Tennyson Poetry Quotes

Tears, idle tears, I know not what they mean, Tears from the depths of some devine 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.

Though much is taken, much abides; and though We are not now that strength which in old days Moved earth and heaven, that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield.

Once in a golden hour I cast to earth a seed. Up there came a flower, The people said, a weed.

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. Verse XXVII

I remain Mistress of mine own self and mine own soul

So runs my dream, but what am I? An infant crying in the night An infant crying for the light And with no language but a cry.

I sometimes hold it half a sin To put in words the grief I feel; For words, like Nature, half reveal And half conceal the Soul within. But, for the unquiet heart and brain, A use in measured language lies; The sad mechanic exercise, Like dull narcotics, numbing pain. In words, like weeds, I'll wrap me o'er, Like coarsest clothes against the cold: But that large grief which these enfold Is given in outline and no more. In Memoriam A.H.H. Section 5

It is not too late to seek a newer world. Push off, and sitting well in order smite The sounding furrows; for my purpose holds To sail beyond the sunset, and the baths Of all the western stars, until I die. It may be that the gulfs will wash us down: It may be we shall touch the Happy Isles, And see the great Achilles, whom we knew. Tho’ much is taken, much abides; and tho’ We are not now that strength which in old days Mov’d earth and heaven, that which we are, we are: One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield.

How dull it is to pause, to make an end, To rust unburnish’d, not to shine in use! As tho’ to breathe were life!

For I dipped into the future, far as human eye could see, Saw the Vision of the world, and all the wonder that would be.

And this gray spirit yearning in desire To follow knowledge like a sinking star, Beyond the utmost bound of human thought.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

I get no sense from his note at all,” said Will, bounding to his feet, “except that he can quote Tennyson’s lesser poetry. Sophie, how quickly can you have Tessa ready?” “Half an hour,” said Sophie, not looking up from the dress. “Meet me in the courtyard in half an hour, then,” said Will. “I’ll wake Cyril. And be prepared to swoon at my finery.

I came in haste with cursing breath, And heart of hardest steel; But when I saw thee cold in death, I felt as man should feel. For when I look upon that face, That cold, unheeding, frigid brown, Where neither rage nor fear has place, By Heaven! I cannot hate thee now!

Behold, we know not anything; I can but trust that good shall fall At last -- far off -- at last, to all, And every winter change to spring.

That loss is common would not make My own less bitter, rather more: Too common! Never morning wore To evening, but some heart did break. Verse VI

I fain would follow love, if that could be; I needs must follow death, who calls for me; Call and I follow, I follow! let me die.

She saw the snowy poles of moonless Mars, That marvellous round of milky light Below Orion, and those double stars Whereof the one more bright Is circled by the other

There has fallen a splendid tear From the passion-flower at the gate. She is coming, my dove, my dear; She is coming, my life, my fate. The red rose cries, "She is near, she is near;" And the white rose weeps, "She is late;" The larkspur listens, "I hear, I hear;" And the lily whispers, "I wait." She is coming, my own, my sweet; Were it ever so airy a tread, My heart would hear her and beat, Were it earth in an earthy bed; My dust would hear her and beat, Had I lain for a century dead, Would start and tremble under her feet, And blossom in purple and red.

Ring out, wild bells, to the wild sky, The flying cloud, the frosty light; The year is dying in the night; Ring out, wild bells, and let him die. Ring out the old, ring in the new, Ring, happy bells, across the snow: The year is going, let him go; Ring out the false, ring in the true.

Matched with an aged wife, I mete and dole Unequal laws unto a savage race, That hoard, and sleep, and feed, and know not me.

For always roaming with a hungry heart / Much have I seen and known.

The Eagle He clasps the crag with crooked hands; Close to the sun in lonely lands, Ring'd with the azure world, he stands. The wrinkled sea beneath him crawls; He watches from his mountain walls, And like a thunderbolt he falls.

Authority forgets a dying king

But in her web she still delights To weave the mirror’s magic sights, For often thro’ the silent nights A funeral, with plumes and lights, And music, went to Camelot: Or when the moon was overhead, Came two young lovers lately wed; “I am half-sick of shadows,” said The Lady of Shalott.

Not once or twice in our fair island-story, The path of duty was the way to glory.

The Oak Live thy Life, Young and old, Like yon oak, Bright in spring, Living gold; Summer-rich Then; and then Autumn-changed Soberer-hued Gold again. All his leaves Fall'n at length, Look, he stands, Trunk and bough Naked strength.

