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In naming Tennyson, we should do but the merest right to imitate the Hindoo at his prayers and put perfume in our mouth. We shall scarcely do him justice with the taint of common things upon our speaking. No other poet has so nicely distinguished between the Ariel and the Caliban of life. Others were willing to write down the thoughts of humanity, and glad to get them at that, with the smell of the mould upon them; but with Tennyson, they are not poetry until they have passed through a process. Others give the material-he gives the thing: they would give you the sunshine and the water; but he evokes the rainbow, and gives you that. When Ben Jonson speaks of truth, or Milton of justice, you are in some danger of presently thinking that you have got into a catalogue; this is not the case when Tennyson speaks of "this wreath of air; this flake of rainbow, flying on the highest foam of men's deeds-this honor." A clear difference between Tennyson and the older English poets is this: that while they, if writing Maud, would have drawn a character, Tennyson presents and personifies an idea. This may not be so satisfying to the one sense, though it is more pleasing to all the others. Tennyson shows you a beautiful river, tells you whence it comes and whither it is going; how many homesteads it runs by, and, may-be, how many old moss-covered mills; where it steals along in the shade, and where it laughs in the sun: Milton gives you a drink of Water. The poetry of Tennyson is original in its perfect refinement. It is an additional remove from the commonplace; the poetry of poetry; an essencenot a dilution. Nothing can be further astray than the somewhat popular idea that Tennyson is refined away to nothing. We may say of him what it would be difficult to say-of many others-what it would be impossible to say of any other who approaches him in refinement-that he has written a verse worthy of Shakspeare in his best moment: "A voice that, like a bell, Tolled by an earthquake in a trembling tower, Rang ruin." Here is a sublime thought, a perfect figure, and a close that cannot be surpassed. There is a full feeling of humanity-a very palpable human pulse, quite in contrast with any thing like nambypamby, ism. Here is an instance, and note how it is joined to a fine observation and subtle expression of the real heart of youth: "And I, that prated peace, when first I heard No man who has ever heard the long call of the bugle will need to be told how true this is. It is better than a sermon upon the subject, and the peace societies should consider it, and forthwith set about changing the human heart and not kingly inclinations. Here is another in a different style. Whoever has been young will remember. There are some who have not; but poetry is not for them: "A song on every spray, Of birds that pip'd their valentines, and woke In the old king's ear-who promised help, and oozed All o'er with honey'd answer as we rode." The full-hearted boy and the good-natured king are alike perfect. Equally good in a different way again is the mourning of Psyche for her child: about us. "But I will go and sit beside the doors, And make a wild petition night and day, Until they hate to hear me, like a wind, Wailing for ever." away Thus, while he is refined, he is not refined from so true a source of poetry as the life that is But, while picturing this life, he goes within it, and, as it were, gives you the life of life; the pulse part of the breathing mass. It is this inner understanding of things that has caused him to be called a subjective poet. But we think this is er roneous. the characters in the Princess is astonished at something. The poet does not tell you that. He only says: "Up went the hushed amaze of hand and eye." have told the story to suit the objectors would have given it a palpable coarseness. A love story is not strictly original at this day, and it would be paltry for a poet who only uses one as a vehicle, to insist So, always, he shows you the person. You see him upon particulars. "The court will intend some standing "With all his thoughts as clear within his eyes, In crystal currents of clear morning seas." He is picturesque in the best sense of the word-full of pictures. No other poet gives so many, except Shakspeare, who is put forth as the very head and front of objectivity. Here is a passage of Shakspeare in this way,-Ophelia is describing how Hamlet came into her room: "He took me by the wrist, and held me hard; As he would draw it. Long stay'd he so: And end his being. That done, he lets me go; Without any intention to draw comparisons, in which Tennyson must suffer in common with all the world, the author of Maud is full of passages that, in their nature, are exactly similar to this. There is the same easy picturing; the same describing from without; almost the same genius displayed in catching the salient points of the piece. Here is a sketch, clear and effective as the figures of Teniers : "Idalian Aphrodite beautiful, Fresh