It ranges in subject from a thrush song to a religious philosophy, in form from the simplest love lyric to the labored historical drama.

[Sidenote: TYPICAL SHORT POEMS]

Of the shorter poems of Tennyson there are a few which should be known to every student: first, because they are typical of the man who stands for modern English poetry; and second, because one is constantly meeting references to these poems in books or magazines or even newspapers. Among such representative poems are: "The Lotos-Eaters," a dream picture characterized by a beauty and verbal melody that recall Spenser's work; "Locksley Hall" and "Locksley Hall Sixty Years After," the one a romance throbbing with youth and hope, the other representing the same hero grown old, despondent and a little carping, but still holding fast to his ideals; "Sir Galahad," a medieval romance of purity; "Ulysses," an epitome of exploration in all ages; "The Revenge," a stirring war song; "Rizpah," a dramatic portrayal of a mother's grief for a wayward son; "Romney's Remorse," a character study of Tennyson's later years; and a few shorter poems, such as "The Higher Pantheism," "Flower in the Crannied Wall,"

"Wages" and "The Making of Man," which reflect the poet's mood before the problems of science and of faith.

[Ill.u.s.tration: ALFRED TENNYSON]

To these should be added a few typical patriotic pieces, which show Tennyson speaking as Poet Laureate for his country: "Ode on the Death of Wellington," "Charge of the Light Brigade," "Defense of Lucknow," "Hands all Round," and the imperial appeal of "Britons, Hold Your Own" or, as it is tamely called, "Opening of the Indian and Colonial Exposition." The beginner may also be reminded of certain famous little melodies, such as the "Bugle Song," "Sweet and Low," "Tears," "The Brook," "Far, Far, Away"

and "Crossing the Bar," which are among the most perfect that England has produced. And, as showing Tennyson's extraordinary power of youthful feeling, at least one lyric of his old age should be read, such as "The Throstle" (a song that will appeal especially to all bird lovers), beginning:

"Summer is coming, summer is coming, I know it, I know it, I know it; Light again, leaf again, life again, love again"-- Yes, my wild little poet!

Here Tennyson is so merged in his subject as to produce the impression that the lyric must have been written not by an aged poet but by the bird himself. Reading the poem one seems to hear the brown thrasher on a twig of the wild-apple tree, pouring his heart out over the thicket which his mate has just chosen for a nesting place.

[Sidenote: IDYLLS OF THE KING]

Of the longer works of Tennyson the most notable is the _Idylls of the King_, a series of twelve poems retelling part of the story of Arthur and his knights. Tennyson seems to have worked at this poem in haphazard fashion, writing the end first, then a fragment here or there, at intervals during half a century. Finally he welded his material into its present form, making it a kind of allegory of human life, in which man's animal nature fights with his spiritual aspirations. As Tennyson wrote, in his "Finale" to Queen Victoria:

Accept this old, imperfect tale, New-old, and shadowing Sense at war with Soul.

The beginner will do well to forget the allegory and read the poem for its sustained beauty of expression and for its reflection of the modern ideal of honor. For, though Malory and Tennyson tell the same story, there is this significant difference between the _Morte d' Arthur_ and the _Idylls of the King_: one is thoroughly medieval, and the other almost as thoroughly modern. Malory in simple prose makes his story the expression of chivalry in the Middle Ages; his heroes are true to their own time and place. Tennyson in melodious blank verse changes his material freely so as to make it a reflection of a nineteenth-century gentleman disguised in a suit of armor and some old knightly raiment.

One may add that some readers cleave to Tennyson, while others greatly prefer Malory. There is little or no comparison between the two, and selections from both should be read, if only to understand how this old romance of Arthur has appealed to writers of different times. In making a selection from the _Idylls_ (the length of the poem is rather forbidding) it is well to begin with the twelfth book, "The Pa.s.sing of Arthur," which was first to be written, and which reflects the n.o.ble spirit of the entire work.

In _The Princess: a Medley_ the poet attempts the difficult task of combining an old romantic story with a modern social problem; and he does not succeed very well in harmonizing his incongruous materials.

