]
[Footnote 7: The reference is to Dante, 'Inferno', v.
[Footnote 7: The reference is to Dante, 'Inferno', v.
Tennyson
]
[Footnote 4: Cf. W. R. Spencer ('Poems', p. 166):--
What eye with clear account remarks
The ebbing of his glass,
When all its sands are diamond sparks
That dazzle as they pass.
But this is of course in no way parallel to Tennyson's subtly beautiful
image, which he himself pronounced to be the best simile he had ever
made. ]
[Footnote 5: Cf. Guarini, 'Pastor Fido':--
Ma i colpi di due labbre innamorate
Quando a ferir si va bocca con bocca,
. . . ove l' un alma e l'altra Corre. ]
[Footnote 6: Cf. Horace's 'Annosa Cornix', Odes III. , xvii. , 13.
]
[Footnote 7: The reference is to Dante, 'Inferno', v. 121-3:--
Nessun maggior dolore
Che ricordarsi del tempo felice
Nella miseria.
For the pedigree and history of this see the present editor's
'Illustrations of Tennyson', p. 63. ]
[Footnote 8: The epithet "dreary" shows that Tennyson preferred
realistic picturesqueness to dramatic propriety. ]
[Footnote 9: See the introductory note to 'The Golden Year'. ]
[Footnote 10: See the introductory note to 'The Golden Year'. ]
[Footnote 11: Tennyson said that this simile was suggested by a passage
in 'Pringle's Travels;' the incident only is described, and with
thrilling vividness, by Pringle; but its application in simile is
Tennyson's. See 'A Narrative of a Residence in South Africa', by Thomas
Pringle, p. 39:
"The night was extremely dark and the rain fell so heavily that in
spite of the abundant supply of dry firewood, which we had luckily
provided, it was not without difficulty that we could keep one
watchfire burning. . . . About midnight we were suddenly roused by the
roar of a lion close to our tents. It was so loud and tremendous that
for the moment I actually thought that a thunderstorm had burst upon
us. .
[Footnote 4: Cf. W. R. Spencer ('Poems', p. 166):--
What eye with clear account remarks
The ebbing of his glass,
When all its sands are diamond sparks
That dazzle as they pass.
But this is of course in no way parallel to Tennyson's subtly beautiful
image, which he himself pronounced to be the best simile he had ever
made. ]
[Footnote 5: Cf. Guarini, 'Pastor Fido':--
Ma i colpi di due labbre innamorate
Quando a ferir si va bocca con bocca,
. . . ove l' un alma e l'altra Corre. ]
[Footnote 6: Cf. Horace's 'Annosa Cornix', Odes III. , xvii. , 13.
]
[Footnote 7: The reference is to Dante, 'Inferno', v. 121-3:--
Nessun maggior dolore
Che ricordarsi del tempo felice
Nella miseria.
For the pedigree and history of this see the present editor's
'Illustrations of Tennyson', p. 63. ]
[Footnote 8: The epithet "dreary" shows that Tennyson preferred
realistic picturesqueness to dramatic propriety. ]
[Footnote 9: See the introductory note to 'The Golden Year'. ]
[Footnote 10: See the introductory note to 'The Golden Year'. ]
[Footnote 11: Tennyson said that this simile was suggested by a passage
in 'Pringle's Travels;' the incident only is described, and with
thrilling vividness, by Pringle; but its application in simile is
Tennyson's. See 'A Narrative of a Residence in South Africa', by Thomas
Pringle, p. 39:
"The night was extremely dark and the rain fell so heavily that in
spite of the abundant supply of dry firewood, which we had luckily
provided, it was not without difficulty that we could keep one
watchfire burning. . . . About midnight we were suddenly roused by the
roar of a lion close to our tents. It was so loud and tremendous that
for the moment I actually thought that a thunderstorm had burst upon
us. .
