Tennyson is more simply the songster than any poet of our time. With him the delight of musical expression is first, the thought second. It was well observed by one of our companions, that he has described just what we should suppose to be his method of composition in this verse from “The Miller’s Daughter.”
“A love-song I had somewhere read,
An echo from a measured strain,
Beat time to nothing in my head
From some odd corner of the brain.
It haunted me the morning long,
With weary sameness in the rhymes,
The phantom1 of a silent song,
That went and came a thousand times.”
So large a proportion of even the good poetry of our time is ever over-ethical or over-passionate, and the stock poetry is so deeply tainted2 with a sentimental3 egotism, that this, whose chief merits lay in its melody and picturesque4 power, was most refreshing5. What a relief, after sermonizing and wailing6 had dulled the sense with such a weight of cold abstraction, to be soothed7 by this ivory lute8!
Not that he wanted nobleness and individuality in his thoughts, or a due sense of the poet’s vocation10; but he won us to truths, not forced them upon us; as we listened, the cope
“Of the self-attained futurity
Was cloven with the million stars which tremble
O’er the deep mind of dauntless infamy11.”
And he seemed worthy12 thus to address his friend,
“Weak truth a-leaning on her crutch13,
Wan9, wasted truth in her utmost need,
Thy kingly intellect shall feed,
Until she be an athlete bold.”
Unless thus sustained, the luxurious14 sweetness of his verse must have wearied. Yet it was not of aim or meaning we thought most, but of his exquisite15 sense for sounds and melodies, as marked by himself in the description of Cleopatra.
“Her warbling voice, a lyre of widest range,
Touched by all passion, did fall down and glance
From tone to tone, and glided16 through all change
Of liveliest utterance17.”
Or in the fine passage in the Vision of Sin, where
“Then the music touched the gates and died;
Rose again from where it seemed to fail,
Stormed in orbs18 of song, a growing gale;” &c.
Or where the Talking Oak composes its serenade for the pretty Alice; but indeed his descriptions of melody are almost as abundant as his melodies, though the central music of the poet’s mind is, he says, as that of the
“fountain
Like sheet lightning,
Ever brightening
With a low melodious19 thunder;
All day and all night it is ever drawn20
From the brain of the purple mountain
Which stands in the distance yonder:
It springs on a level of bowery lawn,
And the mountain draws it from heaven above,
And it sings a song of undying love.”
Next to his music, his delicate, various, gorgeous music, stands his power of picturesque representation. And his, unlike those of most poets, are eye-pictures, not mind-pictures. And yet there is no hard or tame fidelity21, but a simplicity22 and ease at representation (which is quite another thing from reproduction) rarely to be paralleled. How, in the Palace of Art, for instance, they are unrolled slowly and gracefully23, as if painted one after another on the same canvass25. The touch is calm and masterly, though the result is looked at with a sweet, self-pleasing eye. Who can forget such as this, and of such there are many, painted with as few strokes and with as complete a success?
“A still salt pool, locked in with bars of sand;
Left on the shore; that hears all night
The plunging26 seas draw backward from the land
Their moon-led waters white.”
Tennyson delights in a garden. Its groups, and walks, and mingled27 bloom intoxicate28 him, and us through him. So high is his organization, and so powerfully stimulated29 by color and perfume, that it heightens all our senses too, and the rose is glorious, not from detecting its ideal beauty, but from a perfection of hue30 and scent31, we never felt before. All the earlier poems are flower-like, and this tendency is so strong in him, that a friend observed, he could not keep up the character of the tree in his Oak of Summer Chase, but made it talk like an “enormous flower.” The song,
“A spirit haunts the year’s last hours,”
is not to be surpassed for its picture of the autumnal garden.
The new poems, found in the present edition, show us our friend of ten years since much altered, yet the same. The light he sheds on the world is mellowed32 and tempered. If the charm he threw around us before was somewhat too sensuous33, it is not so now; he is deeply thoughtful; the dignified34 and graceful24 man has displaced the Antinous beauty of the youth. His melody is less rich, less intoxicating35, but deeper; a sweetness from the soul, sweetness as of the hived honey of fine experiences, replaces the sweetness which captivated the ear only, in many of his earlier verses. His range of subjects was great before, and is now such that he would seem too merely the amateur, but for the success in each, which says that the same fluent and apprehensive37 nature, which threw itself with such ease into the forms of outward beauty, has now been intent rather on the secrets of the shaping spirit. In ‘Locksley Hall,’ ‘St. Simeon Stylites,’ ‘Ulysses,’ ‘Love and Duty,’ ‘The Two Voices,’ are deep tones, that bespeak38 that acquaintance with realities, of which, in the ‘Palace of Art,’ he had expressed his need. The keen sense of outward beauty, the ready shaping fancy, had not been suffered to degrade the poet into that basest of beings, an intellectual voluptuary, and a pensive39 but serene40 wisdom hallows all his song.
His opinions on subjects, that now divide the world, are stated in two or three of these pieces, with that temperance and candor41 of thought, now more rare even than usual, and with a simplicity bordering on homeliness42 of diction, which is peculiarly pleasing, from the sense of plastic power and refined good sense it imparts.
