Let us follow these things by all means if we find them good, and can see nothing better. But to pretend that Alfred would have admired them is like pretending that St. Dominic would have seen eye to eye with Mr.
Bradlaugh, or that Fra Angelico would have revelled in the posters of Mr. Aubrey Beardsley. Let us follow them if we will, but let us take honestly all the disadvantages of our change; in the wildest moment of triumph let us feel the shadow upon our glories of the shame of the great king.
MAETERLINCK
The selection of "Thoughts from Maeterlinck" is a very creditable and also a very useful compilation. Many modern critics object to the hacking and hewing of a consistent writer which is necessary for this kind of work, but upon more serious consideration, the view is not altogether adequate. Maeterlinck is a very great man; and in the long run this process of mutilation has happened to all great men. It was the mark of a great patriot to be drawn and quartered and his head set on one spike in one city and his left leg on another spike in another city.
It was the mark of a saint that even these fragments began to work miracles. So it has been with all the very great men of the world.
However careless, however botchy, may be the version of Maeterlinck or of anyone else given in such a selection as this, it is assuredly far less careless and far less botchy than the version, the parody, the wild misrepresentation of Maeterlinck which future ages will hear and distant critics be called upon to consider.
No one can feel any reasonable doubt that we have heard about Christ and Socrates and Buddha and St. Francis a mere chaos of excerpts, a mere book of quotations. But from those fragmentary epigrams we can deduce greatness as clearly as we can deduce Venus from the torso of Venus or Hercules _ex pede Herculem_. If we knew nothing else about the Founder of Christianity, for example, beyond the fact that a religious teacher lived in a remote country, and in the course of his peregrinations and proclamations consistently called Himself "the Son of Man," we should know by that alone that he was a man of almost immeasurable greatness.
If future ages happened to record nothing else about Socrates except that he owned his title to be the wisest of men because he knew that he knew nothing, they would be able to deduce from that the height and energy of his civilisation, the glory that was Greece. The credit of such random compilations as that which "E.S.S." and Mr. George Allen have just effected is quite secure. It is the pure, pedantic, literal editions, the complete works of this author or that author which are forgotten. It is such books as this that have revolutionised the destiny of the world. Great things like Christianity or Platonism have never been founded upon consistent editions; all of them have been founded upon scrap-books.
The position of Maeterlinck in modern life is a thing too obvious to be easily determined in words. It is, perhaps, best expressed by saying that it is the great glorification of the inside of things at the expense of the outside. There is one great evil in modern life for which nobody has found even approximately a tolerable description: I can only invent a word and call it "remotism." It is the tendency to think first of things which, as a matter of fact, lie far away from the actual centre of human experience. Thus people say, "All our knowledge of life begins with the amoeba." It is false; our knowledge of life begins with ourselves. Thus they say that the British Empire is glorious, and at the very word Empire they think at once of Australia and New Zealand, and Canada, and Polar bears, and parrots and kangaroos, and it never occurs to any one of them to think of the Surrey Hills. The one real struggle in modern life is the struggle between the man like Maeterlinck, who sees the inside as the truth, and the man like Zola, who sees the outside as the truth. A hundred cases might be given. We may take, for the sake of argument, the case of what is called falling in love. The sincere realist, the man who believes in a certain finality in physical science, says, "You may, if you like, describe this thing as a divine and sacred and incredible vision; that is your sentimental theory about it. But what it is, is an animal and sexual instinct designed for certain natural purposes." The man on the other side, the idealist, replies, with quite equal confidence, that this is the very reverse of the truth. I put it as it has always struck me; he replies, "Not at all.
You may, if you like, describe this thing as an animal and sexual instinct, designed for certain natural purposes; that is your philosophical or zoological theory about it. What it is, beyond all doubt of any kind, is a divine and sacred and incredible vision." The fact that it is an animal necessity only comes to the naturalistic philosopher after looking abroad, studying its origins and results, constructing an explanation of its existence, more or less natural and conclusive. The fact that it is a spiritual triumph comes to the first errand boy who happens to feel it. If a lad of seventeen falls in love and is struck dead by a hansom cab an hour afterwards, he has known the thing as it is, a spiritual ecstasy; he has never come to trouble about the thing as it may be, a physical destiny. If anyone says that falling in love is an animal thing, the answer is very simple. The only way of testing the matter is to ask those who are experiencing it, and none of those would admit for a moment that it was an animal thing.
