ARCHBISHOP WHATELY ON JANE AUSTEN

[From The Quarterly Review, January, 1821]

Northanger Abbey, and Persuasion. By the Author of Sense and Sensibility, Pride and Prejudice, Mansfield Park, and Emma. 4 vols. New Edition.

The times seem to be past when an apology was requisite from reviewers for condescending to notice a novel; when they felt themselves bound in dignity to deprecate the suspicion of paying much regard to such trifles, and pleaded the necessity of occasionally stooping to humour the taste of their fair readers. The delights of fiction, if not more keenly or more generally relished, are at least more readily acknowledged by men of sense and taste; and we have lived to hear the merits of the best of this class of writings earnestly discussed by some of the ablest scholars and soundest reasoners of the present day.

We are inclined to attribute this change, not so much to an alteration in the public taste, as in the character of the productions in question. Novels may not, perhaps, display more genius now than formerly, but they contain more solid sense; they may not afford higher gratification, but it is of a nature which men are less disposed to be ashamed of avowing. We remarked, in a former Number, in reviewing a work of the author now before us, that "a new style of novel has arisen, within the last fifteen or twenty years, differing from the former in the points upon which the interest hinges; neither alarming our credulity nor amusing our imagination by wild variety of incident, or by those pictures of romantic affection and sensibility, which were formerly as certain attributes of fictitious characters as they are of rare occurrence among those who actually live and die. The substitute for these excitements, which had lost much of their poignancy by the repeated and injudicious use of them, was the art of copying from nature as she really exists in the common walks of life, and presenting to the reader, instead of the splendid scenes of an imaginary world, a correct and striking representation of that which is daily taking place around him."

Now, though the origin of this new school of fiction may probably be traced, as we there suggested, to the exhaustion of the mines from which materials for entertainment had been hitherto extracted, and the necessity of gratifying the natural craving of the reader for variety, by striking into an untrodden path; the consequences resulting from this change have been far greater than the mere supply of this demand. When this Flemish painting, as it were, is introduced—this accurate and unexaggerated delineation of events and characters—it necessarily follows, that a novel, which makes good its pretensions of giving a perfectly correct picture of common life, becomes a far more instructive work than one of equal or superior merit of the other class; it guides the judgment, and supplies a kind of artificial experience. It is a remark of the great father of criticism, that poetry (i.e., narrative, and dramatic poetry) is of a more philosophical character than history; inasmuch as the latter details what has actually happened, of which many parts may chance to be exceptions to the general rules of probability, and consequently illustrate no general principles; whereas the former shews us what must naturally, or would probably, happen under given circumstances; and thus displays to us a comprehensive view of human nature, and furnishes general rules of practical wisdom. It is evident, that this will apply only to such fictions as are quite perfect in respect of the probability of their story; and that he, therefore, who resorts to the fabulist rather than the historian, for instruction in human character and conduct, must throw himself entirely on the judgment and skill of his teacher, and give him credit for talents much more rare than the accuracy and veracity which are the chief requisites in history. We fear, therefore, that the exultation which we can conceive some of our gentle readers to feel, at having Aristotle's warrant for (what probably they had never dreamed of) the philosophical character of their studies, must, in practice, be somewhat qualified, by those sundry little violations of probability which are to be met with in most novels; and which so far lower their value, as models of real life, that a person who had no other preparation for the world than is afforded by them, would form, probably, a less accurate idea of things as they are, than he would of a lion from studying merely the representations on China tea-pots.

Accordingly, a heavy complaint has long lain against works of fiction, as giving a false picture of what they profess to imitate, and disqualifying their readers for the ordinary scenes and everyday duties of life. And this charge applies, we apprehend, to the generality of what are strictly called novels, with even more justice than to romances. When all the characters and events are very far removed from what we see around us,—when, perhaps, even supernatural agents are introduced, the reader may indulge, indeed, in occasional day-dreams, but will be so little reminded by what he has been reading, of anything that occurs in actual life, that though he may perhaps feel some disrelish for the tameness of the scene before him, compared with the fairy-land he has been visiting, yet at least his judgment will not be depraved, nor his expectations misled; he will not apprehend a meeting with Algerine banditti on English shores, nor regard the old woman who shews him about an antique country seat, as either an enchantress or the keeper of an imprisoned damsel. But it is otherwise with those fictions which differ from common life in little or nothing but the improbability of the occurrences: the reader is insensibly led to calculate upon some of those lucky incidents and opportune coincidences of which he has been so much accustomed to read, and which, it is undeniable, may take place in real life; and to feel a sort of confidence, that however romantic his conduct may be, and in whatever difficulties it may involve him, all will be sure to come right at last, as is invariably the case with the hero of a novel.

On the other hand, so far as these pernicious effects fail to be produced, so far does the example lose its influence, and the exercise of poetical justice is rendered vain. The reward of virtuous conduct being brought about by fortunate accidents, he who abstains (taught, perhaps, by bitter disappointments) from reckoning on such accidents, wants that encouragement to virtue, which alone has been held out to him. "If I were a man in a novel," we remember to have heard an ingenious friend observe, "I should certainly act so and so, because I should be sure of being no loser by the most heroic self-devotion and of ultimately succeeding in the most daring enterprises."

It may be said, in answer, that these objections apply only to the unskilful novelist, who, from ignorance of the world, gives an unnatural representation of what he professes to delineate. This is partly true, and partly not; for there is a distinction to be made between the unnatural and the merely improbable: a fiction is unnatural when there is some assignable reason against the events taking place as described,—when men are represented as acting contrary to the character assigned them, or to human nature in general; as when a young lady of seventeen, brought up in ease, luxury and retirement, with no companions but the narrow-minded and illiterate, displays (as a heroine usually does) under the most trying circumstances, such wisdom, fortitude, and knowledge of the world, as the best instructors and the best examples can rarely produce without the aid of more mature age and longer experience.—On the other hand, a fiction is still improbable, though not unnatural, when there is no reason to be assigned why things should not take place as represented, except that the overbalance of chances is against it; the hero meets, in his utmost distress, most opportunely, with the very person to whom he had formerly done a signal service, and who happens to communicate to him a piece of intelligence which sets all to rights. Why should he not meet him as well as any one else? all that can be said is, that there is no reason why he should. The infant who is saved from a wreck, and who afterwards becomes such a constellation of virtues and accomplishments, turns out to be no other than the nephew of the very gentleman, on whose estate the waves had cast him, and whose lovely daughter he had so long sighed for in vain: there is no reason to be given, except from the calculation of chances, why he should not have been thrown on one part of the coast as well as another. Nay, it would be nothing unnatural, though the most determined novel-reader would be shocked at its improbability, if all the hero's enemies, while they were conspiring his ruin were to be struck dead together by a lucky flash of lightning: yet many denouements which are decidedly unnatural, are better tolerated than this would be. We shall, perhaps, best explain our meaning by examples, taken from a novel of great merit in many respects. When Lord Glenthorn, in whom a most unfavourable education has acted on a most unfavourable disposition, after a life of torpor, broken only by short sallies of forced exertion, on a sudden reverse of fortune, displays at once the most persevering diligence in the most repulsive studies, and in middle life, without any previous habits of exertion, any hope of early business, or the example of friends, or the stimulus of actual want, to urge him, outstrips every competitor, though every competitor has every advantage against him; this is unnatural.—When Lord Glenthorn, the instant he is stripped of his estates, meets, falls in love with, and is conditionally accepted by the very lady who is remotely intitled to those estates; when, the instant he has fulfilled the conditions of their marriage, the family of the person possessed of the estates becomes extinct, and by the concurrence of circumstances, against every one of which the chances were enormous, the hero is re-instated in all his old domains; this is merely improbable. The distinction which we have been pointing out may be plainly perceived in the events of real life; when any thing takes place of such a nature as we should call, in a fiction, merely improbable, because there are many chances against it, we call it a lucky or unlucky accident, a singular coincidence, something very extraordinary, odd, curious, etc.; whereas any thing which, in a fiction, would be called unnatural, when it actually occurs (and such things do occur), is still called unnatural, inexplicable, unaccountable, inconceivable, etc., epithets which are not applied to events that have merely the balance of chances against them.

