G. K. Chesterton

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MARIANA IN THE SOUTH

From a drawing by Dante Gabriel Rossetti

(Reproduced from “Tennyson’s Poems,” by kind permission of Messrs. Macmillan & Co., Ltd.)

IT is easy to exaggerate, and equally easy to underrate, the influence of Tennyson on his age as an intellectual force. It will be exaggerated if we regard him as a great original mind, a proclaimer or revealer of novel truth. It will be underrated if we overlook the great part reserved for him who reveals, not new truth to the age, but the age to itself, by presenting it with a

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STOCKWORTH MILL

(Reproduced from “The Homes and Haunts of Alfred, Lord Tennyson,” by kind permission of Mr. George G. Napier and Messrs. James Maclehose & Sons)

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CLEVEDON CHURCH

Where the remains of Arthur Hallam were finally laid to rest on January 3rd, 1834.

(Reproduced from “The Homes and Haunts of Alfred, Lord Tennyson,” by kind permission of Mr. George G. Napier and Messrs. James Maclehose & Sons)

miniature of its own highest, and frequently unconscious, tendencies and aspirations. Not Dryden or Pope were more intimately associated with their respective ages than Tennyson with that brilliant period to which we now look back as the age of Victoria. His figure cannot, indeed, be so dominant as theirs. The Victorian era was far more affluent in literary genius than the periods of Dryden and Pope; and Tennyson appears as but one of a splendid group, some of whom surpass him in native force of mind and intellectual endowment. But when we measure these illustrious men with the spirit of their age, we perceive that—with the exception of Dickens, who paints the manners rather than the mind of the time, and Macaulay, who reproduces its average but not its higher mood—there is something as it were sectarian in them which prevents their being accepted

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From a drawing by Louis Rhead

GERAINT AND EDYRN

(Reproduced from the Illustrated Edition of “Idylls of the King,” by kind permission of Messrs. Macmillan & Co., Ltd.)

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From a drawing by A. Garth Jones

IN MEMORIAM

“Man dies: nor is there hope in dust”

(Reproduced from the Caxton Series Edition of Tennyson’s “In Memoriam,” by kind permission of Messrs. George Newnes, Ltd.)

as representatives of their epoch in the tidiest sense. In some instances, such as Carlyle and Browning and Thackeray, the cause may be an exceptional originality verging upon eccentricity; in others, like George Eliot, it may be allegiance to some particular scheme of thought; in others, like Ruskin and Matthew Arnold, exclusive devotion to some particular mission. In Tennyson, and in him alone, we find the man who cannot be identified with any one of the many tendencies of the age, but has affinities with all. Ask for the composition which of all contemporary compositions bears the Victorian stamp most unmistakably, which tells us most respecting the age’s thoughts respecting itself, and there will be little hesitation in naming “Locksley Hall.”

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From a drawing by A. Garth Jones

IN MEMORIAM

“Ring out, wild bells, to the wild sky”

(Reproduced from the Caxton Series Edition of Tennyson’s “In Memoriam,” by kind permission of Messrs. George Newnes, Ltd.)

Tennyson returns to his times and what he has received from them, but in an exquisitely embellished and purified condition; he is the mirror in which the age contemplates all that is best in itself. Matthew Arnold would perhaps not have been wrong in declining to recognize Tennyson as “a great and powerful spirit” if “power” had been the indispensable condition of “greatness”; but he forgot that the receptive poet may be as potent as the creative. His cavil might with equal propriety have been aimed at Virgil. In truth, Tennyson’s fame rests upon a securer basis than that of some greater poets, for acquaintance with him will always be indispensable to the history of thought and culture in England. What George Eliot and Anthony Trollope are for the manners of the period, he is for its mind: all the ideas which in his day chiefly moved the elect spirits of English society are to be found in him, clothed in the most exquisite language, and embodied in the most consummate form. That they did not originate with him is of no consequence whatever. We cannot consider him, regarded merely as a poet, as quite upon the level of his great immediate predecessors; but the total disappearance of any of these, except Wordsworth, would leave a less painful blank in our intellectual history than the disappearance of Tennyson.

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From the portrait at Aldworth by G. F. Watts, R.A.

