DOCSLIB.ORG

TENNYSON Also by Christopher Ricks

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TENNYSON Also by Christopher Ricks TENNYSON Also by Christopher Ricks MILTON'S GRAND STYLE KEATS AND EMBARRASSMENT THE FORCE OF POETRY T. S. ELIOT AND PREJUDICE THE POEMS OF TENNYSON (editor) THE NEW OXFORD BOOK OF VICTORIAN VERSE (editor) A. E. HOUSMAN: COLLECTED POEMS AND SELECTED PROSE (editor) THE TENNYSON ARCHIVE (editor with Aidan Day) Tennyson Second Edition Christopher Ricks pal grave ©Christopher Ricks 1972,1989 All rights reseiVed. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author(s) has/have asserted their rights to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. First edition 1972 Second edition 1989 Published by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 978-0-333-48655-9 ISBN 978-1-349-20233-1 (eBook) DOI 10.1007/978-1-349-20233-1 A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Transferred to digital reprinting 2002 Contents Preface vii Acknowledgements ix I 1 Tennyson and his father till1827 1 2 Somersby till 1827 10 3 Poems till 1827 16 4 Somersby, 1828-1831 20 5 Cambridge and Arthur Hallam till 'Timbuctoo', 1829 28 6 Arthur Hallam, 1829-1830 34 II Poems, Chiefly Lyrical, 1830 37 III 1 The Pyrenees, 1830 52 2 Arthur Hallam and the Tennysons, 1831 54 3 Tennyson's brothers and sisters 57 4 Tennyson's despondency 61 5 Arthur Hallam, 1831-1832 63 IV Poems, 1832 70 v 1 Poems between 1832 and Hallam's death 93 2 1833 and Hallam's death 105 3 Poems from Hallam's death till the end of 1834 110 VI 1 1834-1837 136 2 Poems, 1835-1837 140 3 1837-1840 145 4 Poems, 1837-1840 151 5 1840-1847 161 v vi Contents VII 1 The Princess and the Queen 172 2 The Princess, 1847 180 3 Emily and marriage, 184~1850 196 VIII In Memoriam, 1850 201 IX 1 1850-1855 219 2 Poems, 1852-1854 225 X Maud, 1855 233 XI Idylls of the King, 1859--1885 250 XII 'Enoch Arden' and 'Aylmer's Field', 1864 262 XIII 1 The later poems 271 2 'The days that are no more' 281 3 'Crossing the Bar' 295 Appendix A 'Ode on the Death of the Duke of Wellington' Edgar Shannon and Christopher Ricks 298 Appendix B 'The Charge of the Light Brigade' Edgar Shannon and Christopher Ricks 324 Abbreviations 364 Notes 365 Index 383 Preface ALFRED TENNYSON had a long life, from 1809 to 1892, and he wrote a very great deal. The Poems ofTennyson, which I edited for Longman Annotated English Poets (1969, revised 1987), is now in three volumes, each about seven hundred pages. Any book which aims to deal with both the life and the work is therefore thrust into drastic decisions. I wished to do three things: to create a sense of what Tennyson in his private life underwent and became; to make an independent exploration of his poetry, seeking to comprehend its special distinction; and to suggest some of the relationships between the life and the work, in the spirit of Carlyle's vivid glimpse of Tennyson in 1844: 'a man solitary and sad, as certain men are, dwelling in an element of gloom, -carrying a bit of Chaos about him, in short, which he is manufacturing into Cosmos!' Since a preface is the place for saying what one has not done, it should be made clear what it was that these decisions excluded. First, there is much of Tennyson's poetry which I had no room to mention, let alone to explore; if the poems which figure in these pages are the traditional choices to the point of predictability, that is because in my opinion the traditional sense of what was most creative within Tennyson's achievement is a just one. Second, I have not embarked upon Tennyson's times, upon history or literary history or history of ideas; Tennyson was not a recluse, but his essential life was the private life, and this made me decide, moreover, that a biographical study could without falsification (though with a sad forfeiting of some fine anecdotes) phase itself out. By the 1850s, when Tennyson was married, middle-aged, famous, secure, and the Poet Laureate, he had undergone all that truly formed him. Thereafter this book speaks simply of the poems. A word about the three biographies of Tennyson which matter. Alfred Lord Tennyson: A Memoir (1897), by Tennyson's son Hallam Tennyson, is capacious and honourable, at its best in breathing a sense of what it was like in the immediate vicinity of Tennyson during the second half of his life. But the Memoir is unfortunately