Chapter III: Part 3

It was inevitable that the later years of one so aged and so solitary should be more and more filled with the chronicle and anticipation of death. But he never sank into lethargy, as the following letter, written in his eighty-first year, shows:

My own sorrow is indeed continually revived by memories continually
reawakened, not only by the comparatively recent occurrence of my own
temporarily final separation from my best friend--but also by that
bird's-eye--so to speak--retrospect, which carries the imagination
over lovely landscapes of the days of youth--out of the golden morning
light of which emerge, in that unaccountable manner which is quite
involuntary, even the most trivial circumstances--moments of no
moment--yet somehow clothed in a more glittering light than the vast
tracts drowned in the general splendour of the dawn, some tiny
pinnacle that reflects the sun, some far off rillet that gushes out
from the wayside.

Even when in his eighty-fourth year his sight began to fail him and the loss drove him still more back into his inner life, the old eagerness of mind remained, though finding a melancholy occupation in noting the changes to which age was daily subjecting his mental and physical constitution. The note of hope is, however, ineradicable:

An old man of my great age is already dead--old age being the only
Death--and the faculties which I once possessed receive no impulse, as
of old, for activity--no joyous inspiration. The intellect is cold and
frozen like the mountain streams in Winter, a moonless midnight; and
were it not for the increasing illumination of the immortal spirit
which already beholds the dawn of a greater Day beyond the mountains,
I should indeed be desolate, lost! For I am 84 years of age next
June--and in looking back through my long life--it often seems to me
like a dream--many movements, intellectual and physical, seem to me
like impossibilities. When I see my little grandson Charlie skipping
and hear him shouting and singing, and the light-limbed and
light-hearted girls darting like living lightning down the staircase
(which if I were to attempt to imitate I should undoubtedly break my
neck), I say to myself, is it possible that I can ever have been like
them? Alas! for old age. What can be more mournful than a retrospect
of the days of childhood? But a truce to solemn thoughts--the Spring
is come again, the leaves are unfolding, the birds are singing, the
sun is shining, and surely, next to the human countenance, this is the
most lovely emblem, the most beautiful representative material of
inner spiritualities and the resurrection, and ought to have been so
regarded since the dawn of Christianity; for as sure as Winter
blossoms into Summer, the Winter of old age will spring into the
Eternal Life. Fear not, hope all things! What a contrast to these
consoling aspirations is presented in the touching fragment of the old
Greek poet Moschus which no doubt expresses the scepticism of the
ancient world--I give a free translation:

Aye, aye the garden mallows, mint and thyme
When they have wither'd in the winter clime,
After a little space do reappear,
And live again and see another year:
But we, the brave, the noble, and the wise,
When once for all pale Death hath closed our eyes,
Sink into dread oblivion dark and deep,
The everlasting, never-waking sleep.

With the approach of death he seemed to himself to undergo a kind of physical regeneration.

"Apropos to spiritual matters," he writes in 1890, "I have had
recently for several consecutive days some very strange experiences.
One morning I awoke and seemed to have lost my natural memory. Objects
daily presented to me for years seemed no longer familiar as of
old--but as when a man after years of travel returning to his home and
the chamber he formerly occupied takes some time and labour of thought
to bring back to his recollection the whereabouts of objects once (as
it were) instinctively known to him--I had the same difficulty in
recovering my relations to my own surroundings. And this for days was
supplemented by a strange sense of having been far away and conversant
with wonderful things--movements and tumults--which only immeasurable
distance deadened to my perception like great music borne away by the
wind. Ever and anon there flashed up within me what I can only
describe symbolically as Iridescences of feeling as when the prismatic
colours of a rainbow succeed one another, or the coloured lights in
Pyrotechnics cause objects in midnight darkness to assume their own
hues. But all this, wonderful though it may seem, is not the only
change that has come upon me--I am happy to say that simultaneously
with these phenomena a revolution in my spiritual economy of far
greater moment has, I believe, taken place. I have always prayed for
that regeneration, or second birth ('Thou must be born again,' said
the Lord to Nicodemus), to be shielded from selfhood--and as the
divine answer to such prayers continually repeated, I can declare,
without any self-delusion, that the answer has actually been a
sensible change in the nature of my affections. Never have I felt
towards those around me, such tender inclinations, such earnest desire
to do them all possible good regardless of self-interest, such a
spirit of forgiveness of any wrongs; and my earnest prayerful
thankfulness for such inestimable benefits has been invariably
acknowledged by that Voice from the Lord Himself by which He has
repeatedly ratified to my spiritual ear His promise of blessing and
the continuation thereof--and that 'Thou hast nothing to fear, for I
am with thee night and day, body and soul!' Think of this! But for
God's sake do not attribute these statements of mine, which are
comprehended in a period of many years, to self-delusion or
self-righteousness. God knows, from whom nothing is hid, that I have
never approached Him except in the spirit of profound humility and
self-condemnation, and the answer has always been, 'Thou hast nothing
to fear. I am with thee.'"

As age settled upon him the violence of many of his views abated. His faith in Spiritualism and Swedenborgianism lost their hold on him and gave way to a more philosophic condition of mind. His activity, however, continued unabated. In 1890, after a silence of thirty-six years, he published his _Isles of Greece_, and the success of the volume encouraged him to give to the world two others, _Daphne and other Poems_ in 1891, and _Poems of the Day and Year_ (in which were included some of the verses contained in the volume of 1854) in 1898. In 1896 he left Jersey to join his eldest son, Captain Julius Tennyson, in whose house in Kensington he died on February 26, 1898.