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. 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.

And at the closing of the day She loosed the chain, and down she lay; The broad stream bore her far away, The Lady of Shallot.

The Flower Once in a golden hour I cast to earth a seed. Up there came a flower, The people said, a weed. To and fro they went Thro’ my garden-bower, And muttering discontent Cur’d me and my flower. Then it grew so tall It wore a crown of light, But thieves from o’er the wall Stole the seed by night. Sow’d it far and wide By every town and tower, Till all the people cried, “Splendid is the flower.” Read my little fable: He that runs may read. Most can raise the flowers now, For all have got the seed. And some are pretty enough, And some are poor indeed; And now again the people Call it but a weed.

O, were I loved as I desire to be! What is there in the great sphere of the earth, Or range of evil between death and birth, That I should fear, - if I were loved by thee! All the inner, all the outer world of pain, Clear love would pierce and cleave, if thou wert mine; As I have heard that somewhere in the main Fresh-water springs come up through bitter brine. ‘I were joy, not fear, clasped hand in hand with thee, To wait for death - mute - careless of all ills, Apart upon a mountain, though the surge Of some new deluge from a thousand hills Flung leagues of roaring foam into the gorge Below us, as far on as eye could see.

Break, break, break, On thy cold gray stones, O Sea! And I would that my tongue could utter The thoughts that arise in me. O, well for the fisherman's boy, That he shouts with his sister at play! O, well for the sailor lad, That he sings in his boat on the bay! And the stately ships go on To their haven under the hill; But O for the touch of a vanished hand, And the sound of a voice that is still! Break, break, break, At the foot of thy crags, O Sea! But the tender grace of a day that is dead Will never come back to me.

I embrace the purpose of God and the doom assigned

The kind of poetry to avoid in the pretty-pretty kind that pleased our grandmothers, the kind that Longfellow and Tennyson, good poets at their best, wrote at their worst.

No sword Of wrath her right arm whirl'd, But one poor poet's scroll, and with his word She shook the world.

I am part of all that I have met.

The sky is low, the clouds are mean, A travelling flake of snow Across a barn or through a rut Debates if it will go. A narrow wind complains all day How some one treated him; Nature, like us, is sometimes caught Without her diadem. - Beclouded

our tragedy begins humid. in a humid classroom. with a humid text book. breaking into us. stealing us from ourselves. one poem. at a time. it begins with shakespeare. the hot wash. the cool acid. of dead white men and women. people. each one a storm. crashing. into our young houses. making us islands. easy isolations. until we are so beleaguered and swollen with a definition of poetry that is white skin and not us. that we tuck our scalding. our soreness. behind ourselves and learn poetry. as trauma. as violence. as erasure. another place we do not exist. another form of exile where we should praise. honor. our own starvation. the little bits of langston. phyllis wheatley. and angelou during black history month. are the crumbs. are the minor boats. that give us slight rest. to be waterdrugged into rejecting the nuances of my own bursting extraordinary self. and to have this be called education. to take my name out of my name. out of where my native poetry lives. in me. and replace it with keats. browning. dickson. wolf. joyce. wilde. wolfe. plath. bronte. hemingway. hughes. byron. frost. cummings. kipling. poe. austen. whitman. blake. longfellow. wordsworth. duffy. twain. emerson. yeats. tennyson. auden. thoreau. chaucer. thomas. raliegh. marlowe. burns. shelley. carroll. elliot… (what is the necessity of a black child being this high off of whiteness.) and so. we are here. brown babies. worshipping. feeding. the glutton that is white literature. even after it dies. (years later. the conclusion: shakespeare is relative. white literature is relative. that we are force fed the meat of an animal that our bodies will not recognize. as inherent nutrition. is not relative. is inert.)

I sometimes hold it half a sin, To put in words the grief I feel; For words, like nature, half reveal And half conceal the soul within.

Break break break on thy cold grey stones O sea And I would that my tongue could utter The thoughts that arise in me.

There hath he lain for ages, and will lie Battening upon huge sea worms in his sleep, Until the latter fire shall heat the deep; Then once by man and angels to be seen, In roaring he shall rise and on the surface die.