[Sidenote: THE PRINCESS]

The story is, briefly, of a princess who in youth is betrothed to a prince. When she reaches what is called the age of discretion (doubtless because that age is so frequently marked by indiscretions) she rebels against the idea of marriage, and founds a college, herself the princ.i.p.al, devoted to the higher education of women. The prince, a gallant blade, and a few of his followers disguise themselves as girls and enter the school. When an unruly masculine tongue betrays him he is cast out with maledictions on his head. His father comes with an army, and makes war against the father of the princess. The prince joins blithely in the fight, is sore wounded, and is carried to the woman's college as to a hospital. The princess nurses him, listens to his love tale, and the story ends in the good old-fashioned way.

There are many beautiful pa.s.sages in _The Princess_, and had Tennyson been content to tell the romantic story his work would have had some pleasant suggestion of Shakespeare's _As You Like It_; but the social problem spoils the work, as a moralizing intruder spoils a bit of innocent fun. Tennyson is either too serious or not serious enough; he does not know the answer to his own problem, and is not quite sincere in dealing with it or in coming to his lame and impotent conclusion. Few readers now attempt the three thousand lines of _The Princess_, but content themselves with a few lyrics, such as "Ask Me No More," "O Swallow Flying South,"

"Tears," "Bugle Song" and "Sweet and Low," which are familiar songs in many households that remember not whence they came. [Footnote: The above criticism of _The Princess_ applies, in some measure, to Tennyson's _Maud: a Monodrama_, a story of pa.s.sionate love and loss and sorrow.

Tennyson wrote also several dramatic works, such as _Harold_, _Becket_ and _Queen Mary_, in which he attempted to fill some of the gaps in Shakespeare's list of chronicle plays.]

[Sidenote: ENGLISH IDYLS]

More consistent than _The Princess_ is a group of poems reflecting the life and ideals of simple people, to which Tennyson gave the general name of _English Idyls_. The longest and in some respects the best of these is "Enoch Arden," a romance which was once very popular, but which is now in danger of being shelved because the modern reader prefers his romance in prose form. Certain of the famous poems which we have already named are cla.s.sed among these English idyls; but more typical of Tennyson's purpose in writing them are "Dora," "The Gardener's Daughter" and "Aylmer's Field,"

in which he turns from ancient heroes to sing the romance of present-day life.

[Ill.u.s.tration: SUMMERHOUSE AT FARRINGFORD Here Tennyson wrote "Enoch Arden"]

Among mature readers, who have met the sorrows of life or pondered its problems, the most admired of Tennyson's work is _In Memoriam_ (1850), an elegy inspired by the death of Arthur Hallam. As a memorial poem it invites comparison with others, with Milton's "Lycidas," or Sh.e.l.ley's "Adonais," or Gray's "Elegy in a Country Churchyard." Without going deeply into the comparison we may note this difference: that Tennyson's work is more personal and sympathetic than any of the others. Milton had only a slight acquaintance with his human subject (Edward King) and wrote his poem as a memorial for the college rather than for the man; Sh.e.l.ley had never met Keats, whose early death he commemorates; Gray voiced an impersonal melancholy in the presence of the unknown dead; but Tennyson had lost his dearest friend, and wrote to solace his own grief and to keep alive a beautiful memory. Then, as he wrote, came the thought of other men and women mourning their dead; his view broadened with his sympathy, and he wrote other lyrics in the same strain to reflect the doubt or fear of humanity and its deathless faith even in the shadow of death.

It is this combination of personal and universal elements which makes _In Memoriam_ remarkable. The only other elegy to which we may liken it is Emerson's "Threnody," written after the death of his little boy. But where Tennyson offers an elaborate wreath and a polished monument, Emerson is content with a rugged block of granite and a spray of nature's evergreen.

[Sidenote: PLAN OF THE POEM]

_In Memoriam_ occupied Tennyson at intervals for many years, and though he attempted to give it unity before its publication in 1850, it is still rather fragmentary. Moreover, it is too long; for the poet never lived who could write a hundred and thirty-one lyrics upon the same subject, in the same manner, without growing monotonous.

There are three more or less distinct parts of the work, [Footnote: Tennyson divided _In Memoriam_ into nine sections. Various attempts have recently been made to organize the poem and to make a philosophy of it, but these are ingenious rather than convincing.]

corresponding to three successive Christmas seasons. The first part (extending to poem 30) is concerned with grief and doubt; the second (to poem 78) exhibits a calm, serious questioning of the problem of faith; the third introduces a great hope amid tender memories or regrets, and ends (poem 106) with that splendid outlook on a new year and a new life, "Ring Out Wild Bells." This was followed by a few more lyrics of mounting faith, inspired by the thought that divine love rules the world and that our human love is immortal and cannot die. The work ends, rather incongruously, with a marriage hymn for Tennyson's sister.