inaccurate, sometimes wilfully so, and it is inordinately reticent. The truth about Tennyson's early life was first told by the poet's grandson, Sir Charles Tennyson, in his Alfred Tennyson (1949), a biography which is compact, humane, wide-ranging, and unsuper- vii viii Preface seded. Neither of these biographies, however, gives any references. Since the publication of the present study in 1972, there has appeared Robert Bernard Martin's biography, Tennyson: The Unquiet Heart (1980); it is the first full-length biography to give chapter and verse for the poet's life, and is marked not only by accuracy and assiduity but by acumen and a dash of scepticism. Two other accounts of Tennyson ask mention. R. W. Rader's Tennyson's 'Maud': The Biographical Genesis (1963) stands as a notably important contribution, revealing, among other things, a love affair the failure of which mattered a great deal to Tennyson. Then, of a very different kind, there is the Diary (1907) of Tennyson's friend William Allingham; Allingham establishes, through his innumer­ able shrewd and exhilarating conversations with and about Tenny­ son, what seems to me the most living sense of the man Tennyson was. A note on this revised edition Small corrections, and changes to the wording, have been made throughout but the book has not been rewritten. References and quotations have been brought into conformity with the important additions to Tennysonian scholarship since 1972. Most notable is the edition of Tennyson's letters by Cecil Y. Lang and Edgar F. Shannon Jr: vol. 1 1821-1850 (1982), and vol. 11 1851-1870 (1987); the third and final volume is forthcoming. My revision has also profited from Jack Kolb's edition of Arthur Hallam's letters (1981), and from the edition of Edward FitzGerald's letters by A. M. Terhune and A. B. Terhune (1980). Quotations from Tennyson's poems are now from the revised edition of The Poems of Tennyson (3 vols, 1987). I have added a sub-section to lhe chapter on The Princess, 'The Princess and the Queen', and am grateful to Victorian Poetry for permission to reprint this (from the issue of Autumn-Winter 1987). I have also added, as appendixes, two articles of which Edgar Shannon and I were co-authors; one is on the 'Ode on the Death of the Duke of Wellington', and the other on 'The Charge of the Light Brigade'. They are placed as appendixes because they differ from the book in scale, movement and procedure, but I believe them to be germane to the book's critical enterprise. I am grateful to Professor Shannon for permission to reprint them, as to Professor Fredson Bowers and Studies in Bibliography, where they appeared in 1979 and 1985. Acknowledgements I AM GRATEFUL to Lord Tennyson, as I was to the late Sir Charles Tennyson, for permission to quote manuscript and other material. Permission to quote manuscripts was kindly granted by Lord Boyne; Mr Robert Taylor; Major Alfred Tennyson d'Eyncourt; the Beinecke Library, Yale University; the Henry W. and Albert A. Berg Collection, the New York Public Library, Astor, Lenox and Tilden Foundations; the British Library; the Brotherton Collection, University of Leeds; Duke University Library; the Harvard College Library; the Huntington Library, San Marino; the Library of the University of Texas at Austin; Wellesley College Library. Quotations from the Tennyson manuscripts at Trinity College, Cambridge, are given by permission of Lord Tennyson's Trustees and with the approval of the Master and Fellows of Trinity College, Cambridge. My special thanks are due also to the Tennyson Research Centre, Lincoln, and its former director, Mr F. T. Baker, and to Mrs N. Campbell; and to the Lincolnshire Archives Commit­ tee and Mrs J. Varley. The British Academy gave permission for me to incorporate, in an amended form, my Chatterton lecture 'Tennyson's Methods of Composition' (1966); the Malahat Review likewise for an amended form of my essay 'Tennyson as a Love­ Poet', published there in October 1969. I am indebted to Professor Cecil Y. Lang and to Professor Edgar F. Shannon, the editors of Tennyson's letters, who most generously shared their knowledge; also to Professor M. A. Epstein, for an opinion on scirrhosity of the liver. Quotations from the poems are from my edition of The Poems of Tennyson (Longman Annotated English Poets, 1969; 2nd edition, incorporating the Trinity Manuscripts, 1987).
