifically 
 • Mahomet himself, the founder of the Moslem faith. 
 
 105. Arthur (500?, 537 ?) : A legendary king of Britain, who founded the 
 order of the Round Table ; he is the hero of Sir Thomas Malory's romance and 
 of Tennyson's Idylls. 
 
 105-108. In the first edition : 
 
 " And that deep-wounded child of Pendragon 
 Mid misty woods in sloping greens 
 Dozed in the valley of Avilion 
 Tended by crowned queens." 
 107. Avalon : Said to be Glastonbury near the earthly paradise ; the home 
 and burial-place of Arthur. 
 io8, Cf. Morte d' Arthur, 
 
l6 THE PALACE OF ART 
 
 Or hollowing one hand against his ear, 
 
 To list a foot-fall, ere he saw no 
 
 The wood-nymph, stay'd the Ausonian king to hear 
 
 Of wisdom and of law. 
 
 Or oyer hills with peaky tops engrail'd, 
 
 And many a tract of palm and rice, 
 The throne of Indian Cama slowly sail'd 115 
 
 A summer fann'd with spice. 
 
 Or sweet Europa's mantle blew unclasp'd. 
 From off her shoulder backward borne: 
 
 From one hand droop'd a crocus: one hand grasp'd 
 The mild bull's golden horn. 120 
 
 Or else f^ush'd Ganymede, his rosy thigh 
 
 Half-buried in the Eagle's down, 
 Sole as a flying star shot thro' the sky 
 
 Above the pillar'd town. 
 
 Nor these alone: but every legend fair 125 
 
 Which the supreme Caucasian mind 
 Carved out of Nature for itself, was there, 
 
 Not less than life, design'd. 
 
 III. Ausonia was an old name for Italy. The original reading was " Tuscan," 
 instead of " Ausonian." The king referred to is Numa Pompilius, the second of 
 the legendary kings of Rome, who was said to receive instructions in kingcraft 
 and priestcraft from the nymph Egeria. 
 
 113. Engrailed (Fr. ^«, in -(-^^i?/^i hail) : "Indented; a term of heraldry." 
 —Rolfe. 
 
 115. Cama, Kama, Kama-deva, etc. The Hindu Cupid or God of love. 
 
 117. Greek Mythology tells us that Europa, the sister of Cadmus, was carried 
 to Delphi by Zeus, who had assumed the form of a white bull ; Stedman compares 
 this passage with one from the Greek poet Moschus. Indeed, no Elizabethan was 
 more imbued with the spirit of the classics than was Tennyson. 
 
 121. Ganymede : In Greek mythology, a beautiful boy carried off by Jove in 
 the form of an eagle, to be cupbearer to the gods. 
 
 128. " When I first conceived the plan of the Palace of Art," says Tennyson in 
 a note to the first edition, " I intended to have introduced both sculptures and 
 
THE PALACE OF ART 17 
 
 Then in the towers I placed great bells that swung, 
 Moved of themselves, with silver sound; 130 
 
 And with choice paintings of wise men I hung 
 The royal dais round. 
 
 For there was Milton like a seraph strong. 
 
 Beside him Shakspere bland and mild; 
 And there the world-worn Dante grasp'd his song, 135 
 
 And somewhat grimly smiled. 
 
 paintings into it ; but it is the most difficult of all things to devise a statue in verse. 
 Judge whether I have succeeded in the statues of Elijah and Olympias. 
 " First was the Tishbite whom the raven fed, 
 As when he stood on Carmel-steeps 
 With one arm stretched out bare ; and mock'd and said, 
 ' Come, cry aloud, he sleeps ! '' 
 " Tall, eager, lean, and strong, his cloak wind-borne 
 Behind, his forehead heavenly bright 
 From the clear marble pouring glorious scorn. 
 Lit as with inner light. 
 "One was Olympias : the floating snake 
 
 Rolled round her ankles, round her waist 
 Knotted, and folded once about her neck 
 Her perfect lips to taste, 
 " Round by the shoulder moved ; she seeming blithe 
 Declined her head : on every side 
 The dragon's curves melted and mingled with 
 The woman's youthful pride 
 " Of rounded limbs." 
 
 132. Dais (LL discus, table) : A raised platform for a seat at the upper end 
 of a room. 
 
 133-X40. Note those whom Tennyson ranks first among the world-poets, — the 
 English Milton and Shakspere, the Italian Dante, the Greek Homer. Observe 
 how perfectly the chosen epithets bring out the essential characteristics of their 
 genius. 
 
 133. The original version was : 
 
 " There deep-haired Milton like an angel tall 
 Stood limned, Shakspere bland and mild, 
 Grim Dante pressed his lips, and from the wall 
 The bald, blind Homer smiled." 
 How infinite the improvement ! The essential quality of Milton's genius is 
 strength, strength seraphic; says Van Dyke, Tennyson does not liken him to an 
 angel for some of them were weak, some were fallen ; nor to a cherub for the 
 
l8 THE PALACE OF ART 
 
 ^'^ And there the Ionian father of the rest; 
 A million wrinkles carved his skin; 
 A hundred winters snow'd upon his breast, 
 
 From cheek and throat and chin. 140 
 
 Above, the fair hall ceiling stately-set 
 
 Many an arch high up did lift. 
 And angels, rising and descending, met 
 
 With interchange of gift. 
 
 Below was all mosaic choicely plann'd 145 
 
 With cycles of the human tale 
 Of this wide world, the times of every land 
 
 So wrought, they will not fail. 
 
 The people here, a beast of burden slow, 
 
 Toil'd onward, prick'd with goads and stings; 150 
 
 Here play'd, a tiger, rolling to and fro 
 
 The heads and crowns of kings; 
 
 Here rose, an athlete, strong to break or bind 
 
 All force in bonds that might endure. 
 And here once more like some sick man declined, 155 
 
 And trusted any cure. 
 
 cherubim were voiceless and unapproachable : but to a seraph, since the seraphim 
 hover on mighty wings near God's throne, chanting his praise and bearing his mes- 
 sages from heaven to earth. " That one phrase is worth more than all Dr. John- 
 son's ponderous criticism." Read the chapter entitled " Milton and Tennyson ; 
 a Comparison and a Contrast," in Van Dyke's Poetry of Tennyson. 
 
 137. Homer, the great Greek poet, " the father of song." The Ionic was the 
 dialect used by Homer and the other early masters of Greek literature. 
 
 146. Cycle (Gr. kyk/os, circle) : A period of time at the end of which certain 
 aspects or motions of heavenly bodies repeat themselves ; hence, a vast period of 
 time. 
 
 149-152. " Could Count de Montalembert convey, in any number of volumes, a 
 more accurate account of the state of society in France before and during the first 
 Revolution, than is contained in this stanza ? " — Bnyne. 
 
THE PALACE OF ART I9 
 
 But over these she trod: and those great bells 
 Began to chime. She took her throne: 
 
 She sat betwixt the shining Oriels, 
 
 To sing her songs alone. 160 
 
 And thro' the topmost Oriels' color'd flame 
 
 Two godlike faces gazed below; 
 Plato the wise, and large-brow'd Verulam, 
 
 The first of those who know. 
 
 And all those names, that in their motion were 165 
 
 Full-welling fountain-heads of change, 
 Betwixt the slender shafts were blazon'd fair 
 
 In diverse raiment strange: 
 
 Thro' which the lights, rose, amber, emerald, blue, 
 
 Flush'd in her temples, and her eyes. 
 And from her lips, as morn from Memnon, drew 
 
 Rivers of melodies. 
 
 No nightingale delighteth to prolong 
 
 Her low preamble all alone. 
 More than my soul to hear her echo'd song 175 
 
 Throb thro' the ribbed stone; 
 
 159. Oriel (LL. oriolum) : A window built out from a wall. 
 
 160. In the first edition there was an elaborate description of the banquet with 
 which she regaled herself, but in later editions this was all omitted. " The soul 
 was lifted above mere sensual pleasures and sat listening to her own song and re- 
 joicing in her royal seclusion." 
 
 163. Tennyson names the Greek Plato and the English Bacon, Lord Verulam, as 
 " the first of those who know." " This phrase is translated from Dante, who calls 
 Aristotle ' II maestro di color che sanno.' " — Carr. 
 
 171. In honor of Amenophis II. of Egypt there was erected, near Thebes, the 
 colossal statue known as the statue of Memnon. It was believed by the ancients 
 to emit strains of music when first touched by the morning sun-rays. 
 
 175. "Some EngTish critic sneers at this as an acoustic impossibility ; but the 
 obvious meaning is that she hears her voice echoing through the vaulted rooms." 
 —Rolfe. 
 
20 THE PALACE OF ART 
 
 Singing and murmuring in her feastful mirth, 
 
 Joying to feel herself alive, 
 Lord over Nature, Lord of the visible earth, 
 
 Lord of the senses five; i8o 
 
 Communing with herself: " All these are mine, 
 
 And let the world have peace or wars, 
 'Tis one to me." She — when young night divine 
 
 Crown'd dying day with stars, 
 
 Making sweet close of his delicious toils — 185 
 
 Lit light in wreaths and anadems, 
 And pure quintessences of precious oils 
 
 In hollow'd moons of gems, 
 
 To mimic heaven; and clapt her hands and cried, 
 
 " I marvel if my still delight 190 
 
 In this great house so royal-rich, and wide, 
 Be flatter'd to the height. 
 
 "O all things fair to sate my various eyes! 
 
 O shapes and hues that please me well! 
 O silent faces of the Great and Wise, 195 
 
 My Gods, with whom I dwell! 
 
 186. Anadems (Gr. ana, up -|- deo, bind) : Garlands. C/". diadem. 
 
 187. Quintessence (L. guintzcs, Mth.-\- essentia, essence) : The highest and 
 purest essence. 
 
 186-188. In the edition of 1832 : 
 
 "She lit white streams of dazzling gas 
 
 And soft and fragrant flames of precious oils 
 In moons of purple glass." 
 Gaslight was then new and not considered unromantic. The passage is much 
 bettered by the change. 
 
 iQo. Still (AS. siilie, still) : Constant, 
 
 193-204. For these three stanzas there were, until the edition of 1853, '^^ follow- 
 ing two : 
 
 " ' From shape to shape at first within the womb 
 The brain is model'd,' she began, 
 'And through all phases of all thought I come 
 Into the perfect man. 
 
THE PALACE OF ART 21 
 
 " O God-like isolation which art mine, 
 
 I can but count thee perfect gain, 
 What time I watch the darkening droves of swine 
 
 That range on yonder plain. 200 
 
 " In filthy sloughs they roll a prurient skin, 
 They graze and wallow, breed and sleep; 
 
 And oft some brainless devil enters in, 
 And drives them to the deep.">^ 
 
 Then of the moral instinct would she prate 205 
 
 And of the rising from the dead, 
 As hers by right of full-accomplish'd Fate; 
 
 And at the last she said: 
 
 " I take possession of man's mind and deed. 
 
 I care not what the sects may brawl. 210 
 
 I sit as God holding no form of creed, 
 
 But contemplating all." 
 