Now, though an author who understands human nature is not likely to introduce into his fictions any thing that is unnatural, he will often have much that is improbable: he may place his personages, by the intervention of accident, in striking situations, and lead them through a course of extraordinary adventures; and yet, in the midst of all this, he will keep up the most perfect consistency of character, and make them act as it would be natural for men to act in such situations and circumstances. Fielding's novels are a good illustration of this: they display great knowledge of mankind; the characters are well preserved; the persons introduced all act as one would naturally expect they should, in the circumstances in which they are placed; but these circumstances are such as it is incalculably improbable should ever exist: several of the events, taken singly, are much against the chances of probability; but the combination of the whole in a connected series, is next to impossible. Even the romances which admit a mixture of supernatural agency, are not more unfit to prepare men for real life, than such novels as these; since one might just as reasonably calculate on the intervention of a fairy, as on the train of lucky chances which combine first to involve Tom Jones in his difficulties, and afterwards to extricate him. Perhaps, indeed, the supernatural fable is of the two not only (as we before remarked) the less mischievous in its moral effects, but also the more correct kind of composition in point of taste: the author lays down a kind of hypothesis of the existence of ghosts, witches, or fairies, and professes to describe what would take place under that hypothesis; the novelist, on the contrary, makes no demand of extraordinary machinery, but professes to describe what may actually take place, according to the existing laws of human affairs: if he therefore present us with a series of events quite unlike any which ever do take place, we have reason to complain that he has not made good his professions.

When, therefore, the generality, even of the most approved novels, were of this character (to say nothing of the heavier charges brought, of inflaming the passions of young persons by warm descriptions, weakening their abhorrence of profligacy by exhibiting it in combination with the most engaging qualities, and presenting vice in all its allurements, while setting forth the triumphs of "virtue rewarded") it is not to be wondered that the grave guardians of youth should have generally stigmatized the whole class, as "serving only to fill young people's heads with romantic love-stories, and rendering them unfit to mind anything else." That this censure and caution should in many instances be indiscriminate, can surprize no one, who recollects how rare a quality discrimination is; and how much better it suits indolence, as well as ignorance, to lay down a rule, than to ascertain the exceptions to it: we are acquainted with a careful mother whose daughters while they never in their lives read a novel of any kind, are permitted to peruse, without reserve, any plays that happen to fall in their way; and with another, from whom no lessons, however excellent, of wisdom and piety, contained in a prose-fiction, can obtain quarter; but who, on the other hand, is no less indiscriminately indulgent to her children in the article of tales in verse, of whatever character.

The change, however, which we have already noticed, as having taken place in the character of several modern novels, has operated in a considerable degree to do away this prejudice; and has elevated this species of composition, in some respects at least, into a much higher class. For most of that instruction which used to be presented to the world in the shape of formal dissertations, or shorter and more desultory moral essays, such as those of the Spectator and Rambler, we may now resort to the pages of the acute and judicious, but not less amusing, novelists who have lately appeared. If their views of men and manners are no less just than those of the essayists who preceded them, are they to be rated lower because they present to us these views, not in the language of general description, but in the form of well-constructed fictitious narrative? If the practical lessons they inculcate are no less sound and useful, it is surely no diminution of their merit that they are conveyed by example instead of precept: nor, if their remarks are neither less wise nor less important, are they the less valuable for being represented as thrown out in the course of conversations suggested by the circumstances of the speakers, and perfectly in character. The praise and blame of the moralist are surely not the less effectual for being bestowed, not in general declamation, on classes of men, but on individuals representing those classes, who are so clearly delineated and brought into action before us, that we seem to be acquainted with them, and feel an interest in their fate.

Biography is allowed, on all hands, to be one of the most attractive and profitable kinds of reading: now such novels as we have been speaking of, being a kind of fictitious biography, bear the same relation to the real, that epic and tragic poetry, according to Aristotle, bear to history: they present us (supposing, of course, each perfect in its kind) with the general, instead of the particular,—the probable, instead of the true; and, by leaving out those accidental irregularities, and exceptions to general rules, which constitute the many improbabilities of real narrative, present us with a clear and abstracted view of the general rules themselves; and thus concentrate, as it were, into a small compass, the net result of wide experience.

Among the authors of this school there is no one superior, if equal, to the lady whose last production is now before us, and whom we have much regret in finally taking leave of: her death (in the prime of life, considered as a writer) being announced in this the first publication to which her name is prefixed. We regret the failure not only of a source of innocent amusement, but also of that supply of practical good sense and instructive example, which she would probably have continued to furnish better than any of her contemporaries:—Miss Edgeworth, indeed, draws characters and details conversations, such as they occur in real life, with a spirit and fidelity not to be surpassed; but her stories are most romantically improbable (in the sense above explained), almost all the important events of them being brought about by most providential coincidences; and this, as we have already remarked, is not merely faulty, inasmuch as it evinces a want of skill in the writer, and gives an air of clumsiness to the fiction, but is a very considerable drawback on its practical utility: the personages either of fiction or history being then only profitable examples, when their good or ill conduct meets its appropriate reward, not from a sort of independent machinery of accidents, but as a necessary or probable result, according to the ordinary course of affairs. Miss Edgeworth also is somewhat too avowedly didactic: that seems to be true of her, which the French critics, in the extravagance of their conceits, attributed to Homer and Virgil; viz., that they first thought of a moral, and then framed a fable to illustrate it; she would, we think, instruct more successfully, and she would, we are sure, please more frequently, if she kept the design of teaching more out of sight, and did not so glaringly press every circumstance of her story, principal or subordinate, into the service of a principle to be inculcated, or information to be given. A certain portion of moral instruction must accompany every well-invented narrative. Virtue must be represented as producing, at the long run, happiness; and vice, misery; and the accidental events, that in real life interrupt this tendency, are anomalies which, though true individually, are as false generally as the accidental deformities which vary the average outline of the human figure. They would be as much out of place in a fictitious narrative, as a wen in an academic model. But any direct attempt at moral teaching, and any attempt whatever to give scientific information will, we fear, unless managed with the utmost discretion, interfere with what, after all, is the immediate and peculiar object of the novelist, as of the poet, to please. If instruction do not join as a volunteer, she will do no good service. Miss Edgeworth's novels put us in mind of those clocks and watches which are condemned "a double or a treble debt to pay": which, besides their legitimate object, to show the hour, tell you the day of the month or the week, give you a landscape for a dial-plate, with the second hand forming the sails of a windmill, or have a barrel to play a tune, or an alarum to remind you of an engagement: all very good things in their way; but so it is that these watches never tell the time so well as those in which that is the exclusive object of the maker. Every additional movement is an obstacle to the original design. We do not deny that we have learned much physic, and much law, from Patronage, particularly the latter, for Miss Edgeworth's law is of a very original kind; but it was not to learn law and physic that we took up the book, and we suspect we should have been more pleased if we had been less taught. With regard to the influence of religion, which is scarcely, if at all, alluded to in Miss Edgeworth's novels, we would abstain from pronouncing any decision which should apply to her personally. She may, for aught we know, entertain opinions which would not permit her, with consistency, to attribute more to it than she has done; in that case she stands acquitted, in foro conscientiae, of wilfully suppressing any thing which she acknowledges to be true and important; but, as a writer, it must still be considered as a blemish, in the eyes at least of those who think differently, that virtue should be studiously inculcated with scarcely any reference to what they regard as the main spring of it; that vice should be traced to every other source except the want of religious principle; that the most radical change from worthlessness to excellence should be represented as wholly independent of that agent which they consider as the only one that can accomplish it; and that consolation under affliction should be represented as derived from every source except the one which they look to as the only true and sure one: "is it not because there is no God in Israel that ye have sent to inquire of Baalzebub the God of Ekron?"

Miss Austin has the merit (in our judgment most essential) of being evidently a Christian writer: a merit which is much enhanced, both on the score of good taste, and of practical utility, by her religion being not at all obtrusive. She might defy the most fastidious critic to call any of her novels (as Caelebs was designated, we will not say altogether without reason), a "dramatic sermon." The subject is rather alluded to, and that incidentally, than studiously brought forward and dwelt upon. In fact she is more sparing of it than would be thought desirable by some persons; perhaps even by herself, had she consulted merely her own sentiments; but she probably introduced it as far as she thought would be generally acceptable and profitable: for when the purpose of inculcating a religious principle is made too palpably prominent, many readers, if they do not throw aside the book with disgust, are apt to fortify themselves with that respectful kind of apathy with which they undergo a regular sermon, and prepare themselves as they do to swallow a dose of medicine, endeavouring to get it down in large gulps, without tasting it more than is necessary.

The moral lessons also of this lady's novels, though clearly and impressively conveyed, are not offensively put forward, but spring incidentally from the circumstances of the story; they are not forced upon the reader, but he is left to collect them (though without any difficulty) for himself: hers is that unpretending kind of instruction which is furnished by real life; and certainly no author has ever conformed more closely to real life, as well in the incidents, as in the characters and descriptions. Her fables appear to us to be, in their own way, nearly faultless; they do not consist (like those of some of the writers who have attempted this kind of common-life novel writing) of a string of unconnected events which have little or no bearing on one main plot, and are introduced evidently for the sole purpose of bringing in characters and conversations; but have all that compactness of plan and unity of action which is generally produced by a sacrifice of probability: yet they have little or nothing that is not probable; the story proceeds without the aid of extraordinary accidents; the events which take place are the necessary or natural consequences of what has preceded; and yet (which is a very rare merit indeed) the final catastrophe is scarcely ever clearly foreseen from the beginning, and very often comes, upon the generality of readers at least, quite unexpected. We know not whether Miss Austin ever had access to the precepts of Aristotle; but there are few, if any, writers of fiction who have illustrated them more successfully.

