Line 188. Pure as lines of green that streak the white, etc. Another illustration of the poet's keen observation of nature. Most writers would have taken the white of the snowdrop as the emblem of purity (as Tennyson himself does in Saint Agnes'), but that delicate green seems more exquisitely pure, even beside the white. Line 190. Not like the piebald miscellany, man. The early editions read:

Not like strong bursts of sample among men,
But all one piece; and take them all in all, etc.

Line 195. As frankly theirs. The early editions have: 6 as easily theirs.'

Line 215. Our royal word. The 1st American edition misprints 'loyal.' Line 250. The airy Giant's zone. of Orion.

The belt

Line 252. And as the fiery Sirius alters hue, etc. Dawson quotes Proctor's 'Myths and Marvels of Astronomy': Every bright star when close to the horizon shows these colors, and so much the more distinctly as the star is the brighter. Sirius, which surpasses the brightest stars of the northern hemisphere full four times in lustre, shows these changes of color so conspicuously that they were regarded as specially characteristic of this star, insomuch that Homer speaks of Sirius (not by name, but as the "Star of Autumn") shining most beautifully "when laved of ocean's wave, - that is, when close to the horizon.'

Dawson adds: The expression "laved of ocean's wave 99 explains the "washed with morning" of our poet. The glitter of the early morning sun on the bright helmets of the brothers, and the glance of light upon their armor as they rode, are vividly realized in this beautiful simile.' The passage of Homer is 'Iliad,' v. 5, thus rendered by Merivale:

Flashed from his helm and buckler a bright incessant gleam,

Like summer star that burns afar, new bathed in ocean's stream.

Lines 262-300.

And, ere the windy jest three to three. The early editions read thus:

Pages 144 to 147

and Arac turning said:

'Our land invaded, life and soul! himself
Your captive, yet my father wills not war:
But, Prince, the question of your troth remains;
And there's a downright honest meaning in her:
She ask'd but space and fairplay for her scheme;
She prest and prest it on me; life! I felt
That she was half right talking of her wrongs:
And I'll stand by her. Waive your claim, or else
Decide it here; why not? we are three to three.'

I lagg'd in answer, loth to strike her kin,
And cleave the rift of difference deeper yet;
Till one of those two brothers, half aside,
And fingering at the hair about his lip,
To prick us on to combat, 'Three to three ?
But such a three to three were three to one.'
A boast that clenched his purpose like a blow!
For fiery-short was Cyril's counter-scoff,
And sharp I answer'd, touch'd upon the sense
Where idle boys are cowards to their shame,
And tipt with sportive malice to and fro
Like pointed arrows leapt the taunts and hit.

The passage now stands as in the 5th edition. The 3d does not contain lines 268 and 276-279. In 268 it has 'But, Prince, the' for 'But then this'; in 280 'Yet' for And'; and in 282 and 288 (also in 314) Life!' for 'Sdeath!'

Line 284. Her that talk'd down the fifty wisest men. St. Catherine of Alexandria, daughter of Costis (half-brother to Constantine the Great) and Sabinella, Queen of Egypt. Maxentius dur ing his persecution sent fifty learned men to dispute with her, but she confuted and converted them all.

Line 314. 'Sdeath! but we will send to her, etc. The early editions read:

'We will send to her,' Arac said, 'A score of worthy reasons why she should Bide by this issue,' etc.

Line 333. Thro' open doors. The early editions have: Thro' the open doors.'

Line 336. Like a stately pine, etc. The following is from the 'Remains of Arthur Hugh Clough,' dated in the Valley of Cauterets, Sept. 7, 1861: I have been out for a walk with A. T. to a sort of island between two waterfalls, with pines on it, of which he retained a recollection from his visit of thirty-one years ago, and which, moreover, furnished a simile to The Princess. "He is very fond of this place, evidently.'

Line 355. Tomyris. The queen of the Massagetæ, who, according to Herodotus (i. 214), defeated Cyrus the Great in battle, B. C. 529, and afterwards insulted his dead body.

Line 364. O brother, you have known, etc. The early editions read:

You have known, O brother, all the pangs we felt,
What heats of moral anger when we heard, etc.

Line 367. Of lands in which at the altar the poor bride, etc. It was a Russian custom in the seventeenth century for the bride, on her wedding-day, to present her husband, in token of submission, with a whip made by her own hands.