as the foamn, new bathed in Paphian wells, chame We cannot italicize any thing here-the exquisite beauty of this is like the colors in " passage leon" silk; it plays all over-now here, now there and the eye cannot tell where it begins or ends. finer pictures apparent than the painter; the meIt is the happiness of the poet that he may make dium of materiality against which he has to strug gle is slighter, and the scope of sight, in him to whom the picture is addressed, is greater. Achilles is present in his spear, and for the rest, you are insensibly referred to what you have seen-perhaps to some delightful memory, as in the swallow song in the Princess: "O, were I thou, that she might take me in, And lay me on her bosom ; and her heart Would rock the snowy cradle till I died." What would Cole not have given if he could have thrown across the distance of his Arcadia the very mist that you see going from tree to tree in Enone? In this view, perhaps the poet, after all, is no creator, but only a suggestor, waking up, as with the fingers of Phoebus Apollo, the music that lies dormant in the great stony Memnon of our nature. The English critics dispose of "Maud" with a sneer: "Well said, by Mercury; but I don't know what you mean." At this rate, the English reputation for critical ability is in danger. A leading literary journal says that at the close of "Maud" the boy dies; and that, in the face of the fact that the boy is the speaker throughout. He tells his own story. But perhaps the critic had Thucydides and the Peloponnesian war in his eye: he thought the boy began to tell the story when the story began to happen, and died, like Othello, when his occupation was gone.. This is the story: A boy falls in love with the daughter of the man who he thinks murdered his father. She returns the love, against the wishes of her brother. The brother and lover come in collision; the brother is killed, Maud dies, and the boy, ignorant of the latter circumstance, wanders abroad awhile-but returning, learns the truth, and goes mad. This story is sufficiently simple, one would think, and it is clearly made out; yet much fault has been found with it, for its so-called obscurity; much, also, for what the fault-finders term its false philosophy. What obscurity there is cannot be spared. To things." If a young gentleman introduced is in a rhapsody over a kiss, the reader should not need to be informed that the young gentleman had kissed a girl. The poet gives the world credit for having arrived at an age when it can understand that twice two makes four, without being informed on the same occasion what it is that makes two. If an author believes that he can work out a given effect the better by leaving certain things untold than by telling them, we incline to the belief that he may exercise a discretion; and, though we may very reasonably differ from him, we do not see the strict necessity of therefore always believing him to be the fool. It is possible that we may not all of us be fit candidates for the bride of that intellectual Cæsar-Perfection. The multiplication table is not the best poem we have read. The effect of the sunlight falling upon the edges of the evening clouds, when the sun himself is not seen, is much finer to our eyes, than anything in the sun's full light; the airy peaks of purple and gold in cloud-land are more beautiful than the still plains of the "white transparent day." In fact, there is something absolutely anti-poetical in this downright telling of everything. Poets must not be statistical; it is not for them to " all as plain as downright Shippen, or as old Montaigne." pour out When you are informed that "thirty days has September, April, June and November," there is but little doubt, and quite as little poetry; but when Job tells of the effect upon himself of a presence that stood before him, and does not tell you what indeed, in doubt as to whether he himself did not the presence was like, nor what it was-leaves you, rather feel than see it-you are all doubt and wonder, and the poetry is of the highest possible kind; the mystery is, in a measure, the poetry. Thus the lines in Maud: "I remember the time, for the roots of my hair were stirred; By a shuffled step, by a dead weight trail'd, by a whispered fright" We say these lines did not seem the less fine to us because for a moment they left us in doubt as to whether he was describing the bringing in of the corpse, or whether he did not mean to say that he was present when the murder was committed. The exquisite distances of Claude would not be improved if a sharp outline pointed out the exact place where earth ended and heaven began. The effect is rather owing to the doubt out there "where earth and heaven only seem to meet," and where the airy line changes with the eye, and is dropt and lifted, dropt and lifted, through the sunlight softly sifted." As to the false teaching, if an idea is eliminated, the first care must certainly be to make it consistent with itself and reality, for which reason we are not