Load more

Recommended publications
  • 1 a Lincolnshire Boyhood 2 Cambridge
    Notes 1 A LINCOLNSHIRE BOYHOOD 1. J. 0. Hoge, ed., 'Emily Tennyson's Narrative for her Sons', Texas Studies in Literature and Language XIV (1972), 96. 2. H. D. Rawnsley, Memories of the Tennysons (1900), p. 225. 3. See C. Tennyson and C. Ricks, 'Tennyson's "Mablethorpe"', Tennyson Research Bulletin II, iii (1974), 121-3 [hereafter TRB]. 4. A. Pollard, 'Three Horace Translations by Tennyson', TRB IV, i (1982), 16. 5. H. D. Paden, Tennyson in Egypt (1942), p. 103. 6. C. Tennyson and C. Ricks, 'Tennyson's "Mablethorpe"', p. 121. 7. This painting is still at Farringford. I am grateful to Dr Christopher Brown, Chief Curator of the National Gallery, for the attribution. 8. A. G. Weld, Glimpses of Tennyson (1903), p. 12. 9. J. Kolb, ed., The Letters of A. H. Hallam (1981), p. 457. 10. R. B. Martin, Tennyson: The Unquiet Heart (1980), p. 48. 11. E. A. Knies, ed., Tennyson at Aldworth: The Diary off. H. Mangles, (1984), p. 122. 2 CAMBRIDGE 1. C. Tennyson, Alfred Tennyson (1949), p. 55. 2. E. A. Knies, ed., Tennyson at Aldworth: The Diary of f. H. Mangles, p. 97. 3. S. T. Coleridge, Aids to Reflection, ed. D. Coleridge (7th edn, London, 1854), p. 155. 4. Arthur Hallam visited Coleridge at Highgate, but Tennyson, although invited, never went. Coleridge's rude remarks on Tennyson's han­ dling of metre would not have encouraged him. 5. Shelley's Adonais: A Critical Edition, ed. A. D. Knerr (New York, 1984), pp. 445-6. 6. H. B. Bryant, 'The African Genesis of Tennyson's "Timbuctoo"', TRB, III v (1981), 200.
    [Show full text]
  • Symbol and Mood in Tennyson's Nature Poetry Margery Moore Taylor
    University of Richmond UR Scholarship Repository Master's Theses Student Research 1971 Symbol and mood in Tennyson's nature poetry Margery Moore Taylor Follow this and additional works at: https://scholarship.richmond.edu/masters-theses Part of the English Language and Literature Commons Recommended Citation Taylor, Margery Moore, "Symbol and mood in Tennyson's nature poetry" (1971). Master's Theses. 1335. https://scholarship.richmond.edu/masters-theses/1335 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. SYJYIBOL AND MOOD IN TENNYSON•S NATURE POETRY BY MA1"1GERY MOORE TAYLOR A THESIS SUBI.'IITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS JUNE, 1971 Approved for the Department of English and the Graduate School by: Cha rman of the Department of English c:;Dean ofJ'.� the (JG�e . � School CONTENTS INTRODUCTION CHAPTER I: NATURE AND SYMBOLISM CHAPTER II: NATURE AND MOOD CONCLUSION BIBLIOGRAPHY INTRODUCTION The purpose of this paper is to show Tennyson's preoccupation with nature in his poetry, his use of her as a projector of moods and s.ymbolism, the interrelation of landscape with depth of feeling and narrative or even simple picturesqueness. Widely celebrated as the supreme English poet and often called the Victorian Oracle,1 Tenny­ son may well be considered the best exemplar of the nine­ teenth century.
