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@@ -1,39 +1,4 @@ -The Project Gutenberg EBook of A Day with the Poet Tennyson, by Anonymous - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: A Day with the Poet Tennyson - -Author: Anonymous - -Illustrator: W. Hatherell - Edmund Dulac - William G. Simmonds - William Heath Robinson - -Release Date: August 8, 2012 [EBook #40442] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH THE POET TENNYSON *** - - - - -Produced by Delphine Lettau, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 40442 *** [Illustration: A Day with Tennyson] @@ -51,7 +16,7 @@ Distributed Proofreading Team at http://www.pgdp.net [Illustration: _Painting by E. W. Haslehust._THE BROOK.] - [Illustration: A DAY WITH THE POET TENNYSON .LONDON. + [Illustration: A DAY WITH THE POET TENNYSON ·LONDON· HODDER & STOUGHTON] @@ -81,7 +46,7 @@ world's ways, especially in the early 'fifties, when the Isle of Wight was much more of a _terra incognita_ than traffic now permits. One had to travel down some hundred miles from town, cross from the quaint little New Forest port of Lymington to the still quainter little -old-world Yarmouth--"a mediaeval Venice," the poet called it--and then +old-world Yarmouth--"a mediæval Venice," the poet called it--and then drive some miles to Freshwater, before one attained the stately loveliness of Farringford embowered in trees. @@ -524,8 +489,8 @@ _OEnone_. "'But light-foot Iris brought it yester-eve, Delivering, that to me, by common voice - Elected umpire, Here comes to-day, - Pallas and Aphrodite, claiming each + Elected umpire, Herè comes to-day, + Pallas and Aphroditè, claiming each This meed of fairest. Thou, within the cave Behind yon whispering tuft of oldest pine, Mayst well behold them, unbeheld, unheard @@ -548,7 +513,7 @@ _OEnone_. "O mother Ida, many-fountain'd Ida, Dear mother Ida, harken ere I die. - Idalian Aphrodite beautiful, + Idalian Aphroditè beautiful, Fresh as the foam, new-bathed in Paphian wells, With rosy slender fingers backward drew From her warm brows and bosom her deep hair @@ -565,7 +530,7 @@ _OEnone_. The fairest and most loving wife in Greece.' She spoke and laugh'd: I shut my sight for fear: But when I look'd, Paris had raised his arm, - And I beheld great Here's angry eyes, + And I beheld great Herè's angry eyes, As she withdrew into the golden cloud, And I was left alone within the bower; And from that time to this I am alone. @@ -715,7 +680,7 @@ psychical phenomena, and an open mind towards the unknowable. And very strange tales of dreams, clairvoyance, and occult happenings, were to be heard at Farringford. A master of the romantic pervaded by supernatural elements, he had long since drawn with deft touches the -mysterious confines of "faeery-lands forlorn," steeped in the very +mysterious confines of "fäery-lands forlorn," steeped in the very atmosphere of dream. * * * * * @@ -903,7 +868,7 @@ thrilling _nocturnes_ imagined. * * * * * - "Now lies the Earth all Danaee to the stars, + "Now lies the Earth all Danäe to the stars, And all thy heart lies open unto me. "Now slides the silent meteor on, and leaves @@ -937,359 +902,4 @@ _Printed by Percy Lund, Humphries & Co., Ltd., Bradford and London._ End of Project Gutenberg's A Day with the Poet Tennyson, by Anonymous -*** END OF THIS PROJECT GUTENBERG EBOOK A DAY WITH THE POET TENNYSON *** - -***** This file should be named 40442.txt or 40442.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/4/4/40442/ - -Produced by Delphine Lettau, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: A Day with the Poet Tennyson - -Author: Anonymous - -Illustrator: W. Hatherell - Edmund Dulac - William G. Simmonds - William Heath Robinson - -Release Date: August 8, 2012 [EBook #40442] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH THE POET TENNYSON *** - - - - -Produced by Delphine Lettau, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - [Illustration: A Day with Tennyson] - - "I murmur under moon and stars - 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, - For men may come and men may go. - But I go on for ever." - - - [Illustration: _Painting by E. W. Haslehust._THE BROOK.] - - - [Illustration: A DAY WITH THE POET TENNYSON ·LONDON· - HODDER & STOUGHTON] - - - _In the same Series._ - - _Longfellow._ - _Keats._ - _Browning._ - _Wordsworth._ - _Burns._ - _Scott._ - _Byron._ - _Shelley._ - - - - -A DAY WITH TENNYSON. - - -Tennyson was no