The vivid distinctness of description, the minute fidelity of detail, and air of unstudied ease in the scenes represented, which are no less necessary than probability of incident, to carry the reader's imagination along with the story, and give fiction the perfect appearance of reality, she possesses in a high degree; and the object is accomplished without resorting to those deviations from the ordinary plan of narrative in the third person, which have been patronized by some eminent masters. We allude to the two other methods of conducting a fictitious story, viz., either by narrative in the first person, when the hero is made to tell his own tale, or by a series of letters; both of which we conceive have been adopted with a view of heightening the resemblance of the fiction to reality. At first sight, indeed, there might appear no reason why a story told in the first person should have more the air of a real history than in the third; especially as the majority of real histories actually are in the third person; nevertheless, experience seems to show that such is the case: provided there be no want of skill in the writer, the resemblance to real life, of a fiction thus conducted, will approach much the nearest (other points being equal) to a deception, and the interest felt in it, to that which we feel in real transactions. We need only instance Defoe's Novels, which, in spite of much improbability, we believe have been oftener mistaken for true narratives, than any fictions that ever were composed. Colonel Newport is well known to have been cited as an historical authority; and we have ourselves found great difficulty in convincing many of our friends that Defoe was not himself the citizen, who relates the plague of London. The reason probably is, that in the ordinary form of narrative, the writer is not content to exhibit, like a real historian, a bare detail of such circumstances as might actually have come under his knowledge; but presents us with a description of what is passing in the minds of the parties, and gives an account of their feelings and motives, as well as their most private conversations in various places at once. All this is very amusing, but perfectly unnatural: the merest simpleton could hardly mistake a fiction of this kind for a true history, unless he believed the writer to be endued with omniscience and omnipresence, or to be aided by familiar spirits, doing the office of Homer's Muses, whom he invokes to tell him all that could not otherwise be known;

[Greek: Umeis gar theoi eote pareote te, iote te panta.]

Let the events, therefore, which are detailed, and the characters described, be ever so natural, the way in which they are presented to us is of a kind of supernatural cast, perfectly unlike any real history that ever was or can be written, and thus requiring a greater stretch of imagination in the reader. On the other hand, the supposed narrator of his own history never pretends to dive into the thoughts and feelings of the other parties; he merely describes his own, and gives his conjectures as to those of the rest, just as a real autobiographer might do; and thus an author is enabled to assimilate his fiction to reality, without withholding that delineation of the inward workings of the human heart, which is so much coveted. Nevertheless novels in the first person have not succeeded so well as to make that mode of writing become very general. It is objected to them, not without reason, that they want a hero: the person intended to occupy that post being the narrator himself, who of course cannot so describe his own conduct and character as to make the reader thoroughly acquainted with him; though the attempt frequently produces an offensive appearance of egotism.

The plan of a fictitious correspondence seems calculated in some measure to combine the advantages of the other two; since, by allowing each personage to be the speaker in turn, the feelings of each may be described by himself, and his character and conduct by another. But these novels are apt to become excessively tedious; since, to give the letters the appearance of reality (without which the main object proposed would be defeated), they must contain a very large proportion of matter which has no bearing at all upon the story. There is also generally a sort of awkward disjointed appearance in a novel which proceeds entirely in letters, and holds together, as it were, by continual splicing.

Miss Austin, though she has in a few places introduced letters with great effect, has on the whole conducted her novels on the ordinary plan, describing, without scruple, private conversations and uncommunicated feelings: but she has not been forgetful of the important maxim, so long ago illustrated by Homer, and afterwards enforced by Aristotle,[1] of saying as little as possible in her own person, and giving a dramatic air to the narrative, by introducing frequent conversations; which she conducts with a regard to character hardly exceeded even by Shakespeare himself. Like him, she shows as admirable a discrimination in the characters of fools as of people of sense; a merit which is far from common. To invent, indeed, a conversation full of wisdom or of wit, requires that the writer should himself possess ability; but the converse does not hold good: it is no fool that can describe fools well; and many who have succeeded pretty well in painting superior characters, have failed in giving individuality to those weaker ones, which it is necessary to introduce in order to give a faithful representation of real life: they exhibit to us mere folly in the abstract, forgetting that to the eye of a skilful naturalist the insects on a leaf present as wide differences as exist between the elephant and the lion. Slender, and Shallow, and Aguecheek, as Shakespeare has painted them, though equally fools, resemble one another no more than "Richard," and "Macbeth," and "Julius Caesar"; and Miss Austin's "Mrs. Bennet," "Mr. Rushworth," and "Miss Bates," are no more alike than her "Darcy," "Knightley," and "Edmund Bertram." Some have complained, indeed, of finding her fools too much like nature, and consequently tiresome; there is no disputing about tastes; all we can say is, that such critics must (whatever deference they may outwardly pay to received opinions) find the "Merry Wives of Windsor" and "Twelfth Night" very tiresome; and that those who look with pleasure at Wilkie's pictures, or those of the Dutch school, must admit that excellence of imitation may confer attraction on that which would be insipid or disagreeable in the reality.

[1] [Greek: ouden anthes] Arist. Poet.

Her minuteness of detail has also been found fault with; but even where it produces, at the time, a degree of tediousness, we know not whether that can justly be reckoned a blemish, which is absolutely essential to a very high excellence. Now, it is absolutely impossible, without this, to produce that thorough acquaintance with the characters, which is necessary to make the reader heartily interested in them. Let any one cut out from the Iliad or from Shakespeare's plays every thing (we are far from saying that either might not lose some parts with advantage, but let him reject every thing) which is absolutely devoid of importance and of interest in itself; and he will find that what is left will have lost more than half its charms. We are convinced that some writers have diminished the effect of their works by being scrupulous to admit nothing into them which had not some absolute, intrinsic, and independent merit. They have acted like those who strip off the leaves of a fruit tree, as being of themselves good for nothing, with the view of securing more nourishment to the fruit, which in fact cannot attain its full maturity and flavour without them.

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To say the truth, we suspect one of Miss Austin's great merits in our eyes to be, the insight she gives us into the peculiarities of female character. Authoresses can scarcely ever forget the esprit de corps— can scarcely ever forget that they are authoresses. They seem to feel a sympathetic shudder at exposing naked a female mind. Elles se peignent en buste, and leave the mysteries of womanhood to be described by some interloping male, like Richardson or Marivaux, who is turned out before he has seen half the rites, and is forced to spin from his own conjectures the rest. Now from this fault Miss Austin is free. Her heroines are what one knows women must be, though one never can get them to acknowledge it. As liable to "fall in love first," as anxious to attract the attention of agreeable men, as much taken with a striking manner, or a handsome face, as unequally gifted with constancy and firmness, as liable to have their affections biassed by convenience or fashion, as we, on our part, will admit men to be. As some illustration of what we mean, we refer our readers to the conversation between Miss Crawford and Fanny, vol. iii, p. 102. Fanny's meeting with her father, p. 199; her reflections after reading Edmund's letter, 246; her happiness (good, and heroine though she be) in the midst of the misery of all her friends, when she finds that Edmund has decidedly broken with her rival; feelings, all of them, which, under the influence of strong passion, must alloy the purest mind, but with which scarcely any authoress but Miss Austin would have ventured to temper the aetherial materials of a heroine.

But we must proceed to the publication of which the title is prefixed to this article. It contains, it seems, the earliest and the latest productions of the author; the first of them having been purchased, we are told, many years back by a bookseller, who, for some reason unexplained, thought proper to alter his mind and withhold it. We do not much applaud his taste; for though it is decidedly inferior to her other works, having less plot, and what there is, less artificially wrought up, and also less exquisite nicety of moral painting; yet the same kind of excellences which characterise the other novels may be perceived in this, in a degree which would have been highly creditable to most other writers of the same school, and which would have entitled the author to considerable praise, had she written nothing better.

We already begin to fear, that we have indulged too much in extracts, and we must save some room for Persuasion, or we could not resist giving a specimen of John Thorpe, with his horse that cannot go less than 10 miles an hour, his refusal to drive his sister "because she has such thick ankles," and his sober consumption of five pints of port a day; altogether the best portrait of a species, which, though almost extinct, cannot yet be quite classed among the Palaeotheria, the Bang-up Oxonian. Miss Thorpe, the jilt of middling life, is, in her way, quite as good, though she has not the advantage of being the representative of a rare or a diminishing species. We fear few of our readers, however they may admire the naïveté, will admit the truth of poor John Morland's postscript, "I can never expect to know such another woman."