aware that the poet must be a philosopher; but we shall endeavor to show that in Maud, while the author has maintained this consistency of the idea, he has not taught the lesson that has been attributed to him. We have said above that a boy falls in love with the daughter of the man who he thinks killed his father. Since we have not seen this before noted, it may not be impertinent to point it out in the What will the old man say, When he finds the second corpse in the pit?" These passages of the poem cause us to believe that this is what the author meant. It is the sensitive horror and acute agony of the boy in the view of his loving, against himself, the child of the man whom he thinks killed his father, that to us makes the finer interest of the poem; and we think that by those who have criticised without considering this, the poem has been criticised without being understood. This will give a cause for the misanthropy, and thus the poem, to us, will seem an idealization of the time. The boy, a life worked upon and turned from its healthy tone by influences that are the direct result of the present organization of society. His condition that he deems so wretched, is the result of crime proceeding from avarice-from that lust of gold that has made the millionnaire the one sole God. The imaginative mind might feverishly work this alone up to madness; but when to this is added that he learns to love, and that with his love comes the continual reflection that it must be unhappy, and unhappy for this same reasonfor another's sin-and that other the very man whom he should respect as being the father of her he loves, it is no wonder that from his point of view, all the organizations of society seem only fit to be broken up. Therefore the railing at the so-called blessings of peace (which is only characteristic). ["Why do they prate of the blessings of peace? we have made them a curse. Pickpockets each hand lusting for all that is not its own; * * * * And the spirit of murder works in the very means of life."] Every man's hand is raised against his fellow. This is the poetry of the House of Commons' committee reports. This, in the boy's eyes, is a civil war-differing from the real war only in its want of nobleness. From this picture, he is willing to turn to any thing, believing that any thing must be better because nothing can be worse. He would go as far from it as possible, and what the thought takes as the most direct extreme of this miserable spirit of trade is the noble generosity of war; for, to the poetical eye, war has seldom had more than one side. Therefore, than this "Better war, loud war, by land and seaWar with a thousand battles, and shaking a hundred thrones. This would work a noble diversion: For I trust if an enemy's fleet came yonder round by the hill, And the rushing battle-bolt sang from the three-decker out of the foam, That the smooth-faced, snub-nosed rogue would leap from his counter and till, And strike, if he could, were it but with his cheating yard wand home." If we must gather a lesson from the poem, this is it; not that war is absolutely good, but that it is a thousand times better than such a state of peace as he has experienced. And there is a further lesson, and a fine one for one who can appreciate the acutest wretchedness of life, and who is ready even to "fix all doubt upon the darker side"-even for such a one there is something left in life that can rob it of all its wretchedness, and make it a state of bliss; that something-(loyal poet's lesson!)-a true woman's love. We say that this is noble teaching, In Maud, these two topics make the poem, and are wrought together and worked out each to its height, with the most consummate art. Love works itself gradually into the woof of the boy's melancholy ["Growing and fading, and growing upon him without a sound, Luminous, gemlike, ghostlike, deathlike, half the night long."] "I know it the one bright thing to save He presently finds that this Who, in this stormy guif have found a pearl, The counter-charin of space and hollow sky, And do accept my madness, and would die rence. "Strange, that the mind, when fraught With a passion so intense One would think that it well That it should, by being so over wrought, Suddenly strike on a sharper sense For a shell, or a flower-little things. Which else would have been passed by. And now I remember, I, When he lay dying there, I noticed one of his many ringa, (For he had many, poor worm,) and thought It his mother's hair." To save from some slight shame one simple girl?"" But to render the poem perfect in this respect, and work out properly this passion of love, that here becomes the absorbing one, it must reach its height;- This is remembered a long while after the occurthis it can never do, if success and happiness meet it half way. There must be grief, and the acutest possible grief is the death of the beloved object. Even this is heightened by making her death proceed in a measure from his own conduct-he himself being the child of a circumstance-of