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"Though Beautie be the Marke of praise, And yours of whom I sing be such As not the world can praise too much, Yet is't your vertue now I raise." Here again we see that our literature of to-day is no new born thing, but rooted in the past. Jonson's poem, however, is a mere trifle, Tennyson's one of the great things of our literature.
That gaze fired her heart, and she became once again not herself but he; poor, awkward and gauche little Prissie sank out of sight; she was Hammond pleading his own cause, she was wooing Maggie for him in the words of Tennyson's Prince.
The poet, very naturally, was most averse to personal appearance in public matters. Mankind is so fashioned that the advice of a poet is always regarded as unpractical, and is even apt to injure the cause which he advocates. Happily there cannot be two opinions about the right way of honouring Gordon. Tennyson's poem, The Fleet, was also in harmony with the general sentiment.
First, Tennyson's poetry is not so much to be studied as to be read and appreciated; he is a poet to have open on one's table, and to enjoy as one enjoys his daily exercise. And second, we should by all means begin to get acquainted with Tennyson in the days of our youth.
In the wonderful variety of his verse he suggests all the qualities of England's greatest poets. The dreaminess of Spenser, the majesty of Milton, the natural simplicity of Wordsworth, the fantasy of Blake and Coleridge, the melody of Keats and Shelley, the narrative vigor of Scott and Byron, all these striking qualities are evident on successive pages of Tennyson's poetry.
Of his other larger works, the Princess, a scarcely happy blend between burlesque in the manner of the Rape of the Lock, and a serious apostleship of the liberation of women, is solely redeemed by these lyrics. Tennyson's innate conservatism hardly squared with the liberalising tendencies he caught from the more advanced thought of his age, in writing it.
Trenire's library were several large bound volumes of Tennyson's "Idylls of the King," illustrated by Gustav Dore, and Kitty had never a doubt in her mind that these were the woods the artist had depicted. There could be no others like them.
Tennyson's merits is, that he does not think it necessary to keep himself aloft by artificial effort, but undulates with his matter, and flies high or low as it requires.
Tennyson's lines on "Early Spring," written at seventy-four, Browning's "Never the Time and the Place" written at seventy-two, Goethe's love-lyrics written when he was eighty, have all the delicate bloom of adolescence.
By what means were they communicated? As I have pointed out, in my compilation of Maori legends, there is one of Maui, which recalls to you the finding of Arthur, in Tennyson's "Idylls of the King." The same legendary idea occurs; a child cradled by the sea, none knowing that it had any other parent.
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