The latter of these novels, however, Persuasion, which is more strictly to be considered as a posthumous work, possesses that superiority which might be expected from the more mature age at which it was written, and is second, we think, to none of the former ones, if not superior to all. In the humorous delineation of character it does not abound quite so much as some of the others, though it has great merit even on that score; but it has more of that tender and yet elevated kind of interest which is aimed at by the generality of novels, and in pursuit of which they seldom fail of running into romantic extravagance: on the whole, it is one of the most elegant fictions of common life we ever remember to have met with.

Sir Walter Elliot, a silly and conceited baronet, has three daughters, the eldest two, unmarried, and the third, Mary, the wife of a neighbouring gentleman, Mr. Charles Musgrove, heir to a considerable fortune, and living in a genteel cottage in the neighbourhood of the Great house which he is hereafter to inherit. The second daughter, Anne, who is the heroine, and the only one of the family possessed of good sense (a quality which Miss Austin is as sparing of in her novels, as we fear her great mistress, Nature, has been in real life), when on a visit to her sister, is, by that sort of instinct which generally points out to all parties the person on whose judgment and temper they may rely, appealed to in all the little family differences which arise, and which are described with infinite spirit and detail.

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We ventured, in a former article, to remonstrate against the dethronement of the once powerful God of Love, in his own most especial domain, the novel; and to suggest that, in shunning the ordinary fault of recommending by examples a romantic and uncalculating extravagance of passion, Miss Austin had rather fallen into the opposite extreme of exclusively patronizing what are called prudent matches, and too much disparaging sentimental enthusiasm. We urged, that, mischievous as is the extreme on this side, it is not the one into which the young folks of the present day are the most likely to run: the prevailing fault is not now, whatever it may have been, to sacrifice all for love:

Venit enim magnum donandi parca juventus, Nec tantum Veneris quantum studiosa culinae.

We may now, without retracting our opinion, bestow unqualified approbation; for the distresses of the present heroine all arise from her prudent refusal to listen to the suggestions of her heart. The catastrophe, however, is happy, and we are left in doubt whether it would have been better for her or not, to accept the first proposal; and this we conceive is precisely the proper medium; for, though we would not have prudential calculations the sole principle to be regarded in marriage, we are far from advocating their exclusion. To disregard the advice of sober-minded friends on an important point of conduct, is an imprudence we would by no means recommend; indeed, it is a species of selfishness, if, in listening only to the dictates of passion, a man sacrifices to its gratification the happiness of those most dear to him as well as his own; though it is not now-a-days the most prevalent form of selfishness. But it is no condemnation of a sentiment to say, that it becomes blameable when it interferes with duty, and is uncontrolled by conscience: the desire of riches, power, or distinction—the taste for ease and comfort—are to be condemned when they transgress these bounds; and love, if it keep within them, even though it be somewhat tinged with enthusiasm, and a little at variance with what the worldly call prudence, i.e., regard for pecuniary advantage, may afford a better moral discipline to the mind than most other passions. It will not at least be denied, that it has often proved a powerful stimulus to exertion where others have failed, and has called forth talents unknown before even to the possessor. What, though the pursuit may be fruitless, and the hopes visionary? The result may be a real and substantial benefit, though of another kind; the vineyard may have been cultivated by digging in it for the treasure which is never to be found. What though the perfections with which imagination has decorated the beloved object, may, in fact, exist but in a slender degree? still they are believed in and admired as real; if not, the love is such as does not merit the name; and it is proverbially true that men become assimilated to the character (i.e., what they think the character) of the being they fervently adore: thus, as in the noblest exhibitions of the stage, though that which is contemplated be but a fiction, it may be realized in the mind of the beholder; and, though grasping at a cloud, he may become worthy of possessing a real goddess. Many a generous sentiment, and many a virtuous resolution, have been called forth and matured by admiration of one, who may herself perhaps have been incapable of either. It matters not what the object is that a man aspires to be worthy of, and proposes as a model for imitation, if he does but believe it to be excellent. Moreover, all doubts of success (and they are seldom, if ever, entirely wanting) must either produce or exercise humility; and the endeavour to study another's interests and inclinations, and prefer them to one's own, may promote a habit of general benevolence which may outlast the present occasion. Every thing, in short, which tends to abstract a man in any degree, or in any way, from self,—from self-admiration and self-interest, has, so far at least, a beneficial influence in forming the character.

On the whole, Miss Austin's works may safely be recommended, not only as among the most unexceptionable of their class, but as combining, in an eminent degree, instruction with amusement, though without the direct effort at the former, of which we have complained, as sometimes defeating its object. For those who cannot, or will not, learn anything from productions of this kind, she has provided entertainment which entitles her to thanks; for mere innocent amusement is in itself a good, when it interferes with no greater: especially as it may occupy the place of some other that may not be innocent. The Eastern monarch who proclaimed a reward to him who should discover a new pleasure, would have deserved well of mankind had he stipulated that it should be blameless. Those, again, who delight in the study of human nature, may improve in the knowledge of it, and in the profitable application of that knowledge, by the perusal of such fictions as those before us.

W. E. GLADSTONE ON TENNYSON

[From The Quarterly Review, October, 1859]

1. Tennyson's Poems. In Two Volumes. London, 1842. 2. The Princess: a Medley. London, 1847. 3. In Memoriam. London, 1850. 4. Maud, and other Poems. London, 1855. 5. Idylls of the King. London, 1859.

Mr. Tennyson published his first volume, under the title of "Poems Chiefly Lyrical," in 1830, and his second, with the name simply of "Poems," in 1833. In 1842 he reappeared before the world in two volumes, partly made up from the débris of his earlier pieces; and from this time forward he came into the enjoyment of a popularity at once great, growing, and select. With a manly resolution, which gave promise of the rare excellence he was progressively to attain, he had at this time amputated altogether from the collection about one-half of the contents of his earliest work, with some considerable portion of the second; he had almost rewritten or carefully corrected other important pieces, and had added a volume of new compositions.

The latter handiwork showed a great advance upon the earlier; as, indeed, 1833 had shown upon 1830. From the very first, however, he had been noteworthy in performance as well as in promise, and it was plain that, whatever else might happen, at least neglect was not to be his lot. But, in the natural heat of youth he had at the outset certainly mixed up some trivial with a greater number of worthy productions, and had shown an impatience of criticism by which, however excusable, he was sure to be himself the chief sufferer. His higher gifts, too, were of the quality which, by the changeless law of nature, cannot ripen fast; and there was, accordingly, some portion both of obscurity and of crudity in the results of his youthful labours. Men of slighter materials would have come more quickly to their maturity, and might have given less occasion not only for cavil but for animadversion. It was yet more creditable to him, than it could be even to the just among his critics, that he should, and while yet young, have applied himself with so resolute a hand to the work of castigation. He thus gave a remarkable proof alike of his reverence for his art, of his insight into its powers, of the superiority he had acquired to all the more commonplace illusions of self-love, and perhaps of his presaging consciousness that the great, if they mean to fulfil the measure of their greatness, should always be fastidious against themselves.

It would be superfluous to enter upon any general criticism of this collection, which was examined when still recent in this Review, and a large portion of which is established in the familiar recollection and favour of the public. We may, however, say that what may be termed at large the classical idea (though it is not that of Troas nor of the Homeric period) has, perhaps, never been grasped with greater force and justice than in "Oenone," nor exhibited in a form of more consummate polish. "Ulysses" is likewise a highly finished poem; but it is open to the remark that it exhibits (so to speak) a corner-view of a character which was in itself a cosmos. Never has political philosophy been wedded to the poetic form more happily than in the three short pieces on England and her institutions, unhappily without title, and only to be cited, like writs of law and papal bulls, by their first words. Even among the rejected pieces there are specimens of a deep metaphysical insight; and this power reappears with an increasing growth of ethical and social wisdom in "Locksley Hall" and elsewhere. The Wordsworthian poem of "Dora" is admirable in its kind. From the firmness of its drawing, and the depth and singular purity of its colour, "Godiva" stood, if we judge aright, as at once a great performance and a great pledge. But, above all, the fragmentary piece on the Death of Arthur was a fit prelude to that lordly music which is now sounding in our ears. If we pass onward from these volumes, it is only because space forbids a further enumeration.

The "Princess" was published in 1847. The author has termed it "a medley": why, we know not. It approaches more nearly to the character of a regular drama, with the stage directions written into verse, than any other of his works, and it is composed consecutively throughout on the basis of one idea. It exhibits an effort to amalgamate the place and function of woman with that of man, and the failure of that effort, which duly winds up with the surrender and marriage of the fairest and chief enthusiast. It may be doubted whether the idea is one well suited to exhibition in a quasi-dramatic form. Certainly the mode of embodying it, so far as it is dramatic, is not successful; for here again the persons are little better than mere personae. They are media, and weak media, for the conveyance of the ideas. The poem is, nevertheless, one of high interest, on account of the force, purity and nobleness of the main streams of thought, which are clothed in language full of all Mr. Tennyson's excellences; and also because it marks the earliest effort of his mind in the direction of his latest and greatest achievements.