LADY TENNYSON

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From a drawing by E. Hull

HORNCASTLE

The home of Emily Sellwood, afterwards Lady Tennyson

(Reproduced from “The Laureate’s Country,” by kind permission of Messrs. Seeley & Co., Ltd.)

Beginning, even in his crudest attempts, with a manner distinctly his own, he attained a style which could be mistaken for that of no predecessor (though most curiously anticipated by a few blank-verse lines of William Blake), and which no imitator has been able to rival. What is most truly remarkable is that while much of his poetry is perhaps the most artificial in construction of any in our language, and much again wears the aspect of bird-like spontaneity, these contrasted manners evidently proceed from the same writer, and no one would think of ascribing them to different hands. As a master of blank verse Tennyson, though perhaps not fully attaining the sweetness of Coleridge or the occasional grandeur of Wordsworth and Shelley, is upon the whole the third in our language after Shakespeare and Milton, and, unlike Shakespeare and Milton, he has made it difficult for his successors to write blank verse after him.

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From a photo in the possession of the Rev. A. W. Workman, Vicar of Grasby

GRASBY CHURCH

Tennyson is essentially a composite poet. Dryden’s famous verses, grand in expression, but questionable in their application to Milton, are perfectly applicable to him: save that, in making him, Nature did not combine two poets, but many. This is a common phenomenon at the close of a great epoch; it is almost peculiar to Tennyson’s age that it should then have heralded the appearance of a new era; and that, simultaneously with the inheritor of the past, perhaps the most original and self-sufficing of all poets should have appeared in the person of Robert Browning. A comparison between these illustrious writers would lead us too far; we have already implied that Tennyson occupies the more conspicuous place in literary history on account of his representative character.

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CHAPEL HOUSE, TWICKENHAM

Tennyson’s first settled home after his marriage

Rischgitz Collection

The first important recognition of Tennyson’s genius came from Stuart Mill, who, partly perhaps under the guidance of Mrs. Taylor, evinced

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From a drawing by Gustave DorÉ

ELAINE

(Reproduced from “Illustrations to Tennyson’s ‘Idylls of the King,’” by kind permission of Messrs. Ward, Lock & Co.)

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From a photograph in 1867 by Mrs. Julia Margaret Cameron

ALFRED TENNYSON

(Reproduced by permission of Mr. J. Caswall Smith)

about 1835 a remarkable insight into Shelley and Browning as well as Tennyson. In the course of his observations he declared that Tennyson needed to be a great poet was a system of philosophy, to which time would certainly conduct him. If he only meant that Tennyson needed “the years that bring the philosophic mind,” the observation was entirely just; if he expected the poet either to evolve a system of philosophy for himself or to fall under the sway of some great thinker, he was mistaken. Had Tennyson done either he might have been a very great and very interesting poet, but he could not have been the poet of his age; for the temper of the time, when it was not violently partisan, was liberally eclectic. There was no one great leading idea, such as that of evolution in the last quarter of last century, so ample and so characteristic of the age that a poet might become its disciple without yielding to party what was meant for mankind. Two chief currents of thought there were; but they were antagonistic, even though Mr. Gladstone has proved that a very

From the portrait in the possession of Lady Henry Somerset, painted by G. F. Watts, R.A., in 1859

ALFRED TENNYSON

exceptional mind might find room for both. Nothing was more characteristic of the age than the reaction towards medieval ideas, headed by Newman, except the rival and seemingly incompatible gospel of “the railway and the steamship” and all their corollaries. It cannot be said that Tennyson, like Gladstone, found equal room for both ideals in his mind, for until old age had made him mistrustful and querulous he was essentially a man of progress. But his choice of the Arthurian legend for what he intended to be his chief work, and the sentiment of many of his most beautiful minor poems, show what attraction the mediÆval spirit also possessed for him; nor, if he was to be in truth the poetical representative of his period, could it have been otherwise. He is not, however, like Gladstone, alternately a mediÆval and a modern man; but he uses mediÆval sentiment with exquisite judgment to mellow what may appear harsh or crude in the new ideas of political reform, diffusion of education, mechanical invention, free trade, and colonial expansion. The Victorian, in fact,

finds himself nearly in the position of the Elizabethan, who also had a future and a past; and, except in his own, there is no age in which Tennyson would have felt himself more at home than in the age of Elizabeth. He does, indeed, in “Maud” react very vigorously against certain tendencies of the age which he disliked; but this is not in the interest of the mediÆval or any other order of ideas incompatible with the fullest development of the nineteenth century. If the utterance here appears passionate, it must be remembered that the poet writes as a combatant. When he constructs, there is nothing more characteristic of him than his sanity. The views on female education propounded in “The Princess” are so sound that good sense has supplied the place of the spirit of prophecy, which did not tabernacle with Tennyson. “In Memoriam” is a most perfect expression of the average theological temper of England in the nineteenth century. As in composition, so in spirit, Tennyson’s writings have all the advantages and all the disadvantages of the golden mean.