Maeterlinck's appearance in Europe means primarily this subjective intensity; by this the materialism is not overthrown: materialism is undermined. He brings, not something which is more poetic than realism, not something which is more spiritual than realism, not something which is more right than realism, but something which is more real than realism. He discovers the one indestructible thing. This material world on which such vast systems have been superimposed--this may mean anything. It may be a dream, it may be a joke, it may be a trap or temptation, it may be a charade, it may be the beatific vision: the only thing of which we are certain is this human soul. This human soul finds itself alone in a terrible world, afraid of the grass. It has brought forth poetry and religion in order to explain matters; it will bring them forth again. It matters not one atom how often the lulls of materialism and scepticism occur; they are always broken by the reappearance of a fanatic. They have come in our time: they have been broken by Maeterlinck.
RUSKIN[2]
I do not think anyone could find any fault with the way in which Mr.
Collingwood has discharged his task, except, of course, Mr. Ruskin himself, who would certainly have scored through all the eulogies in passionate red ink and declared that his dear friend had selected for admiration the very parts of his work which were vile, brainless, and revolting. That, however, was merely Ruskin's humour, and one of the deepest disappointments with Mr. Collingwood is that he, like everyone else, fails to appreciate Ruskin as a humourist. Yet he was a great humourist: half the explosions which are solemnly scolded as "one-sided"
were simply meant to be one-sided, were mere laughing experiments in language. Like a woman, he saw the humour of his own prejudices, did not sophisticate them by logic, but deliberately exaggerated them by rhetoric. One tenth of his paradoxes would have made the fortune of a modern young man with gloves of an art yellow. He was as fond of nonsense as Mr. Max Beerbohm. Only ... he was fond of other things too.
He did not ask humanity to dine on pickles.
But while his kaleidoscope of fancy and epigram gives him some kinship with the present day, he was essentially of an earlier type: he was the last of the prophets. With him vanishes the secret of that early Victorian simplicity which gave a man the courage to mount a pulpit above the head of his fellows. Many elements, good and bad, have destroyed it; humility as well as fear, camaraderie as well as scepticism, have bred in us a desire to give our advice lightly and persuasively, to mask our morality, to whisper a word and glide away.
The contrast was in some degree typified in the House of Commons under the last leadership of Mr. Gladstone: the old order with its fist on the box, and the new order with its feet on the table. Doubtless the wine of that prophecy was too strong even for the strong heads that carried it.
It made Ruskin capricious and despotic, Tennyson lonely and whimsical, Carlyle harsh to the point of hatred, and Kingsley often rabid to the ruin of logic and charity. One alone of that race of giants, the greatest and most neglected, was sober after the cup. No mission, no frustration could touch with hysteria the humanity of Robert Browning.
But though Ruskin seems to close the roll of the militant prophets, we feel how needful are such figures when we consider with what pathetic eagerness men pay prophetic honours even to those who disclaim the prophetic character. Ibsen declares that he only depicts life, that as far as he is concerned there is nothing to be done, and still armies of "Ibsenites" rally to the flag and enthusiastically do nothing. I have found traces of a school which avowedly follows Mr. Henry James: an idea full of humour. I like to think of a crowd with pikes and torches shouting passages from "The Awkward Age." It is right and proper for a multitude to declare its readiness to follow a prophet to the end of the world, but if he himself explains, with pathetic gesticulations, that he is only going for a walk in the park, there is not much for the multitude to do. But the disciple of Ruskin had plenty to do. He made roads; in his spare moments he studied the whole of geology and botany.
He lifted up paving stones and got down into early Florentine cellars, where, by hanging upside down, he could catch a glimpse of a Cimabue unpraisable but by divine silence. He rushed from one end of a city to the other comparing ceilings. His limbs were weary, his clothes were torn, and in his eyes was that unfathomable joy of life which man will never know again until once more he takes himself seriously.
Mr. Collingwood's excellent chapters on the art criticism of Ruskin would be better, in my opinion, if they showed more consciousness of the after revolutions that have reversed, at least in detail, much of Ruskin's teaching. We no longer think that art became valueless when it was first corrupted with anatomical accuracy. But if we return to that Raphaelism to which he was so unjust, let us not fall into the old error of intelligent reactionaries, that of ignoring our own debt to revolutions. Ruskin could not destroy the market of Raphaelism, but he could and did destroy its monopoly. We may go back to the Renaissance, but let us remember that we go back free. We can picnic now in the ruins of our dungeon and deride our deliverer.