* * * * *

With passages like these still upon the mind and ear, and likewise having in view many others in the "Princess" and elsewhere, we may confidently assert it as one of Mr. Tennyson's brightest distinctions that he is now what from the very first he strove to be, and what when he wrote "Godiva" he gave ample promise of becoming—the poet of woman. We do not mean, nor do we know, that his hold over women as his readers is greater than his command or influence over men; but that he has studied, sounded, painted woman in form, in motion, in character, in office, in capability, with rare devotion, power, and skill; and the poet who best achieves this end does also most and best for man.

In 1850 Mr. Tennyson gave to the world, under the title of "In Memoriam," perhaps the richest oblation ever offered by the affection of friendship at the tomb of the departed. The memory of Arthur Henry Hallam, who died suddenly in 1833, at the age of twenty-two, will doubtless live chiefly in connection with this volume; but he is well known to have been one who, if the term of his days had been prolonged, would have needed no aid from a friendly hand, would have built for himself an enduring monument, and would have bequeathed to his country a name in all likelihood greater than that of his very distinguished father. There was no one among those who were blessed with his friendship, nay, as we see, not even Mr. Tennyson,[1] who did not feel at once bound closely to him by commanding affection, and left far behind by the rapid, full, and rich development of his ever-searching mind; by his

All comprehensive tenderness, All subtilising intellect.

[1] See "In Memoriam," pp. 64, 84.

It would be easy to show what, in the varied forms of human excellence, he might, had life been granted him, have accomplished; much more difficult to point the finger and to say, "This he never could have done." Enough remains from among his early efforts to accredit whatever mournful witness may now be borne of him. But what can be a nobler tribute than this, that for seventeen years after his death a poet, fast rising towards the lofty summits of his art, found that young fading image the richest source of his inspiration, and of thoughts that gave him buoyancy for a flight such as he had not hitherto attained?

It would be very difficult to convey a just idea of this volume either by narrative or by quotation. In the series of monodies or meditations which compose it, and which follow in long series without weariness or sameness, the poet never moves away a step from the grave of his friend, but, while circling round it, has always a new point of view. Strength of love, depth of grief, aching sense of loss, have driven him forth as it were on a quest of consolation, and he asks it of nature, thought, religion, in a hundred forms which a rich and varied imagination continually suggests, but all of them connected by one central point, the recollection of the dead. This work he prosecutes, not in vain effeminate complaint, but in a manly recognition of the fruit and profit even of baffled love, in noble suggestions of the future, in heart-soothing and heart-chastening thoughts of what the dead was and of what he is, and of what one who has been, and therefore still is, in near contact with him is bound to be. The whole movement of the poem is between the mourner and the mourned: it may be called one long soliloquy; but it has this mark of greatness, that, though the singer is himself a large part of the subject, it never degenerates into egotism— for he speaks typically on behalf of humanity at large, and in his own name, like Dante on his mystic journey, teaches deep lessons of life and conscience to us all.

* * * * *

By the time "In Memoriam" had sunk into the public mind, Mr. Tennyson had taken his rank as our first then living poet. Over the fresh hearts and understandings of the young, notwithstanding his obscurities, his metaphysics, his contempt of gewgaws, he had established an extraordinary sway. We ourselves, with some thousands of other spectators, saw him receive in that noble structure of Wren, the theatre of Oxford, the decoration of D.C.L., which we perceive he always wears on his title-page. Among his colleagues in the honour were Sir De Lacy Evans and Sir John Burgoyne, fresh from the stirring exploits of the Crimea; but even patriotism, at the fever heat of war, could not command a more fervent enthusiasm for the old and gallant warriors than was evoked by the presence of Mr. Tennyson.

In the year 1855 Mr. Tennyson proceeded to publish his "Maud," the least popular, and probably the least worthy of popularity, among his more considerable works. A somewhat heavy dreaminess, and a great deal of obscurity, hang about this poem; and the effort required to dispel the darkness of the general scheme is not repaid when we discover what it hides. The main thread of "Maud" seems to be this:—A love once accepted, then disappointed, leads to blood-shedding, and onward to madness with lucid alternations. The insanity expresses itself in the ravings of the homicide lover, who even imagines himself among the dead, in a clamour and confusion closely resembling an ill-regulated Bedlam, but which, if the description be a faithful one, would for ever deprive the grave of its title to the epithet of silent. It may be good frenzy, but we doubt its being as good poetry. Of all this there may, we admit, be an esoteric view: but we speak of the work as it offers itself to the common eye. Both Maud and the lover are too nebulous by far; and they remind us of the boneless and pulpy personages by whom, as Dr. Whewell assures us, the planet Jupiter is inhabited, if inhabited at all. But the most doubtful part of the poem is its climax. A vision of the beloved image (p. 97) "spoke of a hope for the world in the coming wars," righteous wars, of course, and the madman begins to receive light and comfort; but, strangely enough, it seems to be the wars, and not the image, in which the source of consolation lies (p. 98).

No more shall Commerce be all in all, and Peace Pipe on her pastoral hillock a languid note, And watch her harvest ripen, her herd increase. … a peace that was full of wrongs and shames, Horrible, hateful, monstrous, not to be told … For the long long canker of peace is over and done: And now by the side of the Black and the Baltic deep, And deathful grinning mouths of the fortress, names The blood-red blossom of war with a heart of fire!

What interpretation are we meant to give to all this sound and fury? We would fain have put it down as intended to be the finishing-stroke in the picture of a mania which has reached its zenith. We might call in aid of this construction more happy and refreshing passages from other poems, as when Mr. Tennyson is

Certain, if knowledge brings the sword, That knowledge takes the sword away.[1]

[1] "Poems," p. 182, ed. 1853. See also "Locksley Hall," p. 278.

And again in "The Golden Dream,"—

When shall all men's good Be each man's rule, and universal peace Lie like a shaft of light across the land?

And yet once more in a noble piece of "In Memoriam,"—

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.

But on the other hand we must recollect that very long ago, when the apparition of invasion from across the Channel had as yet spoiled no man's slumbers, Mr. Tennyson's blood was already up:[2]—

For the French, the Pope may shrive them … And the merry devil drive them Through the water and the fire.

[2] "Poems chiefly Lyrical," 1830, p. 142.

And unhappily in the beginning of "Maud," when still in the best use of such wits as he possesses, its hero deals largely in kindred extravagances (p. 7):—

When a Mammonite mother kills her babe for a burial fee, And Timour-Mammon grins on a pile of children's bones, Is it peace or war? better war! loud war by land and by sea, War with a thousand battles, and shaking a hundred thrones.

He then anticipates that, upon an enemy's attacking this country, "the smooth-faced, snub-nosed rogue," who typifies the bulk of the British people, "the nation of shopkeepers," as it has been emasculated and corrupted by excess of peace, will leap from his counter and till to charge the enemy; and thus it is to be reasonably hoped that we shall attain to the effectual renovation of society.