 " ' All nature widens upward. Evermore 
 The simpler essence lower lies ; 
 More complex is more perfect, owning more 
 Discourse, more widely wise.' " 
 
 The three stanzas substituted for these are ' essential to the understanding of 
 the poem. They touch the very core of the sin which defiled the Palace and de- 
 stroyed the soul's happiness. It was not merely that she loved beauty and music 
 and fragrance ; but that in her love for them she lost her moral sense, denied her 
 human duties, and scorned, instead of pitying and helping her brother men who 
 lived on the plain below. This is the sin of selfish pride, the sin which drives out 
 the Christ because he eats with publicans and sinners, — and it is just this sin, the 
 poet declares, that transforms the Palace of Art into a prison of despair." — Fan 
 Dyke. 
 
 201. Prurient (L. prurio, itch) : Foul. 
 
 204. Cf. Matt, viii., 32. 
 
 209-212. Until the edition of 1853 this stanza read : 
 
 " I take possession of men's minds and deeds, 
 I live in all things great and small, 
 I sit apart holding no forms of creeds 
 But contemplating all." 
 
22 THE PALACE OF ART 
 
 Full oft the riddle of the painful earth 
 
 Flash'd thro' her as she sat alone, 
 Yet not the less held she her solemn mirth, 215 
 
 And intellectual throne. 
 
 And so she throve and prosper'd: so three years 
 
 She prosper'd: on the fourth she fell, 
 Like Herod, when the shout was in his ears, 
 
 Struck thro' with pangs of hell. 220 
 
 Lest she should fail and perish utterly, 
 
 God, before whom ever lie bare 
 The abysmal deeps of Personality, 
 
 Plagued her with sore despair. 
 
 When she would think, where'er she turn'd her sight 
 The airy hand confusion wrought, 226 
 
 Wrote, " Mene, mene," and divided quite 
 The kingdom of her thought. 
 
 Deep dread and loathing of her solitude 
 
 Fell on her, from which mood was born 230 
 
 Scorn of herself; again, from out that mood 
 
 Laughter at her self-scorn. 
 
 "What! is not this my place of strength," she said, 
 
 " My spacious mansion built for me, 
 Whereof the strong foundation-stones were laid 235 
 
 Since my first memory? " 
 
 219. Cy. Acts xii., 21. 
 
 223. This expression is borrowed from an essay, Theodiccea Novissima., by 
 Tennyson's friend, Arthur Hallam : " I believe that redemption is universal in 
 so far as it is left no obstacle between man and God but man's own will ; that in- 
 deed is in the power of God's election, with whom alone rest the abysmal secrets 
 of personality." 
 
 227. Cf. Dan. v., 25. 
 
THE PALACE OF ART 2$ 
 
 But in dark corners of her palace stood 
 
 Uncertain shapes; and unawares 
 On white-eyed phantasms weeping tears of blood, 
 
 And horrible nightmares, 240 
 
 And hollow shades inclosing hearts of flame, 
 
 And, with dim fretted foreheads all, 
 On corpses three months old at noon she came, 
 
 That stood against the wall. 
 
 A spot of dull stagnation, without light 245 
 
 Or power of movement, seem'd my soul, 
 
 'Mid onward-sloping motions infinite 
 Making for one sure goal. 
 
 A still salt pool, lock'd in with bars of sand, 
 
 Left on the shore; that hears all night 250 
 
 The plunging seas draw backward from the land 
 Their moon-led waters white. 
 
 A star that with the choral starry dance 
 Join'd not, but stood, and standing saw 
 
 The hollow orb of moving Circumstance 255 
 
 Roll'd round by one fix'd law. 
 
 Back on herself her serpent pride had curl'd. 
 
 '' No voice," she shriek'd in that lone hall, 
 " No voice breaks thro' the stillness of this world: 
 
 One deep, deep silence all!" 260 
 
 239. Phantasms (Gr.//irt;/M«7, show) : Phantoms. 
 
 241. Cy. Beckford's Vathek : "The Caliph discerned through his bosom, 
 which was transparent as crystal, his heart enveloped in flames." 
 
 242. Fretted (AS. /r^z-rtw) : Wrinkled. 
 
 249-252. " We stand on the long shallow sands of the sea-coast near his early 
 home ; there is no better, briefer, yet more finished picture in all his work." — 
 Stopford Brooke. 
 
 252. The reference here is of course to the moon's influence over the tides. 
 
 255. Circumstance (L. circtfjtt, around -j- j/<?, stand): "The surrounding 
 universe," 
 
24 THE PALACE OF ART 
 
 She, moldering with the dull earth's moldering sod, 
 
 Inwrapt tenfold in slothful shame, 
 Lay there exiled from eternal God, 
 
 Lost to her place and name; 
 
 And death and life she hated equally, 265 
 
 And nothing saw, for her despair, 
 But dreadful time, dreadful eternity. 
 
 No comfort anywhere; 
 
 Remaining utterly confused with fears, 
 
 And ever worse with growing time, 270 
 
 And ever unrelieved by dismal tears, 
 
 And all alone in crime: 
 
 • Shut up as in a crumbling tomb, girt round 
 With blackness as a solid wall, 
 Far off she seem'd to hear the dully sound 275 
 
 Of human footsteps fall. 
 
 As in strange lands a traveler walking slow, 
 
 In doubt and great perplexity, 
 A little before moon-rise hears the low 
 
 Moan of an unknown sea; 280 
 
 And knows not if it be thunder, or a sound 
 Of rocks thrown down, or one deep cry 
 
 Of great wild beasts; then thinketh, " I have found 
 A new land, but I die." 
 
 She howl'd aloud, " I am on fire within. 285 
 
 There comes no murmur of reply. 
 What is it that will take away my sin, 
 
 And save me lest I die? " 
 
 273. Girt (AS. gyrdan) : Encircled. 
 
 287. " The essence of the sin was not culture, but the selfishness and aristocrati- 
 cism of cultured pride ; not delight, whether of the senses or the mind, but 
 delight unshared by others ; not abstention from the partisanship of creeds, but 
 contemptuous isolation from those who accept them, and lack of sympathetic 
 appreciation of the truth they contain. Such isolation, such pride, such culture 
 are indeed damnable." — Bayne. 
 
GODIVA 25 
 
 So when four years were wholly finished, 
 
 She threw her royal robes away. 290 
 
 " Make me a cottage in the vale," she said, 
 
 " Where I may mourn and pray. 
 
 '' Yet pull not down my palace towers, that are 
 
 So lightly, beautifully built: 
 Perchance I may return with others there 295 
 
 When I have purged my guilt." 
 
 GODIVA* 
 
 I WAITED for the train at Coventry; 
 I hung with grooms and porters on the bridge. 
 To watch the three tall spires; and there I shaped 
 The city's ancient legend into this: 
 
 Not only we, the latest seed of Time, 5 
 
 New men, that in the flying of a wheel 
 Cry down the past, not only we, that prate 
 Of rights and wrongs, have loved the people well. 
 And loathed to see them overtax'd; but she 
 Did more, and underwent, and overcame, lO 
 
 The woman of a thousand summers back, 
 Godiva, wife to that grim Earl, who ruled 
 In Coventry: for when he laid a tax 
 Upon his town, and all the mothers brought 
 Their children, clamoring, "If we pay, we starve!" 15 
 
 * Godiva, just as we have it now, was published in the volume of 1842. The 
 legend on which the story is founded dates back to the twelfth century. Countess 
 Godiva begged her husband, " that grim Earl" Leofric, to remit the grievous tax 
 on Coventry, and he said he would do so if she would ride naked through the town. 
 She did it and thus gained the city's charter of freedom. Peeping Tom, a tailor, 
 would have looked on her, but was struck blind on the instant. 
 
 Mrs. Browning made but one reservation in her praise of Tennyson as " a 
 divine poet." She preferred Leigh Hunt's Godiva to his. 
 
 I. Coventry is in Warwickshire, England. 
 
 3. The three tall spires: Those of St. Michael's Church, Trinity Church, 
 and Christ Church. 
 
26 GODIVA 
 
 She sought her lord, and found him, where he strode 
 
 About the hall, among his dogs, alone, 
 
 His beard a foot before him, and his hair 
 
 A yard behind. She told him of their tears, 
 
 And pray'd him, " If they pay this tax, they starve." 20 
 
 Whereat he stared, replying, half-amazed, 
 
 " You would not let your little finger ache 
 
 For such as these f " — " But I would die," said she. 
 
 He laugh'd, and swore by Peter and by Paul: 
 
 Then fiUip'd at the diamond in her ear; 25 
 
 "Oh ay, ay, ay, you talk!" "Alas!" she said, 
 
 " But prove me what it is I would not do." 
 
 And from a heart as rough as Esau's hand, 
 
 He answer'd, " Ride you naked thro' the town, 
 
 And I repeal it"; and nodding, as in scorn, 30 
 
 He parted, with great strides among his dogs. 
 
 So left alone, the passions of her mind, 
 As the winds from all the compass shift and blow. 
 Made war upon each other for an hour, 
 Till pity won. She sent a herald forth, 35 
 
 And bade him cry, with sound of trumpet, all 
 The hard condition; but that she would loose 
 The people: therefore, as they loved her well, 
 From then till noon no foot should pace the street. 
 No eye look down, she passing; but that all 40 
 
 Should keep Avithin, door shut, and window barr'd. 
 
 Then fled she to her inmost bower, and there 
 Unclasp'd the wedded eagles of her belt. 
 The grim Earl's gift; but ever at a breath 
 She linger'd, looking like a summer moon 45 
 
 Half-dipt in cloud: anon she shook her head. 
 And shower'd the rippled ringlets to her knee; 
 
 25. Filliped: A variation of " flip." 
 28. Cy. Gen. xxvii., 23. 
 31. Parted: Departed. 
 
 42. Bower: (Archaic): Chamber. 
 
 43. The wedded eagles of her belt : The two halves of her belt- 
 clasp. 
 
GODIVA 27 
 
 Unclad herself in haste; adown the stair 
 
 Stole on; and, like a creeping sunbeam, slid 
 
 From pillar unto pillar, until she reach'd 50 
 
 The gateway; there she found her palfrey trapt 
 
 In purple blazon'd with armorial gold. 
 
 Then she rode forth, clothed on with chastity: 
 The deep air listen'd round her as she rode. 
 And all the low wind hardly breathed for fear. 55 
 
 The little wide-mouth'd heads upon the spout 
 Had cunning eyes to see: the barking cur 
 Made her cheek fiame: her palfrey's footfall shot 
 Light horrors thro' her pulses: the blind walls 
 Were full of chinks and holes; and overhead 60 
 
 Fantastic gables, crowding, stared: but she 
 Not less thro' all bore up, till, last, she saw 
 The white-flower'd elder-thicket from the field 
 Gleam thro' the Gothic archway in the wall. 
 
