The Age of Tennyson. Hugh Walker

      The Age of Tennyson

      PREFACE

      The age of Tennyson is defined, for the purpose of the present volume, as extending from 1830 to 1870. The date selected as the beginning of the period needs no explanation; but perhaps the question may be asked why the age of Tennyson should be supposed to end more than twenty years before Tennyson died. The answer is twofold. First, I may plead the strong law of necessity. Sixty years, among the most fertile and varied in our literary history, could be compressed within the limits of a volume like the present only by completely changing the scale of treatment; and this again would have put it out of harmony with the other volumes of the series. But, secondly, about the year 1870 or before it there took place a change in the personnel of literature, less complete perhaps than that which marked the beginning of the epoch, but still sufficiently remarkable. Among the historians, Macaulay was dead and Carlyle had done his work. Among the novelists, Dickens died in 1870, Thackeray seven years before, and Charlotte Brontë still earlier; while, though George Eliot survived till 1880, the only great work of hers which lies beyond the limits of the period is Middlemarch. Mill, who had been so long the dominant power in philosophy, died in 1873. The poets, Tennyson, Browning, Matthew Arnold and Rossetti, survived. In poetry however Arnold’s voice was by this time almost dumb. Browning continued to produce copiously; but after The Ring and the Book his style changed, and changed decidedly for the worse. Tennyson changed too, but in his case there was some gain to balance what was lost. The best of the younger poets, like William Morris and Swinburne, clearly show the influence of new ideals. The old order was changing, and new ambitions were beginning to sway men’s minds. In short, if by the age of Tennyson we mean the period during which the influences which formed Tennyson and his contemporaries were dominant, we find that it came to an end long before Tennyson’s life closed.

      Tennyson and Browning, Arnold and Ruskin, therefore, have to be treated as survivors into a new period. But it is obviously undesirable to split a man’s work in two; and consequently, though my period ends at 1870, I have included a sketch of the later work of these men as well. I have very rarely treated only a part of a man’s work. I have preferred to leave wholly to my successor those writers who, though they had begun to write before 1870, seem on the whole to belong rather to the period still current.

      In the plan of this book I have tried to follow out as faithfully as possible the general idea of the series to which it belongs; and thus I have been led rather to emphasise the thought of the greater men than to concern myself about including notices of a great number of minor writers. In a period so prolific it has therefore been necessary to enforce a somewhat rigid law of exclusion. The law has been made especially rigid in the case of fiction; because there is nothing that bears the test of time so ill as bad or mediocre fiction.

      Variety is, after copiousness, the most striking feature of the period under review; and this variety somewhat obscures the operation of ruling principles and ideas. I have taken as my guide the conviction that the key to the period is to be found in its search for truth and its resolve to understand. We see this everywhere, in the development of science, in the inquiry into the causes of the growth and decay of nations, in the intellectual quality of the best poetry, in the analytical psychology of so much prose fiction. It is the reaction against the extreme romanticism of the revolutionary period. The writers of the Revolution sought to grasp truth by an act of faith. In the Victorian period emotion plays a less and logic a greater part. Or we may describe the change as a partial reversion to the spirit of the eighteenth century. The imaginative glamour of the romantic movement is not lost, but there is conjoined with it a juster appreciation of the clearness and precision and the logical coherency of the age of Pope. Next to the eighteenth century the age of Tennyson has been the most critical in our literature.

      I owe thanks to Professor Hales for his uniform courtesy and kindness in reading and considering my proofs, and for many valuable and helpful suggestions.

      H. W.

      Lampeter,

      July, 1897.

      INTRODUCTION

      The epoch of literature which opened about the year 1830 is perhaps best described, in the first place, by negatives. It is distinguished from the previous period, when the spirit which gave rise to the French Revolution was dominant, by the absence of certain characteristics then conspicuous. First and chiefly, it is distinguished by the failure of the hopes which at once produced and were produced by the Revolution. On the border-land between the two centuries literature was marked by buoyant and often extravagant expectation. Even pessimists like Byron were somewhat superficial in their pessimism. Byron looked upon the evils from which he and others suffered as due largely to the perversity of society. But this perversity might be cured, and if it were cured an earthly Elysium seemed a thing not wholly unreasonable to expect. To all who were animated by the spirit of Rousseau the problem, how to secure happiness, appeared almost identical with the comparatively simple one, how to remove obstructions. Nature unimpeded was perfect: it was the vain imaginings and evil contrivances of man that did the mischief. There were not wanting, even in the Revolutionary period, men who thought more deeply and who saw more clearly. The speculations of Malthus, destined afterwards, both directly, and still more through the impulse they gave to Darwin, to prove among the most influential of the century, showed that some, at least, of the roots of evil reached far deeper than the orthodox Revolutionists and speculators of the type of Godwin had imagined. The exhaustion of Europe after the great struggle with Napoleon brought dimly home to multitudes who knew nothing about and cared nothing for abstruse speculation a sense of the difficulty and complexity of social problems. Exaggerated expectations bring their own Nemesis in the shape of proportionate depression and gloom; and the men of the new era set themselves somewhat wearily and with little elasticity of spirit to climb the toilsome steep of progress. The way seemed all the rougher because they had hoped to win the summit by a rush. Failure left them in the mood of Cleopatra on the death of Antony,—

      Hence in the beginning of the period there is on the part of all but the greatest a tendency to trifle. Sometimes even the greatest are not quite free from it; and in the early poetry of Tennyson we may detect evidence that the writer was as yet unmoved by any great interest.

      But, though it was not clear at the moment, sixty years of subsequent history make it manifest that the generation then beginning had great work to do. In the first place, it had to work out, not the ideal of the Revolution as conceived by the Revolutionists, but that in it which was vital, and which had given it the power to move Europe. Modern democracy, though its roots stretch farther into the past, has been, as a realised political system, the work of the Age of Tennyson. The process whereby democracy has become dominant in the West of Europe has been marked by no great political convulsion comparable to the French Revolution. Even on the Continent the movement which in 1848 shook so many thrones was trifling in comparison with it; and in England the agitations of the Reform Bill, of the Anti-Corn Law League, and even of the Chartists, either kept within the limits of the law or merely rippled the surface of social order. Nevertheless, the work done has been momentous. At the opening of the period we see political power placed by the first Reform Bill in the hands of the middle class; at its close, this power is by the operation of the second Reform Bill, logically completed by the third, transferred to the working class. If we believe at all in the influence of social circumstances upon literature, we must believe that great changes such as these have left their stamp upon it; and there is ample evidence that they have done so. Though Carlyle had little faith in popular government, his writings are everywhere influenced by the democratic movement. John Stuart Mill’s works, and the whole literature of sociology, indicate how pressing the problem of the structure of society has been felt to be. Hood’s Song of the Shirt, Mrs. Browning’s Cry of the Children, Ebenezer Elliott’s Corn Law Rhymes and Kingsley’s Alton Locke, are a few examples of the way in which the social, political and economic condition of the poor pressed upon the imaginative writers of the time. Others in earlier days had been interested too. No reader of the Canterbury Tales can doubt that Chaucer was keenly alive to the state of all the grades of society. Shakespeare by a few vivid words in King