Published 1832, much revised 1842. Written by April 1832 (Mem. i 85). Hallam wrote to T., 10 April 1832: ‘All were anxious for the Palace of Art, etc., and fierce with me for not bringing more’ (AHH, p. 549). It was probably not begun before Oct. 1831, the date of Arthur Hallam’s Theodicaea Novissima (see l. 223n, but also I. 180n). T. reports: R. C. Trench ‘said, when we were at Trinity (Cambridge) together, “Tennyson, we cannot live in Art”. This poem is the embodiment of my own belief that the Godlike life is with man and for man.’ See the introductory poem, To –. (p. 49), which is to Trench. T. did not yet know Trench on 1 April 1830 (AHH, p. 539); J. Kolb suggests that the poem was begun ‘perhaps after T.’s visit to Cambridge (where Trench was also keeping a term) in November 1831’; he adds that Culler’s ‘earlier supposition … that Trench’s remark might have been relayed to T. through common friends – or the possibility that T. and Trench met in November 1831 – argues that Trench inspired the poem’ (AHH, p. 550); this (Culler in Nineteenth-Century Literary Perspectives, ed. C. de L. Ryals, 1974, p. 87) as against Culler’s later suggestion: ‘it seems possible that the introductory poem … was addressed not to Trench but to Hallam or Spedding’ (Culler, p. 260). Culler notes, of Trench’s remark, that ‘Trench had himself in mind much more than’ T. (p. 64). In a copy of 1830, T. inserted the titles of additional poems, presumably considering, before 1832, a revised edition of 1830. After The Poet (I 243), he wrote The Palace of Art. C. Sturman (TRB iv, 1984, 123–7) notes: ‘Whilst it is unwise to infer too much from the juxtaposition, on reading the two poems in sequence, The Palace of Art does appear – countrary to Culler’s protestation that it cannot be read simply as a recantation of earlier aestheticism – to some extent a palinode.’ T. had many sources or analogues. Ecclesiastes ii 1–17, ‘I said in mine heart, Go to now, I will prove thee with mirth, therefore enjoy pleasure…. I made me great works; I builded me houses…. I gathered me also silver and gold, and the peculiar treasure of kings…. And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy…. Then I looked on all the works that my hands had wrought, and on the labour that I had labored to do: and, behold, all was vanity and vexation of spirit, and there was no profit under the sun…. Therefore I hated life.’ Luke xii 19–20, ‘And I will say to my soul, Soul, thou hast much goods laid up for many years; take thine ease, eat, drink, and be merry. But God said unto him, Thou fool, this night thy soul shall be required of thee.’ Herbert, The World: ‘Love built a stately house … / Then Pleasure came, who, liking not the fashion, / Began to make Balcones, Terraces, / Till she had weakned all by alteration … / But Love and Grace took Glorie by the hand, / And built a braver Palace than before.’ Shelley, Queen Mab ii 56–64: the Fairy ‘pointed to the gorgeous dome, / “This is a wondrous sight / And mocks all human grandeur; / But, were it virtue’s only meed, to dwell / In a celestial palace, all resigned / To pleasurable impulses, immured / Within the prison of itself, the will / Of changeless Nature would be unfulfilled. / Learn to make others happy”.’ (Noted by H. N. Fairchild, TLS, 11 Jan. 1947.) L. Stevenson (Critical Essays on Tennyson, ed. Killham, pp. 131–2) cites more examples from Shelley: the Elysian temple in The Revolt of Islam I li–Iiii, and the setting in The Witch of Atlas xviii–xxi. T. was probably influenced by Sir William Jones, a favourite of his when young. Jones’s works were at Somersby (Lincoln); his The Palace of Fortune has similar disillusionments. A few touches suggest the futile splendours of Milton’s Pandæmonium, PL i 710–30. There are also affinities with George Sandys’s account of Egyptian ‘Palaces’ in his Travels (the 1658 edition was at Somersby, Lincoln). Sandys moralizes the labyrinth: ‘The first entrance was of white marble, within thorowout adorned with marble columns, and diversity of figures. By this defigured they the perplexed life of man, combred and intangled with manifold mischiefs, one succeeding another’ (p. 88). Turner (pp. 63–4) suggests that ‘The thought and the basic image come from Bacon, to whom T. transfers Dante’s title for Aristotle: “The first of those who know” (I. 164). In The Advancement of Learning Bacon had said that one should not seek in knowledge “a tarrasse, for a wandering and variable mind to walk up and down with a fair prospect; or a tower of state, for a proud mind to raise itself upon”, but “a rich storehouse, for the glory of the Creator and the relief of man’s estate”.’ Culler (pp. 70–2) notes the likeness of the architecture to Cambridge and particularly to T.’s college, Trinity, and adds that ‘the pantheon of wise men whose busts adorn the Palace of Art is virtually that of the Apostles themselves. T. indicates that the description of “large-browed Verulam” was suggested by the bust of Bacon in the Trinity College Library’; ‘Of the twenty names mentioned in the 1832 version… all but four appear in [Shelley’s] Defence of Poetry.’ ‘With all these local thoughts, feelings, and associations The Palace of Art was peculiarly an “Apostolic” poem,’ while also having ‘reference to the great country houses of England’, which were then ‘the great art palaces of England’. The stanza was independently developed (T. approached it in The Poet, and cp. A Dream of Fair Women), but it is that of Vaughan’s They are all gone into the world of light.
I built my soul a lordly pleasure-house,
Wherein at ease for aye to dwell.
I said, ‘O Soul, make merry and carouse,
Dear soul, for all is well.’
A huge crag-platform, smooth as burnished brass
I chose. The rangèd ramparts bright
From level meadow-bases of deep grass
Suddenly scaled the light.
Thereon I built it firm. Of ledge or shelf
The rock rose clear, or winding stair.
My soul would live alone unto herself
In her high palace there.
And ‘while the world runs round and round,’ I said,
‘Reign thou apart, a quiet king,
Still as, while Saturn whirls, his stedfast shade
Sleeps on his luminous ring.’
To which my soul made answer readily:
‘Trust me, in bliss I shall abide
In this great mansion, that is built for me,
So royal-rich and wide.’
* * * *
* * * *
Four courts I made, East, West and South and North,
In each a squarèd lawn, wherefrom
The golden gorge of dragons spouted forth
A flood of fountain-foam.
And round the cool green courts there ran a row
Of cloisters, branched like mighty woods,
Echoing all night to that sonorous flow
Of spouted fountain-floods.
And round the roofs a gilded gallery
That lent broad verge to distant lands,
Far as the wild swan wings, to where the sky
Dipt down to sea and sands.
From those four jets four currents in one swell
Across the mountain streamed below
In misty folds, that floating as they fell
Lit up a torrent-bow.
And high on every peak a statue seemed
To hang on tiptoe, tossing up
A cloud of incense of all odour steamed
From out a golden cup.
So that she thought, ‘And who shall gaze upon
My palace with unblinded eyes,
While this great bow will waver in the sun,
And that sweet incense rise?’
For that sweet incense rose and never failed,
And, while day sank or mounted higher,
The light aërial gallery, golden-railed,
Burnt like a fringe of fire.
Likewise the deep-set windows, stained and traced,
Would seem slow-flaming crimson fires
From shadowed grots of arches interlaced,
And tipt with frost-like spires.
* * * *
* * * *
Full of long-sounding corridors it was,
That over-vaulted grateful gloom,
Through which the livelong day my soul did pass,
Well-pleased, from room to room.
Full of great rooms and small the palace stood,
All various, each a perfect whole
From living Nature, fit for every mood
And change of my still soul.
For some were hung with arras green and blue,
Showing a gaudy summer-morn,
Where with puffed cheek the belted hunter blew
His wreathèd bugle-horn.
One seemed all dark and red – a tract of sand,
And some one pacing there alone,
Who paced for ever in a glimmering land,
Lit with a low large moon.
One showed an iron coast and angry waves.
You seemed to hear them climb and fall
And roar rock-thwarted under bellowing caves,
Beneath the windy wall.
And one, a full-fed river winding slow
By herds upon an endless plain,
The ragged rims of thunder brooding low,
With shadow-streaks of rain.