even a conventionality "The dusky strand of death inwoven here, With dear Love's tie, makes Love himself more dear." Thus, the passion of the poem reaches a consistent close. The destruction of the last happiness is beautifully introduced,—in an airy prelude worthy of Israfel," whose heartstrings are a lute" "Is that enchanted moan only the swell May nothing there her maiden grace affright!" In this poem, its author's best qualities are every where apparent. A very able contemporary critic has said that the proper business of the poet is to reconcile the imaginary with the actual. This is what Tennyson has here ably done, though he has illuminated his hero's countenance with his own Here is a parure éblouissante: "And my pulses closed their gates, with a shock on my heart, as I heard The shrill-edged shriek of a mother divide the shuddering night." "A crescent of sea, The silent, sapphire-spangled marriage ring of the land." "And dream of her beauty with tender dread, From the delicate Arab arch of her feet, To the grace that, bright and light as the crest Of a peacock, sits on her shining head." "Riding at set of day, Over the dark moorland, She waved to me with her hand. And here is another as perfect, in a different style. It is a daguerreotype. The first three lines do not belong to the picture-but we leave them for themselves: "Who shall call me ungentle, unfair, spirit, that you might the more easily distinguish the lines. From this, our own every-day "world of rotten straw, threshed all into powder, filling the universe, and blotting out the stars," he has taken a common life, and through it ennobled the many similar ones that are about us by showing how much of the good and the beautiful it contained. In this meeting of actual and imaginary, the actual is purified and elevated. We are not sure that Midas is not the figure of a poet. 'King Midas has the The last epithet in this line is Homeric: ears of an ass to point out his assimilation to the lowest grade of life, and the poetical fingers, turn-Listening now to the tide in its broad-flung, shipwrecking ing all they touch into gold. (As a pendant to the interpretation, it is worth remembering that Midas came near starving through his possession of the poetic quality.) If this reading be true, Mr. Tennyson has the approval alike of the earliest poetical authority and of the latest. Maud is the nearest we shall ever get to Alexander Smith's idea of setting the world to music. Little pictures of real feeling, thoughts and expressions of exquisite beauty, play in across the narrative, till it sparkles like a prism. It is rich in "Jewels, five words long, That on the stretched forefinger of all time, Here is a little lyric, that almost seems as if it must have been written at sunset, and caught its delicate melancholy from the hour. "O, let the solid ground Not fail beneath my feet, What some have found so sweet; I shall have had my day. Not close and darken above me To a life that has been so sad- And here a noble and natural piece of feeling. The boy's thought in his wandering runs through all the conjectures of grief, ending thus: "However this may be, Comfort her, comfort her, all things good, Let me and my passionate love go by; Me and my harmful love go by-- And here a peculiarity of passion that we have never before seen noted. It indicates a very nice observation: roar." The melody of Maud is "like the faint, delicate music of a dream"-of that kind that sometimes wanders in the thought, wanting words, and the wonder is at the art that chains it fast. The poem is full of instances of what the German composers call tone painting. A writer in Blackwood's Magazine fails to find the music of the opening passage of Maud. O dura He mentions one of the finest pasmessorum ilia! sages to say that there is not a line that haunts him; not one that he can keep in his head. Queer head! In this, the lines have emulated the odalisquial ghosts, and shown themselves lines of taste; old ruin, or they prefer not to haunt any such wild waste." The whole article is of a piece with the contemptible one on Alexander Smith, and in the very midst of its cant about anticipating a new triumph for the laureate, gives unmistakable evidence of a foregone conclusion. I hate the dread | ful hol | low behind the little wood, Its lips in the field | above are dab | bled with blood | red heath; We know of but few quatrains in the English language that will bear comparison with this, and of none that will surpass it in the perfection of the music, solely as music, or in the representative character. The sound brings out the sense as clearly almost as the defined meaning of the words. The exact, certain tread of the first verse is the clear enunciation of the fixed hate expressed, and is perfeetly finished by the varying anapestic music of the second. It would be impossible to give a more truthful expression to the third verse; it rests with a cæsura like the poise of an eagle, and goes off into The a close strong and graceful as his swoop. |