Beauty, 46; treatment of Guine- vere contrasted with that of Morris and S. Phillips, 59; creed, 62; message to his age, 63, 64; rela- tions to science and religious doubt, 65-67; influence of Hal- lam, 68; religious thought in In Memoriam, 72-85; Protestantism, 86, 87; belief in immortality, 89, 90; view of life compared with Fitz- Gerald's and Browning's, 94, 95; patriotism, 95, 97; imperialism, 98, 101, 229; praise of commerce, 98, 99; and war, 100; early liberalism, 102, 103; later con- servatism, 105, 106; worship of law, 107, 108, 133; denunciation of license in literature, 108, 109; use of astronomy, 111-113; know- ledge and use of science, 114-118; exact observation, 116, 118, 123, 204;
constructive imagination, 116, 117, 204; attitude to Nature compared with Wordsworth's, 118, 119; imaginative landscapes, 118- 120; delight in water, 120, 121, and imagery thence derived, 122; intimate knowledge of Nature, 123-126, especially flowers, 126, 127; pictures of English life and scenery, 127, 128; purpose in landscape, 129; essentially lyric, 131; poems classical in subject or form, 132-139; poems on English domestic life, 139, 140, 185; pic- torial poems, 141; complimentary verses, 141, 142; dialect poems, 142-145; humour, 145; ballads, 145, 146, and lyrics, 146-148; studied irregularity of metre, 148; width of range, 150; sources of the Idylls, 152-157; allegorical aim, 154-156, its predominance in later Idylls, 155; ideal of love, 157; changes in the stories of
Idylls, 157, 160; use of Malory's story of Elaine, 182, 183; inven- tion of incident, 184; plays, 184- 198; dramatist of England, 189- 197; insularity, 195; love of pro- priety, 196; methods of construc- tion, 200; mastery of narrative, 200, 201, of language, 201, 202, 204, and metre 202; lucidity, 203; power of magical suggestion, 203, 204; originality, 205; skill in sug- gesting sound, 206, 207; allitera- tion and onomatopoeia, 207-209; rhythms, 210; obligations to Moore, 210; blank verse, 211, 218-220; source of In Memoriam stanza, 211-218; metrical innova- tion in Maud, 216, 217, and other poems, 218; poetical analogues: Spenser, 221-223, Pope, 223, 224, and others, 224-226; place in literature, 226-229; especial like- ness to Virgil, 227-229; influence as poet and man, 229.
Tennyson, the family, 3, 5, 7, 9, 14. Thackeray, 13, 36, 37, 102, 132. Theocritus, 133, 137. Timbuctoo, 5. Tiresias, 14.
Tithonus, 133-135. Tribute, The, 24, 50.
Two Voices, The, 8, 68-70, III, 112,
Ulysses, 8, 11, 133, 135, 138.
Virgil, Tennyson compared with, 120, 133, 154, 203, 205, 206, 208, 227-229.
Vision of Sin, The, 70, 71. Voyage of Maeldune, 138, 139.
War poems, 145, 146. Will Waterprooj, 9. Wordsworth, 118, 119, 225.
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