 Then she rode back, clothed on with chastity: 65 
 
 And one low churl, compact of thankless earth, 
 The fatal byword of all years to come, 
 Boring a little auger-hole in fear, 
 Peep'd — but his eyes, before they had their will. 
 Were shrivel'd into darkness in his head, 70 
 
 And dropt before him. So the Powers, who wait 
 On noble deeds, cancel'd a sense misused; 
 And she, that knew not, pass'd: and all at once, 
 With twelve great shocks of sound, the shameless noon 
 Was clash'd and hammer'd from a hundred towers, 75 
 One after one: but even then she gain'd 
 Her bower; whence reissuing, robed and crown'd, 
 To meet her lord, she took the tax away 
 And built herself an everlasting name. 
 
 56. The little wide-mouthed heads upon the spout: " Referring to 
 the gargoyles or grotesquely carved spouts of old Gothic architecture. They are 
 often heads of angels, demons, men and animals, with open mouths through 
 which the water is discharged. 'V\\& fantastic gables^ of 6i below, are such as still 
 abound in the ancient streets of Coventry." — Rolfe. 
 
 66. Compact : Made of. 
 
28 LOCKSLEY HALL 
 
 LOCKSLEY HALL* 
 
 Comrades, leave me here a little, while as yet 'tis early morn: 
 Leave me here, and when you want me, sound upon the 
 bugle-horn. 
 
 'Tis the place, and all around it, as of old, the curlews call, 
 Dreary gleams about the moorland flying over Locksley 
 Hall; 
 
 Locksley Hall, that in the distance overlooks the sandy 
 tracts, 5 
 
 And the hollow ocean-ridges roaring into cataracts. 
 
 * Locksley Hall^ published in 1842, has since been changed only in verb-tenses 
 and other trivial details. " ' Locksley Hall' is an imaginary place (tho' the coast 
 is Lincolnshire) and the hero is imaginary. The whole poem represents young 
 life, its good side, its deficiencies, and its yearnings. Mr. Hallam said to me that 
 the English people liked verse in Trochaics, so I wrote the poem in this meter." — 
 Tennyson. "It is against the fickleness of a woman that the speaker in Locksley 
 Hall has to find a resource. And he finds it in the excitement of enterprise and 
 action, in glowing anticipations of progress for the human race. He not merely 
 recovers his sympathy with his fellow-men, and his interest in life, which had been 
 paralyzed by her who represented for him all that was beautiful and good in life, 
 but he recovers it on higher and firmer ground. The poem has been called mor- 
 bid, a phrase that has acquired a perfectly new meaning of late years, and is made 
 to include works of art and all views of life that are colored by other than com- 
 fortable feelings. If Locksley Hall, as a whole, is morbid, then it is morbid to 
 represent a young man rising above an early disappointment in love, and coming 
 out from it stronger, less sensitive, more sinewed for action." — Brimley. As show- 
 ing the point of view of Tennyson, young and old, compare with this poem's re- 
 proach of worldliness and love of money, Locksley Hall — Sixty Years After, in 
 which he inveighs against the rise of the mob, ignorance, anarchy, and gold- 
 greed. 
 
 4. When Mrs. Bradley asked Tennyson if he knew that " gleams " was an old 
 Lincolnshire word for the curlew cry, he replied that he did not, and explained 
 that this passage " meant nothing more than to express the flying gleams of light 
 across a dreary moorland when looking at it under peculiarly drearj^ circumstances. 
 ' Curlews ' are only a feature in the scene ; but an unfortunate misprint, merely the 
 omission of a comma, had given rise to very various interpretations of the pas- 
 sage." He regretted that he had not used, instead of " flying, " the more explicit 
 word " sweeping." 
 
LOCKSLEY HALL 29 
 
 Many a night from yonder ivied casement, ere I went to rest, 
 Did I look on great Orion sloping slowly to the West. 
 
 Many a night I saw the Pleiads, rising thro' the mellow 
 
 shade. 
 Glitter like a swarm of fire-flies tangled in a silver braid. 10 
 
 Here about the beach I wander' d, nourishing a youth 
 
 sublime 
 With the fairy tales of science, and the long result of Time; 
 
 When the centuries behind me like a fruitful land reposed; 
 When I clung to all the present for the promise that it 
 closed: 
 
 When I dipt into the future far as human eye could see; 15 
 Saw the Vision of the world, and all the wonder that 
 would be. — 
 
 In the Spring a fuller crimson comes upon the robin's breast; 
 In the Spring the wanton lapwing gets himself another crest; 
 
 In the Spring a livelier iris changes on the burnish'd dove; 
 
 In the Spring a young man's fancy lightly turns to thoughts 
 
 of love. 20 
 
 Then her cheek was pale ahd thinner than should be for one 
 
 so young. 
 And her eyes on all my motions with a mute observance 
 
 hung. 
 
 And I said, " My cousin Amy, speak, and speak the truth 
 
 to me. 
 Trust me. cousin, all the current of my being sets to thee." 
 
 8. Orion: A constellation named from the mythological hunter of great 
 strength and beauty. 
 
 9. Pleiads: A group, popularly called the Seven Sisters, in the constellation 
 Taurus. It is named for the seven daughters of Atlas and Pleione, sisters of the 
 Hyades. 
 
30 LOCKSLEY HALL 
 
 On her pallid cheek and forehead came a color and a light, 
 As I have seen the rosy red flushing in the northern night. 
 
 And she turn'd— her bosom shaken with a sudden storm of 
 
 sighs- 
 All the spirit deeply dawning in the dark of hazel eyes — 
 
 Saying, " I have hid my feelings, fearing they should do me 
 
 wrong"; 
 Saying, "Dost thou love me, cousin?" weeping, "I have 
 
 loved thee long." 30 
 
 Love took up the glass of Time, and turn'd it in his glow- 
 ing hands; 
 Every moment, lightly shaken, ran itself in golden sands. 
 
 Love took up the harp of Life, and smote on all the chords 
 
 with might, 
 Smote the chord of Self, that, trembling, pass'd in music out 
 
 of sight. 
 
 Many a morning on the moorland did we hear the copses 
 ring, 35 
 
 And her whisper throng'd my pulses with the fullness of the 
 Spring. 
 
 Many an evening by the waters did we watch the stately 
 
 ships. 
 And our spirits rush'd together at the touching of the lips. 
 
 34. " This line concentrates into itself a large part of Tennyson's noble con- 
 ception of love, or conception of the nobleness of love. Love annihilates Self, 
 even while exalting it ; and crowns life in a twofold ecstasy of renunciation and 
 attainment." — Bayne. 
 
 35. Copses (Fr. couper, cut): Small woods. 
 
 38. Cf. Shelley : " When soul's meets soul on lovers' lips." After this line 
 there were originally the following stanzas: 
 
 " In the hall there hangs a painting — Amy's arms about my neck: 
 Happy children in a sunbeam sitting on the ribs of wreck. 
 In my life there was a picture — she that clasped my neck had flown. 
 I was left within the shadow, sitting on the wreck alone." 
 These lines were the nucleus of Locksley Hall — Sixty Years After. 
 
LOCKSLEY HALL 3T 
 
 O my cousin, shallow-hearted! O my Amy, mine no more! 
 O the dreary, dreary moorland! O the barren, barren shore! 
 
 Falser than all fancy fathoms, falser than all songs have 
 
 sung, 41 
 
 Puppet to a father's threat, and servile to a shrewish tongue! 
 
 Is it well to wish thee happy? — having known me — to 
 
 decline 
 On a range of lower feelings and a narrower heart than 
 
 mine ! 
 
 Yet it shall be: thou shalt lower to his level day by day, 45 
 What is fine within thee growing coarse to sympathize with 
 
 clay. 
 
 II 
 As the husband is, the wife is: thou art mated with a clown, 
 And the grossness of his nature will have weight to drag thee 
 
 down. ^ 
 
 He will hold thee, when his passion shall have spent its novel 
 
 force, 
 Something better than his dog, a little dearer than his horse. 
 
 What is this? his eyes are heavy: think not they are glazed 
 with wine. 51 
 
 Go to him: it is thy duty: kiss him: take his hand in thine. 
 
 It may be my lord is weary, that his brain is overwrought: 
 Soothe him with thy finer fancies, touch him with thy 
 lighter thought. 
 
 He will answer to the purpose, easy things to understand — 
 
 Better thou wert dead before me, tho' I slew thee with my 
 
 hand! 56 
 
 ^2. Puppet (L. /?///«, girl, doll): Plaything ; tool. 
 
32 
 
 LOCKSLEY HALL 
 
 Better thou and I were lying, hidden from the heart's dis- 
 grace, 
 Roll'd in one another's arms, and silent in a last embrace. 
 
 Cursed be the social wants that sin against the strength of 
 
 youth! 
 Cursed be the social lies that warp us from the living truth! 
 
 Cursed be the sickly forms that err from honest Nature's 
 rule! 6 I 
 
 Cursed be the gold that gilds the straiten'd forehead of the 
 fool! 
 
 Well— 'tis well that I should bluster!— Hadst thou less un- 
 worthy proved — 
 
 Would to God — for I had loved thee more than ever wife 
 was loved. 
 
 Am I mad, that I should cherish that which bears but bitter 
 
 fruit? 65 
 
 I will pluck it from my bosom, tho' my heart be at the root 
 
 Never, tho' my mortal summers to such length of years 
 
 should come 
 As the many-winter'd crow that leads the clanging rookery 
 
 home. 
 
 Where is comfort? in division of the records of the mind? 
 Can I part her from herself, and love her, as I knew her, 
 kind? 70 
 
 I remember one that perish'd: sweetly did she speak and 
 
 move: 
 Such a one do I remember, whom to look at was to love. 
 
 68. Rookery: A place where rooks congregate to breed ; hence, as here, a 
 colony of rooks. 
 
LOCKSLEY HALL 
 
 33 
 
 Can I think of her as dead, and love her for the love she 
 
 bore? 
 No — she never loved me truly: love is love for evermore. 
 
 Comfort? comfort scorn'd of devils! this is truth the poet 
 sings, 75 
 
 That a sorrow's crown of sorrow is remembering happier 
 things. 
 
 Drug thy memories, lest thou learn it, lest thy heart be put to 
 
 proof. 
 In the dead unhappy night, and when the rain is on the 
 
 roof. 
 
 Like a dog, he hunts in dreams, and thou art staring at the 
 
 wall. 
 Where the dying night-lamp flickers, and the shadows rise 
 
 and fall. 80 
 
 Then a hand shall pass before thee, pointing to his drunken 
 
 sleep, 
 To thy widow'd marriage-pillows, to the tears that thou wilt 
 
 weep. 
 
 Thou shalt hear the " Never, never," whisper'd by the 
 
 phantom years. 
 And a song from out the distance in the ringing of thine 
 
 ears; 
 
 And an eye shall vex thee, looking ancient kindness on thy 
 pain. 85 
 
 Turn thee, turn thee on thy pillow: get thee to thy rest 
 again. 
 
 76. Cy. Dante, Inferno : 
 
 "Nessun maggior dolore, 
 Che ricordarsi del tempo felice, 
 Nella miseria." 
 
34 LOCKSLEY HALL 
 
 Nay, but Nature brings thee solace; for a tender voice will 
 
 cry. 
 'Tis a purer life than thine; a lip to drain thy trouble dry. 
 