recluse. He shunned society in the ordinary London -sense, but he welcomed kindred spirits to his beautiful home, with -large-hearted cordiality. To be acquainted with Farringford was in -itself a liberal education. Farringford was an ideal home for a great -poet. To begin with, it was somewhat secluded and remote from the -world's ways, especially in the early 'fifties, when the Isle of Wight -was much more of a _terra incognita_ than traffic now permits. One had -to travel down some hundred miles from town, cross from the quaint -little New Forest port of Lymington to the still quainter little -old-world Yarmouth--"a mediæval Venice," the poet called it--and then -drive some miles to Freshwater, before one attained the stately -loveliness of Farringford embowered in trees. - - "Where, far from noise and smoke of town, - I watch the twilight falling brown - All around a careless-ordered garden, - Close to the ridge of a noble down." - - * * * * * - - "Groves of pine on either hand, - To break the blast of winter, stand; - And further on, the hoary Channel - Tumbles a billow on chalk and sand." - - _Lines to the Rev. F. D. Maurice._ - -The interior of the house--a very ancient one--was no less ideal than -its outward aspect, "it was like a charmed palace, with green walks -without and speaking walls within." And its occupants crowned all--the -ethereally lovely mistress with her "tender spiritual face," and the -master, tall, broad-shouldered, and massive, dark-eyed and -dark-browed, his voice full of deep organ-tones and delicate -inflections, his mind shaped to all fine issues. "The wisest man," -said Thackeray, "that ever I knew." - - * * * * * - -Farringford was the ideal home of the great poet. "A charmed palace -with green walks without," - - "Where, far from noise and smoke of town, - I watch the twilight falling brown - All around a careless-ordered garden, - Close to the ridge of a noble down." - - -[Illustration: _Painting by E. W. Haslehust._ FARRINGFORD. ] - - -Subject to slight inevitable variations, a certain method and routine -governed the day of Tennyson. He had definite working-times, indoors -and out, and accustomed habits of family life. The morning brought him -letters from all parts of England: there was hardly any great man who -did not desire to exchange salutations and discuss world-subjects with -a thinker so far above the rest. The poet, with the prophetic soul of -genius, had always been well in advance of his times. - - "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; - 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 rained a ghastly dew - From the nations' airy navies grappling in the central blue; - Far along the world-wide whisper of the south-wind rushing warm, - With the standards of the peoples plunging through the thunderstorm; - Till the war-drum throbbed no longer, and the battle flags were - furled - In the Parliament of man, the Federation of the world. - - * * * * * - - Not in vain the distance beacons. Forward, forward, let us range, - Let the great world spin for ever down the ringing grooves of - change. - Thro' the shadow of the globe we sweep into the younger day; - Better fifty years of Europe than a cycle of Cathay." - - _Locksley Hall._ - -The daily papers are somewhat late in reaching the Isle of Wight: but -the poet could find inspiration even in a source so apparently prosaic -as a _Times_ column. He noted down some of those valiant and -soul-stirring episodes which go unrecorded save by a passing -paragraph: and the poem which, perhaps, has held the public fancy -longest, the _Charge of the Light Brigade_, was written a few minutes -after reading the _Times'_ description of the battle containing the -phrase "Someone had blundered." - - "Half a league, half a league, - Half a league onward, - All in the valley of Death - Rode the six hundred. - 'Forward, 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? - Not tho' the soldier knew - Someone had blunder'd: - Their's not to make reply, - Their's not to reason why, - Their's but to do and die: - Into the valley of Death - Rode the six hundred. - - "Cannon to right of them, - Cannon to left of them, - Cannon in front of them - 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 - Rode the six hundred. - - "Flash'd all their sabres bare, - Flash'd as they turned in air - Sabring the gunners there. - Charging an army, while - All the world wonder'd; - Plunged in the battery-smoke - Right thro' the line they broke; - Cossack and Russian - Reel'd from the sabre stroke - Shatter'd and sunder'd. - Then they rode back, but not, - Not the six hundred. - - "Cannon to right of them, - Cannon to left of them, - 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 - Came thro' the jaws of Death, - Back thro' the mouth of Hell, - All that was left of them, - Left of six hundred. - - "When can their glory fade? - O, the wild charge they made! - All the world wonder'd. - Honour the charge they made! - Honour the Light Brigade, - Noble six hundred!" - - _The Charge of the Light Brigade._ - -A little while after breakfast, Tennyson would retire to his "den" on -the top storey, for that "sacred half-hour" devoted to poetical -composition, and assisted by his beloved pipe, during which nobody -dared disturb him. This den, or study, formed a setting worthy of its -inmate. Every inch of wall was covered with portrait, sketches, -drawings. Almost every distinguished name of the nineteenth century -was in some manner represented here: the poet literally worked -surrounded by his friends. And in this congenial atmosphere he devoted -himself to that life-long pursuit of his, as he has imaged it in the -"Gleam," which "flying onward, wed to the melody, sang through the -world." - - * * * * * - -Whatever respective values a future generation may set upon Tennyson's -work, there can be little doubt that he himself considered the _Idylls -of the King_, with its inner spiritual meanings, as his greatest work. -"There is no single fact or incident in the Idylls," he said, "which -cannot be explained without any mystery or allegory whatever." Hence -their appeal to the least mystical reader, through sheer beauty of -language and superb pictorial effect. But at the same time he let it -be known that his whole story was inherently one of pure symbolism: -starting from the suggestion that Arthur represented conscience. This -idea is predominant, without undue insistence upon it, in _Guinevere_. - - * * * * * - - "Yet think not that I come to urge thy crimes, - I did not come to curse thee, Guinevere, - I, whose vast pity almost makes me die - To see thee laying there thy golden head, - My pride in happier summers, at my feet. - ... Let no man dream, but that I love thee still." - - -[Illustration: _Painting by W. H. Margetson._ GUINEVERE. ] - - - "Queen Guinevere had fled the court, and sat - There in the holy house at Almesbury, - Weeping, none with her save a little maid, - A novice: one low light betwixt them burned, - Blurred by the creeping mist; for all abroad, - Beneath a moon unseen albeit at full, - The white mist, like a face-cloth to the face, - Clung to the dead earth, and the land was still. - - * * * * * - - There rode an armed warrior to the doors, - A murmuring whisper thro' the nunnery ran, - Then on a sudden a cry, 'The King.' She sat - Stiff-stricken, listening; but when armed feet - Thro' the long gallery from the outer doors - Rang, coming, prone from off her seat she fell - And grovell'd with her face against the floor: - There with her milk-white arms and shadowy hair - She made her face a darkness from the King; - And in the darkness heard his armed feet - Pause by her; then came silence, then a voice, - Monotonous and hollow like a ghost's, - Denouncing judgment, but, tho' changed, the King's. - - * * * * * - - 'Yet think not that I come to urge thy crimes, - I did not come to curse thee, Guinevere, - I, whose vast pity almost makes me die - To see thee laying there thy golden head, - My pride in happier summers, at my feet. - ... Let no man dream, but that I love thee still, - Perchance, and so thou purify thy soul, - And so thou lean on our fair father Christ, - Hereafter in that world where all are pure - We two may meet before high God, and thou - Wilt spring to me, and claim me thine, and know - I am thine husband--not a smaller soul, - Nor Lancelot, nor another. Leave me that, - I charge thee, my last hope. Now must I hence. - ... But hither shall I never come again, - Never lie by thy side: see thee no more-- - Farewell!' - And while she grovell'd at his feet, - She felt the King's breath wander o'er her neck, - And in the darkness o'er her fallen head - Perceived the waving of his hands that blest. - - Then, listening till those armed steps were gone, - Rose the pale Queen, and in her anguish found - The casement: 'peradventure,' so she thought, - 'If I