It would be difficult to imagine two persons more strongly contrasted in life and character than Frederick and Charles. Charles (who was always Alfred's favourite brother) had nothing of the powerful, erratic, tempestuous mind of his elder brother. One does not think of him, as FitzGerald did of Frederick, as a being born for the warmth and glow of the South, yet in appearance he was (like Alfred) far more Southern than the eldest brother. So Spanish were his swarthy complexion, brown eyes, and curly, dark hair, that Thackeray, meeting him in middle age, called him a "Velasquez _tout craché_." Like Alfred, too, he had a magnificent deep bass voice; and even in dress the two brothers seem to have maintained their affinity, for Charles used to wear a soft felt hat and flowing black cloak much like those which the Millais portrait has identified with his brother, and these garments, with the addition of white cuffs, which he wore turned back over his coat sleeves, intensified the strangely foreign effect of his appearance. But the kinship of the two brothers extended beyond purely physical resemblance. They remained inseparable companions till Charles was ordained, and there was hardly a taste possessed by either which the other did not share. They read, played, and rambled together; both were extremely fond of dancing (one of Charles's last Sonnets was "On a County Ball") and were much sought after as partners at the balls of their countryside. The _Poems by Two Brothers_, which were almost entirely the work of Alfred and Charles, while displaying the differing qualities of each, were a joint production, the fruit of common reading and common enthusiasm. Both the brothers were regarded by their contemporaries at Cambridge as destined to achieve poetical greatness. Both possessed the unwearying patience of the craftsman, the same devotion to science and the same power of close and loving observation. Charles, however, lacked the fire and energy of temperament which made Frederick's character remarkable and was to a great extent shared by Alfred. With all Alfred's sensitiveness and shrinking from society, he had little of that sympathetic and passionate interest in the hopes and achievements of their age which drove the younger brother ever more and more into public life.

Nothing quieter and less eventful than Charles Tennyson's life can well be imagined. He was ordained in 1835 (three years after taking his degree) and immediately obtained a Curacy at Tealby. In the same year he became Vicar of Grasby, a small village in the Lincolnshire wolds between Caistor and Brigg.

In the following year he married Louisa Sellwood, whose sister was to become Alfred's wife, and from that time until just before his death on April 25, 1879, his life, save for an occasional holiday and too frequent lapses from health, knew little variation. Like all the Tennysons, Charles was of a nervous temperament, and this condition often induced acute suffering. So severe indeed was his struggle with this disorder and the still more perilous condition which resulted from it that at one time, soon after his marriage, he was compelled to leave his parish for some months in search of strength. Throughout these trying interludes the devotion of his wife, a woman of great humour and power of mind and character, was of the utmost service to him. Indeed, his debt to her was great at all times of his life. She would often act almost as a curate to him in the straggling parish, tirelessly visiting and nursing the sick (a duty which they both unflinchingly observed even in the epidemics of small-pox which were then frequent), keeping all his accounts, both personal and parochial, and even sometimes writing his sermons. The devotion of the pair was remarkable, retaining a certain youthful ardour to the end, and when Charles died his wife was carried to the grave within a month.

As early as 1830, Charles had published a small volume of sonnets, which (as is well known) earned the hearty commendation of Coleridge and Leigh Hunt. As in the case of Frederick, however, there followed a prolonged silence, the next volume not making its appearance till 1864; others followed in 1868 and 1873, and all were collected and republished, with a sage, benevolent, and affectionate Introduction by his friend James Spedding, in 1880. The reason for this long silence was a slightly different one from that which was responsible for Frederick's intermission. In both cases, no doubt, the feeling that it would be impertinent for another person of the name of Tennyson to put his work before the public had some influence. In Charles's case, however, there were further considerations. The violent shock which his health sustained by that prolonged early illness and his subsequent troubles to some extent numbed his powers. "The edge of thought was blunted by the stress of the hard world," and the same cause probably increased his natural modesty till it became almost morbid. He was perpetually haunted by the fear that his poetry was not original, and the only word of satisfaction which Spedding ever heard him use of any of his sonnets was with regard to one which owed its origin to a period of deep affliction, of which the poet said that he thought it was good because he _knew_ it to be true. Whatever the cause, however, during these thirty-four years Charles Turner published nothing and, indeed, hardly even wrote anything. Spedding, in his Introduction, has collected a few fragments which were gathered from the poet's notebooks, and show that his mind still occasionally noted a stray simile or description, doubtless intended to be subsequently worked up into a poem. A few of these are in his happiest manner. One may quote the following picture of goldfish in a glass bowl:

As though King Midas did the surface touch,
Constraining the clear water to their change
With shooting motions and quick trails of light.
Now a rich girth and then a narrow gleam,
And now a shaft and now a sheet of gold.

and the lines on the opening of the tomb of Charlemagne:

They rove the marble where the ancient King,
Like one forspent with sacred study sate,
Robed like a King, but as a scholar pale.

His mind, too, was always working in the same direction on his rambles about the countryside, and he would sometimes, when walking with Agnes Weld, "the little, ambling, stile-clearing niece," who was often his guest, hit on some phrase which took his fancy and was imparted to his companion, who remembers his description of the slanting light-bars on a cloudy day as "the oars of the golden Galley of the sun," and many another phrase as happy as any of the homely and perfect touches in his published works.