 Baby lips will laugh me down: my latest rival brings thee 
 
 rest. 
 Baby fingers, waxen touches, press me from the mother's 
 
 breast. 90 
 
 O, the child too clothes the father with a dearness not his 
 
 due. 
 Half is thine and half is his: it will be worthy of the two. 
 
 O, I see thee old and formal, fitted to thy petty part, 
 With a little hoard of maxims preaching down a daughter's 
 heart. 
 
 " They were dangerous guides the feelings — she herself was 
 
 not exempt — 95 
 
 Truly, she herself had suffer'd " — perish in thy self-contempt! 
 
 Overlive it — lower yet — be happy! wherefore should I care? 
 I myself must mix with action, lest I wither by despair. 
 
 What is that which I should turn to, lighting upon days like 
 
 these? 
 Every door is barr'd with gold, and opens but to golden 
 
 keys. 100 
 
 Every gate is throng'd with suitors, all the markets overflow. 
 I have but an angry fancy: what is that which I should do? 
 
 I had been content to perish, falling on the foeman's ground, 
 When the ranks are roll'd in vapor, and the winds are laid 
 with sound. 
 
 But the jingling of the guinea helps the hurt that Honor 
 
 feels, 105 
 
 And the nations do but murmur, snarling at each other's 
 heels. 
 
LOCKSLEY HALL 
 
 35 
 
 Can I but relive in sadness? I will turn that earlier page. 
 Hide me from thy deep emotion, O thou wondrous Mother- 
 Age! 
 
 Make me feel the wild pulsation that I felt before the strife, 
 When I heard my days before me, and the tumult of my life; 
 
 Yearning for the large excitement that the coming years 
 
 would yield, m 
 
 Eager-hearted as a boy when first he leaves his father's field. 
 
 And at night along the dusky highway, near and nearer 
 
 drawn, 
 Sees in heaven the lights of London flaring like a dreary 
 
 dawn. 
 
 And his spirit leaps within him to be gone before him then, 
 
 Underneath the light he looks at, in among the throngs of 
 
 men: ii6 
 
 Men, my brothers, men the workers, ever reaping something 
 
 new: 
 That which they have done but earnest of the things that they 
 
 shall do. 
 
 For I dipt into the future, far as human eye could see. 
 Saw the Vision of the world, and all the wonder that would 
 be; 120 
 
 Saw the heavens fill with commerce, argosies of magic sails. 
 Pilots of the purple twilight, dropping down with costly 
 bales; 
 
 Heard the heavens fill with shouting, and there rain'd a 
 
 ghastly dew 
 From the nations' airy navies grappling in the central blue; 
 
 121. Argosies (It. Ragusa, a port in Dalmatia): First, a Ragusan or Venetian 
 ship ; then, any large richly-laden ship of commerce. 
 
36 LOCKSLEY HALL 
 
 Far along the world-wide whisper of the south-wind rushing 
 warm, 125 
 
 With the standards of the peoples plunging thro' the thun- 
 der-storm; 
 
 Till the war-drum throbb'd no longer, and the battle-flags 
 
 were furl'd 
 In the Parliament of man, the Federation of the world. 
 
 There the common sense of most shall hold a fretful realm 
 
 in awe, 
 And the kindly earth shall slumber, lapt in universal law. 
 
 So I triumph'd ere my passion, sweeping thro' me, left me 
 dry, 131 
 
 Left me with the palsied heart, and left me with the jaun- 
 diced eye; 
 
 Eye to which all order festers, all things here are out of 
 
 joint: 
 Science moves, but slowly, slowly, creeping on from point 
 
 to point: 134 
 
 Slowly comes a hungry people, as a lion creeping nigher, 
 Glares at one that nods and winks behind a slowly dying fire. 
 
 Yet I doubt not thro' the ages one increasing purpose runs, 
 And the thoughts of men are widen'd with the process of the 
 suns. 
 
 128. Tennyson expresses this wish for universal peace in The Golden Vear, 
 and T/ie Ode at Opening of the hitcmational Exhibition. 
 
 130. Lapt : Wrapped; enfolded. 
 
 135-6. " What a picture is this of Feudalism settling to its last sleep with Free- 
 dom advancing upon it, or of aristocracies that nod and wink in the waning light 
 of their heraldic honors, with the grand roar of the Democracy beginning to be 
 heard !" — Bayne. Tennyson says that in 1837 ^^ W''-'' interested in reading 
 Pringle's Travels^ and from that got the image of the hungry lion used in this 
 simile. 
 
LOCKSLEY HALL 37 
 
 What is that to him that reaps not harvest of his youthful 
 
 joys, 139 
 
 Tho' the deep heart of existence beat for ever Uke a boy's? 
 
 Knowledge comes, but wisdom lingers, and I linger on the 
 
 shore, 
 And the individual withers, and the world is more and more. 
 
 Knowledge comes, but wisdom lingers, and he bears a laden 
 
 breast. 
 Full of sad experience, moving toward the stillness of his 
 
 rest. 
 
 Hark, my merry comrades call me, sounding on the bugle- 
 horn, 145 
 
 They to whom my foolish passion were a target for their 
 scorn: 
 
 Shall it not be scorn to me to harp on such a molder'd 
 
 string? 
 I am shamed thro' all my nature to have loved so slight a 
 
 thing. 
 
 Weakness to be wroth with weakness! woman's pleasure, 
 
 woman's pain — 
 Nature made them blinder motions bounded in a shallower 
 
 brain: 150 
 
 Woman is the lesser man, and all thy passions, match'd with 
 
 mine, 
 Are as moonlight unto sunlight, and as water unto wine — 
 
 141. " Knowledge is proud that he has learned so much ; 
 
 Wisdom is humble that he knows no more." — Cowper; The Task. 
 Cf. In Menioriam: cxiv. 
 
38 LOCKSLEY HALL 
 
 Here at least, where nature sickens, nothing. Ah, for some 
 
 retreat 
 Deep in yonder shining Orient, where my life began to 
 
 beat; 
 
 Where in wild Mahratta-battle fell my father evil-starr'd; — 
 I was left a trampled orphan, and a selfish uncle's ward. 
 
 Or to burst all links of habit — there to wander far away, 
 On from island unto island at the gateways of the day. 
 
 Larger constellations burning, mellow moons and happy 
 
 skies, 
 Breadths of tropic shade and palms in cluster, knots of 
 
 Paradise. 160 
 
 Never comes the trader, never floats an European flag, 
 Slides the bird o'er lustrous woodland, swings the trailer from 
 the crag; 
 
 Droops the heavy-blossom'd bower, hangs the heavy-fruited 
 
 tree — 
 Summer isles of Eden lying in dark-purple spheres of sea. 
 
 There methinks would be enjoyment more than in this march 
 of mind, 165 
 
 In the steamship, in the railway, in the thoughts that shake 
 mankind. 
 
 There the passions cramp'd no longer shall have scope and 
 
 breathing space; 
 I will take some savage woman, she shall rear my dusky 
 
 race. 
 
 155. During the early years of this century the fierce Mahratta tribes of Cen- 
 tral India were engaged in frequent warfare with the British power. 
 
 160. "In the first unpublished edition of Locksley Hall, after 'knots of para- 
 dise' conies the following couplet, which was omitted lest the description should be 
 too long: 
 
 " 'AH about a summer ocean, leagues on leagues of golden calm, 
 And within melodious waters, rolling round the knolls of palm.'" 
 
 — Hallam Tennyson. 
 
LOCKSLEY HALL 39 
 
 Iron-jointed, supple-sinew'd, they shall dive, and they shall 
 
 run, 
 Catch the wild goat by the hair, and hurl their lances in the 
 
 sun; 170 
 
 Whistle back the parrot's call, and leap the rainbows of the 
 
 brooks, 
 Not with blinded eyesight pouring over miserable books — 
 
 Fool, again the dream, the fancy! but I know my words are 
 
 wild, 
 But I count the gray barbarian lower than the Christian 
 
 child. 
 
 /, to herd with narrow foreheads, vacant of our glorious 
 
 gains, 175 
 
 Like a beast with lower pleasures, like a beast with lower 
 
 pams 
 
 Mated wnth a squalid savage — what to me were sun or clime? 
 I the heir of all the ages, in the foremost files of time — 
 
 I that rather held it better men should perish one by one, 
 Than that earth should stand at gaze like Joshua's moon in 
 Ajalon! 180 
 
 Not in vain the distance beacons. Forward, forward let us 
 
 range. 
 Let the great world spin for ever down the ringing grooves 
 
 of change. 
 
 174. Cf. Matt, xi., II. 
 
 180. Cy. Joshua X , 12. 
 
 181. Beacons: Shines as a beacon. This verbal use of the word is unusual. 
 
 182. " When I went by the first train from Liverpool to Manchester (1830), I 
 thought that the wheels ran in a groove. It was a black night and there was such 
 a vast crowd round the train that at the station we could not see the wheels. 
 Then I made this line." — Tentiyson. 
 
40 LOCKSLEY HALL 
 
 Thro' the shadow of the globe we sweep into the younger 
 
 day; 
 Better fifty years of Europe than a cycle of Cathay. 
 
 Mother-Age (for mine I knew not), help me as when life 
 begun: 185 
 
 Rift the hills, and roll the waters, flash the lightnings, weigh 
 the Sun. — 
 
 O, I see the crescent promise of my spirit hath not set. 
 Ancient founts of inspiration well thro' all my fancy yet. 
 
 Howsoever these things be, a long farewell to Locksley 
 
 Hall! 
 Now for me the woods may wither, now for me the roof-tree 
 
 fall. 190 
 
 Comes a vapor from the margin, blackening over heath and 
 
 holt, 
 Cramming all the blast before it, in its breast a thunderbolt. 
 
 Let it fall on Locksley Hall, with rain or hail, or fire or 
 
 snow; 
 For the mighty wind arises, roaring seaward, and I go. 
 
 184. Cycle (Gr. ktiklos, circle): " A period of time at the end of which certain 
 aspects of heavenly bodies repeat themselves ; hence a vast period." Cathay : A 
 name given to China by old travelers. 
 
 186. After this line, in James Knowles' copy of the poem, Tennyson wrote: 
 " Life is battle ; let me fight it — win or lose it, — lose it? nay! 
 
 Block my paths with toil and and danger, I will find or force a way. '' 
 191. Holt (AS. holt): A wooded hill. 
 
SONGS FROM '*THE PRINCESS 4I 
 
 " BREAK, BREAK, BREAK " * 
 
 Break, break, break. 
 
 On thy cold gray stones, O Sea! 
 And I would tlrat my tongue could utter 
 
 The thoughts that arise in me. 
 
 O well for the fisherman's boy, 5 
 
 That he shouts with his sister at play! 
 
 O well for the sailor lad. 
 
 That he sings in his boat on the bay! 
 
 And the stately ships go on 
 
 To their haven under the hill; 10 
 
 But O for the touch of a vanish'd hand, 
 
 And the sound of a voice that is still! 
 
 Break, break, break, 
 
 At the foot of thy crags, O sea! 
 But the tender grace of a day that is dead 15 
 
 Will never come back to me. 
 