might see his face, and not be seen.' - And lo, he sat on horseback at the door! - And near him the sad nuns with each a light, - Stood, and he gave them charge about the Queen, - To guard and foster her for evermore." - - _Idylls of the King._ - -In the course of the day the poet would devote considerable time and -energy to his favourite exercise of garden work. To plant trees and -shrubs, to roll the lawn, to dig the kitchen garden, and lovingly to -tend the simple flowers which he had set, was his constant delight as -long as his strength sufficed. He had a passionate love, and an -extraordinary knowledge of Nature: he rejoiced in watching the birds -in his great cedar, ilex and fir trees, and his mind was thoroughly -attuned to the sweet influences of colour and foliage. Few else could -have written that unsurpassable lyric, _Come into the Garden, Maud_. - - "Come into the garden, Maud, - For the black bat, night, has flown, - Come into the garden, Maud, - I am here at the gate alone; - And the woodbine spices are wafted abroad, - And the musk of the rose is blown. - For a breeze of morning moves, - And the planet of Love is on high, - Beginning to faint in the light that she loves - On a bed of daffodil sky. - To faint in the light of the sun she loves, - To faint in his light, and to die.... - - "And the soul of the rose went into my blood, - As the music clash'd in the hall; - And long by the garden lake I stood, - For I heard your rivulet fall - From the lake to the meadow and on to the wood, - Our wood, that is dearer than all; - - "From the meadow your walks have left so sweet - That whenever a March wind sighs - He sets the jewel-print of your feet - In violets blue as your eyes, - To the woody hollows in which we meet - And the valleys of Paradise. - - "The slender acacia would not shake - One long milk-bloom on the tree; - The white lake-blossom fell into the lake - As the pimpernel dozed on the lea; - But the rose was awake all night for your sake, - Knowing your promise to me; - The lilies and roses were all awake, - They sighed for the dawn and thee. - - "Queen rose of the rosebud garden of girls, - Come hither, the dances are done, - In gloss of satin, and glimmer of pearls, - Queen lily and rose in one; - Shine out, little head, sunning over with curls, - To the flowers and be their sun. - - "There has fallen a splendid tear - From the passion-flower at the gate, - She is coming, my dove, my dear; - She is coming, my life, my fate; - The red rose cries, 'She is near, she is near;' - And the white rose weeps, 'She is late;' - The larkspur listens, 'I hear, I hear;' - And the lily whispers, 'I wait.'" - - _Maud._ - -The same love of Nature made his eye alert for every obscurest beauty, -when he put aside his gardening tools and started, as was his wont, -for a stroll with some friend along the glorious cliffs of Freshwater. -Those were favoured folk, who, like Mrs. Thackeray Ritchie, "walked -with Tennyson along High Down, treading the turf, listening to his -talk, while the gulls came sideways, flashing their white breasts -against the edge of the cliff, and the Poet's cloak flapped time to -the gusts of the west wind." This cloak and the Poet were practically -synonymous. It figures--a first edition of it--in all the early -sketches of him by Spedding, Fitzgerald, etc. (1830-40) and to the -last, one can hardly imagine him apart from it. - - * * * * * - -During these quiet rambles he was wont to discuss with enthusiasm the -religious and social problems of the day; they weighed heavily upon -his thoughtful mind. His philosophy was a hopeful one, rooted in -Christian belief, yet constantly over-shadowed by fugitive misgivings -and by a sense of the impermanence of human existence. And while -voicing these misgivings in lines which might give pause to weaker -minds, he never lost his firm faith in right, in duty, and in ultimate -rectification of all apparent wrong. - - "Queen rose of the rosebud garden of girls, - Come hither, the dances are done, - In gloss of satin, and glimmer of pearls, - Queen lily and rose in one; - Shine out, little head, sunning over with curls, - To the flowers and be their sun." - - -[Illustration: _Painting by W. H. Margetson._ MAUD.] - - - "Oh, yet we trust that somehow good - Will be the final goal of ill, - To pangs of nature, sins of will, - Defects of doubt, and taints of blood; - - "That nothing walks with aimless feet; - That not one