We frankly own that our divining rod does not enable us to say whether the poet intends to be in any and what degree sponsor to these sentiments, or whether he has put them forth in the exercise of his undoubted right to make vivid and suggestive representations of even the partial and narrow aspects of some endangered truth. This is at best, indeed, a perilous business, for out of such fervid partial representations nearly all grave human error springs; and it should only be pursued with caution and in season. But we do not recollect that 1855 was a season of serious danger from a mania for peace and its pursuits; and even if it had been so, we fear that the passages we have quoted far overpass all the bounds of moderation and good sense. It is, indeed, true that peace has its moral perils and temptations for degenerate man, as has every other blessing, without exception, that he can receive from the hand of God. It is moreover not less true that, amidst the clash of arms, the noblest forms of character may be reared, and the highest acts of duty done; that these great and precious results may be due to war as their cause; and that one high form of sentiment in particular, the love of country, receives a powerful and general stimulus from the bloody strife. But this is as the furious cruelty of Pharaoh made place for the benign virtue of his daughter; as the butchering sentence of Herod raised without doubt many a mother's love into heroic sublimity; as plague, as famine, as fire, as flood, as every curse and every scourge that is wielded by an angry Providence for the chastisement of man, is an appointed instrument for tempering human souls in the seven-times heated furnace of affliction, up to the standard of angelic and archangelic virtue. War, indeed, has the property of exciting much generous and noble feeling on a large scale; but with this special recommendation it has, in its modern forms especially, peculiar and unequalled evils. As it has a wider sweep of desolating power than the rest, so it has the peculiar quality that it is more susceptible of being decked in gaudy trappings, and of fascinating the imagination of those whose passions it inflames. But it is on this very account a perilous delusion to teach that war is a cure for moral evil in any other sense than as the sister tribulations are. The eulogies of the frantic hero in "Maud," however, deviate into grosser folly. It is natural that such vagaries should overlook the fixed laws of Providence; and under these laws the mass of mankind is composed of men, women, and children who can but just ward off hunger, cold, and nakedness; whose whole ideas of Mammon-worship are comprised in the search for their daily food, clothing, shelter, fuel; whom any casualty reduces to positive want; and whose already low estimate is yet further lowered and ground down when "the blood-red blossom of war flames with its heart of fire." But what is a little strange is, that war should be recommended as a specific for the particular evil of Mammon-worship. Such it never was, even in the days when the Greek heroes longed for the booty of Troy, and anticipated lying by the wives of its princes and its citizens. Still it had, in times now gone by, ennobling elements and tendencies of the less sordid kind. But one inevitable characteristic of modern war is, that it is associated throughout, in all its particulars, with a vast and most irregular formation of commercial enterprise. There is no incentive to Mammon-worship so remarkable as that which it affords. The political economy of war is now one of its most commanding aspects. Every farthing, with the smallest exceptions conceivable, of the scores or hundreds of millions which a war may cost, goes directly to stimulate production, though it is intended ultimately for waste or for destruction. Apart from the fact that war destroys every rule of public thrift, and saps honesty itself in the use of the public treasure for which it makes such unbounded calls, it therefore is the greatest feeder of that lust of gold which we are told is the essence of commerce, though we had hoped it was only its occasional besetting sin. It is, however, more than this; for the regular commerce of peace is tameness itself compared with the gambling spirit which war, through the rapid shiftings and high prices which it brings, always introduces into trade. In its moral operation it more resembles, perhaps, the finding of a new gold-field, than anything else. Meantime, as the most wicked mothers do not kill their offspring from a taste for the practice in the abstract, but under the pressure of want, and as war always brings home want to a larger circle of the people than feel it in peace, we ask the hero of "Maud" to let us know whether war is more likely to reduce or to multiply the horrors which he denounces? Will more babies be poisoned amidst comparative ease and plenty, or when, as before the fall of Napoleon, provisions were twice as dear as they now are, and wages not much more than half as high? Romans and Carthaginians were pretty much given to war: but no nations were more sedulous in the cult of Mammon. Again, the Scriptures are pretty strong against Mammon-worship, but they do not recommend this original and peculiar cure. Nay, once more: what sad errors must have crept into the text of the prophet Isaiah when he is made to desire that our swords shall be converted into ploughshares, and our spears into pruning-hooks! But we have this solid consolation after all, that Mr. Tennyson's war poetry is not comparable to his poetry of peace. Indeed he is not here successful at all: the work, of a lower order than his, demands the abrupt force and the lyric fire which do not seem to be among his varied and brilliant gifts. We say more. Mr. Tennyson is too intimately and essentially the poet of the nineteenth century to separate himself from its leading characteristics, the progress of physical science and a vast commercial, mechanical, and industrial development. Whatever he may say or do in an occasional fit, he cannot long either cross or lose its sympathies; for while he elevates as well as adorns it, he is flesh of its flesh and bone of its bone. We fondly believe it is his business to do much towards the solution of that problem, so fearful from its magnitude, how to harmonise this new draught of external power and activity with the old and more mellow wine of faith, self devotion, loyalty, reverence, and discipline. And all that we have said is aimed, not at Mr. Tennyson, but at a lay-figure which he has set up, and into the mouth of which he has put words that cannot be his words.

We return to our proper task, "Maud," if an unintelligible or even, for Mr. Tennyson, an inferior work, is still a work which no inferior man could have produced; nor would it be difficult to extract abundance of lines, and even passages, obviously worthy of their author. And if this poem would have made while alone a volume too light for his fame, the defect is supplied by the minor pieces, some of which are admirable. "The Brook," with its charming interstitial soliloquy, and the "Letters" will, we are persuaded, always rank among Mr. Tennyson's happy efforts; while the "Ode on the Death of the Duke of Wellington," written from the heart and sealed by the conscience of the poet, is worthy of that great and genuine piece of manhood, its immortal subject.

We must touch for a moment upon what has already been mentioned as a separate subject of interest in the "Princess." We venture to describe it as in substance a drama, with a plot imperfectly worked and with characters insufficiently chiselled and relieved. Its author began by presenting, and for many years continued to present, personal as well as natural pictures of individual attitude or movement; and, as in "Oenone" and "Godiva," he carried them to a very high pitch of perfection. But he scarcely attempted, unless in his more homely narrations, anything like grouping or combination. It now appears that for the higher effort he has been gradually accumulating and preparing his resources. In the sections of the prolonged soliloquy of "Maud" we see a crude attempt at representing combined interests and characters with heroic elevation, under the special difficulty of appearing, like Mathews, in one person only; in the "Princess" we had a happier effort, though one that still left more to be desired. Each, however, in its own stage was a preparation for an enterprise at once bolder and more mature.

We now come to the recent work of the poet—the "Idylls of the King." The field, which Mr. Tennyson has chosen for this his recent and far greatest exploit, is one of so deep and wide-reaching an interest as to demand some previous notice of a special kind.

Lofty example in comprehensive forms is, without doubt, one of the great standing needs of our race. To this want it has been from the first one main purpose of the highest poetry to answer. The quest of Beauty leads all those who engage in it to the ideal or normal man as the summit of attainable excellence. By no arbitrary choice, but in obedience to unchanging laws, the painter and the sculptor must found their art upon the study of the human form, and must reckon its successful reproduction as their noblest and most consummate exploit. The concern of Poetry with corporal beauty is, though important, yet secondary: this art uses form as an auxiliary, as a subordinate though proper part in the delineation of mind and character, of which it is appointed to be a visible organ. But with mind and character themselves lies the highest occupation of the Muse. Homer, the patriarch of poets, has founded his two immortal works upon two of these ideal developments in Achilles and Ulysses; and has adorned them with others, such as Penelope and Helen, Hector and Diomed, every one an immortal product, though as compared with the others either less consummate or less conspicuous. Though deformed by the mire of after-tradition, all the great characters of Homer have become models and standards, each in its own kind, for what was, or was supposed to be, its distinguishing gift.

At length, after many generations and great revolutions of mind and of events, another age arrived, like, if not equal, in creative power to that of Homer. The Gospel had given to the whole life of man a real resurrection, and its second birth was followed by its second youth. This rejuvenescence was allotted to those wonderful centuries which popular ignorance confounds with the dark ages properly so called—an identification about as rational as if we were to compare the life within the womb to the life of intelligent though early childhood. Awakened to aspirations at once fresh and ancient, the mind of man took hold of the venerable ideals bequeathed to us by the Greeks as a precious part of its inheritance, and gave them again to the light, appropriated but also renewed. The old materials came forth, but not alone; for the types which human genius had formerly conceived were now submitted to the transfiguring action of a law from on high. Nature herself prompted the effort to bring the old patterns of worldly excellence and greatness—or rather the copies of those patterns still legible, though depraved, and still rich with living suggestion—into harmony with that higher Pattern, once seen by the eyes and handled by the hands of men, and faithfully delineated in the Gospels for the profit of all generations. The life of our Saviour, in its external aspect, was that of a teacher. It was in principle a model for all, but it left space and scope for adaptations to the lay life of Christians in general, such as those by whom the every-day business of the world is to be carried on. It remained for man to make his best endeavour to exhibit the great model on its terrestrial side, in its contact with the world. Here is the true source of that new and noble cycle which the middle ages have handed down to us in duality of form, but with a nearly identical substance, under the royal sceptres of Arthur in England and of Charlemagne in France.

Of the two great systems of Romance, one has Lancelot, the other has Orlando for its culminating point; these heroes being exhibited as the respective specimens in whose characters the fullest development of man, such as he was then conceived, was to be recognised. The one put forward Arthur for the visible head of Christendom, signifying and asserting its social unity; the other had Charlemagne. Each arrays about the Sovereign a fellowship of knights. In them Valour is the servant of Honour; in an age of which violence is the besetting danger, the protection of the weak is elevated into a first principle of action; and they betoken an order of things in which Force should be only known as allied with Virtue, while they historically foreshadow the magnificent aristocracy of mediaeval Europe. The one had Guinevere for the rarest gem of beauty, the other had Angelica. Each of them contained figures of approximation to the knightly model, and in each these figures, though on the whole secondary, yet in certain aspects surpassed it: such were Sir Tristram, Sir Galahad, Sir Lamoracke, Sir Gawain, Sir Geraint, in the Arthurian cycle; Rinaldo and Ruggiero, with others, in the Carlovingian. They were not twin systems, but they were rather twin investitures of the same scheme of ideals and feelings. Their consanguinity to the primitive Homeric types is proved by a multitude of analogies of character and by the commanding place which they assign to Hector as the flower of human excellence. Without doubt, this preference was founded on his supposed moral superiority to all his fellows in Homer; and the secondary prizes of strength, valour, and the like, were naturally allowed to group themselves around what, under the Christian scheme, had become the primary ornament of man. The near relation of the two cycles to one another may be sufficiently seen in the leading references we have made, and it runs into a multitude of details both great and small, of which we can only note a few. In both the chief hero passes through a prolonged term of madness. Judas, in the College of Apostles, is represented under Charlemagne in Gano di Maganza and his house, who appear, without any development in action, in the Arthurian romance as "the traitours of Magouns," and who are likewise reflected in Sir Modred, Sir Agravain, and others; while the Mahometan element, which has a natural place ready made in a history that acknowledges Charlemagne and France, for its centres, finds its way sympathetically into one which is bound for the most part by the shores of Albion. Both schemes cling to the tradition of the unity of the Empire as well as of Christendom; and accordingly, what was historical in Charlemagne is represented in the case of Arthur by an imaginary conquest reaching as far as Rome, the capital of the West: even the sword Durindana has its counterpart in the sword Excalibur.