But though these years were barren of actual output, they were of value in many ways, and not the least as a period of incubation, for many a phrase or idea first formed in them was subsequently perfected and published. The intermission, too, left him freer to study and to labour among his parishioners. At the beginning and end of his life, poetry occupied a great deal of his time, for each of his sonnets, in spite of their apparent facility, was the result of much toil. He would work at the same lines morning after morning, and read the results aloud to his wife, or niece, or other companion after dinner, the same poem going through a great succession of forms. A letter to Miss Weld, in answer to some suggestion of a subject connected with the then recent excavations at Mycenae, shows his method of work and something of the manifold interests of his secluded life:

"I never can undertake to work to order," he writes, "though the order
comes from the dearest of customers. If I get a good hold of that
poor, noble, nodding head I will put him on board of a respectable
sonnet and try to save his memory from drowning.... Mycenae is a very
exciting subject, but I have Kelsey Moor Chapel to write on--a
commission from Mrs. Townsend ... and a poor dead dog haunts me" (see
Sonnet 97--Collected Edition).

During these barren years Charles Turner's devotion to his parochial work was intense. Grasby was a somewhat barbarous village when he obtained the living. Belief in witchcraft was still rife, and one of the popular charms against its influence was to cut a sheep in half, put the body on a scarlet cloth, and walk between the pieces. Such religion as there was among the poor was of a rather harsh spirit, as may be seen from an anecdote preserved by Miss Weld of an old cottager, who, hearing Mrs. Turner mention the name of Hobbes, exclaimed to his wife: "Why, loovey, that's the graate Hobbes that's in hell!" The climate, too, was as harsh as the character of the people, for the village stands high and bleak. Friends remember Louisa Turner going about her ministrations in clogs, and during one particularly sharp winter she writes: "I am in a castle now of double cotton wool petticoat and thick baize drawers and waistcoat." The Turners soon found it necessary to leave the house at Caistor, three miles off, where Sam Turner, Charles's uncle, the preceding vicar, had lived, for the distance made any real intimacy with the people impossible. Charles had inherited a small property from his uncle (the event was the occasion of his change of name), and this made it possible for him to build a new vicarage and to further enrich the village with new schools and a new church. He also took the very practical step of buying the village inn and putting it in charge of a reliable servant, a scheme which, for a time at least, had excellent effects on the temperance of the inhabitants.

There were no children of the marriage, but the pair adopted the children of the whole village, opening their house and grounds to them for Christmas trees and summer festivities. Children and animals were always devoted to Charles Turner, as he to them. He was, as the villagers said, "Strangen gone upon birds and things." He never shot after that tragedy of the swallow which he never forgot (see Sonnet 200), and birds of every kind flocked to him daily as he fed them on his lawn. Flowers and trees, too, he loved almost as keenly as he did children. He quarrelled seriously with one of his curates whom he found exorcising the flowers, which were to be used for church decoration, by means of the service contained in the Directorium Anglicanum, maintaining stoutly that if any spirits dwelt in flowers they must be angels and not devils. His garden was a jungle of old-fashioned flowers, golden-rod, sweet-william, convolvulus, and rose of Sharon; figs and apricots ripened on his walls, and the house was covered with roses, honeysuckle, white clematis, and blue ceanothus. The grounds, too, boasted some fine timber, which Charles never would allow to be pruned or cut, even permitting the willow-props to outgrow and destroy the rose trees (Sonnet 270), and once, when it was proposed to fell some large trees within sight of his house, he threatened to throw up his living and leave Grasby.

In this peaceful world Charles found plenty to occupy his time. He saw little of society except when Alfred or Frederick, or one of his old college friends, came to visit him, and the resources of the neighbourhood were strained to the utmost to afford them entertainment. He found, however, a congenial companion in Mr. Townsend, a neighbouring clergyman of wide culture much interested in science. And the care of his parish occupied the greater part of his time. Theology, too, was a favourite study with him. He began life as an Evangelical, but in later years tended (partly under the influence of his wife, who would often, on the vigil of a saint, spend half the night on her knees) more and more towards the High Church.

"I have been reading," he wrote to Alfred in 1865, "Pusey's _Daniel
the Prophet_, which (thank God) completely--as I think and as very
many will think with me--disposes of the rickety and crotchety
arguments of those who vainly thought they had found a [Greek: pou
stô] in him whereby to upheave all prophecy and miracle. It is a noble
book from its learning and its logic. I knew he was a holy and
noble-minded and erudite man, but for some reason I had not credited
him with such 'act offence' and powers of righteous satire.... I have
never in my old desultory reading days found such a charm and interest
as in the study of the Queen Science, as Trench calls Theology, and
those who assume that they will find there no food for the mature
reason will be surprised at its large provision for the intellect and
rich satisfaction of the highest imagination. It is reading round
about a subject and not the subject itself which damages the intellect
so much. Maurice said the study of the Prophets had saved him from the
Tyranny of books."

He and his wife also spent much time in the study of Italian, in which they were assisted by their occasional visits to and from the Frederick Tennysons. Charles's Italian Grammar is annotated with numberless quaint rhymes made to fix its rules in his memory. On one page one finds in his wonderfully neat fluent hand (strangely like those of Frederick and Alfred):

From use of the following is no ban,
"The fair of the fair is Mistress Ann"
or "Smith's a learned, learned man"
In English or Italian,
Though the English use is far less common
Speaking of Doctor or fine woman.