But neither in Mr. Collingwood's book nor in Ruskin's own delightful "Praeterita" shall we ever get to the heart of the matter. The work of Ruskin and his peers remains incomprehensible by the very completeness of their victory. Fallen forever is that vast brick temple of Utilitarianism, of which we may find the fragments but never renew the spell. Liberal Unionists howl in its high places, and in its ruins Mr.
Lecky builds his nest. Its records read with something of the mysterious arrogance of Chinese: hardly a generation away from us, we read of a race who believed in the present with the same sort of servile optimism with which the Oriental believes in the past. It may be that banging his head against that roof for twenty years did not improve the temper of the prophet. But he made what he praised in the old Italian pictures--"an opening into eternity."
FOOTNOTES:
[2] "The Life of John Ruskin." By W.G. Collingwood. London: Methuen.
QUEEN VICTORIA
Anyone who possesses spiritual or political courage has made up his mind to a prospect of immutable mutability; but even in a "transformation"
there is something catastrophic in the removal of the back scene. It is a truism to say of the wise and noble lady who is gone from us that we shall always remember her; but there is a subtler and higher compliment still in confessing that we often forgot her. We forgot her as we forget the sunshine, as we forget the postulates of an argument, as we commonly forget our own existence. Mr. Gladstone is the only figure whose loss prepared us for such earthquakes altering the landscape. But Mr.
Gladstone seemed a fixed and stationary object in our age for the same reason that one railway train looks stationary from another; because he and the age of progress were both travelling at the same impetuous rate of speed. In the end, indeed, it was probably the age that dropped behind. For a symbol of the Queen's position we must rather recur to the image of a stretch of scenery, in which she was as a mountain so huge and familiar that its disappearance would make the landscape round our own door seem like a land of strangers. She had an inspired genius for the familiarising virtues; her sympathy and sanity made us feel at home even in an age of revolutions. That indestructible sense of security which for good and evil is so typical of our nation, that almost scornful optimism which, in the matter of ourselves, cannot take peril or even decadence seriously, reached by far its highest and healthiest form in the sense that we were watched over by one so thoroughly English in her silence and self-control, in her shrewd trustfulness and her brilliant inaction. Over and above those sublime laws of labour and pity by which she ordered her life, there are a very large number of minor intellectual matters in which we might learn a lesson from the Queen.
There is one especially which is increasingly needed in an age when moral claims become complicated and hysterical. That Queen Victoria was a model of political unselfishness is well known; it is less often remarked that few modern people have an unselfishness so completely free from morbidity, so fully capable of deciding a moral question without exaggerating its importance. No eminent person of our time has been so utterly devoid of that disease of self-assertion which is often rampant among the unselfish. She had one most rare and valuable faculty, the faculty of letting things pass--Acts of Parliament and other things. Her predecessors, whether honest men or knaves, were attacked every now and then with a nightmare of despotic responsibility; they suddenly conceived that it rested with them to save the world and the Protestant Constitution. Queen Victoria had far too much faith in the world to try to save it. She knew that Acts of Parliament, even bad Acts of Parliament, do not destroy nations. But she knew that ignorance, ill-temper, tyranny, and officiousness do destroy nations, and not upon any provocation would she set an example in these things. We fancy that this sense of proportion, this largeness and coolness of intellectual magnanimity is the one of the thousand virtues of Queen Victoria of which the near future will stand most in need. We are gaining many new mental powers, and with them new mental responsibilities. In psychology, in sociology, above all in education, we are learning to do a great many clever things. Unless we are much mistaken the next great task will be to learn not to do them. If that time comes, assuredly we cannot do better than turn once more to the memory of the great Queen who for seventy years followed through every possible tangle and distraction the fairy thread of common sense.
