dli
zmjfate$,
Volume XYII-Ne. 259.
LANCASTER, PA., FRIDAY, JULY 1. 1881.
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Eancaster JtrtdKcjenccr.
FRIDAY EVENING, JULY 1, 1881.
Tennjsen and Nature.
A Study Kcatt by Mr. O. F. Adams te Ills
Clans In English Literature, Tues
day, May 31, 1881.
"The modern poet," says a recent
writer, " is net content withdrawing from
nature the assistance of an occasional sim
ile ; he makes her his continual study, and
appeals te her for subjects as well as for
illustrations." There is no disputing
this statement, as any reader of modern
poetry knows. Until the present century
there was little love et nature for its own
sake among the ceets. There is much
talk about nature in the verse of an cider
day, and new and then a description which
shows an accuracy of observation, as in the
following instances :
" daffodils,
That come before the swallow flares, and take
The winds of March with beauty. "
"There is a willow grows ascaunt the brook.
Which shows his hear leaves in the glassy
stream. "
But such knowledge of details is cempar
atively rare and found eftcnest in the
pages of the world's poet. It was the
fashion te admire nature-in the last cen
tury, and we have endless panegyrics upon
it, but they are one and all generalizations
and we seach in vain, even in the lines of
Thomsen, whom his contemporaries look
ed upon as nature's high priest, for any mi
nuteness of detail which will reveal a lece
for nattuc. What the 18th century poets
liked was nature, toned down by the
hand el man, but they never went near
enough te nature itself te learn any of
her secrets.
Scott was one of the first te write of
nature and her ways as if he loved
her, and te paint for us landscapes
that live in the memory, and yet with him
it has been observed that very often his
landscapes arc but .is backgrounds te the
stage of his action. But with Tennyson,
much as he values an artistic background,
he does net always paint for us his land
scape solely with that end in view. Else
why should he pause in his narrative as
he docs in "The Gardener's Daughter"
te show us something like this ?
" A league of grass, w.tshM by a slew, bread
stream.
That, stirred with languid pulses et the e.ir,
Waves all its lazy lilies, and creeps en,
Harge-hulen, te three arches of a bridge
Crown tl with the iuintcr towers.
The fields between
Are dewy fresh, browsed by deep uddcr'd kine.
And all about the large lime feathers low.
The lime a summer home tit murmureus
things."
Where would you find a pietuie like
that in the poetry of the last century '.'
Nete the well chosen adjectives, "The
lauguid pulses of the ear,:
The lazy
lilies," and the delicious suggesttvencss
conveyed iu the phrase " Summer home
of murmureus things." Similes drawn
from nature were no novelties in the days
of Pepe and Drydcn, but would you find
either of these poets speaking "of
" eyes
darkest pansies, and that hair
than ashliuds in the trout of
Darker than
Mere black
March.'
The first comparison might possibly
have suggested itself, but neither these
poets or any ethers in that polished age
had eyes keen enough te. perceive like
Tennyson the peculiar blackness of ash
buds iu early March. This accuracy of
detail is characteristic of Tennyson and
gives an added charm of truthfulness.
"A cedar spread his dark green layers of shade
and memc'nllv
The twinkling laiuel scattered silver lights."
Sometimes he gives us careful compari
sons like these :
" t neught or two,
That like a pifrplc beech among the givcn-i
Leeks out of place.''
" We. cetirnc d about
The subject most at heart, mere near and near.
Like doves about a dovecote, wheeling round
The central wish until we settled there."
The first of these two comparisons is from
" Edwin Merris ' and the second from
"The Gardener's Daughter," that, finest
of the earlier poems, while the two follow
ing are from "The Broek." In the first
Lawrence Aylmer is speaking of his broth
er Edmund :
"In our school hooks we say.
Of these thai held their heads above the erf iwd
Thev lleurished then or there ; but lite in him
Could scarce be said te nourish, only teueh'd
On such a time as gees before the leaf.
When all the weed stands in a mist efgrcen
And nothing perfect."
