Alfred Tennyson - Andrew Lang 2 стр.

And

We also note close observation of nature in the curious phrase

Of this kind was Tennysons adolescent vein, when he left

the Somersby brook, and the mills and granges, the seas of the Lincolnshire coast, and the hills and dales among the wolds, for Cambridge. He was well read in old and contemporary English literature, and in the classics. Already he was acquainted with the singular trance-like condition to which his poems occasionally allude, a subject for comment later. He matriculated at Trinity, with his brother Charles, on February 20, 1828, and had an interview of a not quite friendly sort with a proctor before he wore the gown.

That Tennyson should go to Cambridge, not to Oxford, was part of the nature of things, by which Cambridge educates the majority of English poets, whereas Oxford has only turned out a few like Shelley. At that time, as in Macaulays day, the path of university honours at Cambridge lay through Mathematics, and, except for his prize poem in 1829, Tennyson took no honours at all. His classical reading was pursued as literature, not as a course of grammar and philology. No English poet, at least since Milton, had been better read in the classics; but Tennysons studies did not aim at the gaining of academic distinction. His aspect was such that Thompson, later Master of Trinity, on first seeing him come into hall, said, That man must be a poet. Like Byron, Shelley, and probably Coleridge, Tennyson looked the poet that he was: Six feet high, broad-chested, strong-limbed, his face Shakespearian and with deep eyelids, his forehead ample, crowned with dark wavy hair, his head finely poised.

Not much is recorded of Tennyson as an undergraduate. In our days efforts would have been made to enlist so promising a recruit in one of the college boats; but rowing was in its infancy. It is a peculiarity of the universities that little flocks of men of unusual ability come up at intervals together, breaking the monotony of idlers, prize scholars, and honours men. Such a group appeared at Balliol in Matthew Arnolds time, and rather later, at various colleges, in the dawn of Pre-Raphaelitism. The Tennysons Alfred, Frederick, and Charles were members of such a set. There was Arthur Hallam, son of the historian, from Eton; there was Spedding, the editor and biographer of Bacon; Milnes (Lord Houghton), Blakesley (Dean of Lincoln), Thompson, Merivale, Trench (a poet, and later, Archbishop of Dublin), Brookfield, Buller, and, after Tennyson the greatest, Thackeray, a contemporary if not an Apostle. Charles Bullers, like Hallams, was to be an unfulfilled renown. Of Hallam, whose name is for ever linked with his own, Tennyson said that he would have been a great man, but not a great poet; he was as near perfection as mortal man could be. His scanty remains are chiefly notable for his divination of Tennyson as a great poet; for the rest, we can only trust the author of In Memoriam and the verdict of tradition.

The studies of the poet at this time included original composition in Greek and Latin verse, history, and a theme that he alone has made poetical, natural science. All poetry has its roots in the age before natural science was more than a series of nature-myths. The poets have usually, like Keats, regretted the days when

There was an awful rainbow once in heaven,

when the hills and streams were not yet dispeopled of their dreams. Tennyson, on the other hand, was already finding material for poetry in the world as seen through microscope and telescope, and as developed through æonian processes of evolution. In a notebook, mixed with Greek, is a poem on the Moon not the moon of Selene, the orbed Maiden, but of astronomical science. In Memoriam recalls the conversations on labour and politics, discussions of the age of the Reform Bill, of rick-burning (expected to make taters cheaper), and of Catholic emancipation; also the emancipation of such negroes as had not yet tasted the blessings of freedom. In politics Tennyson was what he remained, a patriot, a friend of freedom, a foe of disorder. His politics, he said, were those of Shakespeare, Bacon, and every sane man. He was one of the Society of Apostles, and characteristically contributed an essay on Ghosts. Only the preface survives: it is not written in a scientific style; but bids us not assume that any vision is baseless. Perhaps the author went on to discuss veridical hallucinations, but his ideas about these things must be considered later.