We are suffering just now from an outbreak of the imagination which exhibits itself in politics and the most unlikely places. The German Emperor, for example, is neither a tyrant nor a lunatic, as used to be absurdly represented; he is simply a minor poet; and he feels just as any minor poet would feel if he found himself on the throne of Barbarossa. The revival of militarism and ecclesiasticism is an invasion of politics by the artistic sense; it is heraldry rather than chivalry that is lusted after. Amid all this waving of wands and flaunting of uniforms, all this hedonistic desire to make the most of everything, there is something altogether quiet and splendid about the sober disdain with which this simple and courteous lady in a black dress left idle beside her the sceptre of a hundred tyrants. The heart of the whole nation warmed as it had never warmed for centuries at the thought of having in their midst a woman who cared nothing for her rights, and nothing for those fantastic duties which are more egotistical than rights themselves.
The work of the Queen for progressive politics has surely been greatly underrated. She invented democratic monarchy as much as James Watt invented the steam engine. William IV., from whom we think of her as inheriting her Constitutional position, held in fact a position entirely different to that which she now hands on to Edward VII. William IV. was a limited monarch; that is to say, he had a definite, open, and admitted power in politics, but it was a limited power. Queen Victoria was not a limited monarch; in the only way in which she cared to be a monarch at all she was as unlimited as Haroun Alraschid. She had unlimited willing obedience, and unlimited social supremacy. To her belongs the credit of inventing a new kind of monarchy; in which the Crown, by relinquishing the whole of that political and legal department of life which is concerned with coercion, regimentation, and punishment, was enabled to rise above it and become the symbol of the sweeter and purer relations of humanity, the social intercourse which leads and does not drive. Too much cannot be said for the wise audacity and confident completeness with which the Queen cut away all those cords of political supremacy to which her predecessors had clung madly as the only stays of the monarchy. She had her reward. For while William IV.'s supremacy may be called a survival, it is not too much to say that the Queen's supremacy might be called a prophecy. By lifting a figure purely human over the heads of judges and warriors, we uttered in some symbolic fashion the abiding, if unreasoning, hope which dwells in all human hearts, that some day we may find a simpler solution of the woes of nations than the summons and the treadmill, that we may find in some such influence as the social influence of a woman, what was called in the noble old language of mediaeval monarchy, "a fountain of mercy and a fountain of honour."
In the universal reverence paid to the Queen there was hardly anywhere a touch of snobbishness. Snobbishness, in so far as it went out towards former sovereigns, went out to them as aristocrats rather than as kings, as heads of that higher order of men, who were almost angels or demons in their admitted superiority to common lines of conduct. This kind of reverence was always a curse: nothing can be conceived as worse for the mass of the people than that they should think the morality for which they have to struggle an inferior morality, a thing unfitted for a haughtier class. But of this patrician element there was hardly a trace in the dignity of the Queen. Indeed, the degree to which the middle and lower classes took her troubles and problems to their hearts was almost grotesque in its familiarity. No one thought of the Queen as an aristocrat like the Duke of Devonshire, or even as a member of the governing classes like Mr. Chamberlain. Men thought of her as something nearer to them even in being further off; as one who was a good queen, and who would have been, had her fate demanded, with equal cheerfulness, a good washerwoman. Herein lay her unexampled triumph, the greatest and perhaps the last triumph of monarchy. Monarchy in its healthiest days had the same basis as democracy: the belief in human nature when entrusted with power. A king was only the first citizen who received the franchise.
Both royalty and religion have been accused of despising humanity, and in practice it has been too often true; but after all both the conception of the prophet and that of the king were formed by paying humanity the supreme compliment of selecting from it almost at random.
This daring idea that a healthy human being, when thrilled by all the trumpets of a great trust, would rise to the situation, has often been tested, but never with such complete success as in the case of our dead Queen. On her was piled the crushing load of a vast and mystical tradition, and she stood up straight under it. Heralds proclaimed her as the anointed of God, and it did not seem presumptuous. Brave men died in thousands shouting her name, and it did not seem unnatural. No mere intellect, no mere worldly success could, in this age of bold inquiry, have sustained that tremendous claim; long ago we should have stricken Caesar and dethroned Napoleon. But these glories and these sacrifices did not seem too much to celebrate a hardworking human nature; they were possible because at the heart of our Empire was nothing but a defiant humility. If the Queen had stood for any novel or fantastic imperial claims, the whole would have seemed a nightmare; the whole was successful because she stood, and no one could deny that she stood, for the humblest, the shortest and the most indestructible of human gospels, that when all troubles and troublemongers have had their say, our work can be done till sunset, our life can be lived till death.
