New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-10-06

An accomnHsbed American critic of recent times
has declared that all in all, q more Original ana
\ beautiful volume of minor poetry never was adueu
to our literature" and this praise does not seem 10
| us TOO strong.
HIS YOUNG VOICE BECOMES A GREAT FoRCE'
| To understand not merely the immediate eHeco
| OF Tennyson's outburst OF song but us actuai
value we must remember what the condit>on Oh
| English poetry was in 1892. WORDSWORTH
Southey, Coleridgc, Scott, Rogers. Campbell
| Moon. Proctor. Hood. were still living, but their
influence although not really spent, was apparently
dormant. Romanticism. represented in the stirring
lines Of the Northern minstrel revolutionary ler'or
such as burned in the OF Shelley. the worship
Of the beautiful as Keats saw it, the devout love
| of nature as it was taught by Burns and Words
! worth had almost ceased 70 be active creative
| forces Lander. always sounding with majestic
voice the music which the crowd did not WISH 10
hear, calling back exquisite Visions OF CLASSICAL
antiquity: but his stalwart and lonely hgurc
lowered. like Wordsworths, in the midst OF
multitude Of aimless technical rhymespnhcrs
Already we have entered upon the period OF purely
| na'crialistic desire which, with some intervals OF
reaction, has lasted to the present day The art
of the painter indeed nourlShcd, but 1t was an art
whose tendency was toward the decoration OF
scnsuous life. and art OF this klnd-as the eX-
! perence OF the present day shows-ls quite at ease
| in time Of faint ideals and prosaic aims ii we
were asked what literature best represented the
spirit Of the period in question, we should point
! to the publications Of the Society for the Diffusion
of Useful knowledge. II was o period of mcchani-
| cal invention and Of great discoveries in physics
Fascinated with steam engines galvanic batteries
new theories Of human relations, and new conccp-
| tons of the visible universe men gave their en-
thusiasms to the material progress Of society, and
| their soberer though TO sceptical inquiry into
| the old bases OF right conduct. When the chief
use of imagination seemed 10 be 20 suggest work
ing theory for the lecturer on applied science, II
| is 70 wonder that the poets were weak, wandering,
uncertain, trivial and depressed
| Tcnryson, breaking out with a sure young voice.
| in a dull time like this, instantly became great
| force His poetry fell in with the prevailing art
sentiment, because it was an artistic product OF
extraordinary finish and brilhancy, rather than the
art Of either Keats or Lander, since it far sur
passed them both in variety of theme and manner,
and surpassed Landor also in just sense Of pro-
| portion Mr.. Stedman has said that ia marked
contrast to his fellows, and to every predecessor
but Keats, Tennyson seemed to perceive from
the outset that poetry is an art, and
the chief of the fine arts; the
easiest to dahble in, the hardest IN
which to reach true excellence that il has ITS
technical secrets its mysterious lowly paths that
reach to aerial outloolSs ard this no less than
sculpture Inne m@sc or Of tc ar
| Of expression was displayed IN the volume o.
| 1880; an added grace, force and distinction OF
thought gave still rarer charm to the G9 ns ZION
| at the age of twcnty-thrrc what the author oi
Victorian Poets" says in review Of his career
In technical excellence, as an artist IN verse
| Alfred Tcnnyson is the greatest OF modern poets
Other masters. old or new, have surpassed HIM IN
special instances but he is, the one who rarely
Rods and who always finishes his verse 10 the
extreme The delicious music OF his balanced
lines the captivating rhythm, me perfect sense ih
of color the sure instinct for sonorOus eHects, thc
purity Of the aflluent language, grew so familiar
| In the course of time that we began 10 rae thein
cheap. The poet gently satrlzed ms crlrcs IGnB
people called weed, until it grew tai and wore
a crown Of light and thieves stole the SEED
| sowed II far and wide,
BY every town and tower,
TIL s al ses p IS GRe i Dover"
Read my little fable:
Most ST can raise the flowers. now.
| For all have got tho seed.
| And some are pretty yer eno ,nHao,.
| And some are poor lheeeo'
| Call 10 but weed
| HIS M,NNRR DISTINCT AND INDIVIDUAL.
Bnt in 1880 Tennyson's art was absolutely
fresh: and, while he undoubtedly showed the in
| 1uence of Keats and Wordsworth. his manner
from the first was entirely his own, and IT re-
| mains TO this day as distinct and lndiNidual as
the MUSIC Of Mozart.
Yet he never was believer IN art LOT arts
saken Against this theory he made ringing
rro,cst IN one of the most remarkable OF his eary
roems. 1.-THE Palace Of Art" which describes the
degradation Of the soul essaying 10 reign apart
n oulet king, In the mlds: OF luxurious ana
| beautiful things;
She, moulderng With the dull eerrh Wondering sod
| Inwrapt tenfod in slothful shame.
| Z fbprp eyil
| Lost TO her place and name
| After his early experiments III verse we niu
| very little even Of his most eaborately poAShcu
writing IN which melody, rhythm, the harmony
| of words, the choice OF images, are not obviously
subordinated to the expression OF definite prac-
tcal idea lie was one of the first 10 feel the m
fucnce OF the Reform fermentation, mncn De
| tween $50 and 1850 affected the nation III 50
many unerrm he was inclined 10 what may
be called liberal conservatism Ill Tehgi9n , anu
politics. Through his intimacy WIN rrr T"ond
henson Maurice lie became interested III TIE brU.u
| Church movement in the Church oil Ensldhu
social problems, class wrongs, me rlgmIS ana
duties OF humanity pressed upon T Of the
| new problems Of theology and philosophy pre-,
| scntcd by the new discoveries III pHyS' ,Ia
| science TO these he found an answer III tne
| law of human progress through the orderly opera
| lion OF divine DEGREES. Thus with an u nslakch
belief in the truths OF Chri.tmniy ne 1oluS te"d
| of waving them aside; and he UNDERSTOOD nov
| 10 use as the theme, of poetry those questions
| of high and practical import when had nSu'IIy
| hren reserved for the arena OF disputatloh: he
| was too fine an artist 10 wander into ddacuclsm
lis philosophy is not eXpcunded but it Is re-,
| vealed In poetical illusions ~ fne'rales
naturally into his verse, because his customary
| subject Is man, his aspirations, JOYS, sorrows,
capabilities and duties, his place in the order OF
| creation, his dignity, and his future mere Incn
in his absorbing interest in human life, he found
hinself again in touch with his man worshpping
generation only the thought, which IN others
| turned upon the material and practical aspect
az things with him were always raised by certain
! spirituality His men and women were true
portraits, yet they wer beautifully idcallzsd
and he never approached the problems OF ,le uaI
tlnnl mi lCnt