On another:

Say profeta, profeti
Or else I shall bate ye.

On another a couplet which has all the subtle romance of Edward Lear:

Rare and changeless, firm and few,
Are the Italian nouns in U.

The life at Grasby Vicarage was of the simplest. The hall-floor rattled with loose tiles, the furniture was reduced to the barest necessities. Breakfast and lunch were movable feasts, for Charles had all a poet's carelessness of time, lingering over morning prayers while his agonized guest saw the bacon cooling to the consistency of marble before his eyes, and prolonging his mid-day walk to such distances in the study of flower and bird and butterfly that it sometimes took a half-hour's tolling of the outdoor bell to recall him. The cook (who in times of scarcity was at the service of the whole village) must have led a life of irritation, yet servants stayed long at the Vicarage.

This sweet, even life knew little variety. The days of quiet service filled the year, and were succeeded by evenings no less quiet in the book-lined study, or, if the season were warm, in the hayfield near the house, where husband and wife would sit reading and talking to each other till the evening glow died away and left the haycocks and the steep side of the wold, which backed the red-brick Vicarage, gray and cold and silent.

Troubles they had beyond the recurrent anxiety for Charles's health. A rascally agent, a man of great plausibility and charm of manner, pillaged them for some years, and they were only able to recover a portion of his plunderings (most of which Charles subsequently devoted to the repair of the church) after a great deal of trouble. It is characteristic that in after years they always spoke of this gentleman as though _he_ had been the person who had suffered most in the transaction and deserved most pity. Charles was indeed possessed of an almost saintly patience, and no crisis could ever wring from him any ejaculation more forcible than a half-humorous "I wish we were all in heaven." His wife's letters occasionally give us glimpses of days when the wish must often have been upon his lips, as when he was reluctantly compelled to join in a Harvest-Festival gathering in another parish. First of all we read how "poor Cubbie" (his wife's pet name for him) "was caught and dressed in a surplice which hung about him like a clothes bag." "Then he must join in a procession, with much singing and chanting, and then read the lessons in spite of a bad cold and hoarseness, and finally at the end of the day, in the full hubbub of a garden party, at which all the neighbourhood were present in their finery (poor Cubbie!), a cannon, which had been charged with blank cartridge for the occasion, went off unexpectedly and knocked down three boys who were standing in front of it. The boys, whose clothes were torn to rags and their faces burnt black, shrieked as though in the death agony, women fainted and men stampeded--and Cubbie 'wished we were all in heaven.'"

But Charles Turner's poems are, after all, the best mirror of his life. With Frederick it is otherwise. In spite of his great lyric gift, Frederick lacked the persistence and enthusiasm necessary for full self-expression. The want of proportion, which gave his ardent, erratic personality so much charm, prevented his longer poems being really successful. In spite of much beauty of phrase and richness of feeling, they lack architecture and have not sufficient unity to make them vital. Had he continued to work at lyrical writing after his first volume, he might have avoided falling into the desultory method, which marred his later work, and left a really large body of first-class poetry.

In the best of Charles's Sonnets, in all, that is, which spring from his daily experience, there breathes a spirit perpetually quickened by the beauty and holiness of common life and common things, an imagination which saw a life and a purpose not only in the ways of men and of all wild creatures and growing things, but in the half-human voice of the buoy-bell ringing on the shoals, the sad imprisoned heart-beat of the water-ram in the little wood-girt field, the welcome of the sunbeam in the copse running through the yielding shade to meet the wanderer, in the "mystic stair" of the steam thrashing-machine:

Accepting our full harvests like a God
With clouds about his shoulders.

and the "mute claim" of the old rocking-horse:

In the dim window where disused, he stands
While o'er him breaks the flickering limewalks' shade;
No provender, no mate, no groom has he--
His stall and pasture is your memory.[14]

But in spite of the intimate correspondence between Charles Turner's life and his art, an intimacy which only the seclusion of that life made possible, one cannot help regretting that fortune did not force upon him some calling which would have afforded a progressive stimulus to his creative powers. These years of devotion amongst the bleak hill-sides and flowery dingles of his remote parish did for him what a life of ease and sunshine did for Frederick. Both had great talents, but neither the tender felicity of Charles nor Frederick's heart of cloud and fire ever came to full development. They represent two extremes of the Tennyson temperament, the mean and perfection of which is found in Alfred. In the elder the lyric fury, in the younger the craftsman's humility of the more perfect poet were developed to excess, and both suffered for the affection and respect in which they held him whom they knew to be their master. Yet each has left himself a monument, some part at least of which is worthy to rank with the more complete achievement of their younger brother.

TENNYSON ON HIS CAMBRIDGE FRIENDS

ARTHUR HENRY HALLAM

I past beside the reverend walls
In which of old I wore the gown;
I roved at random thro' the town,
And saw the tumult of the halls;

And heard once more in college fanes
The storm their high-built organs make,
And thunder-music, rolling, shake
The prophet blazon'd on the panes;

And caught once more the distant shout,
The measured pulse of racing oars
Among the willows; paced the shores
And many a bridge, and all about

The same gray flats again, and felt
The same, but not the same; and last
Up that long walk of limes I past
To see the rooms in which he dwelt.