Iii this passage, while Tennyson by com
parison accurately portrays the tender
nature of the young Edmund, he at the
same titne without any appearance of cf cf
fei t characterizes an aspect of early spi ing
iu a way that has never been excelled. In
the ether passage where Lawrence Aylmer
says of the hair of Katie Willows that it
was
"In gloss and hue thechesinnt, when the shell
Divides three-leld le show the iruil within,'"
you will readily admit that Tennyson has
here done two things equally well. Here is
a noticeable comparison of quite a differ
ent sort from " Enid " at the point where
Gcraiut has overthrown Earl Limours
and the scared followers of the latter have
fled
"Likcar.he.il
Ot darting 1Kb, that en a. summer morn
Adewn the crystal dikes at Camelet
Come slipping o'er their shadows en the sand,
Hut it a man who stands upon the brink
lint lilt a shining hand against the sun,
There is net lcltthe twinkle et a lln
Hetwixt the ciessv Islets white in ilewer ;
Se scared but at the motion of the man,
Fled all the been companions of the Ear!."
But the most beautiful of all these com
parisons is that which occupies the XIX
division of "In Mcmeriam."
"The Danube te the Severn gave
The durken'd heart that beat no mere ;
They laid him by the pleasant shore,
And in the healing of the wave.
" There twice a day the Severn lllis ;
The salt-sea water rushes by,
And hushes halt the babbling Wye,
And makes a silence iu the hills.
" The Wye is husli'd nor moved along,
And husii'd niv deepest griel" of all.
When Illicit with tears that cannot tall,
1 brim with sorrow drowning song.
" The tide. Hews down, the wave again
is vocal in its weeded walls ;
Mv deeper anguish also falls.
And I can speak a little then,"
The analogy, you perceive, fails at no
point and the exquisite tenderness with
which the comparison is made must ap
peal te all tender hearts. The admirable
way iu which the comparison is sustained
and the depth of feeling which it expresses
it is net necessary for me te enlarge
upon.
Since we have already quoted from "In
Mcmeriam" I cannot bear directing your at
tention te the X division of the same poem,
where the nuict of nature dwelt upon in
f successive touches is made te heighten the
despair of grief, the grief that has passed
from its first wilderness te a hopeless
quiet.
"Calm is the morn without a bound.
Calm as te suit a calmer grief.
And only thre' the faded leal
The chestnut pattering te the ground.
" Calm and deep peace en this high weld
And en these dews that drench the furze.
And all the silvery gossamers
That twinkle into green and geld.
" Calm and still light en yen great plain
That sweeps with all its autumn bowers.
And crowded larms and lessening towers;
Te mingle with the bounding main.
" Calm and deep peace in this wide air,
These leaves Miat redden te the tail ;.
And in my heart, if calm at all,
It any calm, a calm despair.
" Calm en the seas, and silver sleep,
And waves that sway themselvcs'in rest,
And dead calm In that noble breast
Which lfdavcs but with the heaving deep."
All the details of this passage arc but
as steps which lead us te where we see the
still, dead form of Arthur Hallani, in the
ship which is bringing him back te his
native land, and the contrast between the
calm of earth and air and the rigid calm
of death, is all the finer from its being in
dicated and net directly made.
Since we began our consideration of cer
tain similies and comparisons, which Ten
nysen has drawn from nature, with one
relative te the ash, let us, ere we leave
this division of our subject, glance at ene
ether likewise taken from the ash. It is
from the famous swallow seag in " The
Princess" :
" Whylingercthshele clothe her heart with
love
Delaying as the tender ash delays
Te clothe herself, when all the weeds are
green V
I might speak farther en this subicct
and still further illustrate, but have no
wish te treat the topic exhaustively, my
intention rather having been te indicate
by the examples already brought forward,
a pleasant and profitable course of study
for these who care te pursue it, if there
should chance te be any such among my
listeners.
Leng before Tennyson- began te write,
Wordsworth had told us that
" with the heart of May
Deth every beast keep holiday."
Let us observe hew Tennyson tells us
the same thing, blending with his descrip
tion the assurance of the joy iu man's
heart that makes him at ene with ntturc
and her voices :
All the land In'Ilewerv sfiu.nvj.
lleneath abroad and equal-blowing wind,
ftineltefthe coming siunmur, as one largs
cloud
Drew downward ; but all else of hv.ivc 1 wa-i
pure
Up te the sun, and May from verge te verge,
And May witli me from head te heel.
r- The steer forget te graze,
And where the hedge-row cuts thu pathway,
steed.
