Critics cannot in general be too punctilious in their respect for an incognito. If an author intended us to know his name, he would put it on his title-page. If he does not choose to do that, we have no more right to pry into his secret than we have to discuss his family affairs or open his letters. But every rule has its exceptional cases; and the book which stands first upon our list is surely such. All the world, somehow or other, knows the author. His name has been mentioned unhesitatingly by several reviews already, whether from private information, or from the certainty which every well-read person must feel that there is but one man in England possessed at once of poetic talent and artistic experience sufficient for so noble a creation. We hope, therefore, that we shall not be considered impertinent if we ignore an incognito which all England has ignored before us, and attribute “In Memoriam” to the pen of the author of “The Princess.”

Such a course will probably be the more useful one to our readers; for this last work of our only living great poet seems to us at once the culmination of all his efforts and the key to many difficulties in his former writings. Heaven forbid that we should say that it completes the circle of his powers. On the contrary, it gives us hope of broader effort in new fields of thought and forms of art. But it brings the development of his Muse and of his Creed to a positive and definite point. It enables us to claim one who has been hitherto regarded as belonging to a merely speculative and peirastic school as the willing and deliberate champion of vital Christianity, and of an orthodoxy the more sincere because it has worked upward through the abyss of doubt; the more mighty for good because it justifies and consecrates the Æsthetics and the philosophy of the present age. We are sure, moreover, that the author, whatever right reasons he may have had for concealing his own name, would have no quarrel against us for alluding to it, were he aware of the idolatry with which every utterance of his is regarded by the cultivated young men of our day, especially at the universities, and of the infinite service of which this “In Memoriam” may be to them, if they are taught by it that their superiors are not ashamed of faith, and that they will rise instead of falling, fulfil instead of denying the cravings of their hearts and intellects, if they will pass upwards with their teacher from the vague though noble expectations of “Locksley Hall,” to the assured and everlasting facts of the proem to “In Memoriam”—in our eyes the noblest Christian poem which England has produced for two centuries.

To explain our meaning, it will be necessary, perhaps, to go back to Mr. Tennyson’s earlier writings, of which he is said to be somewhat ashamed now—a fastidiousness with which we will not quarrel; for it should be the rule of the poet, forgetting those things which are behind, to press on to those things which are before, and “to count not himself to have apprehended but—” no, we will not finish the quotation; let the readers of “In Memoriam” finish it for themselves, and see how, after all, the poet, if he would reach perfection, must be found by Him who found St. Paul of old. In the meantime, as a true poet must necessarily be in advance of his age, Mr. Tennyson’s earlier poems, rather than these latter ones, coincide with the tastes and speculations of the young men of this day. And in proportion, we believe, as they thoroughly appreciate the distinctive peculiarities of those poems, will they be able to follow the author of them on his upward path.

Some of our readers, we would fain hope, remember as an era in their lives the first day on which they read those earlier poems; how, fifteen years ago, Mariana in the Moated Grange, “The Dying Swan,” “The Lady of Shalott,” came to them as revelations. They seemed to themselves to have found at last a poet who promised not only to combine the cunning melody of Moore, the rich fulness of Keats, and the simplicity of Wordsworth, but one who was introducing a method of observing nature different from that of all the three and yet succeeding in everything which they had attempted, often in vain. Both Keats and Moore had an eye for the beauty which lay in trivial and daily objects. But in both of them, there was a want of deep religious reverence, which kept Moore playing gracefully upon the surface of phenomena without ever daring to dive into their laws or inner meaning; and made poor Keats fancy that he was rather to render nature poetical by bespangling her with florid ornament, than simply to confess that she was already, by the grace of God, far beyond the need of his paint and gilding. Even Wordsworth himself had not full faith in the great dicta which he laid down in his famous Introductory Essay. Deep as was his conviction that nature bore upon her simplest forms the finger-mark of God, he did not always dare simply to describe her as she was, and leave her to reveal her own mystery. We do not say this in depreciation of one who stands now far above human praise or blame. The wonder is, not that Wordsworth rose no higher, but that, considering the level on which his taste was formed, he had power to rise to the height above his age which he did attain. He did a mighty work. He has left the marks of his teaching upon every poet who has written verses worth reading for the last twenty years. The idea by which he conquered was, as Coleridge well sets forth, the very one which, in its practical results on his own poetry, procured him loud and deserved ridicule. This, which will be the root idea of the whole poetry of this generation, was the dignity of nature in all her manifestations, and not merely in those which may happen to suit the fastidiousness or ManichÆism of any particular age. He may have been at times fanatical on his idea, and have misused it, till it became self-contradictory, because he could not see the correlative truths which should have limited it. But it is by fanatics, by men of one great thought, that great works are done; and it is good for the time that a man arose in it of fearless honesty enough to write Peter Bell and the Idiot Boy, to shake all the old methods of nature-painting to their roots, and set every man seriously to ask himself what he meant, or whether he meant anything real, reverent, or honest, when he talked about “poetic diction,” or “the beauties of nature.” And after all, like all fanatics, Wordsworth was better than his own creed. As Coleridge thoroughly shows in the second volume of the “Biographia Literaria,” and as may be seen nowhere more strikingly than in his grand posthumous work, his noblest poems and noblest stanzas are those in which his true poetic genius, unconsciously to himself, sets at naught his own pseudo-naturalist dogmas.