And one, the reapers at their sultry toil.
In front they bound the sheaves. Behind
Were realms of upland, prodigal in oil,
And hoary to the wind.
And one a foreground black with stones and slags,
Beyond, a line of heights, and higher
All barred with long white cloud the scornful crags,
And highest, snow and fire.
And one, an English home – gray twilight poured
On dewy pastures, dewy trees,
Softer than sleep – all things in order stored,
A haunt of ancient Peace.
Nor these alone, but every landscape fair,
As fit for every mood of mind,
Or gay, or grave, or sweet, or stern, was there
Not less than truth designed.
* * * *
* * * *
Or the maid-mother by a crucifix,
In tracts of pasture sunny-warm,
Beneath branch-work of costly sardonyx
Sat smiling, babe in arm.
Or in a clear-walled city on the sea,
Near gilded organ-pipes, her hair
Wound with white roses, slept St Cecily;
An angel looked at her.
Or thronging all one porch of Paradise
A group of Houris bowed to see
The dying Islamite, with hands and eyes
That said, We wait for thee.
Or mythic Uther’s deeply-wounded son
In some fair space of sloping greens
Lay, dozing in the vale of Avalon,
And watched by weeping queens.
Or hollowing one hand against his ear,
To list a foot-fall, ere he saw
The wood-nymph, stayed the Ausonian king to hear
Of wisdom and of law.
Or over hills with peaky tops engrailed,
And many a tract of palm and rice.
The throne of Indian Cama slowly sailed
A summer fanned with spice.
Or sweet Europa’s mantle blew unclasped,
From off her shoulder backward borne:
From one hand drooped a crocus: one hand grasped
The mild bull’s golden horn.
Or else flushed Ganymede, his rosy thigh
Half-buried in the Eagle’s down,
Sole as a flying star shot through the sky
Above the pillared town.
Nor these alone: but every legend fair
Which the supreme Caucasian mind
Carved out of Nature for itself, was there,
Not less than life, designed.
* * * *
* * * *
Then in the towers I placed great bells that swung,
Moved of themselves, with silver sound;
And with choice paintings of wise men I hung
The royal dais round.
For there was Milton like a seraph strong,
Beside him Shakespeare bland and mild;
And there the world-worn Dante grasped his song,
And somewhat grimly smiled.
And there the Ionian father of the rest;
A million wrinkles carved his skin;
A hundred winters snowed upon his breast,
From cheek and throat and chin.
Above, the fair hall-ceiling stately-set
Many an arch high up did lift,
And angels rising and descending met
With interchange of gift.
Below was all mosaic choicely planned
With cycles of the human tale
Of this wide world, the times of every land
So wrought, they will not fail.
The people here, a beast of burden slow,
Toiled onward, pricked with goads and stings;
Here played, a tiger, rolling to and fro
The heads and crowns of kings;
Here rose, an athlete, strong to break or bind
All force in bonds that might endure,
And here once more like some sick man declined,
And trusted any cure.
But over these she trod: and those great bells
Began to chime. She took her throne:
She sat betwixt the shining Oriels,
To sing her songs alone.
And through the topmost Oriels’ coloured flame
Two godlike faces gazed below;
Plato the wise, and large-browed Verulam,
The first of those who know.
And all those names, that in their motion were
Full-welling fountain-heads of change,
Betwixt the slender shafts were blazoned fair
In diverse raiment strange:
Through which the lights, rose, amber, emerald, blue,
Flushed in her temples and her eyes,
And from her lips, as morn from Memnon, drew
Rivers of melodies.
No nightingale delighteth to prolong
Her low preamble all alone,
More than my soul to hear her echoed song
Throb through the ribbèd stone;
Singing and murmuring in her feastful mirth,
Joying to feel herself alive,
Lord over Nature, Lord of the visible earth,
Lord of the senses five;
Communing with herself: ‘All these are mine,
And let the world have peace or wars,
’Tis one to me.’ She – when young night divine
Crowned dying day with stars,
Making sweet close of his delicious toils –
Lit light in wreaths and anadems,
And pure quintessences of precious oils
In hollowed moons of gems,
To mimic heaven; and clapt her hands and cried,
‘I marvel if my still delight
In this great house so royal-rich, and wide,
Be flattered to the height.