The moral systems of the two cycles are essentially allied: and perhaps the differences between them may be due in greater or in less part to the fact that they come to us through different media. We of the nineteenth century read the Carlovingian romance in the pages of Ariosto and Bojardo, who gave to their materials the colour of their times, and of a civilization rank in some respects, while still unripe in some others. The genius of poetry was not at the same period applying its transmuting force to the Romance of the Round Table. The date of Sir Thomas Mallory, who lived under Edward IV, is something earlier than that of the great Italian romances; he appears, too, to have been on the whole content with the humble offices of a compiler and a chronicler, and we may conceive that his spirit and diction are still older than his date. The consequence is, that we are brought into more immediate and fresher contact with the original forms of this romance. So that, as they present themselves to us, the Carlovingian cycle is the child of the latest middle age, while the Arthurian represents the earlier. Much might be said on the differences which have thus arisen, and on those which may be due to a more northern and more southern extraction respectively. Suffice it to say that the Romance of the Round Table, far less vivid and brilliant, far ruder as a work of skill and art, has more of the innocence, the emotion, the transparency, the inconsistency of childhood. Its political action is less specifically Christian than that of the rival scheme, its individual more so. It is more directly and seriously aimed at the perfection of man. It is more free from gloss and varnish; it tells its own tale with more entire simplicity. The ascetic element is more strongly, and at the same time more quaintly, developed. It has a higher conception of the nature of woman; and like the Homeric poems, appears to eschew exhibiting her perfections in alliance with warlike force and exploits. So also love, while largely infused into the story, is more subordinate to the exhibition of other qualities. Again, the Romance of the Round Table bears witness to a more distinct and keener sense of sin: and on the whole, a deeper, broader, and more manly view of human character, life, and duty. It is in effect more like what the Carlovingian cycle might have been had Dante moulded it. It hardly needs to be added that it is more mythical, inasmuch as Arthur of the Round Table is a personage, we fear, wholly doubtful, though not impossible; while the broad back of the historic Charlemagne, like another Atlas, may well sustain a world of mythical accretions. This slight comparison, be it remarked, refers exclusively to what may be termed the latest "redactions" of the two cycles of romance. Their early forms, in the lays of troubadours, and in the pages of the oldest chroniclers, offer a subject of profound interest, and one still unexhausted, although it has been examined by Mr. Panizzi and M. Fauriel,[1] but one which is quite beyond the scope of our present subject.

[1] Essay on the Romantic Narrative Poetry of the Italians: London, 1830. Histoire de la Poésie Provençale: Paris, 1846.

It is to this rich repository that Mr. Tennyson has resorted for his material. He has shown, as we think, rare judgment in the choice. The Arthurian Romance has every recommendation that should win its way to the homage of a great poet. It is national: it is Christian. It is also human in the largest and deepest sense; and, therefore, though highly national, it is universal; for it rests upon those depths and breadths of our nature to which all its truly great developments in all nations are alike essentially and closely related. The distance is enough for atmosphere, not too much for detail; enough for romance, not too much for sympathy. A poet of the nineteenth century, the Laureate has adopted characters, incidents, and even language in the main, instead of attempting to project them on a basis of his own in the region of illimitable fancy. But he has done much more than this. Evidently by reading and by deep meditation, as well as by sheer force of genius, he has penetrated himself down to the very core of his being, with all that is deepest and best in the spirit of the time, or the representation, with which he deals; and as others, using old materials, have been free to alter them in the sense of vulgarity or licence, so he has claimed and used the right to sever and recombine, to enlarge, retrench, and modify, for the purposes at once of a more powerful and elaborate art than his original presents, and of a yet more elevated, or at least of a far more sustained, ethical and Christian strain.

We are rather disposed to quarrel with the title of Idylls: for no diminutive ([Greek: eidullion]) can be adequate to the breadth, vigour, and majesty which belong to the subjects, as well as to the execution, of the volume. The poet used the name once before; but he then applied it to pieces generally small in the scale of their delineations, whereas these, even if broken away one from the other, are yet like the disjoined figures from the pediment of the Parthenon in their dignity and force. One indeed among Mr. Tennyson's merits is, that he does not think it necessary to keep himself aloft by artificial effort, but undulates with his matter, and flies high or low as it requires. But even in the humblest parts of these poems—as where the little Novice describes the miniature sorrows and discipline of childhood—the whole receives its tone from an atmosphere which is heroic, and which, even in its extremest simplicity, by no means parts company with grandeur, or ceases to shine in the reflected light of the surrounding objects. Following the example which the poet has set us in a former volume, we would fain have been permitted, at least provisionally, to call these Idylls by the name of Books. Term them what we may, there are four of them—arranged, as we think, in an ascending scale.

The simplicity and grace of the principal character in Enid, with which the volume opens, touches, but does not too strongly agitate, the deeper springs of feeling. She is the beautiful daughter of Earl Yniol, who, by his refusal of a turbulent neighbour as a suitor, has drawn upon himself the ruin of his fortunes, and is visited in his depressed condition by (p. 1)—

The brave Geraint, a knight of Arthur's court, A tributary prince of Devon, one Of that great order of the Table Round….

Geraint wins her against the detested cousin. They wed, and she becomes the purest gem of the court of Guinevere, her place in which is described in the beautiful exordium of the poem. An accident, slight perhaps for the weight it is made to carry, arouses his jealousy, and he tries her severely by isolation and rude offices on one of his tours; but her gentleness, purity, and patience are proof against all, and we part from the pair in a full and happy reconciliation, which is described in lines of a beauty that leaves nothing to be desired.

The treatment of Enid by her husband has appeared to some of Mr. Tennyson's readers to be unnatural. It is no doubt both in itself repulsive, and foreign to our age and country. But the brutal element in man, which now only invades the conjugal relation in cases where it is highly concentrated, was then far more widely diffused, and not yet dissociated from alternations and even habits of attachment. Something of what we now call Eastern manners at one time marked the treatment even of the women of the West. Unnatural means contrary to nature, irrespectively of time or place; but time and place explain and warrant the treatment of Enid by Geraint.

Vivien, which follows Enid, is perhaps the least popular of the four Books. No pleasure, we grant, can be felt from the character either of the wily woman, between elf and fiend, or of the aged magician, whose love is allowed to travel whither none of his esteem or regard can follow it: and in reading this poem we miss the pleasure of those profound moral harmonies, with which the rest are charged. But we must not on these grounds proceed to the conclusion that the poet has in this case been untrue to his aims. For he has neither failed in power, nor has he led our sympathies astray; and if we ask why he should introduce us to those we cannot love, there is something in the reply that Poetry, the mirror of the world, cannot deal with its attractions only, but must present some of its repulsions also, and avail herself of the powerful assistance of its contrasts. The example of Homer, who allows Thersites to thrust himself upon the scene in the debates of heroes, gives a sanction to what reason and all experience teach, namely, the actual force of negatives in heightening effect; and the gentle and noble characters and beautiful combinations, which largely predominate in the other poems, stand in far clearer and bolder relief when we perceive the dark and baleful shadow of Vivien lowering from between them.

Vivien exhibits a well-sustained conflict between the wizard and, in another sense, the witch; on one side is the wit of woman, on the other are the endowments of the prophet and magician, at once more and less than those of nature. She has heard from him of a charm, a charm of "woven paces, and of waving hands," which paralyses its victim for ever and without deliverance, and her object is to extract from him the knowledge of it as a proof of some return for the fervid and boundless love that she pretends. We cannot but estimate very highly the skill with which Mr. Tennyson has secured to what seemed the weaker vessel the ultimate mastery in the fight. Out of the eater comes forth meat. When she seems to lose ground with him by her slander against the Round Table which he loved, she recovers it by making him believe that she saw all other men, "the knights, the Court, the King, dark in his light": and when in answer to her imprecation on herself a fearful thunderbolt descends and storm rages, then, nestling in his bosom, part in fear but more in craft, she overcomes the last remnant of his resolution, wins the secret she has so indefatigably wooed, and that instant uses it to close in gloom the famous career of the over-mastered sage.