Line 371. Mothers... fling their pretty maids in the running flood, etc. The reference is to

the throwing of female infants into the Ganges, where the vultures are often seen to swoop down upon them before they sink.

Line 375. That equal baseness lived in sleeker times. The early editions have: That it was little better in better times.'

Line 380. I built a fold for them. The early editions have: we built' (but I set' just above); and the plural pronoun also in the following thirteen lines. The early ediand in 388 'old

Line 384. Rout of saucy boys. tions have 'set' for 'rout; affiance' for baby troth.'

The

Line 391. Since you think me touch'd. early editions have: think we are touch'd; ' and nay' for 'what' in the next line.

Lines 395-397. You failing, I abide, etc. The early editions read:

till she

The woman-phantom, she that seem'd no more
Than the man's shadow in a glass, her name
Yoked in his mouth with children's, know herself,
And knowledge liberate her, nor only here,
But ever following, etc.

Line 419. I think Our chiefest comfort, etc. The early editions have: we think; and in 424-427 they read:

We took it for an hour this morning to us,
In our own bed: the tender orphan hands

Felt at our heart, and seem'd to charm from thence
The wrath we nursed against the world: farewell.

Line 441. Look you! The early editions have: 'Look to it.'

Lines 445-448. But you she's yet a colt ... and brawl, etc. The early reading is:

but take and break her, you! She's yet a colt: well groom'd and strongly curb'd, She might not rank with those detestable That to the hireling leave their babe, and brawl, etc.

Line 457. For it was nearly noon. The early editions have: 'it was the point of noon.' After omitting the next fourteen lines, 458-471, they go on thus:

The lists were ready. Empanoplied and plumed
We enter'd in, and waited, fifty there

To fifty, till the terrible trumpet blared

At the barrier, - yet a moment, and once more, etc.

Line 480. In conflict with the crash, etc. The early editions have: In the middle with the crash,' etc. Of course, they do not contain the sentence, Yet it seem'd a dream; I dream'd Of fighting.'

Line 484. And out of stricken helmets sprang the fire. After this line, the 4th edition has the line (afterwards omitted): A noble dream! What was it else I saw ?'

Line 491. Mellay. An anglicized spelling of the French mêlée.

Home they brought him slain with spears.
They brought him home at even-fall;

All alone she sits and hears

Echoes in his empty hall,

Sounding on the morrow.

The sun peeped in from open field,
The boy began to leap and prance,
Rode upon his father's lance,
Beat upon his father's shield-

'O, hush, my joy, my sorrow!'

Part VI. Lines 1-5. In place of these lines the early editions have only this:

What follow'd, tho' I saw not, yet I heard
So often that I speak as having seen;

and for the next three lines: For when our side was vanquish'd and my cause.'

Line 15. Babe in arm. Compare The Palace of Art': 'Sat smiling, babe in arm;' and see note on the passage.

Line 16. That great dame of Lapidoth. See Judges, iv. 4 and v. 1 fol.

Line 40. Growing breeze. The early editions have: Eonian breeze.'

Line 47. Blanch'd in our annals. That is, fortunate, propitious; as the Latin albus was sometimes used.

Line 65. The tremulous isles of light. 'Spots of sunshine coming through the leaves, and seeming to slide from one to the other, as the procession of girls moves under shade " (Tennyson's letter to Dawson).

Slided occurs again (for the sake of the metre, as here) in Merlin and Vivien': 'Writhed toward him, slided up his knee and sat.' Line 68. Thro' open field. The early editions have: Thro' the open field.' Line 91. And her hue. The early editions have and all her hue.'

Line 110. This great clog of thanks, that make. The early editions have 'makes.'

Line 137. But he that lay Beside us, etc. The early editions read:

but Cyril, who lay Bruised, where he fell, not far off, much in pain, Trail'd himself, etc.

Line 161. Fixt in yourself. All the editions have 'fix'd,' but elsewhere 'fixt.'

·

Line 166. One port of sense. Portal; as in Shakespeare, 2 Henry IV.' iv. 5. 24: That keep'st the ports of slumber open wide,' etc. The first four editions have part' for 'port,' perhaps a misprint. Wallace's edition of The Princess' explains 'port' as haven, from Latin portus, and this is endorsed by the present Lord Tennyson; but I nevertheless feel confident that the poet had the Shakespearian use of the word in mind. The figure of the gate (porta) seems to me both more natural and more appropriate than the other. The reader can take his choice.