What poets, I cried aloud, as one does in the dusk, what poets they were! In a sort of jealousy, I suppose, for our own age, silly and absurd though these comparisons are, I went on to wonder if honestly one could name two living poets now as great as Tennyson and Christina Rossetti were then. Obviously it is impossible, I thought, looking into those foaming waters, to compare them. The very reason why that poetry excites one to such abandonment, such rapture, is that it celebrates some feeling that one used to have (at luncheon parties before the war perhaps), so that one responds easily, familiarly, without troubling to check the feeling, or to compare it with any that one has now. But the living poets express a feeling that is actually being made and torn out of us at the moment. One does not recognize it in the first place; often for some reason one fears it; one watches it with keenness and compares it jealously and suspiciously with the old feeling that one knew. Hence the difficulty of modern poetry; and it is because of this difficulty that one cannot remember more than two consecutive lines of any good modern poet.

It's just- we were reading that Tennyson poem in your class the other day, the one that ends with 'Tis better to have loved and lost than never to have loved at all.'" "Oh, Tennyson? He's a quack." "But you said they made him a lord because of the strength of his poetry." "Did I say that?

That to the adolescent is the authentic poetic note and whoever is the first in his life to strike it, whether Tennyson, Keats, Swinburne, Housman or another, awakens a passion of imitation and an affectation which no subsequent refinement or sophistication of his taste can entirely destroy. In my own case it was Hardy in the summer of 1923; for more than a year I read no one else and I do not think that I was ever without one volume or another or the beautifully produced Wessex edition in my hands: I smuggled them into class, carried them about on Sunday walks, and took them up to the dormitory to read in the early morning, though they were far too unwieldy to be read in bed with comfort. In the autumn of 1924 there was a palace revolution after which he had to share his kingdom with Edward Thomas, until finally they were both defeated by Elliot at the battle of Oxford in 1926.

Surely, surely, slumber is more sweet than toil, the shore Than labor in the deep mid-ocean, wind and wave and oar; O, rest ye, brother mariners, we will not wander more.

The moon doth with delight Look round her when the heavens are bare; Waters on a starry night Are beautiful and fair;

The world should listen then, as I am listening now.

For the unquiet heart and brain, A use in measured language lies; The sad mechanic exercise, Like dull narcotics, numbing pain.

I hold it true, what’re befall; I feel it when I sorrow most; ‘This better to have loved and lost; Than never to have loved at ......

The development of Tennyson's genius, methods, aims and capacity of achievement in poetry can be studied with singular precision and fulness in the history of the poems included in the present volume.

The innocent brightness of a new-born day Is lovely yet: The clouds that gather round the setting sun 19 Do take a sober coloring from an eye That hath kept watch o'er man's mortality; Another race hath been, and other palms are won.

Little breezes dusk 3 and shiver Through the wave that runs forever By the island in the river Flowing down to Camelot; Four gray walls, and four gray towers, Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott.

On Monday I received a letter from Golden Days, a Philadelphia juvenile, accepting a short story I had sent there and enclosing a cheque for five dollars. It was the first money my pen had ever earned; I did not squander it in riotous living, neither did I invest it in necessary boots and gloves. I went up town and bought five volumes of poetry with it -- Tennyson, Byron, Milton, Longfellow, Whittier. I wanted something I could keep for ever in memory of having "arrived.

Swifter far than summer's flight, Swifter far than youth's delight, Swifter far than happy night, Art thou come and gone: As the earth when leaves are dead, As the night when sleep is sped, As the heart when joy is fled, I am left alone, alone.

I steal by lawns and grassy plots, I slide by hazel 6 covers; I move the sweet forget-me-nots That grow for happy lovers. I slip, I slide, I gloom, 7 I glance, Among my skimming swallows; I make the netted sunbeams dance Against my shady shallows.

Why are we weighed upon with heaviness, And utterly consumed with sharp distress, While all things else have rest from weariness? All things have rest: why should we toil alone, We only toil, who are the first of things, And make perpetual moan, Still from one sorrow to another thrown: Nor ever fold our wings, And cease from wanderings, Nor steep our brows in slumber's holy balm; Nor hearken what the inner spirit sings, "There is no joy but calm!" Why should we only toil, the roof and crown of things?

The Eagle By Alfred, Lord Tennyson (1809–1892)   He clasps the crag with crooked hands; Close to the sun in lonely lands, Ring'd with the azure world, he stands. The wrinkled sea beneath him crawls; He watches from his mountain walls, And like a thunderbolt he falls.