Leaning his horns into the neighbor Held,
And lowing te Ids fellows, l-'rein tlm wie M
Chine voices of the weli-centented dove.
The lark could scarce get out his notes for joy
Hut shook his song together as he near'd
Hlshappyheme, the ground. Te lei t and right
The cuckoo told his name te all tiu hills ;
The mellow ouzel tinted in the elm ;
The red-cap whistled, and the nightingale
Sang loud, as the' lie were the bird et day."
With these lines from the "Gardener's
Daughter" may ha compared the elesa of
the poem Audley Court which expresses a
similar sympathy between youth and
nature.
"Ere the night we rose
And sauiitcr'i! home' beneath a uinna, thai,
just
In crescent, dimly rained about the le.it
Twilights el airy silver, till we reaeh'd
The limits of the hills ; and as we sank
Fiem rock te rock upon the glooming quay.
The town was husli'd beneath us: lower iliurn
The bay was eily-cilm ; the harbor-buoy
With one green sparkle ever and anon ,
Dipt by Itsel', and we were glad at he lit."
New and then we have a landscape
serving as a prclude te a poem the suc
cessive details of which have each their
own value farther en, as here in "Enech
Ardcn":
"Leng lines or cliff breiking iin-e bill a
chasm :
Ami iu the chasm are foam and yellow sandi ;
Beyond, red reefs about a narrow wh.vrt
In cluster, then a meulder'il church; and
higher
A long street climb t te one lall-tewerM mill :
And high iu heaven behind it a gray down
With Danish barrows; u'ud a h.i.elwoe.l,
Iy autumn nutters haunted, nourishes
Green iu a cup like hollow fit the down."
Contrast this description, which is severe
almost te bareness ami contains one figure
of speech only. with tlu highly imaginative
opening of "(Knone".
Thure is a vale iu Ida, lovelier
Than all the valleys et Ionian hills.
The .swimming vapor slopes athwart Ihe glen.
i-iiis leriuan arm, and creeps lrem pine le
pine ,
And loiters, slowly drawn On either hand
The lawns ami meadow-ledges midway down
Hang rich in ilewers, and far below them rears
The long brook falling thre' thecleve'n ravin
In cataract alter cataract te the sea.
llchind the valley topmost G.irgarus
Stands up and bikes the morning; but in fie.it
The gorges, opening wide apart, reveal
Treas and lllen's celumn'd eitadel,
The crown et Treas."
There is a boldness of metaphor iu these
lines that reach d its highest point where
"topmost G.irgarus stands up and takes
the morning." It is in "(Enone," tee, that
we find this description of noonday still
ness which is suggastive of th-j slumbreus
quiet of the "Lotes Eaters."'
" New thn noonday quiet holds th.; hill :
The grasshopper is silent in the grass ;
The li i;d, with his shadow en the stone.
Rests liki- a sh idew, ami the eic ila sicep-.
Tlie purple Ilewers droep: the golden bee
Is lily-cradled."
Suggestive of " The Lotes Eaters,' I
said, but only in its dreamy languor, for
the one is realistic and the ether idealistic.
Helding the previous passage in memory,
compare, with it new these lines from the
mere famous poem :
"All round the ceist the languid air did
swoon,
lire itliing like one that hath a weaiy dre.i'ii.
Full laced above the valley'stned the moon ;
And like a downward suieke, til.; slender
stream
Along the cliff le hill and p Disc and fall did
seem.
A land of streams ! some like a dewnw.iid
smoke
Sle.v dropping veils of thinner lawn did go ;
And some thie' wavering lights and s!i tdews
broke,
Uolliimanliimbiens sheet of feuu below.
They saw the wandering river sea ward tle.v
Frem the inner land ; tarelt, three mountain
tops,
Three silent pinnacles et aged snow.
Steed sunset-llushcd and ilew'd with showery
drops,
I'p-cliinb the shadowy pine above the woven
copse.
The ('harmed sun-et 'biger'd low adewn
In thu red West : t ' mountain clefts llie
dale
Was seen far inland, aad tlu yellow down
llerder'fl with palm, an I in my a winding
vale
And meadow, set with slender galinale."