 SONGS FROM "THE PRINCESS " f 
 
 As thro' the land at eve we went, 
 
 And pluck'd the ripen'd ears. 
 We fell out, my wife and I, 
 O we fell out I know not why, 
 
 * This " melody of tears " was "made," Tennyson tells us, " in a Lincolnshire 
 lane at five o'clock in the morning, between blossoming hedges." It expressed his 
 grief for his friend Hallam's death and was the precursor of /« Memoriavi. Com- 
 pare with it /« The Valley of Cauterez^ written a quarter of a century later. 
 
 + The six beautiful songs, whose " words are music, " at once separate and unite 
 the cantos of The Princess. They were not inserted in the first edition, but, says 
 Tennyson, " The songs were not an afterthought. Before the first edition came 
 out I deliberated with myself whether I should put songs in between the separate 
 
42 SONGS FROM " THE PRINCESS 
 
 And kiss'd again with tears. 5 
 
 And blessings on the falHng out 
 
 That all the more endears, 
 When we fall out with those we love 
 
 And kiss again with tears! 
 For when we came where lies the child lo 
 
 We lost in other years, 
 There above the little grave, 
 O there above the little grave, 
 
 We kiss'd again with tears. 
 
 Sweet and low, sweet and low, 15 
 
 Wind of the western sea. 
 Low, low, breathe and blow. 
 
 Wind of the western sea! 
 Over the rolling waters go, 
 Come from the dying moon, and blow, 20 
 
 Blow him again to me; 
 While my little one, while my pretty one, sleeps. 
 
 Sleep and rest, sleep and rest. 
 
 Father will come to thee soon; 
 Rest, rest, on mother's breast, 25 
 
 Father will come to thee soon; 
 Father will come to his babe in the nest, 
 Silver sails all out of the west 
 
 Under the silver moon: 
 Sleep, my little one, sleep, my pretty one, sleep. 30 
 
 The splendor falls on castle walls 
 And snowy summits old in story: 
 
 The long light shakes across the lakes, 
 And the wild cataract leaps in glory. 
 
 divisions of the poem; again I thought, the poem will explain itself; but the public 
 did not see that the child was the heroine of the piece, and at last I conquered my 
 laziness and inserted them." The songs were inserted in the edition of 1853, and 
 only a few verbal changes have been made in the later editions. 
 
SONGS FROM ''tHE PRINCESS 43 
 
 Blow, bugle, blow, set the wild echoes flying, 35 
 
 Blow, bugle; answer, echoes, dying, dying, dying. 
 
 O hark, O hear! how thin and clear. 
 
 And thinner, clearer, farther going! 
 O sweet and far from cliff and scar 
 The horns of Elfland faintly blowing! 40 
 
 Blow, let us hear the purple glens replying: 
 Blow, bugle; answer, echoes, dying, dying, dying. 
 
 O love, they die in yon rich sky. 
 
 They faint on hill or field or river: 
 Our echoes roll from soul to soul, 45 
 
 And grow for ever and for ever. 
 Blow, bugle, blow, set the wild echoes flying. 
 And answer, echoes, answer, dying, dying, dying. 
 
 Tears, idle tears, I know not what they mean. 
 Tears from the depth of some divine despair 50 
 
 Rise in the heart, and gather to the eyes. 
 In looking on the happy Autumn fields. 
 And thinking of the days that are no more. 
 
 Fresh as the first beam glittering on a sail, 
 
 That brings our friends up from the underworld, 55 
 
 Sad as the last which reddens over one 
 
 That sinks with all we love below the verge; 
 
 So sad, so fresh, the days that are no more. 
 
 35. This was suggested by the boatmen's bugle-music on the lake of Killarney. 
 
 49. Tears, idle tears, " was written at Tintern when the woods were all yellow- 
 ing with Autumn seen through the ruined windows. It is what I have always felt 
 even from a boy, and what as a boy I called the ' passion of the past, ' and it is so 
 always with me now; it is the distance that charms me in the landscape the future 
 and the past and not the immediate to-day in which I move." — Tennyson. 
 
 It is hard to realize that this exquisite lyric, this melodious expression of the 
 nameless sorrow of a brooding heart, is in the meter of Havilet and Paradise Lost. 
 English blank-verse acquired new power in the hands of Tennyson. 
 
44 SONGS FROM ''THE PRINCESS 
 
 Ah, sad and strange as in dark summer dawns 
 
 The earliest pipe of half-awaken'd birds • 60 
 
 To dying ears, when unto dying eyes 
 
 The casement slowly grows a glimmering square; 
 
 So sad, so strange, the days that are no more. 
 
 Dear as remember'd kisses after death, 
 
 And sweet as those by hopeless fancy^ feign'd 65 
 
 On lips that are for others; deep as love, 
 
 Deep as first love, and wild with all regret; 
 
 O Death in Life, the days that are no more. 
 
 Thy voice is heard thro' rolling drums, 
 
 That beat to battle where he stands; 70 
 
 Thy face across his fancy comes, 
 
 And gives the battle to his hands: 
 A moment, while the trumpets blow, 
 
 He sees his brood about thy knee; 
 The next, like fire he meets the foe, 75 
 
 And strikes him dead for thine and thee. 
 
 Home they brought her warrior dead: 
 
 She nor swoon'd, nor utter'd cry: 
 All her maidens, watching, said, 
 
 " She must weep or she will die." 80 
 
 Then they praised him, soft and low, 
 
 Call'd him worthy to be loved. 
 Truest friend and noblest foe; 
 
 Yet she neither spoke nor moved. 
 
 Stole a maiden from her place, 85 
 
 Lightly to the warrior stept 
 Took the face-cloth from the face; 
 
 Yet she neither moved nor wept. 
 
THE CHARGE OF THE LIGHT BRIGADE 45 
 
 Rose a nurse of ninety years, 
 
 Set his child upon her knee — 90 
 
 Like summer tempest came her tears — 
 " Sweet my child, I live for thee." 
 
 Ask me no more: the moon may draw the sea; 
 
 The cloud may stoop from heaven and take the shape 
 With fold to fold, of mountain or of cape; 95 
 
 But O too fond, when have I answer'd thee? 
 
 Ask me no more. 
 
 Ask me no more: what answer should I give? 
 
 I love not hollow cheek or faded eye: 
 
 Yet, O my friend, I will not have thee die! 100 
 
 Ask me no more, lest I should bid thee live; 
 
 Ask me no more. 
 
 Ask me no more: thy fate and mine are seal'd: 
 I strove against the stream and all in vain: 
 Let the great river take me to the main: 105 
 
 No more, dear love, for at a touch I yield; 
 
 Ask me no more. 
 
 THE CHARGE OF THE LIGHT BRIGADE* 
 
 Half a league, half a league, 
 
 Half a league onward. 
 All in the valley of Death 
 
 Rode the six hundred. 
 " Forward, the Light Brigade! 5 
 
 * This poem, modeled upon Drayton's Agincourt, was first published in 
 the London Examiner of December 9, 1854. A much changed version was 
 published in 1855, but in 1856 the first form was returned to in the main. 
 
 The famous charge at Balaclava which it celebrates took place October 25, 1854. 
 "As a military maneuver it was useless, insane, and without a possible result; 
 as an exploit it has never been equaled, even by those related in the wildest 
 legends of chivalric romance." 
 
46 THE CHARGE OF THE LIGHT BRIGADE 
 
 Charge for the guns," he said: 
 Into the valley of Death 
 Rode the six hundred, 
 
 " Forward, the Light Brigade! " 
 
 Was there a man dismay'd? 10 
 
 Not tho' the soldier knew 
 
 Someone had blunder'd: 
 Theirs not to make reply, 
 Theirs not to reason why. 
 Theirs but to do and die: 15 
 
 Into the valley of Death 
 
 Rode the six hundred. 
 
 Cannon to right of them, 
 
 Cannon to left of them, 
 
 Cannon in front of them 20 
 
 Volley'd and thunder'd; 
 Storm'd at with shot and shell. 
 Boldly they rode and well, 
 Into the jaws of Death, 
 Into the mouth of Hell 25 
 
 Rode the six hundred. 
 
 Flash'd all their sabers bare, 
 
 Flash'd as they turn'd in air 
 
 Sabring the gunners there. 
 
 Charging an army, while 30 
 
 All the world wonder'd: 
 Plunged in the battery smoke 
 Right thro' the line they broke; 
 Cossack and Russian 
 Reel'd from the saber-stroke 35 
 
 Shatter'd and sunder'd. 
 Then they rode back, but not. 
 
 Not the six hundred. 
 
 6. He said: Captain Nolan delivered the order to advance. Whether or not 
 it was given by authority could never be ascertained, as he was the first man to 
 fall. 
 
THE REVENGE 47 
 
 Cannon to right of them, 
 
 Cannon to left of them, 40 
 
 Cannon behind them 
 
 Volley'd and thunder'd; 
 Storm'd at with shot and shell. 
 While horse and hero fell, 
 They that had fought so well 45 
 
 Came thro' the jaws of Death, 
 Back from the mouth of Hell, 
 All that was left of them. 
 
 Left of six hundred. 
 
 When can their glory fade? 50 
 
 O the wild charge they made! 
 
 All the world wonder'd. 
 Honor the charge they made! 
 Honor the Light Brigade, 
 
 Noble six hundred! 55 
 
 THE REVENGE* 
 
 A BALLAD OF THE FLEET 
 
 At Flores in the Azores Sir Richard Grenville lay. 
 
 And a pinnace, like a fiutter'd bird, came flying from faraway: 
 
 " Spanish ships of war at sea! we have sighted fifty-three! " 
 
 * This ringing ballad was published in the golden Indian summer volume of 
 1880. As Carlyle listened to it he forgave Tennj'son for being "but a verse man " 
 and cried admiringly : " Eh, Alfred! you have got the grip of it! " 
 
 Froude, Hume, and Sir Walter Raleigh give the details of this naval 
 Thermopylae — the fifteen-hour fight between Sir Richard Grenville's one ship with 
 its handful of men and the Spanish fleet of fifty-three vessels and 15,000 men 
 (isqi). " This story of ' The Revenge ' struck a deeper terror, though it 
 was but the action of a single ship, into the heart of the Spanish people, it dealt a 
 more deadly blow upon their fame and moral strength, than the Armada itself." — 
 Froude. Tennyson follows exactly the account of the battle given by Raleigh in 
 his Report of the truth of the fight about the lies of A gores this last Sovimer. 
 
 Cf. Gerald Massey's Sir Richard Grenville's Last Fight. 
 
 :. This one line lay in Tennyson's desk for years; then, in a heat of inspiration, 
 the poem was finished in a day. 
 
48 THE REVENGE 
 
 Then sware Lord Thomas Howard: "'Fore God I am no 
 coward; 4 
 
 But I cannot meet them here, for my ships are out of gear, 
 And the half my men are sick. I must fly, but follow quick. 
 We are six ships of the line; can we fight with fifty-three?" 
 