Another name was on the door:
I linger'd; all within was noise
Of songs, and clapping hands, and boys
That crash'd the glass and beat the floor;

Where once we held debate, a band
Of youthful friends, on mind and art,
And labour, and the changing mart,
And all the framework of the land;

When one would aim an arrow fair,
But send it slackly from the string;
And one would pierce an outer ring,
And one an inner, here and there;

And last the master-bowman, he,
Would cleave the mark. A willing ear
We lent him. Who, but hung to hear
The rapt oration flowing free

From point to point, with power and grace
And music in the bounds of law,
To those conclusions when we saw
The God within him light his face,

And seem to lift the form, and glow
In azure orbits heavenly-wise;
And over those ethereal eyes
The bar of Michael Angelo.

TO JAMES SPEDDING

ON THE DEATH OF HIS BROTHER

The wind, that beats the mountain, blows
More softly round the open wold,
And gently comes the world to those
That are cast in gentle mould.

And me this knowledge bolder made,
Or else I had not dared to flow
In these words toward you, and invade
Even with a verse your holy woe.

'Tis strange that those we lean on most,
Those in whose laps our limbs are nursed,
Fall into shadow, soonest lost:
Those we love first are taken first.

God gives us love. Something to love
He lends us; but, when love is grown
To ripeness, that on which it throve
Falls off, and love is left alone.

This is the curse of time. Alas!
In grief I am not all unlearn'd;
Once thro' mine own doors Death did pass;
One went, who never hath return'd.

He will not smile--not speak to me
Once more. Two years his chair is seen
Empty before us. That was he
Without whose life I had not been.

Your loss is rarer; for this star
Rose with you thro' a little arc
Of heaven, nor having wander'd far
Shot on the sudden into dark.

I knew your brother; his mute dust
I honour and his living worth:
A man more pure and bold and just
Was never born into the earth.

I have not look'd upon you nigh,
Since that dear soul hath fall'n asleep.
Great Nature is more wise than I:
I will not tell you not to weep.

And tho' mine own eyes fill with dew,
Drawn from the spirit thro' the brain,
I will not even preach to you,
"Weep, weeping dulls the inward pain."

Let Grief be her own mistress still.
She loveth her own anguish deep
More than much pleasure. Let her will
Be done--to weep or not to weep.

I will not say, "God's ordinance
Of Death is blown in every wind";
For that is not a common chance
That takes away a noble mind.

His memory long will live alone
In all our hearts, as mournful light
That broods above the fallen sun,
And dwells in heaven half the night.

Vain solace! Memory standing near
Cast down her eyes, and in her throat
Her voice seem'd distant, and a tear
Dropt on the letters as I wrote.

I wrote I know not what. In truth,
How _should_ I soothe you anyway,
Who miss the brother of your youth?
Yet something I did wish to say:

For he too was a friend to me:
Both are my friends, and my true breast
Bleedeth for both; yet it may be
That only silence suiteth best.

Words weaker than your grief would make
Grief more. 'Twere better I should cease
Although myself could almost take
The place of him that sleeps in peace.

Sleep sweetly, tender heart, in peace:
Sleep, holy spirit, blessed soul,
While the stars burn, the moons increase,
And the great ages onward roll.

Sleep till the end, true soul and sweet.
Nothing comes to thee new or strange.
Sleep full of rest from head to feet;
Lie still, dry dust, secure of change.

TO EDWARD FITZGERALD

(Dedication of "Tiresias," written in 1882)

Old Fitz, who from your suburb grange,
Where once I tarried for a while,
Glance at the wheeling Orb of change,
And greet it with a kindly smile;
Whom yet I see as there you sit
Beneath your sheltering garden-tree,
And while your doves about you flit,
And plant on shoulder, hand and knee,
Or on your head their rosy feet,
As if they knew your diet spares
Whatever moved in that full sheet
Let down to Peter at his prayers;
Who live on milk and meal and grass;
And once for ten long weeks I tried
Your table of Pythagoras,
And seem'd at first "a thing enskied"
(As Shakespeare has it) airy-light
To float above the ways of men,
Then fell from that half-spiritual height
Chill'd, till I tasted flesh again
One night when earth was winter-black,
And all the heavens flash'd in frost;
And on me, half-asleep, came back
That wholesome heat the blood had lost,
And set me climbing icy capes
And glaciers, over which there roll'd
To meet me long-arm'd vines with grapes
Of Eshcol hugeness; for the cold
Without, and warmth within me, wrought
To mould the dream; but none can say
That Lenten fare makes Lenten thought,
Who reads your golden Eastern lay,
Than which I know no version done
In English more divinely well;
A planet equal to the sun
Which cast it, that large infidel
Your Omar; and your Omar drew
Full-handed plaudits from our best
In modern letters, and from two,
Old friends outvaluing all the rest,
Two voices heard on earth no more;
But we old friends are still alive,
And I am nearing seventy-four,
While you have touch'd at seventy-five,
And so I send a birthday line
Of greeting; and my son, who dipt
In some forgotten book of mine
With sallow scraps of manuscript,
And dating many a year ago,
Has hit on this, which you will take
My Fitz, and welcome, as I know
Less for its own than for the sake
Of one recalling gracious times,
When, in our younger London days,
You found some merit in my rhymes,
And I more pleasure in your praise.