‘O all things fair to sate my various eyes!
O shapes and hues that please me well!
O silent faces of the Great and Wise,
My Gods, with whom I dwell!
‘O God-like isolation which art mine,
I can but count thee perfect gain,
What time I watch the darkening droves of swine
That range on yonder plain.
‘In filthy sloughs they roll a prurient skin,
They graze and wallow, breed and sleep;
And oft some brainless devil enters in,
And drives them to the deep.’
Then of the moral instinct would she prate
And of the rising from the dead,
As hers by right of full-accomplished Fate;
And at the last she said:
‘I take possession of man’s mind and deed.
I care not what the sects may brawl.
I sit as God holding no form of creed,
But contemplating all.’
* * * *
* * * *
Full oft the riddle of the painful earth
Flashed through her as she sat alone,
Yet not the less held she her solemn mirth,
And intellectual throne.
And so she throve and prospered: so three years
She prospered: on the fourth she fell,
Like Herod, when the shout was in his ears,
Struck through with pangs of hell.
Lest she should fail and perish utterly,
God, before whom ever lie bare
The abysmal deeps of Personality,
Plagued her with sore despair.
When she would think, where’er she turned her sight
The airy hand confusion wrought,
Wrote, ‘Mene, mene,’ and divided quite
The kingdom of her thought.
Deep dread and loathing of her solitude
Fell on her, from which mood was born
Scorn of herself; again, from out that mood
Laughter at her self-scorn.
‘What! is not this my place of strength,’ she said,
‘My spacious mansion built for me,
Whereof the strong foundation-stones were laid
Since my first memory?’
But in dark corners of her palace stood
Uncertain shapes; and unawares
On white-eyed phantasms weeping tears of blood,
And horrible nightmares,
And hollow shades enclosing hearts of flame,
And, with dim fretted foreheads all,
On corpses three-months-old at noon she came,
That stood against the wall.
A spot of dull stagnation, without light
Or power of movement, seemed my soul,
’Mid onward-sloping motions infinite
Making for one sure goal.
A still salt pool, locked in with bars of sand,
Left on the shore; that hears all night
The plunging seas draw backward from the land
Their moon-led waters white.
A star that with the choral starry dance
Joined not, but stood, and standing saw
The hollow orb of moving Circumstance
Rolled round by one fixed law.
Back on herself her serpent pride had curled.
‘No voice,’ she shrieked in that lone hall,
‘No voice breaks through the stillness of this world:
One deep, deep silence all!’
She, mouldering with the dull earth’s mouldering sod,
Inwrapt tenfold in slothful shame,
Lay there exilèd from eternal God,
Lost to her place and name;
And death and life she hated equally,
And nothing saw, for her despair,
But dreadful time, dreadful eternity,
No comfort anywhere;
Remaining utterly confused with fears,
And ever worse with growing time,
And ever unrelieved by dismal tears,
And all alone in crime:
Shut up as in a crumbling tomb, girt round
With blackness as a solid wall,
Far off she seemed to hear the dully sound
Of human footsteps fall.
As in strange lands a traveller walking slow,
In doubt and great perplexity,
A little before moon-rise hears the low
Moan of an unknown sea;
And knows not if it be thunder, or a sound
Of rocks thrown down, or one deep cry
Of great wild beasts; then thinketh, ‘I have found
A new land, but I die.’
She howled aloud, ‘I am on fire within.
There comes no murmur of reply.
What is it that will take away my sin,
And save me lest I die?’
So when four years were wholly finishèd,
She threw her royal robes away.
‘Make me a cottage in the vale,’ she said,
‘Where I may mourn and pray.
‘Yet pull not down my palace towers, that are
So lightly, beautifully built:
Perchance I may return with others there
When I have purged my guilt.’
¶167. 1. a lordly pleasure-house: W. Hellstrom notes Coleridge’s opening: ‘In Xanadu did Kubla Khan / A stately pleasure-dome decree’, and argues that much of T.’s poem engages with Coleridge’s conception of the poet (On the Poems of Tennyson, 1972, pp. 8–9).