Now Mr. Tennyson, while fully adopting Wordsworth’s principle from the very first, seemed by instinctive taste to have escaped the snares which had proved too subtle both for Keats and Wordsworth. Doubtless there are slight niaiseries, after the manner of both those poets, in the first editions of his earlier poems. He seems, like most other great artists, to have first tried imitations of various styles which already existed, before he learnt the art of incorporating them into his own, and learning from all his predecessors, without losing his own individual peculiarities. But there are descriptive passages in them also which neither Keats nor Wordsworth could have written, combining the honest sensuous observation which is common to them both, with a self-restrained simplicity which Keats did not live long enough to attain, and a stately and accurate melody, an earnest songfulness (to coin a word) which Wordsworth seldom attained, and from his inaccurate and uncertain ear, still seldomer preserved without the occurrence of a jar or a rattle, a false quantity, a false rapture, or a bathos. And above all, or rather beneath all—for we suspect that this has been throughout the very secret of Mr. Tennyson’s power—there was a hush and a reverent awe, a sense of the mystery, the infinitude, the awfulness, as well as of the mere beauty of wayside things, which invested these poems as wholes with a peculiar richness, depth, and majesty of tone, beside which both Keats’s and Wordsworth’s methods of handling pastoral subjects looked like the colouring of Julio Romano or Watteau by the side of Correggio or Titian.

This deep simple faith in the divineness of Nature as she appears, which, in our eyes, is Mr. Tennyson’s differentia, is really the natural accompaniment of a quality at first sight its very opposite, and for which he is often blamed by a prosaic world; namely, his subjective and transcendental mysticism. It is the mystic, after all, who will describe Nature most simply, because he sees most in her; because he is most ready to believe that she will reveal to others the same message which she has revealed to him. Men like Behmen, Novalis, and Fourier, who can soar into the inner cloud-world of man’s spirit, even though they lose their way there, dazzled by excess of wonder—men who, like Wordsworth, can give utterance to such subtle anthropologic wisdom as the “Ode on the Intimations of Immortality,” will for that very reason most humbly and patiently “consider the lilies of the field, how they grow.” And even so it is just because Mr. Tennyson is, far more than Wordsworth, mystical, and what an ignorant and money-getting generation, idolatrous of mere sensuous activity, calls “dreamy,” that he has become the greatest naturalistic poet which England has seen for several centuries. The same faculty which enabled him to draw such subtle subjective pictures of womanhood as Adeline, Isabel, and Eleanor, enabled him to see, and therefore simply to describe, in one of the most distinctive and successful of his earlier poems, how

The creeping mosses and clambering weeds,
And the willow branches hoar and dank,
And the wavy swell of the soughing reeds,
And the wave-worn horns of the echoing bank,
And the silvery marish flowers that throng
The desolate creeks and pools among,
Were flooded over with eddying song.

No doubt there are in the earlier poems exceptions to this style—attempts to adorn nature, and dazzle with a barbaric splendour akin to that of Keats—as, for instance, in the “Recollections of the Arabian Nights.” But how cold and gaudy, in spite of individual beauties, is that poem by the side of either of the Marianas, and especially of the one in which the scenery is drawn, simply and faithfully, from those counties which the world considers the quintessence of the prosaic—the English fens.

Upon the middle of the night
Waking she heard the night-fowl crow;
The cock sang out an hour ere light:
From the dark fen the oxen’s low
Came to her: without hope of change,
In sleep she seemed to walk forlorn,
Till cold winds woke the gray-eyed morn
About the lonely moated grange.