The lines from "(Enone" are realistic in
being the product of observation, but iu
the "Lotes Eaters" the poet is giving us no
result of his observation but a description
purely imaginative. But we have in
"(Enone" a description almost, entirely
imaginative, like the following :
' At their leut the crocus biakc like fire,
Violet, amaraeus and asphodel.
Lotes and lilies: ami a wind atesc
And overhead the wandering ivy and vine
This way and that, iu many a wild festoon,
Ran riot, garlanding the gnarled boughs
With bunch and berry and ilewer thre' ami
thre'."
It is a different sort of imagination from
that in the previously quoted passage
from " The Lotes Eaters,'" but it is as
little debtor te observation. Contrast
with this the realism of this extract from
" Mariana."
" Abeui a stone cast from the wall
A sluice with blacken'd waters slept.
And o'er it many, round and small,
Thecluster'd marisii messes erept.
Hani by a poplarsheok al way.
Ail sllvcr-grecn with gnarhd bark,
Fer leagues no ether tree did mark
The level waste, the rounding gray."
And this again from " Mariana in the
Seuth :"
" the steady glare
Shrank one sick willow sere ami small,
The riverbed was dusty-white ;
And all the furnace et the light
Struck up against the blinding wall."
The description of the poplar that
"shook alway" is akin te that in "Maud" J
which tells el the "ilry-tengucd laurels'
pattering talk."
In the " Palace of Art " we have a suc
cession of pictures begun imaginatively, as
you will see :
" One scem'd all datkand red-atract eraml,
And some one pacing there alone,
Who paced forever in a glimmering land.
Lit by a low large moon.
"Oncshew'd an Iren coast and angrv waves.
ieu seemed te hear them c.imb mid fall
And rear, rock-thwarted under bellowing
caves.
Keneath the windy wall."
The love of;realism has seized the poet
by the time he reaches the second stanza
and throughout the rest of this portion it
seems te be struggling with the mere,
purely imaginative clement, as you will
perceive :
" And one. a lull-ted river winding slew
By herds upon an endless plain,
The ragged rims el thunder breeding low
With shadow streaks of rain.
" And one the reapers at their sultry tell.
In front they bound the sheaves, liehind
Were realms of upland prodigal of oil.
And hoary te the wind."
Each of these two stanzas closes with a
realistic touch that heightens the effect of
the rest. In the last two the poet is in
debted te his imagination and te recellec
tien in about equal measure, the memory
of several scenes, but no ene in particular
being interfused with the imaginative
quality.
"And one a foreground black with stones and
slas
lieyeml.'a line of heights, and higher.
All barr'd with long white cloud the scemfti
crags.
And highest, snow and lire.
" And one an English home, gray twilight
pour'.l
On dewy pastures, dewy trees,
hotter than sleep all things In order stored.
a ".lulu ei ancient peace."
In these lines from "The Lady of
Shaletf the realism is of that close, minute
kind that Tennyson delights in.
" W ilhvws whiten, aspens quiver.
Little breezes dusk and shiver
Thre' the wave."
Similarly accurate are these lines from
the " .May Queen."
" By tlu inoadew-trenelies blew the taint
sweet cuckoe-tlowers.
And the wild marsh-marigold shines like lire
in swamps and hollows gray."
Accuracy of another sort is there iu this
passage-from "Sea Dreams."
"A full tide
Resj with ground-.-'Well. which
en the for..'
most rocks
Touching, upjetted in spirits et
wild se.i-
smote,
And scaled in sheets of wasteful loam, and tell
in vast "ea cataracts ever and anon
Dea i claps et thunder from within the cliffs
Heard thre' the living rear."
Ill this neKt extract we Iiavj the same
carefulness of detail.
"In curves the yellowing river ran.
And drooping chestnut buds began
Te.prad into the purlcct fan
Above the teeming greuni;."
In order te note the difference between
Tennyson's manner of describing nature
at different periods of his life, let us glance
at two widely different passages. The
first is. from a poem written before 1830
but emitted in editions published alter
that year.
" Lew-flowing Iueez'M are re lining the bread
valley dm.nu-d in the gleaming ;
Thre' the black-stemmed pines only the tar
river shiin-s.