Line 171. I will give it her. The early editions have: 'and I will.'

Line 179. No purple in the distance. Compare In Memoriam, xxxvii.:

With weary steps I loiter on,

Tho' always under alter'd skies
The purple from the distance dies,
My prospect and horizon gone.

Line 185. Helpless... barren. The early editions have: waxen milkless.'

Line 204. Then Arac, etc. The early ediThen Arac: "Soul and life!"" tions read: etc. They have the line: 'I am your brother; I advise you well' after line 206.

Line 209. 'Sdeath! I would sooner fight. The early editions have: Life! I would sooner fight.'

Line 225. I trust that there is no one hurt to death. This line is not in the early editions.

Line 304. Amazed am I to hear. The early editions have: I am all amaze to hear.'

Line 313. Rang ruin, answered, etc. The speech that follows has been much abridged, the early editions reading thus:

Rang ruin, answered full of grief and scorn:

What! in our time of glory when the cause
Now stands up, first, a trophied pillar - now
So clipt, so stinted in our triumph-barred
Even from our free heart-thanks, and every way
Thwarted and vext, and lastly catechised

By our own creature! one that made our laws!
Our great she-Solon! her that built the nest
To hatch the cuckoo! whom we called our friend!
But we will crush the lie that glances at us

As cloaking in the larger charities

Some baby predilection; all amazed!
We must amaze this legislator more.
Fling our doors wide!' etc.

Below (321) the reading was:

Pass and mingle with your likes. Go, help the half-brain'd dwarf, Society, To find low motives unto noble deeds, To fix all doubt upon the darker side; Go, fitter thou for narrowest neighborhoods, Old talker, haunt where gossip breeds and seethes And festers in provincial sloth! and you, That think we sought to practise on a life Risk'd for our own and trusted to our hands, What say you, Sir? you hear us; deem not ye

"T is all too like that even now we scheme,
In one broad death confounding friend and foe,
To drug them all? revolve it: you are man,
And therefore no doubt wise; but after this
We brook no further insult, but are gone.

The omissions here are the most important in the whole poem, and are certainly for the bet ter. The briefer speech is the more dignified. Line 332. And on they moved. The early editions have: And they moved on.'

Line 340. Amazed they glared. The early editions have amaze,' which, if not a misprint, is used as in the early reading of 304 above.

Song. This song is equally musical and monosyllabic. Of one hundred and twenty-five words in it all are monosyllables except seven, and those are dissyllables.

Part VII. Line 19. Void was her use. Her occupation was gone, like Othello's. Dawson quotes Aylmer's Field':

So that the gentle creature, shut from all
Her charitable use, and face to face
With twenty months of silence, slowly lost,
Nor greatly cared to lose her hold on life.

The poet,

Line 21. A great black cloud, etc. in his letter to Dawson, says that this was sug gested by a coming storm as seen from the top of Snowdon.'

6

Line 23. Verge. 'below the verge."

Horizon; as iv. 29 above: Compare The Gardener's Daughter': 'and May from verge to verge.' The slope is an optical illusion.

Line 36. Deeper than those weird doubts, etc. This line is not in the early editions, the next beginning Lay sundered,' etc.

Line 60. Upon the babe restored. The early editions have: on what she said of the child (see v. 101 above); and in the next line, would she yield' for yielded she.'

Line 68. Were at peace. The construction is confused; as if each' had been both.'

Line 96. Flourished up. Blossomed up' (ii. 292 above) the etymological sense of flourished.'

Line 109. The Oppian law. A sumptuary law passed when Hannibal was almost at the gates of Rome. It enacted that no woman should wear a gay-colored dress, or have more than half an ounce of gold ornaments, and that none should approach within a mile of any city or town in a car drawn by horses. After the war the women demanded the repeal of the law. They gained one consul, but Cato, the other one, resisted. The women harassed the magistrates until the law was repealed.

Line 111. Dwarf-like. The early editions have little.'

Line 112. Hortensia spoke against the tax. A heavy tax imposed on Roman matrons by the second triumvirate. No man was found bold enough to oppose it; but Hortensia, daughter of Hortensius the orator, spoke so eloquently against it that it was repealed.