* * * * *

About a stone-cast from the wall
A sluice with blackened waters slept,
And o’er it many, round and small,
The cluster’d marish-mosses crept.
Hard by a poplar shook alway,
All silver-green with gnarled bark,
For leagues no other tree did mark
The level waste, the rounding gray,

Throughout all these exquisite lines occurs but one instance of what the vulgar call “poetic diction.” All is simple description, in short and Saxon words, and yet who can deny the effect to be perfect—superior to any similar passage in Wordsworth? And why? Because the passage quoted, and indeed the whole poem, is perfect in what artists call tone—tone in the metre and in the sound of the words, as well as in the images and the feelings expressed. The weariness, the dreariness, the dark mysterious waste, exist alike within and without, in the slow monotonous pace of the metre and the words, as well as in the boundless fen, and the heart of her who, “without hope of change, in sleep did seem to walk forlorn.”

The same faith in Nature, the same instinctive correctness in melody, springing from that correct insight into Nature, ran through the poems inspired by medieval legends. The very spirit of the old ballad writers, with their combinations of mysticism and objectivity, their freedom from any self-conscious attempt at reflective epithets or figures, runs through them all. We are never jarred in them, as we are in all the attempts at ballad-writing and ballad-restoring before Mr. Tennyson’s time, by discordant touches of the reflective in thought, the picturesque in Nature, or the theatric in action. To illustrate our meaning, readers may remember the ballad of “Fair Emmeline,” in Bishop Percy’s “Reliques.” The bishop confesses, if we mistake not, to have patched one end of the ballad. He need not have informed us of that fact, while such lines as these following meet our eyes:

The Baron turned aside,
And wiped away the rising tears
He proudly strove to hide.

No old ballad writer would have used such a complicated concetto. Another, and even a worse instance is to be found in the difference between the old and new versions of the grand ballad of “Glasgerion.” In the original, we hear how the elfin harper could

Harp fish out of the water,
And water out of a stone,
And milk out of a maiden’s breast
That bairn had never none.

For which some benighted “restorer” substitutes—

Oh, there was magic in his touch,
And sorcery in his string!

No doubt there was. But while the new poetaster informs you of the abstract notion, the ancient poet gives you the concrete fact; as Mr. Tennyson has done with wonderful art in his exquisite “St. Agnes,” where the saint’s subjective mysticism appears only as embodied in objective pictures:

Break up the heavens, oh Lord! and far
Through all yon starlight keen
Draw me, thy bride, a glittering star,
In raiment white and clean.

Sir Walter Scott’s ballads fail just on the same point. Even Campbell cannot avoid an occasional false note of sentiment. In Mr. Tennyson alone, as we think, the spirit of the Middle Age is perfectly reflected; its delight, not in the “sublime and picturesque,” but in the green leaves and spring flowers for their own sake—the spirit of Chaucer and of the “Robin Hood Garland”—the naturalism which revels as much in the hedgerow and garden as in Alps, and cataracts, and Italian skies, and the other strong stimulants to the faculty of admiration which the palled taste of an unhealthy age, from Keats and Byron down to Browning, has rushed abroad to seek. It is enough for Mr. Tennyson’s truly English spirit to see how

On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And through the field the road runs by
To many-tower’d Camelot.

Or how

In the stormy east wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining,
Heavily the low sky raining
Over tower’d Camelot.

Give him but such scenery as that which he can see in every parish in England, and he will find it a fit scene for an ideal myth, subtler than a casuist’s questionings, deep as the deepest heart of woman.

But in this earlier volume the poet has not yet arrived at the art of combining his new speculations on man with his new mode of viewing Nature. His objective pieces are too exclusively objective, his subjective too exclusively subjective; and where he deals with natural imagery in these latter, he is too apt, as in “Eleanore,” to fall back upon the old and received method of poetic diction, though he never indulges in a commonplace or a stock epithet. But in the interval between 1830 and 1842 the needful interfusion of the two elements has taken place. And in “Locksley Hall” and the “‘Two Voices” we find the new doubts and questions of the time embodied naturally and organically, in his own method of simple natural expression. For instance, from the Search for Truth in the “Two Voices”—

Cry, faint not, climb: the summits lope
Beyond the furthest flights of hope,
Wrapt in dense cloud from base to cope.

Sometimes a little corner shines
As over rainy mist inclines
A gleaming crag with belts of pines.