Creeping thre' blo-ssemy rushes and bowers el
rose blowing buuhes.
Down by the poplar tall rivulets babble and
tall.
B.u-keth the shepherd-deg cheerily; the grass
hopper earelleth clearly :
Deeply the turtle coees; shrilly Ihe owlet hal hal hal
loes; Winds creep, flews iall chilly, in her llrst
sleep earth breathes stilly ;
Over the peels in the burn water gnats mur
mur and mourn.
Sadly the lar kine leweth ; the glimmering
water outtlewcth ;
Twin peaks shaded with pine slope te thu dark
hyaline."
The gcneial effect of this is net alto
gether unpleasing, but it is cast iu an ar
tificial mould and a flavor of affectation
runs through the most of it. I bring this
ether passage into contrast with it in order
le show what the poet was able te accom
plish in the fulness of his powers. There
is nothing feeble in this later work, noth
ing of uncertainty or affectation. Yeu
will easily rccogni.e it as from " Enech
Ardcn."
The mountain weeded te the peak, the
lawns
And winding glades high up like ways te
heaven.
Tie! slender coce'sdrooping crown fit plumes,
The lightning tlash et" insect and el bird.
The lustre el the long convolvuluses
That eeil'd around the stately stems, and
ran
Cv'n te the limit or ths land, the glows
And glories el the bread belt et the world.
The league long roller thundering en the
reef.
The moving whisper et huge trees that
hranch'd
And blossem'd in the zenith, or the sweep
()l some pivcipiteus rivulet te the wave.
every day
The .sunrise broken into scarlet shafts
Among tlij palms and terns and precipices :
The blaze upon the waters te the east :
The blaze upon his island overhead ;
The blaze upon the waters te the west ;
1 hen till great staig that globed themselves
in heaven.
The holiewc r-bcllewlng ocean, and again
The scarlet shafts el sunrise."
There is a gorgseUsncss of description
in this net easily matched iu modern
peatry. In spite, however, of its being se
highly imaginative in its general eflect the
details are all true in themselves, and they
are easily seen te be se. Very different,
in this particular is this passage from
" The Islet."
" A mountain Islet pointed and peak'd ;
Waves en a diamond shingle dash.
Cataract brooks te the ocean run,
Fuhily delicate palaces shine
Mixed with myrtle and clad with vine.
And everstream'd and silvery-streak'il
With many a rivulct.hlgh against the sun
The faces of the glorious mountains tlash
Above the valleys et palm and pine."
It is net nature that the poet is here de
scribing ; it is merely an airily poetic de
scription of what nature should be like.
It is a favorite ,sort of writing with some
poets, but with Tennyson it is net the ex
pressieu of a frequent mood. Exactitude
and faithfulness of details are what he
prefers. In this particular instance an
idea! landscape was demanded by the ua
ture of the poem and he supplied it. It
is hardly within the scope of this paper
te speak of the poem "Move Eastward,"
but since it furnishes one of the most no
table examples of the poet's exactitude
some allusion te it may net be thought all
irrelevant. It is the custom of poetry, as
well as of common speech, te allude te the
sun's motion instead of the earth's, but
Tennyson is, I think, two instances, speaks
directly of the actual reverse fact and
who would venture te say that the result
was net poetic ?
"Move eastward, happy earth, and leave
Yen orange sunset waning slew:
Frem fringes of the failed eve,
O, happy planet, eastward go."
It has been my object in this paper te
show by frequent quotations from the
Laureate's pages the love of nature, which
is interwoven with his poetic feeling as
distinguished from that early, uudiscrim
mating admiration of it, which se often
passes current for that love. I have net
desired te bring forward all or even the
greater number of Tennyson's landscapes
or similes drawn lrem the natural world,
but simply te direct atten ion te his in
timate knowledge of the aspects of that
natural world as rendered with prc-Raph-aelitc
faithfulness or glorified by the
warmth of a delicately poetic imagination.
It is this side of our poet that is ene of
our strongest reasons for loving him, be
cause iudced through the music of his
verses we se continually hear these
"Myriads el rivulets hurrying thre' the lawn.
The mean of doves iu immemorial elm.
And murmuring of innumerable bees."
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