The Sea-fairies Slow sail'd the weary mariners and saw, Betwixt the green brink and the running foam, Sweet faces, rounded arms, and bosoms prest To little harps of gold; and while they mused, Whispering to each other half in fear, Shrill music reach'd them on the middle sea.

This poem inspired me to write my eBook. The Miller's Daughter by Alfred Lord Tennyson And I would be the necklace, And all day long to fall and rise Upon her balmy bosom, With her laughter or her sighs; And I would lie so light, so light, I scarce should be unclasp’d at night.

Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modem chemistry and modem algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.

Fade far away, dissolve, and quite forget What thou among the leaves hast never known, The weariness, the fever, and the fret Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs, Where youth grows pale, and spectre-thin, and dies; Where but to think is to be full of sorrow And leaden-eyed despairs;

The breathing instruments inspire, Wake into voice each silent string, And sweep the sounding lyre! In a sadly pleasing strain, 2 Let the warbling lute complain: Let the loud trumpet sound, Till the roofs all around The shrill echoes rebound; While in more lengthen'd notes and slow, The deep, majestic, solemn organs blow. Hark! the numbers soft and clear Gently steal upon the

Some of the verse of Tennyson shows immense technical skill, is better than anything of Shelley or Swinburne.43 I cite Tennyson’s consummate skill to show that it is not merely a question of the slipshod, or of a degeneration of the ear. It is something deeper than that. It is a further stage in the disintegration of the intellect, the further separation of sound, image and thought.

And as the boat-head wound along The willowy hills and fields among, They heard her singing her last song, The Lady of Shalott. Heard a carol, mournful, holy, Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darkened wholly, Turned to towered Camelot; For ere she reached upon the tide The first house by the water-side, Singing in her song she died, The Lady of Shalott.

Haunting the library as a kid, reading poetry books when I was not reading bird books, I had been astonished at how often birds were mentioned in British poetry. Songsters like nightingales and Sky Larks appeared in literally dozens of works, going back beyond Shakespeare, back beyond Chaucer. Entire poems dedicated to such birds were written by Tennyson, Wordsworth, Shelley, Keats, and many lesser-known poets. I had run across half a dozen British poems just about Sky Larks; Thomas Hardy had even written a poem about Shelley’s poem about the Sky Lark. The love of birds and of the English language were intermingled in British literary history. Somehow we Americans had failed to import this English love of birds along with the language, except in diluted form. But we had imported a few of the English birds themselves — along with birds from practically everywhere else.

And so it is in poetry also: all this love of curious French metres like the Ballade, the Villanelle, the Rondel; all this increased value laid on elaborate alliterations, and on curious words and refrains, such as you will find in Dante Rossetti and Swinburne, is merely the attempt to perfect flute and viol and trumpet through which the spirit of the age and the lips of the poet may blow the music of their many messages. And so it has been with this romantic movement of ours: it is a reaction against the empty conventional workmanship, the lax execution of previous poetry and painting, showing itself in the work of such men as Rossetti and Burne-Jones by a far greater splendour of colour, a far more intricate wonder of design than English imaginative art has shown before. In Rossetti’s poetry and the poetry of Morris, Swinburne and Tennyson a perfect precision and choice of language, a style flawless and fearless, a seeking for all sweet and precious melodies and a sustaining consciousness of the musical value of each word are opposed to that value which is merely intellectual. In this respect they are one with the romantic movement of France of which not the least characteristic note was struck by Theophile Gautier’s advice to the young poet to read his dictionary every day, as being the only book worth a poet’s reading.

There rolls the deep where grew the tree. O earth, what changes hast thou seen! There where the long street roars, hath been The stillness of the central sea. The hills are shadows, and they flow From form to form, and nothing stands; They melt like mist, the solid lands, Like clouds they shape themselves and go. But in my spirit will I dwell, And dream my dream, and hold it true; For tho' my lips may breathe adieu, I cannot think the thing farewell.