6. The] 1842; whose 1832.
7. level] 1842; great broad 1832.
13. And ‘while the] 1842; ‘While the great’ 1832.
15–16. H.T. comments. ‘The shadow of Saturn thrown on the luminous ring, though the planet revolves in ten and a half hours, appears to be motionless.’
16 ^ 17] ‘And richly feast within thy palacehall,
Like to the dainty bird that sups,
Lodged in the lustrous crown-imperial,
Draining the honeycups.’ 1832
21–52] 1842; preceding l. 129 in 1832.
21] 1842; Four ample courts there were, East, West, South, North, 1832.
23. The … dragons] 1842; A golden-gorgèd dragon 1832.
24] 1842; The fountain’s diamond foam. 1832. D. Bush (MLR, liv, 1959, 423) compares H. J: Weber’s Tales of the East (1812), i 115: ‘Four large gilded dragons adorned the angles of the bason, which was of a square form; and these dragons spouted out water clearer than rock crystal.’
25. And] 1842; All 1832.
29–32, 33–6] 1842; transposed 1832.
29. a gilded gallery] 1842; ran gilded galleries 1832.
30. lent broad verge] 1842; gave large view 1832. broad verge: ‘a broad horizon’ (T.).
31–2] 1842; Tall towns and mounds, and close beneath the skies
Long lines of amber sands. 1832
34. Across the mountain] 1842; Over the black rock 1832.
35. misty] 1842; steamy 1832.
37–47] 1842; Huge incense-urns along the balustrade,
Hollowed of solid amethyst,
Each with a different odour fuming, made
The air a silver mist.
Far-off ’twas wonderful to look upon
Those sumptuous towers between the gleam
Of that great foambow trembling in the sun,
And the argent incense-steam;
And round the terraces and round the walls,
While day sank lower or rose higher,
To see those rails with all their knobs and balls, 1832
48. Burnt] 1842; Burn 1832.
50. Would seem] 1842; Burned, like 1832.
52. tipt] 1842; topped 1832.
54. gloom] 1842; glooms 1832. Cp. Inverlee 15: ‘vaulted glooms’.
55–6] 1842; Roofed with thick plates of green and orange glass
Ending in stately rooms. 1832
58. each … whole] 1842; all beautiful 1832.
59. From …for] 1842; Looking all ways, fitted to 1832.
61 ff. Cp. the scenes depicted in Thomson’s Castle of Indolence I xxxvi ff, where ‘the rooms with costly tapestry were hung’.
64 ^ 5] 1832 had its version of ll.
85–8. In Heath MS, there are four ‘Stanzas omitted or altered in The Palace of Art’; the first is marked ‘x’, and if this refers to 1832 numbering, then it belongs here:
One seemed a place of mart. The seller held
The buyer’s hand, and winked and smiled,
And pointed to his wares. The teeming field
On stalls lay stored and piled.
65–8] 1842; Some were all dark and red, a glimmering land
Lit with a low round moon,
Among brown rocks a man upon the sand
Went weeping all alone. 1832
68 ^ 9] 1832 had its version of ll.
81– 4. Heath MS has a stanza ‘XII’:
One shewed deep floods with dusky shadows gloomed,
A blissful island high and bright
With three white peaks mythic Trinacria loomed
Far off in gleaming light.
Trinacria: Sicily.
69–80] 1842; Some showed far-off thick woods mounted with towers,
Nearer, a flood of mild sunshine
Poured on long walks and lawns and beds and bowers
Trellised with bunchy vine. 1832
Cp. Armageddon ii 50 ^ 51, MS: ‘Shaded and cinctured with the bunchy vine’.
T.Nbk 23 has a separate unadopted stanza, perhaps for hereabouts:
Or some broad cataract, a wide crescent white
Of twisted torrents, rolling through
Rainbows and clouds and thunders, round the height
Built up the columned dew.
Cp. The Vision of Sin 32–42.
75. Cp. The Lover’s Tale ii 59–63 (I. 364): ‘palaces’, ‘brooded’, ‘Like to a low-hung and a fiery sky … / Hung round with ragged rims’.