THE GERMAN EMPEROR
The list of the really serious, the really convinced, the really important and comprehensible people now alive includes, as most Englishmen would now be prepared to admit, the German Emperor. He is a practical man and a poet. I do not know whether there are still people in existence who think there is some kind of faint antithesis between these two characters; but I incline to think there must be, because of the surprise which the career of the German Emperor has generally evoked. When he came to the throne it became at once apparent that he was poetical; people assumed in consequence that he was unpractical; that he would plunge Europe into war, that he would try to annex France, that he would say he was the Emperor of Russia, that he would stand on his head in the Reichstag, that he would become a pirate on the Spanish Main. Years upon years have passed; he has gone on making speeches, he has gone on talking about God and his sword, he has poured out an ever increased rhetoric and aestheticism. And yet all the time people have slowly and surely realised that he knows what he is about, that he is one of the best friends of peace, that his influence on Europe is not only successful, but in many ways good, that he knows what world he is living in better than a score of materialists.
The explanation never comes to them--he is a poet; therefore, a practical man. The affinity of the two words, merely as words, is much nearer than many people suppose, for the matter of that. There is one Greek word for "I do" from which we get the word practical, and another Greek word for "I do" from which we get the word poet. I was doubtless once informed of a profound difference between the two, but I have forgotten it. The two words practical and poetical may mean two subtly different things in that old and subtle language, but they mean the same in English and the same in the long run. It is ridiculous to suppose that the man who can understand the inmost intricacies of a human being who has never existed at all cannot make a guess at the conduct of man who lives next door. It is idle to say that a man who has himself felt the mad longing under the mad moon for a vagabond life cannot know why his son runs away to sea. It is idle to say that a man who has himself felt the hunger for any kind of exhilaration, from angel or devil, cannot know why his butler takes to drink. It is idle to say that a man who has been fascinated with the wild fastidiousness of destiny does not know why stockbrokers gamble, to say that a man who has been knocked into the middle of eternal life by a face in a crowd does not know why the poor marry young; that a man who found his path to all things kindly and pleasant blackened and barred suddenly by the body of a man does not know what it is to desire murder. It is idle, in short, for a man who has created men to say that he does not understand them. A man who is a poet may, of course, easily make mistakes in these personal and practical relations; such mistakes and similar ones have been made by poets; such mistakes and greater ones have been made by soldiers and statesmen and men of business. But in so far as a poet is in these things less of a practical man he is also less of a poet.
If Shakespeare really married a bad wife when he had conceived the character of Beatrice he ought to have been ashamed of himself: he had failed not only in his life, he had failed in his art. If Balzac got into rows with his publishers he ought to be rebuked and not commiserated, having evolved so many consistent business men from his own inside. The German Emperor is a poet, and therefore he succeeds, because poetry is so much nearer to reality than all the other human occupations. He is a poet, and succeeds because the majority of men are poets. It is true, if that matter is at all important, that the German Emperor is not a good poet. The majority of men are poets, only they happen to be bad poets. The German Emperor fails ridiculously, if that is all that is in question, in almost every one of the artistic occupations to which he addresses himself: he is neither a first-rate critic, nor a first-rate musician, nor a first-rate painter, nor a first-rate poet. He is a twelfth-rate poet, but because he is a poet at all he knocks to pieces all the first-rate politicians in the war of politics.
Having made clear my position so far, I discover with a certain amount of interest that I have not yet got to the subject of these remarks. The German Emperor is a poet, and although, as far as I know, every line he ever wrote may be nonsense, he is a poet in this real sense, that he has realised the meaning of every function he has performed. Why should we jeer at him because he has a great many uniforms, for instance? The very essence of the really imaginative man is that he realises the various types or capacities in which he can appear. Every one of us, or almost every one of us, does in reality fulfil almost as many offices as Pooh-Bah. Almost every one of us is a ratepayer, an immortal soul, an Englishman, a baptised person, a mammal, a minor poet, a juryman, a married man, a bicyclist, a Christian, a purchaser of newspapers, and a critic of Mr. Alfred Austin. We ought to have uniforms for all these things. How beautiful it would be if we appeared to-morrow in the uniform of a ratepayer, in brown and green, with buttons made in the shape of coins, and a blue income-tax paper tastefully arranged as a favour; or, again, if we appeared dressed as immortal souls, in a blue uniform with stars. It would be very exciting to dress up as Englishmen, or to go to a fancy dress ball as Christians.