The spirit of _In Memoriam_ is well reflected in the "Proem"

or introductory hymn, "Strong Son of G.o.d, Immortal Love"; its message is epitomized in the last three lines:

One G.o.d, one law, one element, And one far-off divine event To which the whole creation moves.

THE QUALITY OF TENNYSON. The charm of Tennyson is twofold. As the voice of the Victorian Age, reflecting its thought or feeling or culture, its intellectual quest, its moral endeavor, its pa.s.sion for social justice, he represents to us the spirit of modern poetry; that is, poetry which comes close to our own life, to the aims, hopes, endeavors of the men and women of to-day. With this modern quality Tennyson has the secret of all old poetry, which is to be eternally young. He looked out upon a world from which the first wonder of creation had not vanished, where the sunrise was still "a glorious birth," and where love, truth, beauty, all inspiring realities, were still waiting with divine patience to reveal themselves to human eyes.

There are other charms in Tennyson: his romantic spirit, his love of nature, his sense of verbal melody, his almost perfect workmanship; but these the reader must find and appreciate for himself. The sum of our criticism is that Tennyson is a poet to have handy on the table for the pleasure of an idle hour. He is also (and this is a better test) an excellent poet to put in your pocket when you go on a journey. So shall you be sure of traveling in good company.

ROBERT BROWNING (1812-1889)

In their lifelong devotion to a single purpose the two chief poets of the Victorian Age are much alike; in most other respects they are men of contrasts. Tennyson looked like a poet, Browning like a business man.

Tennyson was a solitary singer, never in better company than when alone; Browning was a city man, who must have the excitement of society.

Tennyson's field was the nation, its traditions, heroes, problems, ideals; but Browning seldom went beyond the individual man, and his purpose was to play Columbus to some obscure human soul. Tennyson was at times rather narrowly British; Browning was a cosmopolitan who dealt broadly with humanity. Tennyson was the poet of youth, and will always be read by the young in heart; Browning was the philosopher, the psychologist, the poet of mature years and of a few cultivated readers.

LIFE. Browning portrays so many different human types as to make us marvel, but we may partly understand his wide range of character-studies by remembering he was an Englishman with some Celtic and German ancestors, and with a trace of Creole (Spanish-Negro) blood. He was born and grew up at Camberwell, a suburb of London, and the early home of Ruskin. His father was a Bank-of-England clerk, a prosperous man and fond of books, who encouraged his boy to read and to let education follow the lead of fancy. Before Browning was twenty years old, father and son had a serious talk which ended in a kind of bargain: the boy was to live a life of culture, and the father was to take care of all financial matters,--an arrangement which suited them both very well.

[Ill.u.s.tration: ROBERT BROWNING]

Since boyhood Browning had been writing romantic verses, influenced first by Byron, then by Sh.e.l.ley, then by Keats. His first published works, _Pauline_ and _Paracelsus_, were what he called soul-studies, the one of a visionary, "a star-treader" (its hero was Sh.e.l.ley), the other of a medieval astrologer somewhat like Faust. These two works, if one had the patience of a puzzle-worker to read them, would be found typical of all the longer poems that Browning produced in his sixty years of writing.

These early works were not read, were not even criticized; and it was not till 1846 that Browning became famous, not because of his books but because he eloped with Elizabeth Barrett, who was then the most popular poet in England. [Footnote: The fame of Miss Barrett in mid century was above that of Tennyson or Browning. She had been for a long time an invalid. Her father, a tyrannical kind of person, insisted on her keeping her room, and expected her to die properly there. He had no personal objection to Browning, but flouted the idea of his famous daughter marrying with anybody.] The two went to Florence, discovered that they were "made for each other," and in mutual helpfulness did their best work. They lived at "Casa Guidi," a house made famous by the fact that Browning's _Men and Women_ and Mrs. Browning's _Sonnets from the Portuguese_ were written there.