Line 118. I saw the forms, etc. The early editions read:

I saw the forms: I knew not where I was:
Sad phantoms conjured out of circumstance,
Ghosts of the fading brain they seem'd; nor more
Sweet Ida, etc.

In 122 below they have 'show'd' for 'seem'd.' Line 140. She stoop'd, etc. The 1st edition reads thus:

She stoop'd; and with a great shock of the heart Our mouths met: out of languor leapt a cry, Crown'd Passion from the brinks of death, and up Along the shuddering senses struck the soul, And closed on fire with Ida's at the lips. The 2d edition changes Crown'd' to 'Leapt.' Line 148. That other when she came, etc. Bayard Taylor calls the passage an exquisite rapid picture of Aphrodite floating along the wave to her home at Paphos; but,' he adds, what must we think of the lover, who, in relating the supreme moment of his passion, could turn aside to interpolate it? Its very loveliness emphasizes his utter forgetfulness of the governing theme.' It seems to me natural enough in the relating,' especially as it leads up to the impassioned

nor end of mine, Stateliest, for thee!

which shows that he has dwelt upon the picture of the goddess because he half-identifies her with Ida.

Line 165. The milk-white peacock. Darwin (Animals and Plants under Domestication') speaks of a white variety of peacock.

Line 177. Come down, O maid, etc. This small sweet idyl,' like the exquisite song, Tears, idle tears,' was perfect from the first, and has undergone no revision at the author's hands. It transfers,' says Symonds in his 'Greek Poets,' 'with perfect taste, the Greek Idyllic feeling to Swiss scenery; it is a fine instance of new wine being successfully poured into old bottles, for nothing could be fresher, and not even the "Thalysia" is sweeter.'

All the editions have 'idyl' here, as in the heading ENGLISH IDYLS AND OTHER POEMS.'

Line 189. With Death and Morning on the Silver Horns. In the early editions we find 'Silver Horns,' but all the more recent ones print silver horns.' The former is, of course, to be preferred, on account of the obvious reference to the Silberhorn, one of the peaks or spurs of the Jungfrau, and markedly the most silverywhite part of the summit, as seen from Interlachen and its vicinity.

The 'Memoir' (vol. i. p. 252) tells us that this 'idyl' was written in Switzerland (chiefly at Lauterbrunnen and Grindelwald),' and that the poet considered it among his 'most successful work.'

Morning walks on the mountains here, as 'o'er the dew of yon high eastern hill' in 'Hamlet' (i. 1. 167); and Death is her companion because life has no home on those Alpine summits cold,' or must face Death in attempting to scale them.

Line 191. Firths of ice, etc. Bayard Taylor

How shall men grow? We two will serve them both
In aiding her strip off, as in us lies,
(Our place is much) the parasitic forms
That seem to keep her up but drag her down-
Will leave her field to burgeon and to bloom
From all within her, make herself her own, etc.

Line 261. His dearest bond. The early editions have 'whose' for 'his.'

Line 268. Nor lose the childlike, etc. In place of this line the early editions have: 'More as the double-natured Poet each.'

Lines 313-320. Said Ida, tremulously, etc. The early editions read:

Said Ida, so unlike, so all unlike

It seems you love to cheat yourself with words:
This mother is your model. Never, Prince;
You cannot love me.' Nay, but thee,' I said,
'From yearlong poring on thy pictured eyes,
Or some mysterious or magnetic touch,
Ere seen I loved,' etc.

Lines 327-330. Lift thine eyes, etc. The early reading is:

lift thine eyes; doubt me no more; Look up, and let thy nature strike on mine, etc.

Line 335. Is morn to more, etc. The early editions have: I scarce believe, and all the rich to-come; and in 337, flowers' for 'weeds.'

Bayard Taylor was troubled at this latter change, the first reading having suggested to him a more delicate fancy than the poet seems to have intended.' It gave him, not the view of an ordinary piece of farm-work,' but a vision of the autumnal haze slowly gathering from myriads of flowers as they burn away in the last ardors of summer.' This is a good illustration of the manner in which a person of lively imagination may read into' poetry a meaning which is not there. Of course, all that Tennyson had in mind was the burning up of weeds in autumn, and the apparent wavering of the landscape as seen through the rising currents of heated and smoky air.