EPILOGUE AT END OF "TIRESIAS"

"One height and one far-shining fire"
And while I fancied that my friend
For this brief idyll would require
A less diffuse and opulent end,
And would defend his judgment well,
If I should deem it over nice--
The tolling of his funeral bell
Broke on my Pagan Paradise,
And mixt the dream of classic times
And all the phantoms of the dream,
With present grief, and made the rhymes,
That miss'd his living welcome, seem
Like would-be guests an hour too late,
Who down the highway moving on
With easy laughter find the gate
Is bolted, and the master gone.
Gone into darkness, that full light
Of friendship! past, in sleep, away
By night, into the deeper night!
The deeper night? A clearer day
Than our poor twilight dawn on earth--
If night, what barren toil to be!
What life, so maim'd by night, were worth
Our living out? Not mine to me
Remembering all the golden hours
Now silent, and so many dead,
And him the last; and laying flowers,
This wreath, above his honour'd head,
And praying that, when I from hence
Shall fade with him into the unknown,
My close of earth's experience
May prove as peaceful as his own.

TO JOHN MITCHELL KEMBLE

My hope and heart is with thee--thou wilt be
A latter Luther, and a soldier-priest
To scare church-harpies from the master's feast;
Our dusted velvets have much need of thee:
Thou art no sabbath-drawler of old saws,
Distill'd from some worm-canker'd homily;
But spurr'd at heart with fieriest energy
To embattail and to wall about thy cause
With iron-worded proof, hating to hark
The humming of the drowsy pulpit-drone
Half God's good sabbath, while the worn-out clerk
Brow-beats his desk below. Thou from a throne
Mounted in heaven wilt shoot into the dark
Arrows of lightnings. I will stand and mark.

TO J. W. BLAKESLEY

AFTERWARDS DEAN OF LINCOLN

I

Clear-headed friend, whose joyful scorn,
Edged with sharp laughter, cuts atwain
The knots that tangle human creeds,
The wounding cords that bind and strain
The heart until it bleeds,
Ray-fringed eyelids of the morn
Roof not a glance so keen as thine:
If aught of prophecy be mine,
Thou wilt not live in vain.

II

Low-cowering shall the Sophist sit;
Falsehood shall bare her plaited brow:
Fair-fronted Truth shall droop not now
With shrilling shafts of subtle wit.
Nor martyr-flames, nor trenchant swords
Can do away that ancient lie;
A gentler death shall Falsehood die,
Shot thro' and thro' with cunning words.

III

Weak Truth a-leaning on her crutch,
Wan, wasted Truth in her utmost need,
Thy kingly intellect shall feed,
Until she be an athlete bold,
And weary with a finger's touch
Those writhed limbs of lightning speed;
Like that strange angel which of old,
Until the breaking of the light,
Wrestled with wandering Israel,
Past Yabbok brook the livelong night,
And heaven's mazed signs stood still
In the dim tract of Penuel.

TO R. C. TRENCH

AFTERWARDS ARCHBISHOP OF DUBLIN

(Dedication of "The Palace of Art")

I send you here a sort of allegory,
(For you will understand it) of a soul,
A sinful soul possess'd of many gifts,
A spacious garden full of flowering weeds,
A glorious Devil, large in heart and brain,
That did love Beauty only, (Beauty seen
In all varieties of mould and mind)
And Knowledge for its beauty; or if Good,
Good only for its beauty, seeing not
That Beauty, Good, and Knowledge, are three sisters
That doat upon each other, friends to man,
Living together under the same roof,
And never can be sunder'd without tears.
And he that shuts Love out, in turn shall be
Shut out from Love, and on her threshold lie
Howling in outer darkness. Not for this
Was common clay ta'en from the common earth
Moulded by God, and temper'd with the tears
Of angels to the perfect shape of man.

TO THE REV. W. H. BROOKFIELD

Brooks, for they call'd you so that knew you best,
Old Brooks, who loved so well to mouth my rhymes,
How oft we two have heard St. Mary's chimes!
How oft the Cantab supper, host and guest,
Would echo helpless laughter to your jest!
How oft with him we paced that walk of limes,
Him, the lost light of those dawn-golden times,
Who loved you well! Now both are gone to rest.
You man of humorous-melancholy mark,
Dead of some inward agony--is it so?
Our kindlier, trustier, Jaques, past away!
I cannot laud this life, it looks so dark:
[Greek: Skias onar]--dream of a shadow, go--
God bless you. I shall join you in a day.

TO EDMUND LUSHINGTON

ON HIS MARRIAGE WITH CECILIA TENNYSON

O true and tried, so well and long,
Demand not thou a marriage lay;
In that it is thy marriage day
Is music more than any song.

Nor have I felt so much of bliss
Since first he told me that he loved
A daughter of our house; nor proved
Since that dark day a day like this;

Tho' I since then have number'd o'er
Some thrice three years: they went and came,
Remade the blood and changed the frame,
And yet is love not less, but more;

No longer caring to embalm
In dying songs a dead regret,
But like a statue solid-set,
And moulded in colossal calm.

Regret is dead, but love is more
Than in the summers that are flown,
For I myself with these have grown
To something greater than before;

Which makes appear the songs I made
As echoes out of weaker times,
As half but idle brawling rhymes,
The sport of random sun and shade.

But where is she, the bridal flower,
That must be made a wife ere noon?
She enters, glowing like the moon
Of Eden on its bridal bower:

On me she bends her blissful eyes
And then on thee; they meet thy look
And brighten like the star that shook
Betwixt the palms of paradise.

O when her life was yet in bud,
He too foretold the perfect rose.
For thee she grew, for thee she grows
For ever, and as fair as good.

And thou art worthy; full of power;
As gentle; liberal-minded, great,
Consistent; wearing all that weight
Of learning lightly like a flower.