    [Show full text]
  • Edward Lear's Lines of Flight
    Journal of the British Academy, 1, 31–69. DOI 10.5871/jba/001.031 Posted 18 July 2013. © The British Academy 2013 Edward Lear’s lines of flight Chatterton Lecture on Poetry read 1 November 2012 by MATTHEW BEVIS Abstract: ‘Verily I am an odd bird’, Edward Lear wrote in his diary in 1860. This article examines a range of odd encounters between birds and people in Lear’s paint­ ings, illustrations, and poems. It considers how his interest in birds—an interest at once scientific and aesthetic—helped to shape his nonsense writings. I suggest that poetic and pictorial lines of flight became, for Lear, a means of exploring the claims that art might make on our attention. Keywords: Edward Lear, poetry, painting, flight, birds, Charles Darwin, nonsense, evolution, Alfred Tennyson. until now I never knew That fluttering things have so distinct a shade. Wallace Stevens, ‘Le Monocle de Mon Oncle’ (1918) ‘If you cannot tell me how the shadows of the blessed jackdaws will fall I don’t know what I shall do’, wrote Edward Lear to William Holman Hunt in 1852.1 The poet’s feeling for the life of things was often enhanced by his regard for their fleeting effects. ‘Myriads of pigeons!’, he later exclaimed, ‘And when they fly, their shadows on the ground!’2 Notwithstanding the lessons of Plato’s cave, shadows, for Lear, inhabit the realm of the knowable; they are not simply a mistake, or a deception, or a diversion from the real. At once copies and reanimations, shadows may also stand as an analogue for art.
    [Show full text]
  • A History of English Literature MICHAEL ALEXANDER
    A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting
    [Show full text]
  • Studies in Tennyson Poems of Tennyson
    1920. COPTBIGHT, 1889. 1891. 1892. 1897, 1898. BY CHARLES SCRIBNEB's SONS Published February, 1920 PR. 558% V4 THE 8CRBNER PRESS BY HENRY VAN DYKE The Valley of Vision Fighting for Peace The Unknown Quantity The Ruling Passion The Blue Flower Out-of-Doors in the Holy Land Days Off Little Rivers Fisherman's Luck Poems, Collection in one volume Golden Stars The Red Flower The Grand Canyon, and Other Poems The White Bees, and Other Poems The Builders, and Other Poems Music, and Other Poems The Toiling of Felix, and Other Poems The House of Rimmon Studies in Tennyson Poems of Tennyson CHARLES SCRIBNER'S SONS STUDIES IN TENNYSON <J / A YOUNG WOMAN OF AN OLD FASHION WHO LOVES ABT NOT ONLY FOE ITS OWN SAKE BUT BECAUSE IT ENNOBLES LIFE WHO READS POETRY NOT TO KILL TIME BUT TO FILL IT WITH BEAUTIFUL THOUGHTS AND WHO STILL BELIEVES IN GOD AND DUTY AND IMMORTAL LOVE I DEDICATE THIS BOOK PREFACE 1 HIS volume is intended to be a companion to my Select Poems of Tennyson. I have put it second in the pair because that is its right place. Criticisms, com^ ments, interpretations, are of comparatively little use until you have read the poetry of which they treat. Like photographs of places that one has not seen, they lack the reviving, realizing touch of remembrance. The book contains a series of essays, written at dif- ferent times, printed separately in different places, and collected, substantially, in a book called The Poetry of Tennyson, which was fortunate enough to find many friends, and has now, I believe, gone out of print.
    [Show full text]
  • Publishing Swinburne; the Poet, His Publishers and Critics
    UNIVERSITY OF READING Publishing Swinburne; the poet, his publishers and critics. Vol. 1: Text Submitted for the degree of Doctor of Philosophy Department of English Language and Literature Clive Simmonds May 2013 1 Abstract This thesis examines the publishing history of Algernon Charles Swinburne during his lifetime (1837-1909). The first chapter presents a detailed narrative from his first book in 1860 to the mid 1870s: it includes the scandal of Poems and Ballads in 1866; his subsequent relations with the somewhat dubious John Camden Hotten; and then his search to find another publisher who was to be Andrew Chatto, with whom Swinburne published for the rest of his life. It is followed by a chapter which looks at the tidal wave of criticism generated by Poems and Ballads but which continued long after, and shows how Swinburne responded. The third and central chapter turns to consider the periodical press, important throughout his career not just for reviewing but also as a very significant medium for publishing poetry. Chapter 4 on marketing looks closely at the business of producing and of selling Swinburne’s output. Finally Chapter 5 deals with some aspects of his career after the move to Putney, and shows that while Theodore Watts, his friend and in effect his agent, was making conscious efforts to reshape the poet, some of Swinburne’s interests were moving with the tide of public taste; how this was demonstrated in particular by his volume of Selections and how his poetic oeuvre was finally consolidated in the Collected Edition at the end of his life.