life shall be destroy'd, - Or cast as rubbish to the void, - When God hath made the pile complete; - - "That not a worm is cloven in vain; - That not a moth with vain desire - Is shrivell'd in a fruitless fire, - Or but subserves another's gain. - - "Behold, we know not anything; - I can but trust that good shall fall - At last--far off--at last, to all, - And every winter change to spring. - - "So runs my dream; but what am I? - An infant crying in the night; - An infant crying for the light: - And with no language but a cry. - - * * * * * - - "Are God and Nature then at strife, - That Nature lends such evil dreams? - So careful of the type she seems, - So careless of the single life; - - "That I, considering everywhere - Her secret meaning in her deeds, - And finding that of fifty seeds - She often brings but one to bear, - - "I falter where I firmly trod, - And falling with my weight of cares - Upon the great world's altar-stairs - That slope thro' darkness up to God, - - "I stretch lame hands of faith, and grope, - And gather dust and chaff, and call - To what I feel is Lord of all, - And faintly trust the larger hope." - - _In Memoriam._ - -But these mysteries of life and death will not bear too persistent a -contemplation: and presently Tennyson, discarding them in favour of -less sombre subjects, would regale his hearers with marvellous -recitations. "The roll of his great voice acted sometimes almost like -an incantation." The old-world classical legends had always found in -him a noble exponent; and nowhere was his peculiar felicity of -diction and delicate sense of sound better exemplified than in -_OEnone_. - - "'O mother Ida, many-fountain'd Ida, - Dear mother Ida, harken ere I die. - Hear me, O Earth, hear me, O Hills, O Caves - That house the cold crown'd snake! O mountain brooks, - I am the daughter of a River-God, - Hear me, for I will speak, and build up all - My sorrow with my song, as yonder walls - Rose slowly to a music slowly breathed, - A cloud that gather'd shape; for it may be - That, while I speak of it, a little while - My heart may wander from its deeper woe. - - "'O mother Ida, many-fountain'd Ida, - Dear mother Ida, harken ere I die. - I waited underneath the dawning hills, - Aloft the mountain lawn was dewy-dark, - And dewy-dark aloft the mountain pine: - Beautiful Paris, evil-hearted Paris, - Leading a jet-black goat white-horn'd, white-hooved, - Came up from reedy Simois all alone. - - * * * * * - - "Dear mother Ida, harken, ere I die. - He smiled, and opening out his milk-white palm - Disclosed a fruit of pure Hesperian gold, - That smelt ambrosially, and while I look'd - And listen'd, the full-flowing river of speech - Came down upon my heart. - 'My own OEnone, - Beautiful-brow'd OEnone, my own soul, - Behold this fruit, whose gleaming rind ingrav'n, - 'For the most fair,' would seem to award it thine, - As lovelier than whatever Oread haunt - The knolls of Ida, loveliest in all grace - Of movement, and the charm of married brows.' - - "Dear mother Ida, harken ere I die. - He prest the blossom of his lips to mine, - And added, 'This was cast upon the board, - When all the full-faced presence of the Gods - Ranged in the halls of Peleus; whereupon - Rose feud, with question unto whom 'twere due: - - "'But light-foot Iris brought it yester-eve, - Delivering, that to me, by common voice - Elected umpire, Herè comes to-day, - Pallas and Aphroditè, claiming each - This meed of fairest. Thou, within the cave - Behind yon whispering tuft of oldest pine, - Mayst well behold them, unbeheld, unheard - Hear all, and see thy Paris judge of Gods.' - - "'Dear mother Ida, harken ere I die. - It was the deep mid-noon: one silvery cloud - Had lost his way between the piney sides - Of this long glen. Then to the bower they came, - Naked they came to that smooth-swarded bower - And at their feet the crocus brake like fire, - Violet, amaracus, and asphodel, - Lotus and lilies; and a wind arose, - And overhead the wandering ivy and vine - This way and that, in many a wild festoon - Ran riot, garlanding the gnarled boughs - With bunch and berry and flower thro' and thro'. - - * * * * * - - "O mother Ida, many-fountain'd Ida, - Dear mother Ida, harken ere I die. - Idalian Aphroditè beautiful, - Fresh as the foam, new-bathed in Paphian wells, - With rosy slender fingers backward drew - From her warm brows and bosom her deep hair - Ambrosial, golden round her lucid throat - And