I cannot rest from travel: I will drink Life to the lees: All times I have enjoy'd Greatly, have suffer'd greatly, both with those That loved me, and alone, on shore, and when Thro' scudding drifts the rainy Hyades Vext the dim sea: I am become a name; For always roaming with a hungry heart Much have I seen and known; cities of men And manners, climates, councils, governments, Myself not least, but honour'd of them all; And drunk delight of battle with my peers, Far on the ringing plains of windy Troy. I am a part of all that I have met; Yet all experience is an arch wherethro' Gleams that untravell'd world whose margin fades For ever and forever when I move. How dull it is to pause, to make an end, To rust unburnish'd, not to shine in use! As tho' to breathe were life! Life piled on life Were all too little, and of one to me Little remains: but every hour is saved From that eternal silence, something more,

A book on steam engine design lay next to one of poems by the poet laureate Tennyson. Lenore traced the poetry book’s cover design. A finely made book with its gold-tooled leather and gilt-edged vellum pages. A beautiful book. An expensive one given to her by a man who’d likely spent three months’ hard-earned wages to obtain it. Lenore made a mournful sound in her throat. Nathaniel. She closed her eyes, remembering his ready smile and eyes as blue as bachelor’s button. She thought of him every day, but lately, in the weeks following her father’s death, he was constantly on her mind.

Very Like a Whale One thing that literature would be greatly the better for Would be a more restricted employment by authors of simile and metaphor. Authors of all races, be they Greeks, Romans, Teutons or Celts, Can'ts seem just to say that anything is the thing it is but have to go out of their way to say that it is like something else. What foes it mean when we are told That the Assyrian came down like a wolf on the fold? In the first place, George Gordon Byron had had enough experience To know that it probably wasn't just one Assyrian, it was a lot of Assyrians. However, as too many arguments are apt to induce apoplexy and thus hinder longevity, We'll let it pass as one Assyrian for the sake of brevity. Now then, this particular Assyrian, the one whose cohorts were gleaming in purple and gold, Just what does the poet mean when he says he came down like a wolf on the fold? In heaven and earth more than is dreamed of in our philosophy there are a great many things, But i don't imagine that among then there is a wolf with purple and gold cohorts or purple and gold anythings. No, no, Lord Byron, before I'll believe that this Assyrian was actually like a wolf I must have some kind of proof; Did he run on all fours and did he have a hairy tail and a big red mouth and big white teeth and did he say Woof woof? Frankly I think it very unlikely, and all you were entitled to say, at the very most, Was that the Assyrian cohorts came down like a lot of Assyrian cohorts about to destroy the Hebrew host. But that wasn't fancy enough for Lord Byron, oh dear me no, he had to invent a lot of figures of speech and then interpolate them, With the result that whenever you mention Old Testament soldiers to people they say Oh yes, they're the ones that a lot of wolves dressed up in gold and purple ate them. That's the kind of thing that's being done all the time by poets, from Homer to Tennyson; They're always comparing ladies to lilies and veal to venison, And they always say things like that the snow is a white blanket after a winter storm. Oh it is, is it, all right then, you sleep under a six-inch blanket of snow and I'll sleep under a half-inch blanket of unpoetical blanket material and we'll see which one keeps warm, And after that maybe you'll begin to comprehend dimly, What I mean by too much metaphor and simile.

Oft had I heard of Lucy Gray, And when I crossed the Wild, I chanced to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wide Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. 'To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow.' 'That, Father! will I gladly do; 'Tis scarcely afternoon -- The Minster-clock has just struck two, And yonder is the Moon.' At this the Father raised his hook And snapped a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse the powd'ry snow That rises up like smoke. The storm came on before its time, She wandered up and down, And many a hill did Lucy climb But never reached the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlooked the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turned, and cried 'In Heaven we all shall meet!' When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They tracked the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they crossed, The marks were still the same; They tracked them on, nor ever lost, And to the Bridge they came. They followed from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

THE SOLITARY REAPER. Behold her, single in the field, Yon solitary highland lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the vale profound Is overflowing with the sound. No nightingale did ever chaunt More welcome notes to weary bands Of travellers in some shady haunt Among Arabian sands: A voice so thrilling ne'er was heard In spring-time from a cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides. Will no one tell me what she sings?— Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, or may be again? Whate'er the theme, the maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending;— I listened, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more.

Ring out, wild bells, to the wild sky, The flying cloud, the frosty light: The year is dying in the night; Ring out, wild bells, and let him die. Ring out the old, ring in the new, Ring, happy bells, across the snow: The year is going, let him go; Ring out the false, ring in the true. Ring out the grief that saps the mind For those that here we see no more; Ring out the feud of rich and poor, Ring in redress to all mankind. Ring out a slowly dying cause, And ancient forms of party strife; Ring in the nobler modes of life, With sweeter manners, purer laws. Ring out the want, the care, the sin, The faithless coldness of the times; Ring out, ring out my mournful rhymes But ring the fuller minstrel in. Ring out false pride in place and blood, The civic slander and the spite; Ring in the love of truth and right, Ring in the common love of good. Ring out old shapes of foul disease; Ring out the narrowing lust of gold; Ring out the thousand wars of old, Ring in the thousand years of peace. Ring in the valiant man and free, The larger heart, the kindlier hand; Ring out the darkness of the land, Ring in the Christ that is to be.