    [Show full text]
  • Tennyson's Poems
    Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Kabir's Poems Macmillan and Co., Limited London Bombay Calcutta Melbourne the Macmillan Company New York Boston Chicago Dallas San Francisco
    Estate of the late Rev. G. StaAley Russell ^ fit QrrH v / KABIR'S POEMS MACMILLAN AND CO., LIMITED LONDON BOMBAY CALCUTTA MELBOURNE THE MACMILLAN COMPANY NEW YORK BOSTON CHICAGO DALLAS SAN FRANCISCO THE MACMILLAN CO. OF CANADA, LTD. TORONTO ONE HUNDRED POEMS OF KABIR TRANSLATED BY RABINDRANATH TAGORE ASSISTED BY EVELYN UNDERBILL MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON 1915 COPYRIGHT 688073 INTRODUCTION THE poet Kabir, a selection from whose songs is here for the first time offered to English readers, is one of the most interesting personalities in the history of Indian mysticism. Born in or near Benares, of Mohammedan parents, and probably about the year 1440, he became in early life a disciple of the celebrated Hindu ascetic Rama- nanda. Ramananda had brought to Northern India the religious revival which Ramanuja, the great twelfth- century reformer of Brahmanism, had initiated in the South. I This revival was in part a reaction against the increasing formalism of the orthodox vi KABIR'S POEMS cult, in part an assertion of the de- mands of the heart as against the intense intellectualism of the Vedanta philosophy, the exaggerated monism which that philosophy proclaimed. It took in Ramanuja's preaching the form of an ardent personal devotion to the God Vishnu, as representing the personal aspect of the Divine " Nature : that mystical religion of " love which everywhere makes its appearance at a certain level of spiritual culture, and which creeds and philosophies are powerless to kill. Though such a devotion is in- digenous in Hinduism, and finds expression in many passages of the Bhagavad Gita, there was in its mediaeval revival a large element of syncretism.
    [Show full text]
  • Tennyson's "Enoch Arden": a Victorian Best-Seller Patrick G
    University of South Carolina Scholar Commons Faculty Publications English Language and Literatures, Department of 1970 Tennyson's "Enoch Arden": A Victorian Best-Seller Patrick G. Scott University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/engl_facpub Part of the English Language and Literature Commons Publication Info 1970. Scott, Patrick. Tennyson's "Enoch Arden": A Victorian Best-Seller. Lincoln: Tennyson Society Monographs, no. 2, 1970. http://community.lincolnshire.gov.uk/thetennysonsociety/index.asp?catId=15855 © P. G. Scott 1970 This Book is brought to you by the English Language and Literatures, Department of at Scholar Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Tennyson's Enoch Arden: A Victorian Best,Seller i i I ',!I P. G. SCOTT ! I I The Tennyson Society Tennyson Research Centre Lincoln i 1970 I i!I I Tennyson Society Monographs: Number Two © P. C . SCOTT 1970 , , Prin ted by Keyworth & Fry Ltd" Lincoln, England, I. ,• I' Tennyson's Enoch Arden: A Victorian Best-Seller In 1864, Tennyson was famous; the 1842 Poems and In l'vIemoriam ( 1850) had established his reputation with the thinking public, and Idylls of the King ( 1859) with the greater number who looked for a picturesque mediaevalism in their verse. His sovereign had named him Poet Laureate, and his countrymen accorded him the hero­ worship typical of the Victorian era. It was at this point that he published a new poem, Enoch Arden, which went immediately to the hearts of his readers and became a best-seller, yet which has come to be so badly regarded by modern critics that it seldom receives serious attention.
    [Show full text]
  • The Project Gutenberg Etext of Enoch Arden, &C. by Alfred Tennyson #3 In
    The Project Gutenberg Etext of Enoch Arden, &c. by Alfred Tennyson #3 in our series by Alfred Tennyson Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files ! ! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Please do not remove this. This should be the first thing seen when anyone opens the book. Do not change or edit it without written permission. The words are carefully chosen to provide users with the information they need about what they can legally do with the texts. Welcome To The World of Free Plain Vanilla Electronic Texts Etexts Readable By Both Humans and By Computers, Since 1971 These Etexts Prepared By Hundreds of Volunteers and Donations Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. The Project Gutenberg Literary Archive Foun- dation is a 501(c)(3) organization with EIN [Employee Identification Number] 64-6221541 As of 12/12/00 contributions are only being solicited from people in : Colorado, Connecticut, Idaho, Indiana, Iowa, Kentucky, Louisiana, Massachusetts, Montana, Nevada, Oklahoma, South Carolina, South Dakota, Texas, Ver- mont, and Wyoming. As the requirements for other states are met, additions to this list will be made and fund raising will begin in the additional states. Please feel free to ask to check the status of your state. These donations should be made to : Project Gutenberg Literary Archive Foundation PMB 113 1739 University Ave.