* * * * *

Nowhere could we more opportunely than at this point call attention to Mr. Tennyson's extraordinary felicity and force in the use of metaphor and simile. This gift appears to have grown with his years, alike in abundance, truth, and grace. As the showers descend from heaven to return to it in vapour, so Mr. Tennyson's loving observation of Nature, and his Muse, seem to have had a compact of reciprocity well kept on both sides. When he was young, and when "Oenone" was first published, he almost boasted of putting a particular kind of grasshopper into Troas, which, as he told us in a note, was probably not to be found there. It is a small but yet an interesting and significant indication that, when some years after he retouched the poem, he omitted the note, and generalised the grasshopper. Whether we are right or not in taking this for a sign of the movement of his mind, there can be no doubt that his present use of figures is both the sign and the result of a reverence for Nature alike active, intelligent, and refined. Sometimes applying the metaphors of Art to Nature, he more frequently draws the materials of his analogies from her unexhausted book, and, however often he may call for some new and beautiful vehicle of illustration, she seems never to withhold an answer. With regard to this particular and very critical gift, it seems to us that he may challenge comparison with almost any poet either of ancient or modern times. We have always been accustomed to look upon Ariosto as one of the greatest among the masters of the art of metaphor and simile; and it would be easy to quote from him instances which in tenderness, grace, force, or all combined, can never be surpassed. But we have rarely seen the power subjected to a greater trial than in the passages just quoted from Mr. Tennyson, where metaphor lies by metaphor as thick as shells upon their bed; yet each individually with its outline as well drawn, its separateness as clear, its form as true to nature, and with the most full and harmonious contribution to the general effect.

* * * * *

Mr. Tennyson practises largely, and with an extraordinary skill and power, the art of designed and limited repetitions. They bear a considerable resemblance to those Homeric formulae which have been so usefully remarked by Colonel Mure—not the formulae of constant recurrence, which tells us who spoke and who answered, but those which are connected with pointing moral effects, and with ulterior purpose. These repetitions tend at once to give more definite impressions of character, and to make firmer and closer the whole tissue of the poem. Thus, in the last speech of Guinevere, she echoes back, with other ideas and expressions, the sentiment of Arthur's affection, which becomes in her mouth sublime:—

I must not scorn myself: he loves me still: Let no one dream but that he loves me still.

She prays admission among the nuns, that she may follow the pious and peaceful tenor of their life (p. 260):—

And so wear out in almsdeed and in prayer The sombre close of that voluptuous day Which wrought the ruin of my lord the King.

And it is but a debt of justice to the Guinevere of the romancers to observe, that she loses considerably by the marked transposition which Mr. Tennyson has effected in the order of greatness between Lancelot and Arthur. With him there is an original error in her estimate, independently of the breach of a positive and sacred obligation. She prefers the inferior man; and this preference implies a rooted ethical defect in her nature. In the romance of Sir T. Mallory the preference she gives to Lancelot would have been signally just, had she been free to choose. For Lancelot is of an indescribable grandeur; but the limit of Arthur's character is thus shown in certain words that he uses, and that Lancelot never could have spoken. "Much more I am sorrier for my good knight's loss than for the loss of my queen; for queens might I have enough, but, such a fellowship of good knights shall never be together in company."

We began with the exordium of this great work: we must not withhold the conclusion. We left her praying admission to the convent—

She said. They took her to themselves; and she, Still hoping, fearing, "is it yet too late?" Dwelt with them, till in time their Abbess died. Then she, for her good deeds and her pure life, And for the power of ministration in her, And likewise for the high rank she had borne, Was chosen Abbess: there, an Abbess, lived For three brief years; and there, an Abbess, pass'd To where beyond these voices there is peace.

No one, we are persuaded, can read this poem without feeling, when it ends, what may be termed the pangs of vacancy—of that void in heart and mind for want of its continuance of which we are conscious when some noble strain of music ceases, when some great work of Raphael passes from the view, when we lose sight of some spot connected with high associations, or when some transcendent character upon the page of history disappears, and the withdrawal of it is like the withdrawal of the vital air. We have followed the Guinevere of Mr. Tennyson through its detail, and have extracted largely from its pages, and yet have not a hope of having conveyed an idea of what it really is; still we have thought that in this way we should do it the least injustice, and we are also convinced that even what we have shown will tend to rouse an appetite, and that any of our readers, who may not yet have been also Mr. Tennyson's, will become more eager to learn and admire it at first hand.

We have no doubt that Mr. Tennyson has carefully considered how far his subject is capable of fulfilling the conditions of an epic structure. The history of Arthur is not an epic as it stands, but neither was the Cyclic song, of which the greatest of all epics, the "Iliad," handles a part. The poem of Ariosto is scarcely an epic, nor is that of Bojardo; but it is not this because each is too promiscuous and crowded in its brilliant phantasmagoria to conform to the severe laws of that lofty and inexorable class of poem? Though the Arthurian romance be no epic, it does not follow that no epic can be made from out of it. It is grounded in certain leading characters, men and women, conceived upon models of extraordinary grandeur; and as the Laureate has evidently grasped the genuine law which makes man and not the acts of man the base of epic song, we should not be surprised were he hereafter to realize the great achievement towards which he seems to be feeling his way. There is a moral unity and a living relationship between the four poems before us, and the first effort of 1842 as a fifth, which, though some considerable part of their contents would necessarily rank as episode, establishes the first and most essential condition of their cohesion. The achievement of Vivien bears directly on the state of Arthur by withdrawing his chief councillor—the brain, as Lancelot was the right arm, of his court; the love of Elaine is directly associated with the final catastrophe of the passion of Lancelot for Guinevere. Enid lies somewhat further off the path, nor is it for profane feet to intrude into the sanctuary, for reviewers to advise poets in these high matters; but while we presume nothing, we do not despair of seeing Mr. Tennyson achieve on the basis he has chosen the structure of a full-formed epic.

In any case we have a cheerful hope that, if he continues to advance upon himself as he has advanced heretofore, nay, if he can keep the level he has gained, such a work will be the greatest, and by far the greatest poetical creation, that, whether in our own or in foreign poetry, the nineteenth century has produced. In the face of all critics, the Laureate of England has now reached a position which at once imposes and instils respect. They are self-constituted; but he has won his way through the long dedication of his manful energies, accepted and crowned by deliberate, and, we rejoice to think, by continually growing, public favour. He has after all, and it is not the least nor lowest item in his praise, been the severest of his own critics, and has not been too proud either to learn or to unlearn in the work of maturing his genius and building up his fame.

From his very first appearance he has had the form and fashion of a true poet: the insight into beauty, the perception of harmony, the faculty of suggestion, the eye both in the physical and moral world for motion, light, and colour, the sympathetic and close observation of nature, the dominance of the constructive faculty, and that rare gift the thorough mastery and loving use of his native tongue. Many of us, the common crowd, made of the common clay, may be lovers of Nature, some as sincere or even as ardent as Mr. Tennyson; but it does not follow that even these favoured few possess the privilege that he enjoys. To them she speaks through vague and indeterminate impressions: for him she has a voice of the most delicate articulation; all her images to him are clear and definite, and he translates them for us into that language of suggestion, emphasis, and refined analogy which links the manifold to the simple and the infinite to the finite. He accomplishes for us what we should in vain attempt for ourselves, enables the puny hand to lay hold on what is vast, and brings even coarseness of grasp into a real contact with what is subtle and ethereal. His turn for metaphysical analysis is closely associated with a deep ethical insight: and many of his verses form sayings of so high a class that we trust they are destined to form a permanent part of the household-words of England.

Considering the quantity of power that Mr. Tennyson can make available, it is a great proof of self-discipline that he is not given to a wanton or tyrannous use of it. An extraordinary master of diction, he has confined himself to its severe and simple forms. In establishing this rule of practice his natural gift has evidently been aided by the fine English of the old romances, and we might count upon the fingers the cases in which he has lately deviated into the employment of any stilted phrase, or given sanction to a word not of the best fabric. Profuse in the power of graphic[1] representation, he has chastened some of his earlier groups of imagery, which were occasionally overloaded with particulars; and in his later works, as has been well remarked, he has shown himself thoroughly aware that in poetry half is greater than the whole. That the chastity of style he has attained is not from exhaustion of power may easily be shown. No poet has evinced a more despotic mastery over intractable materials, or has been more successful in clothing what is common with the dignity of his art. The Downs are not the best subjects in the world for verse; but they will be remembered with and by his descriptive line in the "Idylls"—

Far o'er the long backs of the bushless downs.

[1] We use the word in what we conceive to be its only legitimate meaning; namely, after the manner and with the effect of painting. It signifies the quid, not the quale.