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the work of an experimentalist in meter and melody; like the preliminary studies of an artist who is bent upon mastering the technique of his art. He had something of Keats' delight in color and melody; yet even in this early effort we detect a note of divergence from those poets who, like Keats, loved "beauty only." He shows us his ideal poet "dowered with the hate of hate, the scorn of scorn, the love of love," whose melodies fling abroad the winged shafts not of beauty but of "truth." In a remarkable poem, The Palace of Art, which appeared in a volume published in 1832, Tennyson defined clearly his position on this point, as against Keats' oft-repeated principle that

"Beauty is truth; truth beauty."

Tennyson lost his father in 1830, and in that year left Cambridge without taking a degree. In 1833 came the shock of a profounder sorrow in the loss of his more than brother, Arthur Hallam, who died suddenly in Vienna. In Memoriam, that incomparable poem in which Tennyson, seventeen years later, gave to the world the record of this story of friendship and loss, admits us into the sacred places of this great grief.

After Hallam's death Tennyson lived chiefly in London, writing constantly, but publishing almost nothing. He belonged to a select coterie, the "Sterling Club," where he met Carlyle, Thackeray, and many other famous men. Nearly ten years' silence was broken at last in 1842 by two volumes of poems, including many of his earlier poems revised, and about as much new matter. The new poems poems included the Morte d'Arthur, Ulysses, The Two Voices, and Locksley Hall, and won for Tennyson most enthusiastic recognition

from both readers and critics. From this time Tennyson took a leading place in the literature of his day. From 1842, until the time of his death, he lived a life of seclusion and of steady industry: a life marked by few striking outward happenings, and chiefly remarkable for that progress of the soul, of which the succession of his books is a lasting memorial. Carlyle has given us a description of Tennyson at this time which serves to bring him vividly before us. "One of the finest looking men in the world. A great shock of rough dusky dark hair; bright, laughing, hazel eyes; massive aquiline face, most massive yet most delicate; of sallow brown complexion, almost Indian looking; clothes cynically loose, free-and-easy, smokes infinite tobacco. His voice is musical, metallic, fit for loud laughter and piercing wail. I do not meet in these late decades such company over a pipe." In another place Carlyle speaks of him as a "lifeguardsman spoilt by making poetry," for Tennyson was tall and soldierly, with a free and swinging gait. We can easily picture him wrapped in his cloak, with a broad-brimmed soft hat pulled over his brow, as he strode over the downs, or climbed the sea cliffs which he loved so much.

The year 1850 stands out from all other years of Tennyson's life, for in it he was married to Miss Emily Sellwood, he published In Memoriam, and he was appointed to the Laureateship of England. Three years later he settled at Farringford, in the Isle of Wight. With Farringford, and with a place at Blackdown in Sussex, which he bought in 1867, his later life is chiefly associated. When he wrote Demeter, Tennyson had passed the allotted threescore years and ten. He was awaiting with a beautiful tranquillity and confidence the time when this "goodly prison" should be opened.

Death came to him gently, as the gracious and fitting close to a lofty life. The white mist hung low over the earth, but the room in which the poet lay was glorious in moonlight. Illuminated in its white radiance, with a volume of Shakespeare in his hand, his finger still marking the dirge in Cymbeline, which he had lately read, the

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Farringford

Laureate passed peacefully out of this "bourne of time. and space" as one prepared to depart.

Tennyson as a Poetic Artist. Tennyson is preeminent in his mastery of the poetic form, in his technical skill as an artist in words. In many of his poems he deals with very abstruse and. difficult themes, but, unlike Browning and Swinburne, he is almost always clear. Indeed, Tennyson has such a wonderful power of making himself understood,

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