We learn
from Fitzgerald that it was written as early as the spring of 1835, for
in that year Tennyson read it to Fitzgerald and Spedding, "out of a MS.
from Fitzgerald that it was written as early as the spring of 1835, for
in that year Tennyson read it to Fitzgerald and Spedding, "out of a MS.
Tennyson
" "Nay, nay," said Hall,
"Why take the style of those heroic times?
For nature brings not back the Mastodon,
Nor we those times; and why should any man
Remodel models? these twelve books of mine [3]
Were faint Homeric echoes, nothing-worth,
Mere chaff and draff, much better burnt. "
"But I," Said Francis, "pick'd the eleventh from this hearth,
And have it: keep a thing its use will come.
I hoard it as a sugar-plum for Holmes. "
He laugh'd, and I, though sleepy, like a horse
That hears the corn-bin open, prick'd my ears;
For I remember'd Everard's college fame
When we were Freshmen: then at my request
He brought it; and the poet little urged,
But with some prelude of disparagement,
Read, mouthing out his hollow oes and aes,
Deep-chested music, and to this result.
[Footnote 1: A burning topic with the clergy in and about 1833. ]
[Footnote 2: 1842 to 1844. "You know," said Frank, "he flung His epic
of King Arthur in the fire! " The present reading, 1850. ]
[Footnote 3: 1842, 1843.
Remodel models rather than the life?
And these twelve books of mine (to speak the truth).
Present reading, 1845. ]
MORTE D'ARTHUR
This is Tennyson's first study from Malory's 'Morte d'Arthur'.
We learn
from Fitzgerald that it was written as early as the spring of 1835, for
in that year Tennyson read it to Fitzgerald and Spedding, "out of a MS.
in a little red book," and again we learn that he repeated some lines of
it at the end of May, 1835, one calm day on Windermere, adding "Not bad
that, Fitz. , is it? " ('Life', i. , 184). It is here represented as the
eleventh book of an Epic, the rest of which had been destroyed, though
Tennyson afterwards incorporated it, adding introductory lines, with
what was virtually to prove an Epic in twelve books, 'The Idylls of the
King'. The substance of the poem is drawn from the third, fourth and
fifth chapters of the twenty-first book of Malory's 'Romance', which is
followed very closely. It is called "an Homeric echo," but the diction
bears a much closer resemblance to that of Virgil than to that of Homer,
though the rhythm is perhaps more Homeric than Virgilian. It is
Tennyson's masterpiece in "the grand style," and is indeed as near
perfection as any work of this kind could be. In spite of its singular
mixture of simplicity, purely Homeric, and artificiality, at times
ultra-Virgilian, the incongruity never shocks, so noble and impressive
is the general effect. The text of 1842 was never subsequently altered
except in the spelling of "mere" and "though" in lines 37, 77, 147, 155,
162, 272, and in the insertion in 1853 of the line:--
"Across the ridge and pac'd beside the mere. "
So all day long the noise of battle roll'd
Among the mountains by the winter sea;
Until King Arthur's table, man by man,
Had fall'n in Lyonness about their Lord,
King Arthur: then, because his wound was deep,
The bold Sir Bedivere uplifted him,
Sir Bedivere, the last of all his knights,
And bore him to a chapel nigh the field, [1]
A broken chancel with a broken cross,
That stood on a dark strait of barren land.
On one side lay the Ocean, and on one
Lay a great water, and the moon was full.
Then spake King Arthur to Sir Bedivere:
"The sequel of to-day unsolders all
The goodliest fellowship of famous knights
Whereof this world holds record. Such a sleep
They sleep--the men I loved. I think that we
Shall never more, at any future time,
Delight our souls with talk of knightly deeds,
Walking about the gardens and the halls
Of Camelot, as in the days that were.
"Why take the style of those heroic times?
For nature brings not back the Mastodon,
Nor we those times; and why should any man
Remodel models? these twelve books of mine [3]
Were faint Homeric echoes, nothing-worth,
Mere chaff and draff, much better burnt. "
"But I," Said Francis, "pick'd the eleventh from this hearth,
And have it: keep a thing its use will come.
I hoard it as a sugar-plum for Holmes. "
He laugh'd, and I, though sleepy, like a horse
That hears the corn-bin open, prick'd my ears;
For I remember'd Everard's college fame
When we were Freshmen: then at my request
He brought it; and the poet little urged,
But with some prelude of disparagement,
Read, mouthing out his hollow oes and aes,
Deep-chested music, and to this result.
[Footnote 1: A burning topic with the clergy in and about 1833. ]
[Footnote 2: 1842 to 1844. "You know," said Frank, "he flung His epic
of King Arthur in the fire! " The present reading, 1850. ]
[Footnote 3: 1842, 1843.
Remodel models rather than the life?
And these twelve books of mine (to speak the truth).
Present reading, 1845. ]
MORTE D'ARTHUR
This is Tennyson's first study from Malory's 'Morte d'Arthur'.
We learn
from Fitzgerald that it was written as early as the spring of 1835, for
in that year Tennyson read it to Fitzgerald and Spedding, "out of a MS.
in a little red book," and again we learn that he repeated some lines of
it at the end of May, 1835, one calm day on Windermere, adding "Not bad
that, Fitz. , is it? " ('Life', i. , 184). It is here represented as the
eleventh book of an Epic, the rest of which had been destroyed, though
Tennyson afterwards incorporated it, adding introductory lines, with
what was virtually to prove an Epic in twelve books, 'The Idylls of the
King'. The substance of the poem is drawn from the third, fourth and
fifth chapters of the twenty-first book of Malory's 'Romance', which is
followed very closely. It is called "an Homeric echo," but the diction
bears a much closer resemblance to that of Virgil than to that of Homer,
though the rhythm is perhaps more Homeric than Virgilian. It is
Tennyson's masterpiece in "the grand style," and is indeed as near
perfection as any work of this kind could be. In spite of its singular
mixture of simplicity, purely Homeric, and artificiality, at times
ultra-Virgilian, the incongruity never shocks, so noble and impressive
is the general effect. The text of 1842 was never subsequently altered
except in the spelling of "mere" and "though" in lines 37, 77, 147, 155,
162, 272, and in the insertion in 1853 of the line:--
"Across the ridge and pac'd beside the mere. "
So all day long the noise of battle roll'd
Among the mountains by the winter sea;
Until King Arthur's table, man by man,
Had fall'n in Lyonness about their Lord,
King Arthur: then, because his wound was deep,
The bold Sir Bedivere uplifted him,
Sir Bedivere, the last of all his knights,
And bore him to a chapel nigh the field, [1]
A broken chancel with a broken cross,
That stood on a dark strait of barren land.
On one side lay the Ocean, and on one
Lay a great water, and the moon was full.
Then spake King Arthur to Sir Bedivere:
"The sequel of to-day unsolders all
The goodliest fellowship of famous knights
Whereof this world holds record. Such a sleep
They sleep--the men I loved. I think that we
Shall never more, at any future time,
Delight our souls with talk of knightly deeds,
Walking about the gardens and the halls
Of Camelot, as in the days that were.
