The sun., 1892-10-07

be hard To match in "Thcocritus the
breezy freshness OF Tho Brook As wo
listen, we lose ourselves and seem to pch'-
trate tho Joyous heart Of Nature. we. too
arc in Arcadia. 1t is the morning OF the
world, and the infant god o. some slender
streamlct huns his naive song 70 PAN
who lies along the sward. We would by
no means say. however. that TEENYsoN Is
everywhere free from the so-called pa
thctic falacy" which attributes TO Nature
n conscious sympathy with man. But his
sins OF the kind occur chiefly In some
vein OF sportive apologize. Ike the la'h'
ing Oak" or in the mouth OF MAuD's NOR
bid lover, half distraught by temperament
and wholly crazcd by crime.
From landscape drawing one passes nat
urally TO the portrayal of the human lorin'
which is ono Of the painters trinmphs' us
Is the chief object OF the sculptors art'
Poetry, for the most part evadcs descrip-
tion of personal beauty and is content WIN
a suggestion. Yet in TENNisoNs falace
Of Art" there are two or three etchlngs
which seem not unworthy OF place III tha1
gallery OF PH1LoSTRATus which Toe'
hand repeopcd. These. however. are mere
outlines. But TENNYsoE has drawn one
figure with almost pictorial finish ana iorce.
1t is that Of Idalinn Aphrodite bonut,ful.
revealing herself to PARIS on Mount IDA.
1t must, nevertheless. be acknowledged
that in the temple VI visible beauty poetry
IL ut best only the acolyte OF painting
or Of sculpture. Ono shrine is more eA-
clusivey her Owl. She is mistress OF the
heart Pictorial art must read the so"l IN
tho face, and the face at best lS put
clouded mirror. From tho poet we hiue
nothing. Tho growth OF character. the
drift OF habit. the pressure OF inherltco Ten
dencics. springs OF motive. stings OF appc-
tite-he tliScernS and deciphnrs ALL AS 10
the success OF TENSYsON il this field there
is scarcely any difference OF opinion. Inc
fervor Of his sympathies within certain
luuge. and tho delicncy OF his intultions
are unquestioncl. His poeILs are full OF
passages which depict the finer shades OF
feeling with feicitous precision and inim-
liable grace.
It uaed to be said that TENNYSoN had no
dramatic power. II is certain that lie wrote
no drama which for any considerable peIiou
could keep possession OF the stage. LOOK
ing ut his poems as whole. We must admit
that they exhibit little evidence OF dramatic
talent. Like the works OF SHELLEY or OF
BYRON. they are for the most part lyrical
or reflective. In them the beings OF the
mind are rather analyzed than animated.
The poet interprets them. They do not
speak for themselves. Even dramatic
insight, which. of course. is not synony-
nous with dramatic power. seems at
times to be wanting. Thus his "Ulys-
ses" is modern soul graphing
with the framework OF Homeric times.
"NIargarct.'' Madeleine" Isabel are
lovely dreams. not lovely women. In the
Princess" il anywhere among the poems
of the first half of his fruitful life. we should
look for the development OF character. But.
as tho persons OF the tale pass across the
stage. we incline to suspect with the Prince
that they are but shadows. land all the
mind is clouded with n doubt" 1t is true.
on the other hand. that in the cluster
of poems which embodies the Arthurian
legends there is closer approach to dis
tinct characterization. Here the temper
and motives OF the actors are in some de-
gree self-betrayed rather than catalogued
by the author. and their personal traits
are evoked by Incident or emphasized
in dialogue. The Idylls undoubtedly
ulSclOS0 Ii SOOQ VI VI III
sight. and certain kind Of dramatic
power; not the highest. which Gre
ates drama. nor even high enough
for an epic. 1t will scarcely be held
that the Idylls which are grouped around
the figure OF the king constitute an epic
poem. In the poets mind. no doubt. the
| old Arthurau romnnces have been fused
into kind OF unity. They present to him
coherent picture. discover central
| thought. 1t is the soul at war with flesh.
| aspiration foiled by appetite. the eagle
stung by the serpent. But it Is only by
short and random strokes that the central
| idea is conveyed to us. Wo catch only
glimpses OF it and are not permitted to
watch the progressive development: thus.
| while the "Idylls OF the King" may con-
| tain tho matter OF an epic. they have not
| the form and should rather be placed in a
class apart. which might include the
| "Faerie Queen"
On the range. finish. and accuracy OF
| TENNYsoN's dction we need not dwell but
even tho most cursory review of a poets
| qualifications should include glance at
his command OF melody and rhythm. For
sweetnees and clearness of tone. the choral
"Bugle" and "Cradle" songs which hc-
guile entr'actes in the Princess are cx-
celed by few English lyrics. In grasp of
rhythm TENSYsON yields to no Tuet of
this century except SHELLEY and SwlS-
BUENE. Most Of TENNYsON's later poems
have been written in unIhymed pentan-
etcr. and his management OF the verse
suggests comparison with his muster. IL
dignity of movement MILToI has never
been equalled by any other English poet.
1t seems that no line but his could express
the lost archangel. or embody that vision
! OF imperial Rome where sonorous names
load as with cloth Of gold the march Of the
stately iambics. Yet nothing could stoop
more awkwardly to tho quiet talk and joys
of the married pair in Eden. While IENNY-
soE's blank verse falls short of his model
in majesty and serried force. we must allow
it to be more flexible We cannot imagine