shoulder: from the violets her light feet - Shone rosy-white, and o'er her rounded form - Between the shadows of the vine-bunches - Floated the glowing sunlights as she moved. - - "Dear mother Ida, harken ere I die. - She with a subtle smile in her mild eyes, - The herald of her triumph, drawing nigh - Half-whisper'd in his ear, 'I promise thee - The fairest and most loving wife in Greece.' - She spoke and laugh'd: I shut my sight for fear: - But when I look'd, Paris had raised his arm, - And I beheld great Herè's angry eyes, - As she withdrew into the golden cloud, - And I was left alone within the bower; - And from that time to this I am alone. - And I shall be alone until I die." - - _OEnone._ - -The afternoon was spent, sometimes in further gardening pursuits, -sometimes in a drive around the peaceful Island lanes and -thatch-browed villages; frequently there were visitors to be met at -Yarmouth, where the Tennysons' carriage might often be seen in the -quaint cobbled streets. The soft and lovely colouring of the Solent -was one to attract the poet's fancy: and it was after coming freshly -one day into sight of the familiar waters of the estuary, and a tide, -"that moving seems too full for sound or foam," lapping the lichened -sea-walls of Yarmouth, that he composed, in his eighty-first year, the -verses that he devised to be placed at the end of his whole collected -poems:--"Crossing the Bar." The mystic simplicity of these lines -strikes the very key-note of his character. - - * * * * * - - "Sleep and rest, sleep and rest, - Father will come to thee soon; - Rest, rest on mother's breast, - 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!" - - -[Illustration: _Painting by W. H. Margetson._ SWEET AND LOW.] - - -Tea was served in the drawing-room, "its oriel window full of green -and golden lights, of the sounds of birds and of the distant sea." The -air of extreme and unstudied simplicity, which dominated the whole -Farringford household, was just as noticeable here. Tea was a happy -gathering of the family and friends, enlivened with talk on current -topics. The Laureate's sympathies were wide-reaching, and his -conversation, forcible and often racy, was characterised by the -strongest common-sense. He held firmly-defined views on all social -subjects; and had declared himself on the question of "Woman's -Rights"--then comparatively fresh--at considerable length in _The -Princess_. - - "The woman's cause is man's: they rise or sink - Together, dwarf'd or god-like, bond or free. - ... For woman is not undevelopt man, - But diverse: could we make her as the man, - Sweet Love were slain: his dearest bond is this, - Not like to like, but like in difference. - Yet in the long years liker must they grow; - The man be more of woman, she of man; - He gain in sweetness and in moral height, - Nor lose the wrestling thews that throw the world; - She mental breadth, nor fail in childward care, - Nor lose the childlike in the larger mind; - Till at last she set herself to man, - Like perfect music unto noble words; - And so these twain, upon the skirts of Time, - Sit side by side, full-summ'd in all their powers. - ... Let this proud watchword rest - Of equal; seeing either sex alone - Is half itself, and in the marriage ties - Nor equal, nor unequal; each fulfils - Defect in each, and always thought in thought, - Purpose in purpose, will in will they grow, - The single pure and perfect animal, - The two-cell'd heart beating with one full stroke - Life." - - _The Princess._ - -The poet's ideal of woman was set very high: he held her to be far -above man, morally and spiritually: and an ideal as perfect as may -well be conceived was daily before his eyes, in the person of his -beautiful wife, with her pure and saintly face: who was yet - - "No angel, but a dearer being, all dipt - In Angel instincts, breathing Paradise, - Interpreter between the gods and men, - Who looked all native to her place, and yet - On tiptoe seem'd to touch upon a sphere - Too gross to tread, and all male minds perforce - Sway'd to her from their orbits as they moved, - And girdled her with music." - - _The Princess._ - -Later on in the evening, came, perhaps, the sweetest hour of the day, -when, playing and romping with his little ones, the tall and stately -man became a very child for a while. A peculiar tenderness towards -children was a distinctive feature of Tennyson: and whether helping -his own boys build