79–80. Cp. Wordsworth, Descriptive Sketches 8 (1793): ‘Or moonlight Upland lifts her hoary breast’. See Œnone 113, 1832 text (p. 42).
80. ‘The underside of the olive leaf is white’ (T.).
81–4] See ll. 68 ^ 9n.
81. And one] 1842; One seemed 1832.
82] 1842; Below sunsmitten icy spires 1832.
83. All barred] 1842; Rose striped 1832. Cp. 1842 with Keats, To Autumn 25: ‘barred clouds’. Cp. 1832 with Œnone 53–6, 1832: ‘Rosehued the scornful hills’. Also As to one who listeneth eagerly 7–8: ‘And the bare and scornful cragginess / Overlaid with silvery cloud’.
84] 1842; Deeptrenched with thunderfires. 1832.
85–8] See ll. 64 ^ 5n.
85. And one,] 1842; One showed 1832.
86–7. J. H. Buckley (p. 264) compares Ode: O Bosky Brook 56: ‘Close pastures soft as dewy sleep’. Virgil, Eclogues vii 45: somno mollior herba.
89–92] 1842; not 1832.
93] 1832 note: ‘When I first conceived the plan of the Palace of Art, I intended to have introduced both sculptures and paintings into it; but it is the most difficult of all things to devise a statue in verse. Judge whether I have succeeded in the statues of Elijah and Olympias.
One was the Tishbite whom the raven fed,
As when he stood on Carmel-steeps,
With one arm stretched out bare, and mocked and said,
‘Come cry aloud – he sleeps.’
Tall, eager, lean and strong, his cloak windborne
Behind, his forehead heavenly-bright
From the clear marble pouring glorious scorn,
Lit as with inner light.
One was Olympias: the floating snake
Rolled round her ancles, round her waist
Knotted, and folded once about her neck,
Her perfect lips to taste
Round by the shoulder moved: she seeming blythe
Declined her head: on every side
The dragon’s curves melted and mingled with
The woman’s youthful pride
Of rounded limbs.’
1842 dropped this. Elijah, 1 Kings xviii 27; ‘Olympias was the mother of Alexander the Great, and devoted to the Orphic rites’ (T.). T. altered the thirteenth line to ‘Down by the shoulder’ (F. T. Palgrave, Lyrical Poems of Tennyson, 1885, p. 249), and later to ‘Down from the shoulder …’ (Eversley).
94. tracts of pasture] 1842; yellow pastures 1832.
95. T. comments: ‘The Parisian jewellers apply graduated degrees of heat to the sardonyx, by which the original colour is changed to various colours. They imitate thus, among other things, bunches of grapes with green tendrils.’
96 ^ 7] Or Venus in a snowy shell alone,
Deepshadowed in the glassy brine,
Moonlike glowed double on the blue, and shone
A naked shape divine. 1832
Heath MS has stanzas following the ‘maid-mother’ stanza:
Behind her rose blue hills, and at her feet
The star-led Kings of old Cologne
Laid myrrh, laid gold, laid precious oils, and sweet
Incense before her throne.
Or shamed Tarpeia mused with head-decline,
As one whom her own soul condemns,
In caverns of the dark Capitoline,
Hung round with baleful gems.
Arthur Hallam wrote to T., 10 Oct. 1832 (AHH, pp. 661–2): ‘I hear Tennant has written to dissuade you from publishing Kriemhilt, Tarpeia and Pendragon. Don’t be humbugged, they are very good.’ See also ll. 105–8n, 109–16n. Cp. III 626 for T.’s lines on the Magi and Cologne.
101–4] 1842 (see l. 103n); not 1832.
103. hands] 1843; heads 1842.
105–8] 1842; Or that deepwounded child of Pendragon
Mid misty woods on sloping greens
Dozed in the valley of Avilion,
Tended by crownèd queens. 1832
Cp. Morte d’Arthur (p. 148). 109–16] 1842 (see ll. 110, 111n);
Or blue-eyed Kriemhilt from a craggy hold,
Athwart the lightgreen rows of vine,
Poured blazing hoards of Nibelungen gold,
Down to the gulfy Rhine. 1832
See ll. 96 ^ 7n. Hallam wrote to T., 24 Sept. 1832: ‘I like extremely the new stanzas in the Palace. You must put a note to Kriemhild’ (AHH, p. 652).
