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

We pass to Tennyson's historical trilogy com.
prising the tragedies of Harold, Beckett"
and Queen Mary" We have named the plays
in their historical order. AS a matter Of fact,
Queen Mary" was first published, namely, in
1875. In some manuscript notes, their author
says that this trilogy of plays portrays the max
ing OF England. In Harold" we have the
great conflict between Danes. Saxons. and Nor
mans for supremacy. the awakening of the Eng
lish people and clergy from the torpor into which
they had. for the most part, fallen. and the fore
cast of tho greatness of the composite race. In
"Becket," tho struggle is between the Crown
and tho Church for predominance, n struggle
which continued for many centuries. In
Mary" arc described the final downfall Of
Roman Catholicism in England and the dawn
ing Of q new age; after tho era OF priestly domi-
nation. comes the era of the freedom of the in.
dividual. To begin publishing plays for tho
stage after the author was &C years old.
wac naturally thought to be q hazardous expert
ment. Tennyson, however. had always taken
the liveliest interest in the theatre, md we are
told that at the age of II he had written plays
which arc described as extraordinary for q
boy, being full of vivid contrasts and striking
scenic effects. He bestowed, 1t seems, infinite
trouble on his dramas. choosing the three great
periods illustrated in Harold" Beckett" and
"Mary," 30 as to complete the line of Shake
speare's English chronicle plays which end with
the beginning of the Reformation. All his life
he had enjoyed discovering the causes of histor-
ical and social movements, and he was possessed
with 3 strong desire to reverse unfair judg-
ments. and with an eager delight In the analysis
OF human motives and character. At the Same
time he was aware that he lacked the in
innate knowledge of mechanical details
necessary for the modern stage, although,
in an r1v and middle life ha had hmm n canotnpf
playgoer. and would keenly follow the action of
a play, criticising the Characterization, Incl
dents. scenic effects, situations. language and
dramatic points. His dramas were written with
the intention that actors should edit them for
the stage. while endeavorlng to keep them at a
high poetic level. He did not always approve,
however, when they omitted the soliloquies and
episodes which reveal character. and. SO to
speak. the ne ntal action of a piece; nor did he
speak favorably of some Of the modern sensa.
tional curtains. He would observe that ~''critics
are so ~exacting nowadays that they not only ex-
pect q poet-playwright to be a frst-rate author.
but a first-rate manager. actor and audience all
in one" He said they did not consider that the
conditions OF dramatic art are much more COM
pick than they used to be. and that, to DO q first
rate historical playwright, means much moro
work than 1t meant formerly, seeing that lex
act history has taken the place OF the chance
chronicle. and that a dramatist is expected to be
cognizant OF all the newest phases of contem-
porary drama.
We learn from tho author of this memoir
that, with respect Of character painting. his
father considered Queen Mary" the most sue
cessful of his plays, although, with his keen
sense of truth, he always regretted that he had
not, through lack of knowledge. done justice. as
he thought. TO Sir Thomas White, Lord Mayor
of London. Mary Tudor. Tennyson thought, had
been harshly judged by the popular verdict of
tradition; therefore he had a desire to lot her
DO seen as he pictured her in his imagination.
He pitied the poor girl who had been not only
cast down by her father from her high estate.
but treated with shameless contumely by the
familiar friends of her Childhood. What Won
der that q nature originally bright should thus
have been c!ouacd: Tennyson sympathized
with her queenly courage. dramatically ex-
pressed by Shakespeare. when, after her ac-
cession. triumphant over revolt, she flashes
out with: my foes are at my feet. and
Philip King" He held that all llowancc ought
to be made for her, when. her high hopes for the
Church and for tho Kingdom having been re-
kindled and quenched. the clouds OF youth
gathered again into a settled gloom. Through
out all history. he said, there was nothing more
mournful than the final tragedy Of this woman,
who, with her deep longing for love. found her
self hated by her people. abandoned by her hus'
band, and harassed In the hour of death by the
rcstlessness OF despair. The real difficulty OF
the drama. in Tennyson's opinion. was TO give
sufficient relief to It's intense sadness, especially
to tho scenes in which Maryis devotion 10 re-
PEELED by Philips GOODNESS. contaminated in thai
last scene where she sits upon the ground,
rocking herself to and fro. making her lament
Nothing less than tho holy calm OF the meek
and penitent Cranmer could AFFORD adequate
artistic relief:
He passed out smiling. and no walked upright;
His eye was like a soldiers. whom the General
lie looks to and he leans on as his God
Hath rated for some back wardness and bidd'n hin
Charge. one against a thousand, and the man
Huris his soiled life against the pixies and dies.
Harold" published in 1876. the poet called
his Tragedy ofSdoom." citing. to Justify hi