“I will go forward,” sayest thou;
“I shall not fail to find her now.
Look up, the fold is on her brow.”

Or again, in “Locksley Hall,” the poem which, as we think deservedly, has had most influence on the minds of the young men of our day:

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 light 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;
Men, my brothers, men the workers, over reaping something new:
That which they have done but earnest of the things which they shall do:

and all the grand prophetic passage following, which is said, we know not how truly, to have won for the poet the respect of that great statesman whose loss all good men deplore.

In saying that “Locksley Hall” has deservedly had so great an influence over the minds of the young, we shall, we are afraid, have offended some who are accustomed to consider that poem as Werterian and unhealthy. But, in reality, the spirit of the poem is simply anti-Werterian. It is man rising out of sickness into health—not conquered by Werterism, but conquering his selfish sorrow, and the moral and intellectual paralysis which it produces, by faith and hope—faith in the progress of science and civilisation, hope in the final triumph of good. Doubtless, that is not the highest deliverance—not a permanent deliverance at all. Faith in God and hope in Christ alone can deliver a man once and for all from Werterism, or any other moral disease; that truth was reserved for “In Memoriam:” but as far as “Locksley Hall” goes, it is a step forward—a whole moral Æon beyond Byron and Shelley; and a step, too, in the right direction, just because it is a step forward—because the path of deliverance is, as “Locksley Hall” sets forth, not backwards towards a fancied paradise of childhood—not backward to grope after an unconsciousness which is now impossible, an implicit faith which would be unworthy of the man, but forward on the road on which God has been leading him, carrying upward with him the aspirations of childhood, and the bitter experience of youth, to help the organised and trustful labour of manhood. There are, in fact, only two deliverances from Werterism possible in the nineteenth century; one is into Popery, and the other is—

Forward, forward, let us range;
Let the peoples spin for ever down the ringing grooves of change;
Through the shadow of the world we sweep into the younger day:
Better fifty years of Europe than a cycle of Cathay.

But such a combination of powers as Mr. Tennyson’s naturally develop themselves into a high idyllic faculty; for it is the very essence of the idyl to set forth the poetry which lies in the simpler manifestations of Man and Nature; yet not explicitly, by a reflective moralising on them, as almost all our idyllists—Cowper, Gray, Crabbe, and Wordsworth—have been in the habit of doing, but implicitly, by investing them all with a rich and delightful tone of colouring, perfect grace of manner, perfect melody of rhythm, which, like a gorgeous summer atmosphere, shall glorify without altering the most trivial and homely sights. And it is this very power, as exhibited in the “Lord of Burleigh,” “Audley Court,” and the “Gardener’s Daughter,” which has made Mr. Tennyson, not merely the only English rival of Theocritus and Bion, but, in our opinion, as much their superior as modern England is superior to ancient Greece.

Yet in “The Princess,” perhaps, Mr. Tennyson rises higher still. The idyllic manner alternates with the satiric, the pathetic, even the sublime, by such imperceptible gradations, and continual delicate variations of key, that the harmonious medley of his style becomes the fit outward expression of the bizarre and yet harmonious fairyland in which his fancy ranges. In this work, too, Mr. Tennyson shows himself more than ever the poet of the day. In it more than ever the old is interpenetrated with the new—the domestic and scientific with the ideal and sentimental. He dares, in every page, to make use of modern words and notions, from which the mingled clumsiness and archaism of his compeers shrinks, as unpoetical. Though, as we just said, his stage is an ideal fairyland, yet he has reached the ideal by the only true method—by bringing the Middle Age forward to the Present one, and not by ignoring the Present to fall back on a cold and galvanised Medievalism; and thus he makes his “Medley” a mirror of the nineteenth century, possessed of its own new art and science, its own new temptations and aspirations, and yet grounded on, and continually striving to reproduce, the forms and experiences of all past time. The idea, too, of “The Princess” is an essentially modern one. In every age women have been tempted, by the possession of superior beauty, intellect, or strength of will, to deny their own womanhood, and attempt to stand alone as men, whether on the ground of political intrigue, ascetic saintship, or philosophic pride. Cleopatra and St. Hedwiga, Madame de StaËl and the Princess, are merely different manifestations of the same self-willed and proud longing of woman to unsex herself, and realise, single and self-sustained, some distorted and partial notion of her own as to what the “angelic life” should be. Cleopatra acted out the pagan ideal of an angel; St. Hedwiga, the medieval one; Madame de StaËl hers, with the peculiar notions of her time as to what “spirituel” might mean; and in “The Princess” Mr. Tennyson has embodied the ideal of that nobler, wider, purer, yet equally fallacious, because equally unnatural, analogue, which we may meet too often up and down England now. He shows us the woman, when she takes nor stand on the false masculine ground of intellect, working out her own moral punishment, by destroying in herself the tender heart of flesh: not even her vast purposes of philanthropy can preserve her, for they are built up, not on the womanhood which God has given her, but on her own self-will; they change, they fall, they become inconsistent, even as she does herself, till, at last, she loses all feminine sensibility; scornfully and stupidly she rejects and misunderstands the heart of man; and then falling from pride to sternness, from sternness to sheer inhumanity, she punishes sisterly love as a crime, robs the mother of her child, and becomes all but a vengeful fury, with all the peculiar faults of woman, and none of the peculiar excellences of man.