stone castles on the cliff, or frolicking with any -village school children whom he might meet, he was intent upon giving -that joy and laughter to the new generation which had been denied to -his own childhood. "Make the lives of children as beautiful and as -happy as possible," was a favourite saying with him. The "Children's -Hour," which Longfellow had sung, was a radiant hour for him: and most -of all he was enchanted by the sight of little drowsy heads, asleep in -cot or cradle. They inspired some of his loveliest lyrics, such as: - - "Sweet and low, sweet and low, - 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, - 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, - 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!" - -And the loss of his first-born infant had touched him with that -infinite poignancy of pathos, which breathes in other lines: - - "As thro' the land at eve we went - And pluck'd the ripened ears, - We fell out, my wife and I, - O! we fell out, I know not why, - And kiss'd again with tears. - And blessings on the falling 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 - We lost in other years, - There above the little grave, - O there above the little grave, - We kissed again with tears." - -The dinner-table was enlivened by Tennyson's boundless store of -anecdote, and keen sense of humour. It was a "feast of intellect," to -quote Mrs. Cameron; hour after hour of the most brilliant -conversation. The supernatural loomed largely. The poet had a -_penchant_ for well-authenticated ghost stories, a deep interest in -psychical phenomena, and an open mind towards the unknowable. And very -strange tales of dreams, clairvoyance, and occult happenings, were to -be heard at Farringford. A master of the romantic pervaded by -supernatural elements, he had long since drawn with deft touches the -mysterious confines of "fäery-lands forlorn," steeped in the very -atmosphere of dream. - - * * * * * - - "She left the web, she left the loom, - She made three paces thro' the room, - She saw the water-lily bloom, - She saw the helmet and the plume, - She look'd down to Camelot. - Out flew the web and floated wide; - The mirror crack'd from side to side, - 'The curse is come upon me,' cried - The Lady of Shalott." - - -[Illustration: _Painting by W. H. Margetson._ THE LADY OF SHALOTT.] - - - "Willows whiten, aspens quiver, - Little breezes dusk and shiver - Thro' the ways that runs for ever - By the island in the river - Flowing down to Camelot. - Four gray walls, and four gray towers, - Overlook a space of flowers. - And the silent isle embowers - The Lady of Shalott.... - - "Only reapers, reaping early - In among the bearded barley, - Hear a song that echoes cheerly, - From the river winding clearly, - Down to tower'd Camelot: - And by the moon the reaper weary, - Piling sheaves in uplands airy, - Listening, whispers, ''Tis the fairy - Lady of Shalott.' - - "There she weaves by night and day - A magic web with colours gay. - She has heard a whisper say, - A curse is on her if she stay - To look down on Camelot. - She knows not what the curse may be, - And so she weaveth steadily, - And little other care hath she, - The Lady of Shalott. - - "And moving thro' a mirror clear - That hangs before her all the year, - Shadows of the world appear. - There she sees the highway near, - Winding down to Camelot: - There the river eddy whirls, - And there the surly village-churls, - And the red cloaks of market girls, - Pass onward from Shalott. - - * * * * * - - "A bow-shot from her bower eaves, - He rode between the barley-sheaves, - The sun came dazzling thro' the leaves, - And flamed upon the brazen greaves - Of bold Sir Lancelot. - A red-cross knight for ever kneel'd - To a lady in his shield, - That sparkled on the yellow field, - Beside remote Shalott. - - "All in the blue unclouded weather - Thick-jewelled shone the saddle-leather, - The helmet and the helmet feather, - As he rode down to Camelot. - As often thro' the purple night, - Below the starry clusters bright, - Some bearded meteor, trailing light, - Moves over still Shalott. - - "His broad clear brow in sunlight glow'd; - On burnish'd hooves his warhorse trode; - From underneath his helmet flow'd - His coal-black curls as on he rode, - As he rode down to Camelot. - From the bank and from the river - He flashed into the crystal mirror, - "Tirra lirra," by the river - Sang Sir Lancelot. - - "She left the web, she