What are the great poetical names of the last hundred years or so? Coleridge, Wordsworth, Byron, Shelley, Landor, Keats, Tennyson, Browning, Arnold, Morris, Rossetti, Swinburne—we may stop there. Of these, all but Keats, Browning, Rossetti were University men, and of these three, Keats, who died young, cut off in his prime, was the only one not fairly well to do. It may seem a brutal thing to say, and it is a sad thing to say: but, as a matter of hard fact, the theory that poetical genius bloweth where it listeth, and equally in poor and rich, holds little truth. As a matter of hard fact, nine out of those twelve were University men: which means that somehow or other they procured the means to get the best education England can give. As a matter of hard fact, of the remaining three you know that Browning was well to do, and I challenge you that, if he had not been well to do, he would no more have attained to write Saul or The Ring and the Book than Ruskin would have attained to writing Modern Painters if his father had not dealt prosperously in business. Rossetti had a small private income; and, moreover, he painted. There remains but Keats; whom Atropos slew young, as she slew John Clare in a mad-house, and James Thomson by the laudanum he took to drug disappointment. These are dreadful facts, but let us face them. It is—however dishonouring to us as a nation—certain that, by some fault in our commonwealth, the poor poet has not in these days, nor has had for two hundred years, a dog’s chance. Believe me—and I have spent a great part of ten years in watching some three hundred and twenty elementary schools, we may prate of democracy, but actually, a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ (cit. The Art of Writing, Sir Arthur Quiller-Couch) Nobody could put the point more plainly. ‘The poor poet has not in these days, nor has had for two hundred years, a dog’s chance . . . a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ That is it. Intellectual freedom depends upon material things. Poetry depends upon intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time. Women have had less intellectual freedom than the sons of Athenian slaves. Women, then, have not had a dog’s chance of writing poetry. That is why I have laid so much stress on money and a room of one’s own. However, thanks to the toils of those obscure women in the past, of whom I wish we knew more, thanks, curiously enough to two wars, the Crimean which let Florence Nightingale out of her drawing-room, and the European War which opened the doors to the average woman some sixty years later, these evils are in the way to be bettered. Otherwise you would not be here tonight, and your chance of earning five hundred pounds a year, precarious as I am afraid that it still is, would be minute in the extreme.

Shalott?

To dream and dream, like yonder amber light Which will not leave the myrrh-bush on the

Was it a vision, or a waking dream? Fled is that music:—do I wake or sleep?

This poem inspired me to write my eBook. The Miller's Daughter by Alfred Lord Tennyson It is the miller’s daughter, And she is grown so dear, so dear, That I would be the jewel That trembles in her ear; For hid in ringlets day and night I’d touch her neck so warm and white.

Nor e'er had changed, nor wished to change, his place; Unpractised he to fawn, or seek for power, By doctrines fashioned to the varying hour; Far other aims his heart had learned to prize, More skilled to raise the wretched than to rise.

Push off, and sitting well in order smite the sounding furrows

I would read poetry, hoping for solace in knowing that I wasn’t the only one to feel this exquisitely exhausting and overwhelming pain. Alfred Lord Tennyson had no idea of what a woman could feel when he wrote ‘Better to have loved and lost, than never to have loved at all.’ There were times I wished I’d never met Darius at all.

short poem by Wordsworth, entitled "My Heart leaps up": "My heart leaps up when I behold A rainbow in the sky. So was it when my life began; So is it now I am a man; So be it when I shall grow old,

T is not too late to seek a newer world. Push off, and sitting well in order smite The sounding furrows; for my purpose holds To sail beyond the sunset, and the baths Of all the western stars, until I die. It may be that the gulfs will wash us down: It may be we shall touch the Happy Isles, And see the great Achilles, whom we knew. Tho' much is taken, much abides; and tho' We are not now that strength which in old days Moved earth and heaven, that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield.