The poem being, as its title imports, a medley of jest and earnest, allows a metrical licence, of which we are often tempted to wish that its author had not availed himself; yet the most unmetrical and apparently careless passages flow with a grace, a lightness, a colloquial ease and frolic, which perhaps only heighten the effect of the serious parts, and serve as a foil to set off the unrivalled finish and melody of these latter. In these come out all Mr. Tennyson’s instinctive choice of tone, his mastery of language, which always fits the right word to the right thing, and that word always the simplest one, and the perfect ear for melody which makes it superfluous to set to music poetry which, read by the veriest schoolboy, makes music of itself. The poem, we are glad to say, is so well known that it seems unnecessary to quote from it; yet there are here and there gems of sound and expression of which, however well our readers may know them, we cannot forbear reminding them again. For instance, the end of the idyl in book vii. beginning “Come down, O maid” (the whole of which is perhaps one of the most perfect fruits of the poet’s genius):

Myriads of rivulets hurrying through the lawn,
The moan of doves in immemorial elms,
And murmuring of innumerable bees.

Who, after three such lines, will talk of English as a harsh and clumsy language, and seek in the effeminate and monotonous Italian for expressive melody of sound? Who cannot hear in them the rapid rippling of the water, the stately calmness of the wood-dove’s note, and, in the repetition of short syllables and soft liquids in the last line, the

Murmuring of innumerable bees?

Or again, what combination of richness with simplicity in such a passage as this:

Breathe upon my brows;
In that fine air I tremble, all the past
Melts mist-like into this bright hour, and this
I scarce believe, and all the rich to come
Reels, as the golden Autumn woodland reels
Athwart the smoke of burning leaves.

How Mr. Tennyson can have attained the prodigal fulness of thought and imagery which distinguishes this poem, and especially the last canto, without his style ever becoming overloaded, seldom even confused, is perhaps one of the greatest marvels of the whole production. The songs themselves, which have been inserted between the cantos in the last edition of the book, seem, perfect as they are, wasted and smothered among the surrounding fertility; till we discover that they stand there, not merely for the sake of their intrinsic beauty, but serve to call back the reader’s mind, at every pause in the tale of the Princess’s folly, to that very healthy ideal of womanhood which she has spurned.

At the end of the first canto, fresh from the description of the female college, with its professoresses, and hostleresses, and other utopian monsters, we turn the page, and—

As through the land at eve we went,
And pluck’d the ripen’d ears.
We fell out, my wife and I,
And kissed 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,
We kissed again with tears.

Between the next two cantos intervenes the well-known cradle-song, perhaps the best of all; and at the next interval is the equally well-known bugle-song, the idea of which is that of twin-labour and twin-fame, in a pair of lovers:

Our echoes roll from soul to soul,
And grow for ever and for ever.

In the next, the memory of wife and child inspirits the soldier in the field; in the next, the sight of the fallen hero’s child opens the sluices of his widow’s tears; and in the last, and perhaps the most beautiful of all, the poet has succeeded, in the new edition, in superadding a new form of emotion to a canto in which he seemed to have exhausted every resource of pathos which his subject allowed; and prepares us for the triumph of that art by which he makes us, after all, love the heroine whom he at first taught us to hate and despise, till we see that the naughtiness is after all one that must be kissed and not whipped out of her, and look on smiling while she repents, with Prince Harry of old, “not in sackcloth and ashes, but in new silk and old sack:”

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;
But, O too fond, when have I answered 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!
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:
No more, dear love, for at a touch I yield;
Ask me no more.