It was by his fathers wish that Tennyson competed for the English prize poem. The theme, Timbuctoo, was not inspiring. Thackeray wrote a good parody of the ordinary prize poem in Popes metre:

Tennysons work was not much more serious: he merely patched up an old piece, in blank verse, on the battle of Armageddon. The poem is not destitute of Tennysonian cadence, and ends, not inappropriately, with All was night. Indeed, all was night.

An ingenious myth accounts for Tennysons success: At Oxford, says Charles Wordsworth, the author was more likely to have been rusticated than rewarded. But already (1829) Arthur Hallam told Mr Gladstone that Tennyson promised fair to be the greatest poet of our generation, perhaps of our century.

In 1830 Tennyson published the first volume of which he was sole author. Brownings Pauline was of the year 1833. It was the very dead hours of the Muses. The great Mr Murray had ceased, as one despairing of song, to publish poetry. Bulwer Lytton, in the preface to Paul Clifford (1830), announced that poetry, with every other form of literature except the Novel, was unremunerative and unread. Coleridge and Scott were silent: indeed Sir Walter was near his death; Wordsworth had shot his bolt, though an arrow or two were left in the quiver. Keats, Shelley, and Byron were dead; Milmans brief vogue was departing. It seemed as if novels alone could appeal to readers, so great a change in taste had been wrought by the sixteen years of Waverley romances. The slim volume of Tennyson was naturally neglected, though Leigh Hunt reviewed it in the Tatler. Hallams comments in the Englishmans Magazine, though enthusiastic (as was right and natural), were judicious. The author imitates no one. Coleridge did not read all the book, but noted things of a good deal of beauty. The misfortune is that he has begun to write verses without very well understanding what metre is. As Tennyson said in 1890, So I, an old man, who get a poem or poems every day, might cast a casual glance at a book, and seeing something which I could not scan or understand, might possibly decide against the book without further consideration. As a rule, the said books are worthless. The number of versifiers makes it hard, indeed, for the poet to win recognition. One little new book of rhyme is so like another, and almost all are of so little interest!

The rare book that differs from the rest has a bizarrerie with its originality, and in the poems of 1830 there was, assuredly, more than enough of the bizarre. There were no hyphens in the double epithets, and words like tendriltwine seemed provokingly affected. A kind of lusciousness, like that of Keats when under the influence of Leigh Hunt, may here and there be observed. Such faults as these catch the indifferent eye when a new book is first opened, and the volume of 1830 was probably condemned by almost every reader of the previous generation who deigned to afford it a glance. Out of fifty-six pieces only twenty-three were reprinted in the two volumes of 1842, which won for Tennyson the general recognition of the world of letters. Five or six of the pieces then left out were added as Juvenilia in the collected works of 1871, 1872. The whole mass deserves the attention of students of the poets development.

The rare book that differs from the rest has a bizarrerie with its originality, and in the poems of 1830 there was, assuredly, more than enough of the bizarre. There were no hyphens in the double epithets, and words like tendriltwine seemed provokingly affected. A kind of lusciousness, like that of Keats when under the influence of Leigh Hunt, may here and there be observed. Such faults as these catch the indifferent eye when a new book is first opened, and the volume of 1830 was probably condemned by almost every reader of the previous generation who deigned to afford it a glance. Out of fifty-six pieces only twenty-three were reprinted in the two volumes of 1842, which won for Tennyson the general recognition of the world of letters. Five or six of the pieces then left out were added as Juvenilia in the collected works of 1871, 1872. The whole mass deserves the attention of students of the poets development.