By virtue of this golden mean Tennyson remained at an equal distance from revolution and reaction in his ideas, and equally remote from extravagance and insipidity in his work. He is essentially a man of the new time; he begins his career steeped in the influence of Shelley and Keats, without whom he would never have attained the height he did—a height nevertheless, in our opinion, appreciably below theirs, if he is regarded simply as a poet. But he is a poet and much else; he is the interpreter of the Victorian era—firstly to itself, secondly to the ages to come. Had even any poet of greater genius than himself arisen in his own day, which did not happen, he would still have remained the national poet of the time in virtue of his universality. Some personal friends splendide mendaces have hailed him as our greatest poet since Shakespeare. This is absurd; but it is true that no other poet since Shakespeare has produced a body of

poetry which comes so near to satisfying all tastes, reconciling all tendencies, and registering every movement of the intellectual life of the period. Had his mental balance been less accurately poised, he might have been the laureate of a party, but he could not have been the laureate of the nation. As an intellectual force he is, we think, destined to be powerful and durable, because the charm of his poetry will always keep his ideas before the popular mind; and these ideas will always be congenial to the solid, practical, robust, and yet tender and emotional mind of England. They may be briefly defined as the recognition of the association of continuity with mutability in human institutions: the utmost reverence for the past combined with the full and not regretful admission that

the conception of Freedom as something that “broadens down, from precedent to precedent”; veneration for “the Throne unshaken still,” so long as it continues “broad-based upon the People’s will,” which will always be the case so long as

Philosophically and theologically, Tennyson is even more conspicuously the representative of the average English mind of his

day. Not that he is a fusion of conflicting tendencies, but that he occupies a central position, equally remote from the excesses of scepticism and the excesses of devotion. This position he is able to fill from his relation to Coleridge, the great exponent of the via media: not, as in former days, between Protestantism and Romanism, but between orthodoxy and free thought. Tennyson cannot, indeed, be termed Coleridge’s intellectual heir. As a thinker he is far below his predecessor, and almost devoid of originality; but as a poet he fills up the measure of what was lacking in Coleridge, whose season of speculation hardly arrived until the season of poetry was past. Tennyson was but one of a band of auditors—it might be too much to call them disciples—of the sage who, curiously enough, had himself been a Cambridge man, and who, short and unsatisfactory as had been his residence at that seat of learning,

seemed to have left behind him some invisible influence destined to germinate in due time, for all his most distinguished followers were Cantabs. Such another school, only lacking a poet, had flourished at Cambridge in the seventeenth century, and now came up again like long-buried seeds in a newly disturbed soil. The precise value of their ideas may always be matter for discussion; but they exerted without doubt a happy influence by

providing religious minds reverent of the past with an alternative to mere mediÆvalism, and gently curbing Science in the character she sometimes assumes of “a wild Pallas of the brain.” When the natural moodiness of Tennyson’s temperament is considered, the prevalent optimism of his ideas, both as regards the individual and the State, appears infinitely creditable to him. These are ideas natural to sane and reflecting Englishmen, unchallenged in quiet times, but which may be obscured or overwhelmed in seasons of great popular excitement. The intellectual force of Tennyson is perhaps chiefly shown in the art and attractiveness with which they are set forth; even much that might have appeared tame or prosaic is invested with all the charms of imagination, and commends itself to the poet equally with the statesman. Tennyson is not the greatest of poets, but appreciation of his poems is one of the surest criteria of poetical taste; he is not one of the greatest of thinkers, but agreement with his general cast of thought is an excellent proof of sanity; many singers have been more Delphic in their inspiration, but few, by maxims of temperate wisdom, have provided their native land with such a Palladium.

Richard Garnett.