left the loom, - She made three paces thro' the room, - She saw the water-lily bloom, - She saw the helmet and the plume, - She look'd down to Camelot. - Out flew the web and floated wide; - The mirror crack'd from side to side, - 'The curse is come upon me,' cried - The Lady of Shalott." - - _The Lady of Shalott._ - -Sitting in his old oak armchair in the drawing-room after dinner, the -Laureate "talked of all that was in his heart, or read some poem -aloud, with the landscape lying before us like a beautiful picture -framed by the dark-arched bow-window. His moods," says Mrs. Bradley, -"were so variable, his conversation so earnest, his knowledge of all -things so wide and minute!" Wide and minute above all, perhaps, was -his acquaintance with Nature. The long quiet years in Lincolnshire had -endowed him with an almost unrivalled power of detail: and, as the old -Farringford shepherd said in dying, "Master was a wonderful man for -nature and life." No one quotation could do justice to his powers: but -the lesser music of the countryside tinkles and ripples audibly -through _The Brook_ and all the exquisite details of its -landscape. - - "I come from haunts of coot and hern, - I make a sudden sally, - And sparkle out among the fern, - To bicker down a valley. - - * * * * * - - "I chatter over stony ways, - In little sharps and trebles, - I bubble into eddying bays, - I bubble on the pebbles. - - "With many a curve my banks I fret, - By many a field and fallow, - And many a fairy foreland set - With willow-weed and mallow. - - * * * * * - - "I wind about, and in and out, - With many a blossom sailing, - And here and there a lusty trout, - And here and there a grayling. - - "And here and there a foamy flake - Upon me as I travel, - With many a silvery waterbreak - Above the golden gravel. - - * * * * * - - "I steal by lawns and grassy plots, - I slide by hazel covers; - I move the sweet forget-me-nots - That grow for happy lovers. - - "I slide, I slide, I gloom, I glance, - Among my skimming swallows; - I make the netted sunbeam dance - Against my sandy shallows. - - "I murmur under moon and stars - 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, - For men may come and men may go, - But I go on for ever." - - _The Brook._ - -In the course of the evening, the poet would retire to the "den" for a -second "sacred half-hour" of unbroken silence, into which we need not -follow him. Lastly, when slumber filled the house, and night hung -black above the trees, he ascended to a platform on the leads of the -house-top, to observe the march and majesty of the stars. Farringford, -it has been said, "seemed so remote and still, and as though the jar -of the outside world had never entered it." But in the throbbing -starlight, the sea purring in the distance, the seer on the roof -communing with the mysterious skies above him, it was more than ever a -House of Dream--a house whose roof touched heaven. Here and thus were -thrilling _nocturnes_ imagined. - - "Now sleeps the crimson petal, now the white; - Nor waves the cypress in the palace walk; - Nor winks the gold fin in the porphyry font: - The firefly wakens: waken thou with me. - - * * * * * - - "Now lies the Earth all Danäe to the stars, - And all thy heart lies open unto me. - - "Now slides the silent meteor on, and leaves - A shining furrow, as thy thoughts in me. - - "Now folds the lily all her sweetness up, - And slips into the bosom of the lake: - So fold thyself, my dearest, thou, and slip - Into my bosom and be lost in me." - - _The Princess._ - -And so we leave Alfred Tennyson, at the end of his day, gazing -"forward to the starry track glimmering up the height beyond," alone -with the Creator. - - "He lifts me to the golden doors: - The flashes come and go; - All heaven bursts her starry floors, - And strews her lights below;" - -while the discords of earth are hushed beneath the magic of the -spheral harmony, and "The Gleam" hovers upward into heaven. - - -_Printed by Percy Lund, Humphries & Co., Ltd., Bradford and London._ - - - - - -End of Project Gutenberg's A Day with the Poet Tennyson, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK A DAY WITH THE POET TENNYSON *** - -***** This file should be named 40442-8.txt or 40442-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/4/4/40442/ - -Produced by Delphine Lettau, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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