Later, much would be made of the fact that October 25 was the ninetieth anniversary of the Crimean War’s Battle of Balaklava, immortalized by Alfred, Lord Tennyson’s “Charge of the Light Brigade.” Twice the poem critically asserts, “All the world wonder’d” at such a military blunder. The young ensign who encoded the message later claimed that “The world wonders” buffer was “just something that popped into my head.” But every man of Halsey’s generation knew well the reference, and the damage had been done.

Every work of art was a thing of beauty and every phrase of poetry was a line to remember. We cannot compare Wordsworth to Tennyson, nor can we compare Picasso to Michaelangelo. We all know, different artists and poets are special in their own ways.

There looms, large, uncertain, dim but glittering, the legend of King Arthur and the Knights of the Round Table. Somewhere in the Island a great captain gathered the forces of Roman Britain and fought the barbarian invaders to the death. Around him, around his name and his deeds, shine all that romance and poetry can bestow. Twelve battles, all located in scenes untraceable, with foes unknown, except that they were heathen, are punctiliously set forth in the Latin of Nennius. Other authorities say, “No Arthur; at least, no proof of any Arthur.” It was only when Geoffrey of Monmouth six hundred years later was praising the splendours of feudalism and martial aristocracy that chivalry, honour, the Christian faith, knights in steel and ladies bewitching, are enshrined in a glorious circle lit by victory. Later these tales would be retold and embellished by the genius of Mallory, Spenser, and Tennyson. True or false, they have gained an immortal hold upon the thoughts of men.

Sunset and evening star, And one clear call for me! And may there be no moaning of the bar, When I put out to sea, But such a tide as moving seems asleep, Too full for sound and foam, When that which drew from out the boundless deep Turns again home. Twilight and evening bell, And after that the dark! And may there be no sadness of farewell, When I embark; For tho' from out our bourne of Time and Place The flood may bear me far, I hope to see my Pilot face to face When I have crost the bar.

When critics like Matthew Arnold, for example, suggest that his poetry is deficient in elaborate thought, they only prove, as Matthew Arnold proved, that they themselves could never be great poets. It is no valid accusation against a poet that the sentiment he expresses is commonplace. Poetry is always commonplace; it is vulgar in the noblest sense of that noble word. Unless a man can make the same kind of ringing appeal to absolute and admitted sentiments that is made by a popular orator, he has lost touch with emotional literature. Unless he is to some extent a demagogue, he cannot be a poet. A man who expresses in poetry new and strange and undiscovered emotions is not a poet; he is a brain specialist. Tennyson can never be discredited before any serious tribunal of criticism because the sentiments and thoughts to which he dedicates himself are those sentiments and thoughts which occur to anyone. These are the peculiar province of poetry; poetry, like religion, is always a democratic thing, even if it pretends the contrary.

There was, again, another poetic element entirely peculiar to Tennyson, which his critics have, in many cases, ridiculously confused with a fault. This was the fact that Tennyson stood alone among modern poets in the attempt to give a poetic character to the conception of Liberal Conservatism, of splendid compromise. The carping critics who have abused Tennyson for this do not see that it was far more daring and original for a poet to defend conventionality than to defend a cart-load of revolutions. His really sound and essential conception of Liberty, "Turning to scorn with lips divine The falsehood of extremes," is as good a definition of Liberalism as has been uttered in poetry in the Liberal century. Moderation is not a compromise; moderation is a passion; the passion of great judges. That Tennyson felt that lyrical enthusiasm could be devoted to established customs, to indefensible and ineradicable national constitutions, to the dignity of time and the empire of unutterable common sense, all this did not make him a tamer poet, but an infinitely more original one. Any poetaster can describe a thunderstorm; it requires a poet to describe the ancient and quiet sky.