 Then spake Sir Richard Grenville: " I know you are no 
 
 coward; 
 You fly them for a moment to fight with them again. 
 But I've ninety men and more that are lying sick ashore. lo 
 I should count myself the coward if I left them, my Lord 
 
 Howard, 
 To these Inquisition dogs and the devildoms of Spain." 
 
 So Lord Howard past away with five ships of war that day, 
 Till he melted like a cloud in the silent summer heaven; 
 But Sir Richard bore in hand all his sick men from the 
 
 land 15 
 
 Very carefully and slow, 
 Men of Bideford in Devon, 
 And we laid them on the ballast down below; 
 For we brought them all aboard, 
 And they blest him in their pain, that they were not left to 
 
 Spain, 20 
 
 To the thumbscrew and the stake, for the glory of the Lord. 
 
 He had only a hundred seamen to work the ship and to fight, 
 And he sailed away from Flores till the Spaniard came in 
 
 sight, 
 With his huge sea-castles heaving upon the weather bow. 
 " Shall we fight or shall we fly? 25 
 
 7. Ships of the line: Formerly, ships large enough to take position in line 
 of battle ; those of and above sixty guns. 
 
 12. Inquisition: A court for examination and punishment of heretics, estab- 
 lished in Roman Catholic countries by Pope Gregory in 1285, suppressed in France 
 in 1772, but not finally suppressed in Spain until 1824. 
 
 21. The thumbscrew and the stake: Inquisition instruments of torture. 
 
THE REVENGE 49 
 
 Good Sir Richard, tell us now, 
 For to fight is but to die! 
 
 There'll be little of us left by the time this sun be set." 
 And Sir Richard said again: " We be all good English men. 
 Let us bang these dogs of Seville, the children of the 
 devil, 30 
 
 For I never turn'd my. back upon Don or devil yet." 
 
 Sir Richard spoke and he laugh'd, and we roar'd a hurrah, 
 
 and so 
 The little Revenge ran on sheer into the heart of the foe, 
 With her hundred fighters on deck and her ninety sick 
 
 below; 
 For half of their fleet to the right and half to the left were 
 
 seen, 35 
 
 And the little Revenge ran on thro' the long sea-lane be- 
 
 tween. 
 
 Thousands of their soldiers look'd down from their decks 
 
 and laugh'd. 
 Thousands of their seamen made mock at the mad little craft 
 Running on and on, till delay'd 
 By their mountain-like San Philip that, of fifteen hundred 
 
 tons, 40 
 
 And up-shadowing high above us with her yawning tiers of 
 
 guns, 
 Took the breath from our sails, and we stay'd. 
 
 And while now the great San Philip hung above us like a 
 
 cloud 
 Whence the thunderbolt will fall 
 
 Long and loud, 45 
 
 Four galleons drew away 
 
 30. Seville: Accented on the first syllable. 
 
 31. Don: A Spanish title for a gentleman; here a Spaniard, in contempt. 
 33. Sheer (Ice. skaer): Straight. 
 
 46. Galleons: Large Mediterranean ships of the fifteenth, sixteenth, and seven- 
 teenth centuries. 
 
50 
 
 THE REVENGE 
 
 From the Spanish fleet that day, 
 
 And two upon the larboard and two upon the starboard lay, 
 
 And the battle-thunder broke from them all. 
 
 But anon the great San Philip, she bethought herself and 
 
 went, 
 Having that within her womb that had left her ill content; 
 And the rest they came aboard us, and they fought us hand 
 
 to hand, 
 For a dozen times they came with their pikes and musque- 
 
 teers, 
 And a dozen times we shook 'em ofif as a dog that shakes 
 
 his ears 
 When he leaps from the water to the land. 55 
 
 And the sun went down, and the stars came out far over the 
 summer sea. 
 
 But never a moment ceased the fight of the one and the 
 fifty-three. 
 
 Ship after ship, the whole night long, their high-built gal- 
 leons came. 
 
 Ship after ship, the whole night long, with her battle-thun- 
 der and flame; 
 
 Ship after ship, the whole night long, drew back with her 
 dead and her shame. 60 
 
 For some were sunk and many were shatter'd, and so could 
 fight us no more — 
 
 God of battles, was ever a battle like this in the world before? 
 
 For he said " Fight on! fight on! " 
 Tho' his vessel was all but a wreck; 
 
 And it chanced that, when half of the short summer night 
 was gone, 65 
 
 With a grisly wound to be drest he had left the deck, 
 
 51. Womb: " Belly; its original sense." — Rolfe. 
 
 53. Musqueteers (Fr. mousquet^ gun): Here used in its original sense of 
 muskets instead of with its present meaning of soldiers armed with muskets, 
 66. Grisly: (AS. grislic, terrible): Frightful. 
 
THE REVENGE 5I 
 
 But a bullet struck him that was dressing it suddenly dead, 
 And himself he was wounded again in the side and the head, 
 And he said " Fight on! fight on! " 
 
 And the night went down, and the sun smiled out far over 
 
 the summer sea, 70 
 
 And the Spanish fleet with broken sides lay round us all in 
 
 a ring; 
 But they dared not touch us again, for they fear'd that we 
 
 still could sting, 
 So they watch'd what the end would be. 
 And we had not fought them in vain. 
 
 But in perilous plight were we, 75 
 
 Seeing forty of our poor hundred were slain. 
 And half of the rest of us maim'd for life 
 In the crash of the cannonades and the desperate strife; 
 And the sick men down in the hold were most of them stark 
 
 and cold. 
 And the pikes were all broken or bent, and the powder was 
 
 all of it spent; 80 
 
 And the masts and the rigging were lying over the side; 
 But Sir Richard cried in his English pride, 
 " We have fought such a fight for a day and a night 
 As may never be fought again! 
 
 We have won great glory, my men! 85 
 
 And a day less or more 
 At sea or ashore. 
 We die — does it matter when? 
 Sink me the ship, Master Gunner — sink her, split her in 
 
 twain! 89 
 
 Fall into the hands of God, not into the hands of Spain! " 
 
 And the gunner said " Ay, ay," but the seamen made reply: 
 " We have children, we have wives. 
 And the Lord hath spared our lives. 
 
 89. Twain (AS. twegan} ; Two. An archaic word. 
 
52 THE REVENGE 
 
 We will make the Spaniard promise, if we yield, to let us go; 
 We shall live to fight again and to strike another blow." 95 
 And the lion there lay dying, and they yielded to the foe. 
 
 And the stately Spanish men to their flagship bore him then, 
 Where they laid him by the mast, old Sir Richard caught 
 
 at last. 
 And they praised him to his face with their courtly foreign 
 
 grace; 
 But he rose upon their decks, and he cried: 100 
 
 " I have fought for Queen and Faith like a valiant man and 
 
 true; 
 I have only done my duty as a man is bound to do: 
 With a joyful spirit I, Sir Richard Grenville, die! " 
 And he fell upon their decks, and he died. 
 
 And they stared at the dead that had been so valiant and 
 true, 105 
 
 And had holden the power and glory of Spain so cheap 
 That he dared her with one little ship and his English few; 
 Was he devil or man? He was devil for aught they knew, 
 But they sank his body with honor down into the deep, 
 And they mann'd the Revenge with a swarthier alien crew, 
 And away she sail'd with her loss and long'd for her own; 
 When a wind from the lands they had ruin'd awoke from 
 
 sleep, 
 And the water began to heave and the weather to moan, 
 And or ever that evening ended a great gale blew, 
 
 103. " Feeling the hower of death to approch, hee spake these words in 
 Spanish and said : Here die I, Richard Greenfield, with a joyfull and quiet 
 mind, for that I have ended my life as a true soldier ought to do, yet hath 
 fought for his countrey, Queene, religion, and honor whereby my soul most joyfull 
 departeth out of this bodie, and shall alwaies leave behind it an euerlasting fame 
 of a valiant and true soldier that hath done his dutie as he was bound to do. 
 When hee had finished these or such other like words hee gaue up the ghost, with 
 great and stout courage, and no man could perceiue any true signe of heauinesson 
 him. ' ' — L inschoten. 
 
 114. Or ever: " Before ever. This obsolete ^r meaning before, is not to be 
 confounded with the conjunction still in use." — Rol/e. 
 
DEATJI OF THE DUKE OF WELLINGTON 53 
 
 And a wave like the wave that is raised by an earthquake 
 
 grew, 115 
 
 Till it smote on their hulls and their sails and their masts 
 
 and their flags, 
 And the whole sea plunged and fell on the shot-shatter'd 
 
 navy of Spain, 
 And the little Revenge herself went down by the island 
 
 crags 
 To be lost evermore in the main. 
 
 ODE ON THE DEATH OF THE DUKE OF 
 WELLINGTON * 
 
 PUBLISHED IN 1852 
 
 Bury the Great Duke 
 
 With an empire's lamentation, 
 Let us bury the Great Duke 
 
 To the noise of the mourning of a mighty nation, 
 Mourning when their leaders fall. 
 Warriors carry the warrior's pall. 
 And sorrow darkens hamlet and hall. 
 
 Where shall we lay the man whom we deplore? 
 
 Here, in streaming London's central roar. 
 
 Let the sound of those he wrought for, 10 
 
 And the feet of those he fought for, 
 
 Echo round his bones for evermore. 
 
 * This ode was published in the London Times on the day of Wellington's 
 funeral, September, 1852. It was afterwards materially changed and extended. 
 Jt was not, Tennyson tells us, a Laureate ode, but an expression of his admira- 
 tion for a great man and true hero. 
 
 Q. Here: Wellington is buried in a crypt of St. Paul's Cathedral, in the heart 
 of London. 
 
54 DEATH OF THE DUKE OF WELLINGTON 
 
 Lead out the pageant: sad and slow, 
 
 As fits an universal woe, 
 
 Let the long, long procession go, 15 
 
 And let the sorrowing crowd about it grow, 
 
 And let the mournful martial music blow; 
 
 The last great Englishman is low. 
 
 Mourn, for to us he seems the last, 
 
 Remembering all his greatness in the Past. 20 
 
 No more in soldier fashion will he greet 
 
 With lifted hand the gazer in the street. 
 
 O friends, our chief state-oracle is mute: 
 
 Mourn for the man of long-enduring blood. 
 
 The statesman-warrior, moderate, resolute, 25 
 
 Whole in himself, a common good. 
 
 Mourn for the man of amplest influence. 
 
 Yet clearest of ambitious crime, 
 
 Our greatest yet with least pretense, 
 
 Great in council and great in war, 30 
 
 Foremost captain of his time, 
 
 Rich in saving common-sense. 
 
 And, as the greatest only are. 
 
 In his simplicity sublime. 
 
 O good gray head which all men knew, 35 
 
 O voice from which their omens all men drew, 
 
 O iron nerve to true occasion true, 
 
 O fall'n at length that tower of strength 
 
 Which stood four-square to all the winds that blew! 
 
 Such was he whom we deplore. 40 
 
 The long self-sacrifice of life is o'er. 
 
 The great World-victor's victor will be seen no more. 
 
 13. Pageant (L. /a^/«^, leaf): Originally a traveling car bearing a stage for 
 acting plaj's ; hence an imposing parade. 
 