A gentle and gradual style of narration43, without prolixity44 or tameness, is seldom to be found in the degree in which such pieces as ‘Dora’ and ‘Godiva’ display it. The grace of the light ballad45 pieces is as remarkable46 in its way, as was his grasp and force in ‘Oriana,’ ‘The Lord of Burleigh,’ ‘Edward Gray,’ and ‘Lady Clare,’ are distinguished47 for different shades of this light grace, tender, and speaking more to the soul than the sense, like the different hues48 in the landscape, when the sun is hid in clouds, so gently shaded that they seem but the echoes of themselves.
I know not whether most to admire the bursts of passion in ‘Locksley Hall,’ the playful sweetness of the ‘Talking Oak,’ or the mere36 catching49 of a cadence50 in such slight things as
“Break, break, break
On thy cold gray stones, O sea,” &c.
Nothing is more uncommon51 than the lightness of touch, which gives a charm to such little pieces as the ‘Skipping Rope.’
We regret much to miss from this edition ‘The Mystic,’ ‘The Deserted52 House,’ and ‘Elegiacs,’ all favorites for years past, and not to be disparaged53 in favor of any in the present collection. England, we believe, has not shown a due sense of the merits of this poet, and to us is given the honor of rendering54 homage55 more readily to an accurate and elegant intellect, a musical reception of nature, a high tendency in thought, and a talent of singular fineness, flexibility56, and scope.
点击收听单词发音
1 phantom | |
n.幻影,虚位,幽灵;adj.错觉的,幻影的,幽灵的 | |
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2 tainted | |
adj.腐坏的;污染的;沾污的;感染的v.使变质( taint的过去式和过去分词 );使污染;败坏;被污染,腐坏,败坏 | |
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3 sentimental | |
adj.多愁善感的,感伤的 | |
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4 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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5 refreshing | |
adj.使精神振作的,使人清爽的,使人喜欢的 | |
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6 wailing | |
v.哭叫,哀号( wail的现在分词 );沱 | |
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7 soothed | |
v.安慰( soothe的过去式和过去分词 );抚慰;使舒服;减轻痛苦 | |
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8 lute | |
n.琵琶,鲁特琴 | |
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9 wan | |
(wide area network)广域网 | |
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10 vocation | |
n.职业,行业 | |
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11 infamy | |
n.声名狼藉,出丑,恶行 | |
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12 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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13 crutch | |
n.T字形拐杖;支持,依靠,精神支柱 | |
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14 luxurious | |
adj.精美而昂贵的;豪华的 | |
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15 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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16 glided | |
v.滑动( glide的过去式和过去分词 );掠过;(鸟或飞机 ) 滑翔 | |
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17 utterance | |
n.用言语表达,话语,言语 | |
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18 orbs | |
abbr.off-reservation boarding school 在校寄宿学校n.球,天体,圆形物( orb的名词复数 ) | |
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19 melodious | |
adj.旋律美妙的,调子优美的,音乐性的 | |
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20 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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21 fidelity | |
n.忠诚,忠实;精确 | |
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22 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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23 gracefully | |
ad.大大方方地;优美地 | |
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24 graceful | |
adj.优美的,优雅的;得体的 | |
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25 canvass | |
v.招徕顾客,兜售;游说;详细检查,讨论 | |
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26 plunging | |
adj.跳进的,突进的v.颠簸( plunge的现在分词 );暴跌;骤降;突降 | |
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27 mingled | |
混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
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28 intoxicate | |
vt.使喝醉,使陶醉,使欣喜若狂 | |
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29 stimulated | |
a.刺激的 | |
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30 hue | |
n.色度;色调;样子 | |
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31 scent | |
n.气味,香味,香水,线索,嗅觉;v.嗅,发觉 | |
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32 mellowed | |
(使)成熟( mellow的过去式和过去分词 ); 使色彩更加柔和,使酒更加醇香 | |
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33 sensuous | |
adj.激发美感的;感官的,感觉上的 | |
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34 dignified | |
a.可敬的,高贵的 | |
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35 intoxicating | |
a. 醉人的,使人兴奋的 | |
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36 mere | |
adj.纯粹的;仅仅,只不过 | |
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37 apprehensive | |
adj.担心的,恐惧的,善于领会的 | |
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38 bespeak | |
v.预定;预先请求 | |
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39 pensive | |
a.沉思的,哀思的,忧沉的 | |
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40 serene | |
adj. 安详的,宁静的,平静的 | |
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41 candor | |
n.坦白,率真 | |
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42 homeliness | |
n.简朴,朴实;相貌平平 | |
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43 narration | |
n.讲述,叙述;故事;记叙体 | |
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44 prolixity | |
n.冗长,罗嗦 | |
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45 ballad | |
n.歌谣,民谣,流行爱情歌曲 | |
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46 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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47 distinguished | |
adj.卓越的,杰出的,著名的 | |
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48 hues | |
色彩( hue的名词复数 ); 色调; 信仰; 观点 | |
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49 catching | |
adj.易传染的,有魅力的,迷人的,接住 | |
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50 cadence | |
n.(说话声调的)抑扬顿挫 | |
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51 uncommon | |
adj.罕见的,非凡的,不平常的 | |
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52 deserted | |
adj.荒芜的,荒废的,无人的,被遗弃的 | |
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53 disparaged | |
v.轻视( disparage的过去式和过去分词 );贬低;批评;非难 | |
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54 rendering | |
n.表现,描写 | |
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55 homage | |
n.尊敬,敬意,崇敬 | |
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56 flexibility | |
n.柔韧性,弹性,(光的)折射性,灵活性 | |
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