Some of the costumes I have suggested might appear a little more difficult to carry out. The dress of a person who purchases newspapers (though it mostly consists of coloured evening editions arranged in a stiff skirt, like that of a saltatrice, round the waist of the wearer) has many mysterious points. The attire of a person prepared to criticise the Poet Laureate is something so awful and striking that I dare not even begin to describe it; the one fact which I am willing to reveal, and to state seriously and responsibly, is that it buttons up behind.
But most assuredly we ought not to abuse the Kaiser because he is fond of putting on all his uniforms; he does so because he has a large number of established and involuntary incarnations. He tries to do his duty in that state of life to which it shall please God to call him; and it so happens that he has been called to as many different estates as there are regiments in the German Army. He is a huntsman and proud of being a huntsman, an engineer and proud of being an engineer, an infantry soldier and proud of being so, a light horseman and proud of being so.
There is nothing wrong in all this; the only wrong thing is that it should be confined to the merely destructive arts of war. The sight of the German Kaiser in the most magnificent of the uniforms in which he had led armies to victory is not in itself so splendid or delightful as that of many other sights which might come before us without a whisper of the alarms of war. It is not so splendid or delightful as the sight of an ordinary householder showing himself in that magnificent uniform of purple and silver which should signalise the father of three children. It is not so splendid or delightful as the appearance of a young clerk in an insurance office decorated with those three long crimson plumes which are the well-known insignia of a gentleman who is just engaged to be married. Nor can it compare with the look of a man wearing the magnificent green and silver armour by which we know one who has induced an acquaintance to give up getting drunk, or the blue and gold which is only accorded to persons who have prevented fights in the street. We belong to quite as many regiments as the German Kaiser. Our regiments are regiments that are embattled everywhere; they fight an unending fight against all that is hopeless and rapacious and of evil report. The only difference is that we have the regiments, but not the uniforms.
Only one obvious point occurs to me to add. If the Kaiser has more than any other man the sense of the poetry of the ancient things, the sword, the crown, the ship, the nation, he has the sense of the poetry of modern things also. He has one sense, and it is even a joke against him. He feels the poetry of one thing that is more poetic than sword or crown or ship or nation, the poetry of the telegram. No one ever sent a telegram who did not feel like a god. He is a god, for he is a minor poet; a minor poet, but a poet still.
TENNYSON
Mr. Morton Luce has written a short study of Tennyson which has considerable cultivation and suggestiveness, which will be sufficient to serve as a notebook for Tennyson's admirers, but scarcely sufficient, perhaps, to serve as a pamphlet against his opponents. If a critic has, as he ought to have, any of the functions anciently attributed to a prophet, it ought not to be difficult for him to prophesy that Tennyson will pass through a period of facile condemnation and neglect before we arrive at the true appreciation of his work. The same thing has happened to the most vigorous of essayists, Macaulay, and the most vigorous of romancers, Dickens, because we live in a time when mere vigour is considered a vulgar thing. The same idle and frigid reaction will almost certainly discredit the stateliness and care of Tennyson, as it has discredited the recklessness and inventiveness of Dickens. It is only necessary to remember that no action can be discredited by a reaction.
The attempts which have been made to discredit the poetical position of Tennyson are in the main dictated by an entire misunderstanding of the nature of poetry. When critics like Matthew Arnold, for example, suggest that his poetry is deficient in elaborate thought, they only prove, as Matthew Arnold proved, that they themselves could never be great poets.
It is no valid accusation against a poet that the sentiment he expresses is commonplace. Poetry is always commonplace; it is vulgar in the noblest sense of that noble word. Unless a man can make the same kind of ringing appeal to absolute and admitted sentiments that is made by a popular orator, he has lost touch with emotional literature. Unless he is to some extent a demagogue, he cannot be a poet. A man who expresses in poetry new and strange and undiscovered emotions is not a poet; he is a brain specialist. Tennyson can never be discredited before any serious tribunal of criticism because the sentiments and thoughts to which he dedicates himself are those sentiments and thoughts which occur to anyone. These are the peculiar province of poetry; poetry, like religion, is always a democratic thing, even if it pretends the contrary. The faults of Tennyson, so far as they existed, were not half so much in the common character of his sentiments as in the arrogant perfection of his workmanship. He was not by any means so wrong in his faults as he was in his perfections.