 21. The only time that Tennyson saw the Iron Duke was on a London 
 street as he thus acknowledged the cheers of the crowd. 
 
 42. At Waterloo Wellington conquered Napoleon, " the world victor." 
 
DEATH OF THE DUKE OF WELLINGTON 55 
 
 All is over and done: 
 
 Render thanks to the Giver, 
 
 England, for thy son. 45 
 
 Let the bell be toll'd. 
 
 Render thanks to the Giver, 
 
 And render him to the mold. 
 
 Under the cross of gold 
 
 That shines over city and river, 50 
 
 There he shall rest for ever 
 
 Among the wise and the bold. 
 
 Let the bell be toll'd: 
 
 And a reverent people behold 
 
 The towering car, the sable steeds: 55 
 
 Bright let it be with its blazon'd deeds, 
 
 Dark in its funeral fold. 
 
 Let the bell be toll'd: 
 
 And a deeper knell in the heart be knoll'd; 
 
 And the sound of the sorrowing anthem roll'd 60 
 
 Thro' the dome of the golden cross; 
 
 And the volleying cannon thunder his loss; 
 
 He knew their voices of old. 
 
 For many a time in many a clime 
 
 His captain's-ear has heard them boom 65 
 
 Bellowing victory, bellowing doom: 
 
 When he with those deep voices wrought, 
 
 Guarding realms and kings from shame; 
 
 With those deep voices our dead captain taught 
 
 The tyrant, and asserts his claim 70 
 
 In that dread sound to the great name 
 
 Which he has -worn so pure of blame. 
 
 In praise and in dispraise the same, 
 
 A man of well-attemper'd frame. 
 
 O civic muse, to such a name, 75 
 
 To such a name for ages long. 
 
 To such a name. 
 
 Preserve a broad approach of fame. 
 
 And ever-echoing avenues of song. 
 
56 DEATH OF THE DUKE OF WELLINGTON 
 
 Who is he that cometh, like an honor'd guest, 80 
 
 With banner and with music, with soldier and with priest. 
 
 With a nation weeping, and breaking on my rest? 
 
 Might}' Seaman, this is he 
 
 Was great by land as thou by sea. 
 
 Thine island loves thee well, thou famous man, 85 
 
 The greatest sailor since our world began. 
 
 Now, to the roll of muffled drums. 
 
 To thee the greatest soldier comes; 
 
 For this is he 
 
 Was great by land as thou by sea; 90 
 
 Ilis foes were thine; he kept us free; 
 
 O give him welcome, this is he 
 
 Worthy of our gorgeous rites, 
 
 And worthy to be laid by thee; 
 
 For this is England's greatest son, 95 
 
 He that gain'd a hundred fights. 
 
 Nor ever lost an English gun: 
 
 This is he that far away 
 
 Against the myriads of Assaye 
 
 Clash'd with his fiery few and won; lOO 
 
 And underneath another sun. 
 
 Warring on a later day. 
 
 Round affrighted Lisbon drew 
 
 The treble works, the vast designs 
 
 Of his labor'd rampart-lines, 105 
 
 Where he greatly stood at bay, 
 
 Whence he issued forth anew. 
 
 80-82. Nelson, beside whom Wellington is buried, is represented as thus speak- 
 ing. 
 
 83. Mighty Seaman: Horatio Nelson (1758-1805), the greatest of British 
 admirals. 
 
 go. Assaye: A little town in India where Wellington began his career of 
 victory. September 25, 1803, with a force of 4500 men, he defeated a native 
 army of 30,000. 
 
 103. Lisbon: The scene of one of the signal victories by which French power 
 was broken in the Peninsula. 
 
DEATH OF THE DUKE OF WELLINGTON 57 
 
 And ever great and greater grew, 
 
 Beating from the wasted vines 
 
 Back to France her banded swarms, no 
 
 Back to France with countless blows, 
 
 Till o'er the hills her eagles flew 
 
 Beyond the Pyrenean pines, 
 
 Follow'd up in valley ^ and glen 
 
 With blare of bugle, clamor of men, 115 
 
 Roll of cannon and clash of arms. 
 
 And England pouring on her foes. 
 
 Such a war had such a close. 
 
 Again their ravening eagle rose 
 
 In anger, wheel'd on Europe-shadowing wings, 120 
 
 And barking for the thrones of kings; 
 
 Till one that sought but Duty's iron crown 
 
 On that loud Sabbath shook the spoiler down; 
 
 A day of onsets of despair! 
 
 Dash'd on every rocky square 125 
 
 Their surging charges foam'd themselves away; 
 
 Last, the Prussian trumpet blew; 
 
 Thro' the long-tormented air 
 
 Heaven flash'd a sudden jubilant ray. 
 
 And down we swept and charged and overthrew. 130 
 
 So great a soldier taught us there, 
 
 What long-enduring hearts could do 
 
 In that world earthquake, Waterloo! 
 
 Mighty Seaman, tender and true, 
 
 And pure as he from taint of craven guile, I35 
 
 O savior of the silver-coasted isle, 
 
 O shaker of the Baltic and the Nile, 
 
 115. Blare (An onomatopoetic word: Cf. gerplarren\ D. blaren): A loud, 
 brazen noise. 
 
 123. That loud sabbath: The day of Waterloo, Sunday, June 18, 1815. 
 For full account of this epoch-making battle, see Creasy's Fifteen Decisive Bat- 
 tles. 
 
 136. Silver-coasted isle: A poetical phrasing of England's ancient name 
 of Albion, descriptive of the white cliffs of the southern coast. 
 
 137. The three great naval battles of Nelson were : the stupendous victory of 
 the Nile (1798), in which he annihilated the French fleet ; the battle of Copen- 
 
58 DEATH OF THE DUKE OF WELLINGTON 
 
 If aught of things that here befall 
 
 Touch a spirit among things divine, 
 
 If love of country move thee there at all, 140 
 
 Be glad, because his bones are laid by thine! 
 
 And thro' the centuries let a people's voice 
 
 In full acclaim, 
 
 A people's voice, 
 
 The proof and echo of all human fame, 145 
 
 A people's voice, when they rejoice 
 
 At civic revel and pomp and game, 
 
 Attest their great commander's claim 
 
 With honor, honor, honor, honor to him. 
 
 Eternal honor to his name. 150 
 
 A people's voice! we are a people yet. 
 
 Tho' all men else their nobler dreams forget, 
 
 Confused by brainless mobs and lawless Powers; 
 
 Thank Him who isled us here, and roughly set 
 
 His Briton in blown seas and storming showers, 155 
 
 We have a voice, with which to pay the debt 
 
 Of boundless love and reverence and regret 
 
 To those great men who fought, and kept it ours. 
 
 And keep it ours, O God, from brute control; 
 
 O Statesman, guard us, guard the eye, the soul 160 
 
 Of Europe, keep our noble England whole, 
 
 And save the one true seed of freedom sown 
 
 Betwixt a people and their ancient throne. 
 
 That sober freedom out of which there springs 
 
 Our loyal passion for our temperate kings; 165 
 
 For, saving that, ye help to save mankind 
 
 Till public wrong be crumbled into dust. 
 
 And drill the raw world for the march of mind, 
 
 Till crowds at length be sane and crowns be just. 
 
 But wink no more in slothful overtrust. 170 
 
 Remember him who led your hosts; 
 
 hagen (1801), where the naval power of Denmark was shattered and with it the 
 coalition of the three northern kingdoms against England; and the great victory 
 over the French and Spanish navies at Trafalgar (1805), in which Nelson died. 
 
DEATH OF THE DUKE OF WELLINGTON 59 
 
 He bade you guard the sacred coasts. 
 
 Your cannons molder on the seaward wall; 
 
 His voice is silent in your council-hall 
 
 For ever; and whatever tempests lour 175 
 
 For ever silent; even if they broke 
 
 In thunder, silent; yet remember all 
 
 He spoke among you, and the Man who spoke; 
 
 Who never sold the truth to serve the hour, 
 
 Nor palter'd with Eternal God for power; 180 
 
 Who let the turbid streams of rumor flow 
 
 Thro' either babbling world of high and low; 
 
 Whose life was work, whose language rife 
 
 With rugged maxims hewn from life; 
 
 Who never spoke against a foe; 185 
 
 Whose eighty winters freeze with one rebuke 
 
 All great self-seekers trampling on the right: 
 
 Truth-teller was our England's Alfred named; 
 
 Truth-lover was our English Duke; 
 
 Whatever record leap to light 190 
 
 He never shall be shamed. 
 
 Lo, the leader in these glorious wars 
 
 Now to glorious burial slowly borne, 
 
 Follow'd by the brave of other lands. 
 
 He, on whom from both her open hands 195 
 
 Lavish Honor shower'd all her stars, 
 
 And affluent Fortune emptied all her horn. 
 
 Yea, let all good things await 
 
 Him who cares not to be great, 
 
 But as he saves or serves the state. 200 
 
 Not once or twice in our rough island-story, 
 
 The path of duty was the way to glory: 
 
 He that walks it, only thirsting 
 
 For the right, and learns to deaden 
 
 Love of self, before his journey closes, 205 
 
 201-202, When someone commented to the Duke on the fact that the word 
 " glory " never occurred in his dispatches he answered, "If glory had been my 
 object, the doing my duty must have been the means." 
 
6o DEATH OF THE DUKE OF WELLINGTON 
 
 He shall find the stubborn thistle bursting 
 
 Into glossy purples, which outredden 
 
 All voluptuous garden-roses. 
 
 Not once or twice in our fair island-story, 
 
 The path of duty was the way to glory. 210 
 
 He, that ever following her commands, 
 
 On with toil of heart and knees and hands, 
 
 Thro' the long gorge to the far light has won 
 
 His path upward, and prevail'd, 
 
 Shall find the toppling crags of Duty scaled 215 
 
 Are close upon the shining table-lands 
 
 To which our God himself is moon and sun. 
 
 Such was he: his work is done. 
 
 But while the races of mankind endure, 
 
 Let his great example stand 220 
 
 Colossal, seen of every land. 
 
 And keep the soldier firm, the statesman pure: 
 
 Till in all lands and thro' all human story 
 
 The path of duty be the way to glory: 
 
 And let the land whose hearts he saved from shame 225 
 
 For many and many an age proclaim 
 
 At civic revel and pomp and game, 
 
 And when the long-illumined cities flame. 
 
 Their ever-loyal iron leader's fame. 
 
 With honor, honor, honor, honor to him, 230 
 
 Eternal honor to his name. 
 
 Peace, his triumph will be sung 
 
 By some yet unmolded tongue 
 
 Far on in summers that we shall not see: 
 
 Peace, it is a day of pain 235 
 
 For one about whose patriarchal knee 
 
 Late the little children clung: 
 
 O peace, it is a day of pain 
 
 For one, upon whose hand and heart and brain 
 
 Once the weight and fate of Europe hung. 240 
 
 217. C/. Rev. xxi., 23. 
 
DEATH OF THE DUKE OF WELLINGTON 6l 
 
 Ours the pain, be his the gain! 
 
 More than is of man's degree 
 
 Must be with us. watching here 
 
 At this, our great solemnity. 
 