This early volume may be said to contain, in the germ, all the great original qualities of Tennyson, except the humour of his rural studies and the elaboration of his Idylls. For example, in Mariana we first note what may be called his perfection and accomplishment. The very few alterations made later are verbal. The moated grange of Mariana in Measure for Measure, and her mood of desertion and despair, are elaborated by a precision of truth and with a perfection of harmony worthy of Shakespeare himself, and minutely studied from the natural scenes in which the poet was born. If these verses alone survived out of the wreck of Victorian literature, they would demonstrate the greatness of the author as clearly as do the fragments of Sappho. Isabel (a study of the poets mother) is almost as remarkable in its stately dignity; while Recollections of the Arabian Nights attest the power of refined luxury in romantic description, and herald the unmatched beauty of The Lotos-Eaters. The Poet, again, is a picture of that which Tennyson himself was to fulfil; and Oriana is a revival of romance, and of the ballad, not limited to the ballad form as in its prototype, Helen of Kirkconnell. Curious and exquisite experiment in metre is indicated in the Leonine Elegiacs, in Claribel, and several other poems. Qualities which were not for long to find public expression, speculative powers brooding, in various moods, on ultimate and insoluble questions, were attested by The Mystic, and Supposed Confessions of a Second-rate Sensitive Mind not in Unity with Itself, an unlucky title of a remarkable performance. In this, the most agitated of all his poems, we find the soul urging onward

and to the question, Why not believe, then? we have as answer a simile of the sea, which cannot slumber like a mountain tarn, or

the tranquil inland mere. 3

The poet longs for the faith of his infant days and of his mother

That faith is already shaken, and the long struggle for belief has already begun.

Tennyson, according to Matthew Arnold, was not un esprit puissant. Other and younger critics, who have attained to a cock-certain mood of negation, are apt to blame him because, in fact, he did not finally agree with their opinions. If a man is necessarily a weakling or a hypocrite because, after trying all things, he is not an atheist or a materialist, then the reproach of insincerity or of feebleness of mind must rest upon Tennyson. But it is manifest that, almost in boyhood, he had already faced the ideas which, to one of his character, almost meant despair: he had not kept his eyes closed. To his extremely self-satisfied accusers we might answer, in lines from this earliest volume (The Mystic):

He would behold

His mystic of these boyish years

In this poem, never republished by the author, is an attempt to express an experience which in later years he more than once endeavoured to set forth in articulate speech, an experience which was destined to colour his finial speculations on ultimate problems of God and of the soul. We shall later have to discuss the opinion of an eminent critic, Mr Frederic Harrison, that Tennysons ideas, theological, evolutionary, and generally speculative, followed, rather than created, the current ideas of his time. The train of thought (in In Memoriam), writes Mr Harrison, is essentially that with which ordinary English readers had been made familiar by F. D. Maurice, Professor Jowett, Dr Martineau, Ecce Homo, Hypatia. Of these influences only Maurice, and Maurice only orally, could have reached the author of The Mystic and the Supposed Confessions. Ecce Homo, Hypatia, Mr Jowett, were all in the bosom of the future when In Memoriam was written. Now, The Mystic and the Supposed Confessions are prior to In Memoriam, earlier than 1830. Yet they already contain the chief speculative tendencies of In Memoriam; the growing doubts caused by evolutionary ideas (then familiar to Tennyson, though not to ordinary English readers), the longing for a return to childlike faith, and the mystical experiences which helped Tennyson to recover a faith that abode with him. In these things he was original. Even as an undergraduate he was not following a train of thought made familiar by authors who had not yet written a line, and by books which had not yet been published.

So much, then, of the poet that was to be and of the philosopher existed in the little volume of the undergraduate. In The Mystic we notice a phrase, two words long, which was later to be made familiar, Daughters of time, divinely tall, reproduced in the picture of Helen:

The reflective pieces are certainly of more interest now (though they seem to have satisfied the poet less) than the gallery of airy fairy Lilians, Adelines, Rosalinds, and Eleänores:

like

Cambridge, which he was soon to leave, did not satisfy the poet. Oxford did not satisfy Gibbon, or later, Shelley; and young men of genius are not, in fact, usually content with universities which, perhaps, are doing their best, but are neither governed nor populated by minds of the highest and most original class.