Nennius tells us, what Gildas omits, the name of the British soldier who won the crowning mercy of Mount Badon, and that name takes us out of the mist of dimly remembered history into the daylight of romance. There looms, large, uncertain, dim but glittering, the legend of King Arthur and the Knights of the Round Table. Somewhere in the Island a great captain gathered the forces of Roman Britain and fought the barbarian invaders to the death. Around him, around his name and his deeds, shine all that romance and poetry can bestow. Twelve battles, all located in scenes untraceable, with foes unknown, except that they were heathen, are punctiliously set forth in the Latin of Nennius. Other authorities say, “No Arthur; at least, no proof of any Arthur.” It was only when Geoffrey of Monmouth six hundred years later was praising the splendours of feudalism and martial aristocracy that chivalry, honour, the Christian faith, knights in steel and ladies bewitching, are enshrined in a glorious circle lit by victory. Later these tales would be retold and embellished by the genius of Mallory, Spenser, and Tennyson. True or false, they have gained an immortal hold upon the thoughts of men. It is difficult to believe it was all an invention of a Welsh writer. If it was he must have been a marvellous inventor. Modern research has not accepted the annihilation of Arthur. Timidly but resolutely the latest and best-informed writers unite to proclaim his reality. They cannot tell when in this dark period he lived, or where he held sway and fought his battles. They are ready to believe however that there was a great British warrior, who kept the light of civilisation burning against all the storms that beat, and that behind his sword there sheltered a faithful following of which the memory did not fail. All four groups of the Celtic tribes which dwelt in the tilted uplands of Britain cheered themselves with the Arthurian legend, and each claimed their own region as the scene of his exploits. From Cornwall to Cumberland a search for Arthur’s realm or sphere has been pursued.The reserve of modern assertions is sometimes pushed to extremes, in which the fear of being contradicted leads the writer to strip himself of almost all sense and meaning. One specimen of this method will suffice: "It is reasonably certain that a petty chieftain named Arthur did exist, probably in South Wales. It is possible that he may have held some military command uniting the tribal forces of the Celtic or highland zone or part of it against raiders and invaders (not all of them necessarily Teutonic). It is also possible that he may have engaged in all or some of the battles attributed to him; on the other hand, this attribution may belong to a later date." This is not much to show after so much toil and learning. Nonetheless, to have established a basis of fact for the story of Arthur is a service which should be respected. In this account we prefer to believe that the story with which Geoffrey delighted the fiction-loving Europe of the twelfth century is not all fancy. If we could see exactly what happened we should find ourselves in the presence of a theme as well founded, as inspired, and as inalienable from the inheritance of mankind as the Odyssey or the Old Testament. It is all true, or it ought to be; and more and better besides. And wherever men are fighting against barbarism, tyranny, and massacre, for freedom, law, and honour, let them remember that the fame of their deeds, even though they themselves be exterminated, may perhaps be celebrated as long as the world rolls round. Let us then declare that King Arthur and his noble knights, guarding the Sacred Flame of Christianity and the theme of a world order, sustained by valour, physical strength, and good horses and armour, slaughtered innumerable hosts of foul barbarians and set decent folk an example for all time.

We dare not be original; our American Pine must be cut to the trim pattern of the English Yew, though the Pine bleed at every clip. This poet tunes his lyre at the harp of Goethe, Milton, Pope, or Tennyson. His songs might better be sung on the Rhine than the Kennebec. They are not American in form or feeling; they have not the breath of our air; the smell of our ground is not in them. Hence our poet seems cold and poor. He loves the old mythology; talks about Pluto—the Greek devil,—— the Fates and Furies—witches of old time in Greece,—-but would blush to use our mythology, or breathe the name in verse of our Devil, or our own Witches, lest he should be thought to believe what he wrote. The mother and sisters, who with many a pinch and pain sent the hopeful boyto college, must turn over the Classical Dictionary before they can find out what the youth would be at in his rhymes. Our Poet is not deep enough to see that Aphrodite came from the ordinary waters, that Homer only hitched into rhythm and furnished the accomplishment of verse to street talk, nursery tales, and old men’s gossip, in the Ionian towns; he thinks what is common is unclean. So he sings of Corinth and Athens, which he never saw, but has not a word to say of Boston, and Fall River, and Baltimore, and New York, which are just as meet for song. He raves of Thermopylae and Marathon, with never a word for Lexington and Bunkerhill, for Cowpens, and Lundy’s Lane, and Bemis’s Heights. He loves to tell of the Ilyssus, of “ smooth sliding Mincius, crowned with vocal reeds,” yet sings not of the Petapsco, the Susquehannah, the Aroostook, and the Willimantick. He prates of the narcissus, and the daisy, never of American dandelions andbue-eyed grass; he dwells on the lark and the nightingale, but has not a thought for the brown thrasher and the bobolink, who every morning in June rain down such showers of melody on his affected head. What a lesson Burns teaches us addressing his “rough bur thistle,” his daisy, “wee crimson tippit thing,” and finding marvellous poetry in the mouse whose nest his plough turned over! Nay, how beautifully has even our sweet Poet sung of our own Green river, our waterfowl,of the blue and fringed gentian, the glory of autumnal days.