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But the jingling of the guinea helps the hurt Till the war-drum throbb'd no longer, and the

that Honour feels,

battle-flags were furl'd

And the nations do but murmur, snarling at In the Parliament of man, the Federation of

each other's heels.

the world.

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That which they have done but earnest of the What is that to him that reaps not harvest of Weakness to be wroth with weakness! woman's Catch the wild goat by the hair, and hurl their

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Pilots of the purple twilight, dropping down with costly bales;*

And the individual withers, and the world is more and more.6

4 Cp. line 185.

* Tennyson had a rare faculty for putting the hopes and achievements of science into poetic language. It is interesting, however, to observe at what a cautious distance he placed the realization of this seemingly extravagant prophecy.

5 wrapped

6 Looms forever larger by contrast. Cp. In Me

moriam, LV.

+ He of the "jaundiced eye" scoffs at science and is suspicious of democratic and socialistic tendencies. The weak point in Tennyson's picture is the connection of this large pessimism with the purely personal disappointment of his hero. It may not be altogether unfaithful, but it is undramatic.

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9 The British have had Mother-Age, for mine I knew not, help me Rift the hills, and roll the waters, flash the O, well for the sailor lad,

7 beings

Implying that the in-
feriority of woman
may be the result
of the conventions
of a false civiliza-
tion. Compare The
Princess.

many conflicts with
the warlike Mah-
rattas of India.

10 See Par. Lost, iv,

242.

as when life begun;

11 Joshua, x 13.

12 Tennyson drew this figure from the railway, then new, under the false impression that the car-wheels ran in grooves.

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* These lines were written in memory of Arthur Hallam, and might well have been included among the poems of In Memoriam had they† not been cast in a different metre.

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THE SPLENDOUR FALLST

The splendour falls on castle walls

And snowy summits old in story;
The long light shakes across the lakes,
And the wild cataract leaps in glory.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle; answer, echoes, dying, dying,
dying.

O, hark, O, hear! how thin and clear,
And thinner, clearer, farther going!
O, sweet and far from cliff and scar

The horns of Elfland faintly blowing!
Blow, let us hear the purple glens replying,
Blow, bugle; answer, echoes, dying, dying,
dying.

O love, they die in yon rich sky,

They faint on hill or field or river;

This song was inspired by the echoes at the Lakes of Killarney.

Our echoes roll from soul to soul,
And grow for ever and for ever.
Blow, bugle, blow, set the wild echoes flying,
And answer, echoes, answer, dying, dying,
dying.

TEARS, IDLE TEARS

Tears, idle tears, I know not what they mean,
Tears from the depth of some divine despair
Rise in the heart, and gather to the eyes,
In looking on the happy autumn-fields,
And thinking of the days that are no more.

Fresh as the first beam glittering on a sail, That brings our friends up from the underworld,

Sad as the last which reddens over one
That sinks with all we love below the verge;
So sad, so fresh, the days that are no more.

Ah, sad and strange as in dark summer
dawns
The earliest pipe of half-awaken'd birds
To dying ears, when unto dying eyes
The casement slowly grows a glimmering

square;

So sad, so strange, the days that are no more.

Dear as remember'd kisses after death,
And sweet as those by hopeless fancy feign'd
On lips that are for others; deep as love,
Deep as first love, and wild with all regret;
O Death in Life, the days that are no more!

FROM IN MEMORIAM*

I

I held it truth, with him who sings
To one clear harp in divers tones,
That men may rise on stepping-stones
Of their dead selves to higher things.

But who shall so forecast the years
And find in loss a gain to match?
Or reach a hand thro' time to catch
The far-off interest of tears?

Let Love clasp Grief lest both be drown'd,
Let darkness keep her raven gloss.2

1 Goethe, says Tennyson.

Ah, sweeter to be drunk with loss,
To dance with Death, to beat the ground,

Than that the victor Hours should scorn
The long result of love, and boast,
'Behold the man that loved and lost,
But all he was is overworn.'

XXVII

I envy not in any moods

The captive void of noble rage,
The linnet born within the cage,
That never knew the summer woods;

I envy not the beast that takes
His license in the field of time,
Unfetter'd by the sense of crime,
To whom a conscience never wakes;

Nor, what may count itself as blest,
The heart that never plighted troth
But stagnates in the weeds of sloth;
Nor any want-begotten rest.4

I hold it true, whate'er befall;
I feel it, when I sorrow most;
'Tis better to have loved and lost
Than never to have loved at all.

LIV

O, yet we trust that somehow good
Will be the final goal of ill,
To pangs of nature, sins of will,
Defects of doubt, and taints of blood;

That nothing walks with aimless feet;
That not one life shall be destroy'd,
Or cast as rubbish to the void,
When God hath made the pile complete;

That not a worm is cloven in vain;
That not a moth with vain desire
Is shrivell'd in a fruitless fire,
Or but subserves another's gain.

Behold, we know not anything;

I can but trust that good shall fall
At last far off at last, to all,

* Tennyson's friend, Arthur Henry Hallam, died at
Vienna in 1833. The short poems written in
his memory at various times and in various
moods, Tennyson arranged and published in
the year 1850. See Eng. Lit., p. 294. The
earlier poems are chiefly personal in nature;
the later treat some of the larger problems of
human life and destiny growing out of both 2 Cp. Milton's Comus, 251.

And every winter change to spring.

So runs my dream; but what am I?
An infant crying in the night;

personal bereavement and the unrest produced 3 Used poetically for "ultimate." Cp. Locksley

by the changes that were then taking place in

Hall, 1. 12.

the realm of religious and scientific thought.4 ('ontent due to mere want of higher faculties.

,

An infant crying for the light, And with no language but a cry.

LV

The wish, that of the living whole
No life may fail beyond the grave,
Derives it not from what we have
The likest God within the soul?

Are God and Nature then at strife,
That Nature lends such evil dreams?
So careful of the type she seems,
So careless of the single life,

'That I, considering everywhere
Her secret meaning in her deeds,
And finding that of fifty seeds
She often brings but one to bear,

I falter where I firmly trod,
And falling with my weight of cares
Upon the great world's altar-stairs
That slope thro' darkness up to God,

I stretch lame hands of faith, and grope,
And gather dust and chaff, and call
To what I feel is Lord of all,
And faintly trust the larger hope.

LVI

"So careful of the type?" but no,
From scarpéd cliff and quarried stone1
She cries, "A thousand types are gone;
I care for nothing, all shall go.

"Thou makest thine appeal to me:
I bring to life, I bring to death;
The spirit does but mean the breath:
I know no more." And he, shall he,

Man, her last work, who seem'd so fair, Such splendid purpose in his eyes, Who roll'd the psalm to wintry skies, Who built him fanes of fruitless prayer,

Who trusted God was love indeed
And love Creation's final law-

Tho' Nature, red in tooth and claw With ravine, shriek'd against his creed

Who loved, who suffer'd countless ills,
Who battled for the True, the Just,
Be blown about the desert dust,
Or seal'd within the iron hills?

No more? A monster then, a dream,
A discord. Dragons of the prime,

Which shows fossil remains of extinct forms.

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That wakens at this hour of rest

2 In the grave.

3 In these poens.

4 Only half-conscious.

* This is the third Christmas described in the poem. Tennyson had removed to a new home.

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