The sun. [volume] (New York [N.Y.]) 1833-1916, 1897-11-14


These with Balm end Baiah." puhiishsd IN
1855. mako mp tho Twelve Books" the num-
Der mentioned in the Introduction to the
"Morto d'Arthur."
It IL obvious that the IdylIs are to q certain
extent Rilcgorical. Tho author often insisted,
however. that al allegory should never be
pressed too far. in later years he was won't to
protest: They have taken my hobby and rid
den IL too hnrd, and have explained somo
things too alleRorically, although there is an
categorical, or perhaps rather n parabollc, drift
in the poen.'' "Ot course Cnmelot. for in.
stance, a city OF shadowy palaces, 10 symbolic
OF the gradual growth Of institutions and Of tho
spiritual development Of man. Yet" continued
Tennyson. there is no single fact or incident
in the Idy,ls. however seemingly mystical,
which cannot te explained as without any
mystery or a~llcgory whatever" The Bishop
Of Ripon (joyd Carpenter once asked him
whether they wcro right who interpreted the
three Queens, who accompanied King Arthur
on his last voyage. m Faith, Hope. and Charity.
Tepnyson answered: "They are right and they
arc not right; they mean that and they do not;
they are three OF the noblest Of women; they are
also those three Graces; but they arc much more.
I hate TO DO tied down to say this means that
because the thought within tho image 10 much
moro than any one Interpretation" As for the
many meanings Of the poem, the author would
affirm, Poetry 10 like shot.silk, with many
clancing colors. Every reader must find his
own Interpretation, according to his own ability
and according to his sympathy with the poet"
The general drift OF the Idylls seemed to
Tennyson clear enough. Tho WHOLE" ho said
.is tho dream of man, coming into prao-
teal life and ruined by one sin. Birth 10 a mys.
terry and death is q mystery, and in the midst
las tho Tableland of Life and its struggles and
performances 1t is not the history of one man
or OF ono generation, but Of q whole cycle of
generations" Tennyson felt strongly that only
under the inspiration of ideals and with his
..sword bathed in heaven can o mar combat
tho cynical Indifference. the sloth of will. and
the utilitarian mnterialism Of a transition ago.
Poetry is truer than fact" he would insist,
as also did Matthew Arnold. Guided by the
voice within, the ideal soul looks out into the
infinite for the highest ideal; and, as Tenny-
son believed. finds 1t nowhere really SO nightly
as In tho Word who wrought with human
hands the creed of creeds." But for Arthur,
as for every one who believes in the Word.
however interpreted, arises tho question, How
can I. in my little life. in my small measure, and
In my limited sphere, reflect this highest ideal =
From tho answer to this question como the
strength of life. it's beauty, and, above all, its
helpfulness to the world. On the other hand.
whilo he had this conception or vision of Arthur.
Tennyson thought that perhaps no had not
made the real humanness of the King sufl-
GENTLY clear in his e%pilogue. SO he inserted IN
1891, as his last correction, Ideal manhood
closed in the real man" before the lines:
Rather than that gray King. whose name. q ghost.
Streams like q cloud, man. shaped. from mountain
peak,
And cleaves to cairn and cromlech still.