Conclusion. This part of the poem was almost entirely rewritten in the 3d edition. In place of the first thirty-two lines, the 1st edition has only the following:

Here closed our compound story, which at first
Had only meant to banter little maids
With mock heroics and with parody:

But slipt in some strange way, crost with burlesque,
From mock to earnest, even into tones
Of tragic, and with less and less of jest,
To such a serious end, that Lilia fixt, etc.

The 2d edition changed 'Had only' in the second line to Perhaps, but.'

Lines 34-80. Who might have told... garden rails. For these forty-six lines the early editions have:

who there began
A treatise, growing with it, and might have flow'd
In axiom worthier to be graven on rock
Than all that lasts of old-world hieroglyph,
Or lichen-fretted Rune and arrowhead;

But that there rose a shout: the gates were closed
At sundown, and the crowd were swarming now,
To take their leave, about the garden rails,

And I and some went out, and mingled with them.

The reference to the French Revolution seems out of place; and yet one would be sorry to spare the eight lines that follow (Have patience,' etc.).

Line 102. Why should not, etc. The early editions read:

Why don't these acred Sirs Throw up their parks some dozen times a year, And let the people breathe?

Line 108. But spoke not. The early editions have: Saying little;' and in 116, without sound' for quietly.'

Page 162. IN MEMORIAM.

Of the commentaries on the poem Professor John F. Genung's (In Memoriam; its Purpose and its Structure,' 2d ed. Boston, 1884) seems to me the most satisfactory. Other valuable works are A Key to Lord Tennyson's In Memoriam,' by Rev. Alfred Gatty, D. D. (3d edition, London, 1885), for which the poet himself furnished some corrections and comments, which in this edition are printed in italics; Prolegomena to In Memoriam,' by Thomas Davidson (Boston, 1889); A Companion to In Memoriam,' by Elizabeth R. Chapman (London, 1888); and "Tennyson and In Memoriam,' by Joseph Jacobs (London, 1892). See also the admirable studies of the poem in 'Phases of Thought and Criticism,' by Brother Azarias (Boston, 1892), pages 183-268; and in Rev. Stopford A. Brooke's Tennyson: His Art and Relation to Modern Life' (New York, 1894), pages 188-228. The 'Memoir' (vol. i. pp. 295-327) has much interesting matter not to be found elsewhere.

According to Professor Genung, the fundamental idea of the poem may be thus stated:

EPILOGUE.

CIV., CT.

CVL

CVIL

. CXV., CAL

Prologue. The form of stanza had been used by Lord Herbert of Cherbury and by Ben Ju son in his Underwoods.' Rossetti claimed to have rediscovered the metre in 1844' (Jacobs); but Tennyson had already used it in two poems written in 1833, though not published until 1842 (You ask me why' and 'Love thou thy land '); and Jennings (Lord Tennyson,' page 125) says: 'We have excellent authority for saying that, as far as Tennyson knew then, he thought he had invented the metre.' This is confirmed by the Memoir' (vol. i. p. 305).

Immor

Strong Son of God, immortal love. tal Love is recognized not only as an affection within us, but as an entity above us,... as a divine Object of faith and love, to be wor shipped and obeyed, to be recognized as at the same time the source and the goal of our noblest life' (Genung).

I. 1. I held it truth, with him who sings, etc. It may be stated, on the highest authority, that the special passage alluded to cannot be identified, but it is Goethe's creed' (Gatty). Brother Azarias remarks:Faust, in Goethe's great life-poem, emerges from the ruins of his dead self to a higher life and a broader assertion of selfhood. It is still the same self trampling upon the narrower and lower experiences of life.' Compare Longfellow, The Ladder of St. Augustine. The passage of St. Augustine is in Serm.' iii.: De vitiis nostris scalam nobis facimus si vitia calcamus.'

The "dead selves" of Tennyson are neither our vices nor our calamities; but, rather, our general experiences, which all perish as they happen' (Gatty).

II. 1. Old yew, which graspest at the stones, etc. When the poet wrote this he supposed that Arthur was buried in the churchyard, though a

1 The references in these notes on In Memoriam are to sections (or poems,' as Tennyson calls them) and stanzas, not to lines.