We now come to “In Memoriam;” a collection of poems on a vast variety of subjects, but all united, as their name implies, to the memory of a departed friend. We know not whether to envy more—the poet the object of his admiration, or that object the monument which has been consecrated to his nobleness. For in this latest and highest volume, written at various intervals during a long series of years, all the poet’s peculiar excellences, with all that he has acquired from others, seem to have been fused down into a perfect unity, and brought to bear on his subject with that care and finish which only a labour of love can inspire. We only now know the whole man, all his art, all his insight, all his faculty of discerning the piÙ nell’ uno, and the uno nell’ piÙ. As he says himself:

My love has talked with rocks and trees,
He finds on misty mountain-ground,
His own vast shadow glory-crowned;
He sees himself in all he sees.

Everything reminds him of the dead. Every joy or sorrow of man, every aspect of nature, from

The forest crack’d, the waters, curl’d,
The cattle huddled on the lea.

The thousand waves of wheat
That ripple round the lonely grange.

In every place where in old days they had met and conversed; in every dark wrestling of the spirit with the doubts and fears of manhood, throughout the whole outward universe of Nature, and the whole inward universe of spirit, the soul of his dead friend broods—at first a memory shrouded in blank despair, then, a living presence, a ministering spirit, answering doubts, calming fears, stirring up noble aspirations, utter humility, leading the poet upward, step by step, to faith, and peace, and hope. Not that there runs throughout the book a conscious or organic method. The poems seem often merely to be united by the identity of their metre, so exquisitely chosen, that while the major rhyme in the second and third lines of each stanza gives the solidity and self-restraint required by such deep themes, the mournful minor rhyme of each first and fourth line always leads the ear to expect something beyond, and enables the poet’s thoughts to wander sadly on, from stanza to stanza and poem to poem, in an endless chain of

LinkÈd sweetness long drawn out.

There are records of risings and fallings again, of alternate cloud and sunshine, throughout the book; earnest and passionate, yet never bitter; humble, yet never abject; with a depth and vehemence of affection “passing the love of woman,” yet without a taint of sentimentality; self-restrained and dignified, without ever narrowing into artificial coldness; altogether rivalling the sonnets of Shakespeare; and all knit together into one spiritual unity by the proem at the opening of the volume—in our eyes, the noblest English Christian poem which several centuries have seen.

We shall not quote the very poems which we should most wish to sink into men’s hearts. Let each man find for himself those which suit him best, and meditate on them in silence. They are fit only to be read solemnly in our purest and most thoughtful moods, in the solitude of our chamber, or by the side of those we love, with thanks to the great heart who has taken courage to bestow on us the record of his own friendship, doubt, and triumph.

It has been often asked why Mr. Tennyson’s great and varied powers had never been concentrated on one immortal work. The epic, the lyric, the idyllic faculties, perhaps the dramatic also, seemed to be all there, and yet all sundered, scattered about in small fragmentary poems. “In Memoriam,” as we think, explains the paradox. Mr. Tennyson had been employed on higher, more truly divine, and yet more truly human work than either epos or drama. Within the unseen and alone truly Real world which underlies and explains this mere time-shadow, which men miscall the Real, he had been going down into the depths, and ascending into the heights, led, like Dante of old, by the guiding of a mighty spirit. And in this volume, the record of seventeen years, we have the result of those spiritual experiences in a form calculated, as we believe, to be a priceless benefit to many an earnest seeker in this generation, and perhaps to stir up some who are priding themselves on a cold dilettantism and barren epicurism, into something like a living faith and hope. Blessed and delightful it is to find, that even in these new ages the creeds which so many fancy to be at their last gasp, are still the final and highest succour, not merely of the peasant and the outcast, but of the subtle artist and the daring speculator. Blessed it is to find the most cunning poet of our day able to combine the complicated rhythm and melody of modern times with the old truths which gave heart to martyrs at the stake; and to see in the science and the history of the nineteenth century new and living fulfilments of the words which we learnt at our mother’s knee. Blessed, thrice blessed, to find that hero-worship is not yet passed away; that the heart of man still beats young and fresh; that the old tales of David and Jonathan, Damon and Pythias, Socrates and Alcibiades, Shakespeare and his nameless friend, of “love passing the love of woman,” ennobled by its own humility, deeper than death, and mightier than the grave, can still blossom out, if it be but in one heart here and there, to show men still how, sooner or later, “he that loveth knoweth God, for God is love.”