 Whom we see not we revere; 245 
 
 We revere, and we refrain 
 
 From talk of battles loud and vain, 
 
 And brawling memories all too free 
 
 For such a wise humility 
 
 As befits a solemn fane: 250 
 
 We revere, and while we hear 
 
 The tides of Music's golden sea 
 
 Setting toward eternity. 
 
 Uplifted high in heart and hope are we. 
 
 Until we doubt not that for one so true 255 
 
 There must be other nobler work to do 
 
 Than when he fought at Waterloo, 
 
 And Victor he must ever be. 
 
 For tho' the Giant Ages heave the hill 
 
 And break the shore, and evermore 260 
 
 Make and break, and work their will; 
 
 Tho' world on world in myriad myriads roll 
 
 Round us, each with different powers, 
 
 And other forms of life than ours. 
 
 What know we greater than the soul? 265 
 
 On God and Godlike men we build our trust. 
 
 Hush, the Dead March wails in the people's ears: 
 
 The dark crowd moves, and there are sobs and tears: 
 
 The black earth yawns: the mortal disappears; 
 
 Ashes to ashes, dust to dust; 270 
 
 He is gone who seem'd so great. — 
 
 Gone; but nothing can bereave him 
 
 Of the force he made his own 
 
 Being here, and we believe him 
 
 Something far advanced in State, 275 
 
 And that he wears a truer crown 
 
 267. The Dead March in Handel's oratorio, Saul. 
 
62 THE BROOK SONG 
 
 Than any wreath that man can weave him. 
 
 Speak no more of his renown, 
 
 Lay your earthly fancies down, 
 
 And in the vast cathedral leave him. 280 
 
 God accept him, Christ receive him. 
 
 THE BROOK SONG* 
 
 I COME from haunts of coot and hern, 
 
 I make a sudden sally, 
 And sparkle out among the fern, 
 
 To bicker down a valley. 
 
 By thirty hills I hurry down, S 
 
 Or slip between the ridges, 
 By twenty thorps, a little town, 
 
 And half a hundred bridges. 
 
 Till last by Philip's farm I flow 
 
 To join the brimming river, 10 
 
 For men may come and men may go, 
 
 But I go on for ever. 
 
 I chatter over stony ways, 
 
 In little sharps and trebles, 
 I bubble into eddying bays, 15 
 
 I babble on the pebbles. 
 
 281. As the poet himself was passing away, his son bent over him and 
 uttered these words of prayer, the last which fell upon his earthly ear. 
 
 * Wordsworth in a sonnet tracked the stream " dancing down its water breaks." 
 
 Also Cf. his 
 
 " Down the vale this water steers, 
 How merrily' it goes ; 
 'Twiil murmur on a thousand years, 
 And flow as now it flows." 
 Both poets tried to match the water's pleasant tune by their rippling verse. 
 I. Coot and Hern: Water birds. 
 
 4. Bicker (ME. biken): Run swiftly, with a babbling or brawling sound. 
 7. Thorps (AS. thorp, village): Villages or hamlets. 
 
THE BROOK SONG 63 
 
 With many a curve my banks I fret 
 
 By many a field end fallow, 
 And many a fairy foreland set 
 
 With willow-weed and mallow. 20 
 
 I chatter, chatter, as I flow 
 
 To join the brimming river. 
 For men may come and men may go, 
 
 But I go on for ever. 
 
 I wind about, and in and out, 25 
 
 With here a blossom sailing, 
 And here and there a lusty trout, 
 
 And here and there a grayling. 
 
 And here and there a foamy flake 
 
 LJpon me, as I travel 30 
 
 With many a silvery waterbreak 
 
 Above the golden gravel, 
 
 And draw them all along, and flow 
 
 To join the brimming river, 
 For men may come and men may go, 35 
 
 But I go on for ever. 
 
 I steal by lawns and grassy plots, 
 
 I slide by hazel covers; 
 I move the sweet forget-me-nots 
 
 That grow for happy lovers. 40 
 
 I slip, I slide, I gloom, I glance. 
 
 Among my skimming swallows; 
 I make the netted sunbeam dance 
 
 Against my sandy shallows. 
 
 19. Foreland: A projecting point of land. 
 
 20. Mallow: A species of weed. 
 
 28. Grayling: A small salmoniform fish. 
 31. Waterbreak: A little wave, ripple. 
 ^8. Covers: Thickets. 
 
64 A FAREWELL 
 
 I murmur under moon and stars 45 
 
 In brambly wildernesses; 
 I linger by my shingly bars; 
 
 I loiter round my cresses; 
 
 And out again I curve and flow 
 
 To join the brimming river, 50 
 
 For men may come and men may go, 
 
 But I go on for ever. 
 
 A FAREWELL 
 
 Flow down, cold rivulet, to the sea, 
 
 Thy tribute wave deliver: 
 No more by thee my steps shall be, 
 
 For ever and for ever. 
 
 Flow, softly flow, by lawn and lea, 5 
 
 A rivulet, then a river: 
 No where by thee my steps shall be, 
 
 For ever and for ever. 
 
 But here will sigh thine alder tree, 
 
 And here thine aspen shiver; 10 
 
 And here by thee will hum the bee. 
 For ever and for ever. 
 
 A thousand suns will stream on thee, 
 A thousand moons will quiver; 
 
 But not by thee my steps shall be, 15 
 
 For ever and for ever. 
 
 47. Shingly bars: Shallows covered with coarse gravel. 
 
 I. This brook is the stream which flowed near Tennyson's early Lincolnshire 
 home. That of The Brook is intended to be a brook of the imagination. 
 5. Lea (AS. lea^ meadow): A field or plain. 
 
English Classic Series-continued. 
 
 63 The Antigone of Sophocles. 
 
 English Version by Thos. Franck- 
 lin, D.D. 
 
 64 Elizabeth Barrett Browning. 
 
 (Selected Poems.) 
 
 65 Robert Browning. (Selected 
 
 Poems.) 
 
 66 Addison's Spectator. (Selec'ns.) 
 
 67 Scenes from George £liot's 
 
 Adam Bede. 
 
 68 Matthew Arnold's Culture and 
 
 Anarchy. 
 
 69 DeQuincey's Joan of Arc. 
 
 70 Carlyle's Essay on Burns. 
 
 71 Byron's Childe Harold's Pil- 
 
 grimage. 
 
 72 Poe's Raven, and other Poems. 
 
 73 & 74 Macaulay's liOrd Clive. 
 
 (Double Number.) 
 
 75 Webster's Reply to Hayne. 
 
 76 & 77 Macaulay's liays of An- 
 
 cient Rome. (Double Number.) 
 
 78 American Patriotic Selections: 
 
 Declaration of Independence, 
 "Washington's Farewell Ad- 
 dress, Liincoln's Gettysburg 
 Speech, etc. 
 
 79 & 80 Scott's Lady of the Lake. 
 
 (Condensed.) 
 81 & S2 Scott's Marmion. (Con> 
 
 densed.) 
 83 & 84 Pope's Essay on Man. 
 
 85 Shelley's Skylark, Adonals, and 
 
 other Poems. 
 
 86 Dickens's Cricket on the 
 
 Hearth. 
 
 87 Spencer's Philosophy of Style* 
 
 88 Lamb's Essays of Elia. 
 
 89 Cowper's Task, Book II. 
 
 90 Wordsworth's Selected Poems. 
 
 91 Tennyson's The Holy Grail, and 
 
 Sir Galahad. 
 1 92 Addison's Cato. 
 
 93 Irving's Westminster Abhey, 
 and Christmas Sketches. 
 
 94 & 95 Macaulay's Earl of Chat- 
 ham. Second Essay. 
 
 96 Early English Ballads. 
 
 97 Skelton, Wyatt, and Surrey. 
 
 (Selected Poems.) 
 
 98 Edwin Arnold. (Selected Poems.) 
 
 99 Caxton and Daniel. (Selections.) 
 
 100 Fuller and Hooker. (Selections.) 
 
 101 Marlowe's Jew of Malta. (Con- 
 
 densed.) 
 
 102-103 Macaulay's Essay on Mil- 
 ton. 
 
 104-105 Macaulay's Essay on Ad- 
 dison. 
 
 106 Macaulay's Essay on Bos- 
 well's Johnson. 
 
 107 Mandeville's Travels and Wy- 
 cliflfe's Bible. (Selections.) 
 
 108-109 Macaulay's Essay on Fred- 
 erick the Great. 
 
 110-111 Milton's Samson Agonis- 
 tes. I 
 
 112-113-114 Franklin's Autobiog- 
 raphy. 
 
 116-116 Herodotus's Stories of 
 Crcesus, Cyrus, and Babylon. 
 
 117 Irving's Alhambra. 
 
 118 Burke's Present Discontents. 
 
 119 Burke's Speech on Concilia- 
 
 tion with American Colonies. 
 130 Macaulay's Essay on Byron. 
 121-122 Motley's Peter the Great. 
 
 123 Emerson's American Scholar. 
 
 124 Arnold's Sohrab and Rustum. 
 125-126 Lonjjfellow's Evangeline. 
 
 127 Andersen's Danish Fairy Tales. 
 (Selected.) 
 
 128 Tennyson's The Coming of 
 Arthur, and The Passing of 
 Arthur. 
 
 129 Lowell's The Vision of Sir 
 Launfal, and other Poems. 
 
 130 Whittiei''s Songs of Labor, and 
 
 other Poems. 
 
 131 Words of Abraham Lincoln. 
 
 132 Grimm's German Fairy Tales. 
 (Selected.) 
 
 133 ^sop's Fables. (Selected.) 
 
 134 Arabian Nights. Aladdin, or 
 
 the AVonderful Lamp. 
 
 135-36 The Psalter. 
 
 137-38 Scott's Ivanhoe. (Con- 
 densed.) 
 
 139-40 Scott's Kenilworth. (Con- 
 densed.) 
 
 141-42 Scott's The Talisman. (Con- 
 densed.) 
 
 143 Gods and Heroes of the North. 
 
 144_45 Pope's Iliad of Homter. 
 (Selections from Books I.-Vlll.) 
 
 146 Four Medifeval Chroniclers. 
 
 147 Dante's Inferno. (Condensed.) 
 148-49 The Book of Job. (Revised 
 
 Version.) 
 
 150 Bow-Wow and Mew-Mew. By 
 Georgiana M. Craik 
 
 151 The Nlirnberg Stove. By Ouida. 
 
 152 Hayne's Speech. To which 
 Webster replied. 
 
 153 Alice's Adventures in Won- 
 derland, (condensed.) By Lewis 
 
 Uarkoll. 
 
 154-155 Defoe's Journal of the 
 Plague. (Condensed.) 
 
 156-157 More's Utopia. (Con- 
 densed.) 
 
 ADDITIONAL NUMBERa ON NEXT PAGE. 
 
ENGL5SH Classic 
 
 LIBRARY OF CONGRESS 
 
 174- 
 
 176 
 
 15S-159 tamb*8 Essays. (Selec- 
 tions.) 
 
 160-161 Burke's Keflections on 
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 204 Foe' s G^d B ug. 
 
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