    [Show full text]
  • Alfred Tennyson (1809-92)
    Alfred Tennyson (1809-92) Life.- Alfred Tennyson was born at Sommersby Rectory, Lincolnshire, on August 6, 1809. In 1826 he and his brother Charles published in collaboration a small volume of verse, entitled Poems by Two Brothers. In 1828 he entered Cambridge, and the next year gained the Chancellor’s English medal for a poem on Timbuctoo. In 1833 a heavy blow fell upon him in the death of his dear friend Arthur Hallam. In 1850 he married Emily Sellwood, and was appointed poet laureate in succession to Wordsworth. Thenceforth his life was placid and uneventful. Active in his art to the last, he died at Farringford, near Freshwater, Isle of Wight, on October 6, 1892. He had been raised to the peerage in 1883 as Baron Tennyson of Aldworth and Farringford. Works.- His principal publications are: Poems, chiefly Lyrical (1830) Poems (1833) The Princess (1847) In Memoriam (1850) Maud (1855) Idylls of the King (1859-85) Enoch Arden (1864) Queen Mary (1875) Harold (1876) Ballads etc. (1880) The Cup and the Falcon (1884) Becket (1884) Tiresias and other Poems (1885) Locksley Hall Sixty Years after (1886) Demeter and other Poems (1889) The Death of Cenone, etc. (1892) Character.- Tennyson’s character was remarkable for the combination of ruggedness and delicacy. Lord Selborne’s lines are quite telling in this respect: He writes that Tennyson was noble, simple, reverent as well as strong, with a frankness which might at times seem rough, but which was never inconsistent with the finest courtesy and the genteel heart. Morbidly shy of strangers and a horror of publicity, he shunned the general intercourse of men.
    [Show full text]
  • Poems and Extracts Selected from the Poetical Works of 1899 (In the Public Domain) with Notes and a Brief Introduction by Emma Laybourn
    Poems and extracts selected from the Poetical Works of 1899 (in the public domain) With notes and a brief introduction By Emma Laybourn. This is a free ebook from www.englishliteratureebooks.com (2013) It may be shared or copied for any non-commercial purpose. Alfred Lord Tennyson Selected Poems Contents Introduction From Juvenilia The Kraken Mariana Song – The Owl Song (A spirit haunts the year’s last hours) Rosalind From The Lady of Shalott, and other poems The Lady of Shalott Oenone (extracts) Lady Clara Vere de Vere (extracts) The May Queen (extracts) New Year’s Eve Conclusion The Lotos-Eaters Choric Song A Dream of Fair Women (extract) From English Idyls and other poems Morte d’Arthur (extracts) Ulysses Tithonus Locksley Hall (extract) Godiva (extract) The Daydream: the Sleeping Palace (extracts) Amphion Sir Galahad (extract) The Eagle Break, Break, Break From Enoch Arden, and other poems Enoch Arden (extracts) Aylmer’s Field (extracts) The Princess; a Medley (extracts) including: Sweet and Low The Splendour Falls on Castle Walls Tears, Idle Tears Now Sleeps the Crimson Petal, now the White Miscellaneous poems: Ode on the Death of the Duke of Wellington (extract) The Charge of the Light Brigade (extract) The Higher Pantheism Hendecasyllabics In Memoriam A. H. H. (extracts) Maud: a Monodrama (extracts) Idylls of the King. In Twelve Books: (extracts) The Coming of Arthur Gareth and Lynette The Marriage of Geraint Geraint and Enid Balin and Balan Merlin and Vivien Lancelot and Elaine The Holy Grail Pelleas and Ettare The Last Tournament Guinevere The Passing of Arthur From Ballads and other poems Rizpah The Revenge: A Ballad of the Fleet (extracts) The Village Wife; or, the Entail (extract) Columbus (extract) From Tiresias, and other poems To E.
    [Show full text]