But now set out: the noon is near,
And I must give away the bride;
She fears not, or with thee beside
And me behind her, will not fear.

For I that danced her on my knee,
And watch'd her on her nurse's arm,
That shielded all her life from harm
At last must part with her to thee;

Now waiting to be made a wife,
Her feet, my darling, on the dead;
Their pensive tablets round her head,
And the most living words of life

Breathed in her ear. The ring is on,
The "wilt thou" answer'd, and again
The "wilt thou" ask'd, till out of twain
Her sweet "I will" has made you one.

Now sign your names, which shall be read,
Mute symbols of a joyful morn,
By village eyes as yet unborn;
The names are sign'd, and overhead

Begins the clash and clang that tells
The joy to every wandering breeze;
The blind wall rocks, and on the trees
The dead leaf trembles to the bells.

O happy hour, and happier hours
Await them. Many a merry face
Salutes them--maidens of the place,
That pelt us in the porch with flowers.

O happy hour, behold the bride
With him to whom her hand I gave.
They leave the porch, they pass the grave
That has to-day its sunny side.

To-day the grave is bright for me,
For them the light of life increased,
Who stay to share the morning feast,
Who rest to-night beside the sea.

Let all my genial spirits advance
To meet and greet a whiter sun;
My drooping memory will not shun
The foaming grape of eastern France.

It circles round, and fancy plays,
And hearts are warm'd and faces bloom,
As drinking health to bride and groom
We wish them store of happy days.

Nor count me all to blame if I
Conjecture of a stiller guest,
Perchance, perchance, among the rest,
And, tho' in silence, wishing joy.

But they must go, the time draws on,
And those white-favour'd horses wait;
They rise, but linger; it is late;
Farewell, we kiss, and they are gone.

A shade falls on us like the dark
From little cloudlets on the grass,
But sweeps away as out we pass
To range the woods, to roam the park,

Discussing how their courtship grew,
And talk of others that are wed,
And how she look'd, and what he said,
And back we come at fall of dew.

Again the feast, the speech, the glee,
The shade of passing thought, the wealth
Of words and wit, the double health,
The crowning cup, the three-times-three,

And last the dance;--till I retire:
Dumb is that tower which spake so loud,
And high in heaven the streaming cloud,
And on the downs a rising fire:

And rise, O moon, from yonder down,
Till over down and over dale
All night the shining vapour sail
And pass the silent-lighted town,

The white-faced halls, the glancing rills,
And catch at every mountain head,
And o'er the friths that branch and spread
Their sleeping silver thro' the hills;

And touch with shade the bridal doors,
With tender gloom the roof, the wall;
And breaking let the splendour fall
To spangle all the happy shores

By which they rest, and ocean sounds,
And, star and system rolling past,
A soul shall draw from out the vast
And strike his being into bounds,

And, moved thro' life of lower phase,
Result in man, be born and think,
And act and love, a closer link
Betwixt us and the crowning race

Of those that, eye to eye, shall look
On knowledge; under whose command
Is Earth and Earth's, and in their hand
Is Nature like an open book;

No longer half-akin to brute,
For all we thought and loved and did,
And hoped, and suffer'd, is but seed
Of what in them is flower and fruit;

Whereof the man, that with me trod
This planet, was a noble type
Appearing ere the times were ripe,
That friend of mine who lives in God,

That God, which ever lives and loves,
One God, one law, one element,
And one far-off divine event,
To which the whole creation moves.

CHARLES TENNYSON-TURNER

_Midnight, June 30, 1879_

I

Midnight--in no midsummer tune
The breakers lash the shores:
The cuckoo of a joyless June
Is calling out of doors:

And thou hast vanish'd from thine own
To that which looks like rest,
True brother, only to be known
By those who love thee best.

II

Midnight--and joyless June gone by,
And from the deluged park
The cuckoo of a worse July
Is calling thro' the dark:

But thou art silent underground,
And o'er thee streams the rain,
True poet, surely to be found
When Truth is found again.

III

And, now to these unsummer'd skies
The summer bird is still,
Far off a phantom cuckoo cries
From out a phantom hill;

And thro' this midnight breaks the sun
Of sixty years away,
The light of days when life begun,
The days that seem to-day,

When all my griefs were shared with thee,
As all my hopes were thine--
As all thou wert was one with me,
May all thou art be mine!

TENNYSON AND LUSHINGTON

By Sir HENRY CRAIK, K.C.B., M.P.

Amongst the group of men attached to Lord Tennyson by bonds of early and life-long friendship, and of reverent affection, there is none in whose case the tie is surrounded with more of peculiar interest than Edmund Lushington. Those who in later years were privileged to know the Poet's brother-in-law, and learned to appreciate his character, could well understand the closeness of the sympathy between them.

Edmund Law Lushington was the son of Edmund Henry Lushington, who at one time held important office in Ceylon. The eldest of four[15] gifted brothers, Edmund was born on the 10th of January 1811. The family house was, at first, at Hanwell, from which, some years later, they moved to Park House, near Maidstone. That continued to be the home to which Edmund Lushington returned at every break in his work at Glasgow, and was his permanent residence from his retirement in 1875 until his death on the 13th of July 1893. Young Lushington went to Charterhouse School, and there--as afterwards for a time at Trinity--he had Thackeray as his contemporary. To the friendship thus early begun Thackeray, in long after years, paid a gracious tribute in _The Virginians_, where he cites the Professor at Glasgow and one at Cambridge (W. H. Thompson) as scholars who could more than hold their own against the great names of older days.

