No More Learning

Long enough the wine-dark wave our weary bark did carry.
This is lovelier and sweeter,
Men of Ithaca, this is meeter,
In the hollow rosy vale to tarry,
Like a dreamy Lotos-eater, a delirious Lotos-eater!
We will eat the Lotos, sweet
As the yellow honeycomb,
In the valley some, and some
On the ancient heights divine;
And no more roam,
On the loud hoar foam,
To the melancholy home
At the limit of the brine,
The little isle of Ithaca, beneath the day's decline.
We'll lift no more the shattered oar,
No more unfurl the straining sail;
With the blissful Lotos-eaters pale
We will abide in the golden vale
Of the Lotos-land till the Lotos fail;
We will not wander more.
Hark! how sweet the horned ewes bleat
On the solitary steeps,
And the merry lizard leaps,
And the foam-white waters pour;
And the dark pine weeps,
And the lithe vine creeps,
And the heavy melon sleeps
On the level of the shore:
Oh! islanders of Ithaca, we will not wander more,
Surely, surely slumber is more sweet than toil, the shore
Than labour in the ocean, and rowing with the oar,
Oh! islanders of Ithaca, we will return no more.

The fine picture in the text of the gods of Epicurus was no doubt
immediately suggested by 'Lucretius', iii. , 15 'seq. ', while the
'Icaromenippus' of Lucian furnishes an excellent commentary on
Tennyson's picture of those gods and what they see. 'Cf. ' too the Song
of the Parcae in Goethe's 'Iphigenie auf Tauris', iv. , 5. ]






A DREAM OF FAIR WOMEN

First published in 1833 but very extensively altered on its
republication in 1842.
It had been written by June, 1832, and appears to
have been originally entitled 'Legend of Fair Women' (see Spedding's
letter dated 21st June, 1832, 'Life', i. , 116). In nearly every edition
between 1833 and 1853 it was revised, and perhaps no poem proves more
strikingly the scrupulous care which Tennyson took to improve what he
thought susceptible of improvement. The work which inspired it,
Chaucer's 'Legend of Good Women', was written about 1384, thus
"preluding" by nearly two hundred years the "spacious times of great
Elizabeth". There is no resemblance between the poems beyond the fact
that both are visions and both have as their heroines illustrious women
who have been unfortunate. Cleopatra is the only one common to the two
poems. Tennyson's is an exquisite work of art--the transition from the
anarchy of dreams to the dreamland landscape and to the sharply denned
figures--the skill with which the heroines (what could be more perfect
that Cleopatra and Jephtha's daughter? ) are chosen and contrasted--the
wonderful way in which the Iphigenia of Euripides and Lucretius and the
Cleopatra of Shakespeare are realised are alike admirable. The poem
opened in 1833 with the following strangely irrelevant verses, excised
in 1842, which as Fitzgerald observed "make a perfect poem by themselves
without affecting the 'dream '":--

As when a man, that sails in a balloon,
Downlooking sees the solid shining ground
Stream from beneath him in the broad blue noon,
Tilth, hamlet, mead and mound:

And takes his flags and waves them to the mob,
That shout below, all faces turned to where
Glows ruby-like the far up crimson globe,
Filled with a finer air:

So lifted high, the Poet at his will
Lets the great world flit from him, seeing all,
Higher thro' secret splendours mounting still,
Self-poised, nor fears to fall.



Hearing apart the echoes of his fame.
While I spoke thus, the seedsman, memory,
Sowed my deepfurrowed thought with many a name,
Whose glory will not die.

I read, before my eyelids dropt their shade,
"The Legend of Good Women," long ago
Sung by the morning star [1] of song, who made
His music heard below;

Dan Chaucer, the first warbler, whose sweet breath
Preluded those melodious bursts, that fill
The spacious times of great Elizabeth
With sounds that echo still.

And, for a while, the knowledge of his art
Held me above the subject, as strong gales
Hold swollen clouds from raining, tho' my heart,
Brimful of those wild tales,

Charged both mine eyes with tears.
In every land I saw, wherever light illumineth,
Beauty and anguish walking hand in hand
The downward slope to death. [2]

Those far-renowned brides of ancient song
Peopled the hollow dark, like burning stars,
And I heard sounds of insult, shame, and wrong,
And trumpets blown for wars;

And clattering flints batter'd with clanging hoofs:
And I saw crowds in column'd sanctuaries;
And forms that pass'd [3] at windows and on roofs
Of marble palaces;

Corpses across the threshold; heroes tall
Dislodging pinnacle and parapet
Upon the tortoise creeping to the wall; [4]
Lances in ambush set;

And high shrine-doors burst thro' with heated blasts
That run before the fluttering tongues of fire;
White surf wind-scatter'd over sails and masts,
And ever climbing higher;

Squadrons and squares of men in brazen plates,
Scaffolds, still sheets of water, divers woes,
Ranges of glimmering vaults with iron grates,
And hush'd seraglios.

So shape chased shape as swift as, when to land
Bluster the winds and tides the self-same way,
Crisp foam-flakes scud along the level sand,
Torn from the fringe of spray.