The Project Gutenberg eBook of A Day with the Poet Tennyson

This eBook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: A Day with the Poet Tennyson

Contributor: Baron Alfred Tennyson Tennyson

Illustrator: E. W. Haslehust

W. H. Margetson

Release date: August 8, 2012 [eBook #40442]

Most recently updated: October 23, 2024

Language: English

Other information and formats: www.gutenberg.org/ebooks/40442

Credits: Produced by Delphine Lettau, Matthew Wheaton and the Online

Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK A DAY WITH THE POET TENNYSON ***

TENNYSON

DAYS WITH THE POETS

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."

Painting by E. W. Haslehust.THE BROOK.

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.

ENNYSON 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."

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."

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."

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 Œnone.

"'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 Œnone,

Beautiful-brow'd Œnone, 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."

Œnone.

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!"

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."

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 THE PROJECT GUTENBERG EBOOK A DAY WITH THE POET TENNYSON ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law 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. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

A DAY WITH THE POET TENNYSON

A DAY WITH TENNYSON.

THE FULL PROJECT GUTENBERG™ LICENSE