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2017 Alfred,LordTennysonBritannicaOnlineEncyclopedia
In 1824 the health of Tennysons father began to break down, and he took refuge in drink.
Alfred, though depressed by unhappiness at home, continued to write, collaborating with
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Frederick and Charles in Poems by Two Brothers (1826; dated 1827). His contributions (more
than half the volume) are mostly in fashionable styles of the day.
In 1827 Alfred and Charles joined Frederick at Trinity College, Cambridge. There Alfred made
friends with Arthur Hallam, the gifted son of the historian Henry Hallam. This was the deepest
friendship of Tennysons life. The friends became members of the Apostles, an exclusive
undergraduate club of earnest intellectual interests. Tennysons reputation as a poet increased
at Cambridge. In 1829 he won the chancellors gold medal with a poem called Timbuctoo. In
1830 Poems, Chiey Lyrical was published; and in the same year Tennyson, Hallam, and other
Apostles went to Spain to help in the unsuccessful revolution against Ferdinand VII. In the
meantime, Hallam had become attached to Tennysons sister Emily but was forbidden by her
father to correspond with her for a year.
In 1831 Tennysons father died. Alfreds misery was increased by his grandfathers discovery of
his fathers debts. He left Cambridge without taking a degree, and his grandfather made
nancial arrangements for the family. In the same year, Hallam published a eulogistic article
on Poems, Chiey Lyrical in The Englishmans Magazine. He went to Somersby in 1832 as the
accepted suitor of Emily.
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also belong some of the poems that became constituent parts of In Memoriam, celebrating
Hallams death, and lyrics later worked into Maud.
In May 1836 his brother Charles married Louisa Sellwood of Horncastle, and at the wedding
Alfred fell in love with her sister Emily. For some years the lovers corresponded, but Emilys
father disapproved of Tennyson because of his bohemianism, addiction to port and tobacco,
and liberal religious views; and in 1840 he forbade the correspondence. Meanwhile the
Tennysons had left Somersby and were living a rather wandering life nearer London. It was in
this period that Tennyson made friends with many famous men, including the politician
William Ewart Gladstone, the historian Thomas Carlyle, and the poet Walter Savage Landor.
In Memoriam is a vast poem of 131 sections of varying length, with a prologue and epilogue.
Inspired by the grief Tennyson felt at the untimely death of his friend Hallam, the poem
touches on many intellectual issues of the Victorian Age as the author searches for the
meaning of life and death and tries to come to terms with his sense of loss. Most notably, In
Memoriam reects the struggle to reconcile traditional religious faith and belief in immortality
with the emerging theories of evolution and modern geology. The verses show the
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development over three years of the poets acceptance and understanding of his friends death
and conclude with an epilogue, a happy marriage song on the occasion of the wedding of
Tennysons sister Cecilia.
After his marriage, which was happy, Tennysons life became more secure and outwardly
uneventful. There were two sons: Hallam and Lionel. The times of wandering and unsettlement
ended in 1853, when the Tennysons took a house, Farringford, in the Isle of Wight. Tennyson
was to spend most of the rest of his life there and at Aldworth (near Haslemere, Surrey).
Tennysons position as the national poet was conrmed by his Ode on the Death of the Duke of
Wellington (1852)though some critics at rst thought it disappointingand the famous poem
on the charge of the Light Brigade at Balaklava, published in 1855 in Maud and Other Poems.
Maud itself, a strange and turbulent monodrama, provoked a storm of protest; many of the
poets admirers were shocked by the morbidity, hysteria, and bellicosity of the hero. Yet Maud
was Tennysons favourite among his poems.
A project that Tennyson had long considered at last issued in Idylls of the King (1859), a series
of 12 connected poems broadly surveying the legend of King Arthur from his falling in love
with Guinevere to the ultimate ruin of his kingdom. The poems concentrate on the
introduction of evil to Camelot because of the adulterous love of Lancelot and Queen
Guinevere, and on the consequent fading of the hope that had at rst infused the Round Table
fellowship. Idylls of the King had an immediate success, and Tennyson, who loathed publicity,
had now acquired a sometimes embarrassing public fame. The Enoch Arden volume of 1864
perhaps represents the peak of his popularity. New Arthurian Idylls were published in The Holy
Grail, and Other Poems in 1869 (dated 1870). These were again well received, though some
readers were beginning to show discomfort at the Victorian moral atmosphere that Tennyson
had introduced into his source material from Sir Thomas Malory.
In 1874 Tennyson decided to try his hand at poetic drama. Queen Mary appeared in 1875, and
an abridged version was produced at the Lyceum in 1876 with only moderate success. It was
followed by Harold (1876; dated 1877), Becket (not published in full until 1884), and the village
tragedy The Promise of May, which proved a failure at the Globe in November 1882. This play
his only prose workshows Tennysons growing despondency and resentment at the religious,
moral, and political tendencies of the age. He had already caused some sensation by
publishing a poem called Despair in The Nineteenth Century (November 1881). A more
positive indication of Tennysons later beliefs appears in The Ancient Sage, published in
Tiresias and Other Poems (1885). Here the poet records his intimations of a life before and
beyond this life.
Tennyson accepted a peerage (after some hesitation) in 1884. In 1886 he published a new
volume containing Locksley Hall Sixty Years After, consisting mainly of imprecations against
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modern decadence and liberalism and a retraction of the earlier poems belief in inevitable
human progress.
In 1889 Tennyson wrote the famous short poem Crossing the Bar, during the crossing to the
Isle of Wight. In the same year he published Demeter and Other Poems, which contains the
charming retrospective To Mary Boyle, The Progress of Spring, a ne lyric written much
earlier and rediscovered, and Merlin and the Gleam, an allegorical summing-up of his poetic
career. In 1892 his play The Foresters was successfully produced in New York City. Despite ill
health, he was able to correct the proofs of his last volume, The Death of Oenone, Akbars
Dream, and Other Poems (1892).
ASSESSMENT
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Tennysons ascendancy among Victorian poets began to be questioned even during his
lifetime, however, when Robert Browning and Algernon Charles Swinburne were serious rivals.
And 20th-century criticism, inuenced by the rise of a new school of poetry headed by T.S.
Eliot (though Eliot himself was an admirer of Tennyson), proposed some drastic devaluations of
his work. Undoubtedly, much in Tennyson that appealed to his contemporaries has ceased to
appeal to many readers today. He can be mawkish and banal, pompous and orotund, offering
little more than the melliuous versifying of shallow or confused thoughts. The rediscovery of
such earlier poets as John Donne or Gerard Manley Hopkins (a poet of Tennysons own time
who was then unknown to the public), together with the widespread acceptance of Eliot and
W.B. Yeats as the leading modern poets, opened the ears of readers to a very different, and
perhaps more varied, poetic music. A more balanced estimate of Tennyson has begun to
prevail, however, with the recognition of the enduring greatness of Ulysses, the unique
poignancy of Tennysons best lyric poems, and, above all, the stature of In Memoriam as the
great representative poem of the Victorian Age. It is now also recognized that the realistic and
comic aspects of Tennysons work are more important than they were thought to be during
the period of the reaction against him. Finally, the perception of the poets awed sense of the
mystery of life, which lies at the heart of his greatness, as in Crossing the Bar or Flower in the
Crannied Wall, unites his admirers in this century with those in the last. Though less of
Tennysons work may survive than appeared likely during his Victorian heyday, what does
remainand it is by no means small in quantityseems likely to be imperishable.
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