[Ill.u.s.tration: MRS. BROWNING'S TOMB IN THE PROTESTANT CEMETERY AT FLORENCE]

[Sidenote: THE BROWNING CULT]

This happy period of work was broken by Mrs. Browning's death in 1861. Browning returned to England with his son, and to forget his loss he labored with unusual care on _The Ring and the Book_ (1868), his bulkiest work. The rest of his life was spent largely in London and in Venice. Fame came to him tardily, and with some unfortunate results. He became known as a poet to be likened unto Shakespeare, but more a.n.a.lytical, calling for a superior intelligence on the part of his readers, and presently a mult.i.tude of Browning clubs sprang up in England and America. Delighted with his popularity among the elect, Browning seems to have cultivated his talent for obscurity, or it may be that his natural eccentricity of style increased with age, as did Wordsworth's prosiness. Whatever the cause, his work grew steadily worse until a succession of grammar defying volumes threatened to separate all but a few devotees from their love of Browning. He died in Venice in 1889. On the day of his death appeared in London his last book, _Asolando_. The "Epilogue" to that volume is a splendid finale to a robust life.

One who never turned his back but marched breast forward, Never doubted clouds would break, Never dreamed, though right were worsted, wrong would triumph, Held we fall to rise, are baffled to fight better, Sleep to wake

Tennyson's "Crossing the Bar" is a beautiful swan song; but Browning's last poem is a bugle call, and it sounds not "taps" but the "reveille."

BROWNING'S DRAMATIC QUALITY. Nearly all the works of Browning are dramatic in spirit, and are commonly dramatic also in form. Sometimes he writes a drama for the stage, such as _A Blot in the 'Scutcheon_, _Colombe's Birthday_ and _In a Balcony_,--dramas without much action, but packed with thought in a way that would have delighted the Schoolmen. More often his work takes the form of a dramatic monologue, such as "My Last d.u.c.h.ess" and "The Bishop Orders his Tomb," in which one person speaks and, like Peter, his speech bewrayeth him; for he reveals very plainly the kind of man he is. Occasionally Browning tries to sing like another poet, but even here his dramatic instinct is strong. He takes some crisis, some unexpected meeting or parting of the ways of life, and proceeds to show the hero's character by the way he faces the situation, or talks about it. So when he attempts even a love song, such as "The Last Ride Together," or a ballad, such as "The Pied Piper," he regards his subject from an unusual viewpoint and produces what he calls a dramatic lyric.

[Sidenote: ACTION VS. THOUGHT]

There are at least two ways in which Browning's work differs from that of other dramatists. When a trained playwright produces a drama his rule is, "Action, more action, and still more action." Moreover, he stands aside in order to permit his characters to reveal their quality by their own speech or action. For example, Shakespeare's plays are filled with movement, and he never tells you what he thinks of Portia or Rosalind or Macbeth, or what ought to become of them. He does not need to tell. But Browning often halts his story to inform you how this or that situation should be met, or what must come out of it. His theory is that it is not action but thought which determines human character; for a man may be doing what appears to be a brave or generous deed, yet be craven or selfish at heart; or he may be engaged in some apparently sinful proceeding in obedience to a motive that we would acclaim as n.o.ble if the whole truth were known "It is the soul and its thoughts that make the man," says Browning, "little else is worthy of study." So he calls most of his works soul studies. If we label them now dramas, or dramatic monologues, or dramatic lyrics (the three cla.s.sifications of his works), we are to remember that Browning is the one dramatist who deals with thoughts or motives rather than with action.

[Ill.u.s.tration: THE PALAZZO REZZONICO BROWNING'S HOME IN VENICE]

WHAT TO READ. One should begin with the simplest of Browning's works, and preferably with those in which he shows some regard for verbal melody. As romantic love is his favorite theme, it is perhaps well to begin with a few of the love lyrics "My Star," "By the Fireside," "Evelyn Hope," and especially "The Last Ride Together". To these may be added some of the songs that brighten the obscurity of his longer pieces, such as "I Send my Heart," "Oh Love--No Love" and "There's a Woman Like a Dewdrop". Next in order are the ballads, "The Pied Piper," "Herve Riel" and "How they Brought the Good News"; and then a few miscellaneous short poems, such as "Home Thoughts from Abroad," "Prospice," "The Boy and the Angel" and "Up at a Villa--Down in the City."

[Sidenote: DRAMATIC MONOLOGUES]