As his junior at Trinity, Lushington had at first no acquaintance with Tennyson, and he has himself told us how he first came to know him by sight, when Arthur Hallam declaimed his prize essay in the College Chapel, and Tennyson sat on the bench just below listening intently to the words of his friend. Already Tennyson's name was well known in the University; many of his poems were handed about in manuscript, and the rank to which they were entitled was a topic of discussion in College societies. It was only after two years at Cambridge that Lushington's friendship with Tennyson began, and as joint members of the "Apostles'" Society they were thrown into close intercourse. In 1832 Lushington was Senior Classic in a notable list, which contained also the names of Shilleto, the famous coach; Alford, afterwards Dean of Canterbury and Biblical commentator; and William Hepworth Thompson, afterwards Master of Trinity. Six years later, in 1838, he was chosen as Professor of Greek in Glasgow from a field which comprised competitors so notable as Robert Lowe, afterwards Lord Sherbrooke, and Archibald Campbell Tait, afterwards Archbishop of Canterbury. As bearing on this we may quote--as a specimen of his quaint and kindly humour--a letter which Lushington wrote to Tennyson from Addington Park, where he was staying on a visit to the Archbishop on October 13, 1880:

On Monday there came on a visit Lord Sherbrooke (R. Lowe).... It was
good that yesterday morning one pony chaise held three men who,
forty-two years ago, were regarded as rival candidates for the Greek
Chair at Glasgow, whereby you will at once admit the cogency of the
argument that if I had not become Greek Professor I should probably
have been either Archbishop of Canterbury or Chancellor of the
Exchequer--possibly both, as no doubt in old times the same back has
borne both offices.

This appointment, which banished young Lushington from all the scenes of his early days, did not break the friendship with Tennyson, which had quickly ripened into closest intimacy. In 1840 Tennyson came to visit at Park House,--still Lushington's home during the long summer vacation,--and in 1842 he was present at that festival of the Maidstone Institute which is described in the opening verses of "The Princess." The same summer saw the bond drawn tighter by the marriage of Lushington to the Poet's youngest and best-loved sister, Cecilia. It is that marriage which is acclaimed in immortal words in the Epilogue to "In Memoriam," and the tribute there paid to the bridegroom is one which comes home to all who knew him, as a faithful epitome of his personality:

And thou art worthy; full of power;
As gentle, liberal-minded, great,
Consistent; wearing all that weight
Of learning lightly like a flower.

The marriage became one link more in that enduring friendship. Those who knew Mrs. Lushington in later years--when jet-black hair and brilliant clearness of complexion were still marvellously preserved--can easily picture her earlier beauty, which must have had much of that "profile like that on a coin"--which, we are told, was characteristic of Emily, the betrothed of Arthur Hallam. Mrs. Lushington had a fine contralto voice, with something of the music that one felt in the Poet's rich tones.[16] She was a charming and even a brilliant companion, and, when in good health, enjoyed society. But Glasgow College--as it was then generally called, amidst the murky surroundings of its old site, close to the reeking slums of the New Vennel--was an abode little fitted for one accustomed to warmer suns and more congenial scenes. Mrs. Lushington's health was grievously broken, and the northern chills and fogs told heavily on her spirits. She could rarely join her husband at Glasgow, and it became necessary for him, during the session which lasted through the six winter months, to take a house in Edinburgh and rejoin his wife only for week-ends. Attached as Lushington was to his home and his family, the burden of ill-health that lay heavily on his household was a grievous one. It caused him much anxiety. Long pain often racked the nerves and dulled the bright spirit of his wife; his only son died after a long and painful illness, and took the light from his life; a daughter followed that son to the grave; and his brother Henry,[17] whose brilliant poetic gifts had been fully proved in the volume of poems entitled _Points of War_, which he wrote in conjunction with his brother Franklin, died at Paris in the fulness of his powers. He learned, as he writes in one of his letters to Tennyson, that "the roots of love and sorrow are verily twined together abysmally deep." But never once, in all his letters, or in any of his views of his fellow-men, did grief or sorrow drive him into bitterness or cynicism, or make him bate a jot of his calm and reverent fortitude or of his deep and generous charity to his fellow-men.

Throughout that long life, sustained by great thoughts, enriched by wide and varied learning, and blessed by ties of closest affection, Lushington preserved consistently the ideals of the early days, and remained to the last the same strong yet gentle friend, at once generous in admiration and judicial in criticism, that he had been when Tennyson drew his portrait in those immortal lines. We know what were the interests and tastes of these early days. Dean Bradley, in his reminiscences of visits to Park House in 1841 and 1842, tells us how the brothers, and especially the Professor--"Uncle Edmund"--seemed as much at home in the language of the Greek dramatists as if it was their native tongue; and the present writer remembers how, fifty years later, he heard Lord Tennyson recall the quotation from the _Ecclesiazousae_, by which one or other of the brothers, on an occasion at Park House which must have been almost contemporaneous with the Dean's reminiscences, marked the propensity of the ladies of the party to assiduous attendance at Church. Dean Bradley remarks how remote was their outlook on the world from that of the Oxford of his time, dominated by the Tractarian movement. Tolerance, breadth of view, balanced judgment, and deep reverence for all that was noblest in human thought and achievement--these gave the keynote to their minds and energies. Partisanship, sectarian controversy, ecclesiastical disputes, seemed to belong to an alien world.