110. list] 1843; listen for 1842.
111. Ausonian] 1850; Tuscan 1842–8. The nymph is ‘Egeria, who gave the laws to Numa Pompilius’ (T.). The story is told in Rollin’s Ancient History, of which a copy was at Somersby (Lincoln).
113. engrailed: ‘heraldic term for serrated’ (H.T.). Cp. Pierced through 40: ‘With semblance of the peaky wave engrailed’, from Armageddon ii 50 ^ 51 (T.MS, I 82–3). T.’s is the earliest use of peaky in OED.
115. Cama: T. comments: ‘The Hindu God of young love, son of Brahma’. For Cama, or Camdeo, and his ‘wingèd throne’, see Love (I 266), and Love (I 159) where T. quotes Sir William Jones’s Hymn to Camdeo.
117] 1842; Europa’s scarf blew in an arch, unclasped, 1832.
117–20. Turner (p. 64) suggests the influence of Moschus ii 125–8.
118. off her] 1842; her bare 1832.
120 ^ 21] He through the streaming crystal swam, and rolled
Ambrosial breaths that seemed to float
In lightwreathed curls. She from the ripple cold
Updrew her sandalled foot. 1832
124. Above] 1842; Over 1832.
125] 1842; Not these alone: but many a legend fair, 1832.
126. Caucasian: Indo-European (an early nineteenth-century sense).
128] 1842; Broidered in screen and blind. 1832. After this line, 1832 had:
So that my soul beholding in her pride
All these, from room to room did pass;
And all things that she saw, she multiplied,
A manyfacèd glass;
And, being both the sower and the seed,
Remaining in herself became
All that she saw, Madonna, Ganymede,
Or the Asiatic dame –
Still changing, as a lighthouse in the night
Changeth athwart the gleaming main,
From red to yellow, yellow to pale white,
Then back to red again.
‘From change to change four times within the womb
The brain is moulded,’ she began,
‘So through all phases of all thought I come
Into the perfect man.
‘All nature widens upward: evermore
The simpler essence lower lies.
More complex is more perfect, owning more
Discourse, more widely wise.
‘I take possession of men’s minds and deeds.
I live in all things great and small.
I dwell apart, holding no forms of creeds,
But contemplating all.’
T. made the following revisions (Eversley): l. [13] ‘From shape to shape at first within the womb’. l. [15] So] And. l. [16] Into] Unto. Lines [21–4] became ll. 209–12; and ll. [13–20] became ll. 193–204 (until revised in 1851). H.Lpr 182 includes another version of ll. [10–12]:
From hue to hue, from glow to glow;
O’er gleaming seas the pilot knows the light
And all the death below.
The scientific ideas in ll. [13–20] are well discussed by J. Killham (Tennyson and ‘The Princess’, 1958, pp. 234–41). ‘The discovery of the fourfold resemblances of the foetal human brain to the brains of other vertebrates was made by Friedrich Tiedemann.’ Tennyson ‘sought to exorcise those [doubts] raised by Tiedemann’s theory by making the erring Soul foolishly base its own hubristic confidence upon it’.
129] See ll. 21–52n. Then] 1842; Up 1832.
133–4. For … him] 1842; There deephaired Milton like an angel tall Stood limnèd, 1832
135–6] 1842; Grim Dante pressed his lips, and from the wall
The bald blind Homer smiled. 1832
137–64] 1842; And underneath freshcarved in cedarwood,
Somewhat alike in form and face,
The Genii of every climate stood,
All brothers of one race:
Angels who sway the seasons by their art,
And mould all shapes in earth and sea;
And with great effort build the human heart
From earliest infancy.
And in the sunpierced Oriel’s coloured flame
Immortal Michael Angelo
Looked down, bold Luther, largebrowed Verulam,
The king of those who know.
Cervantes, the bright face of Calderon,
Robed David touching holy strings,
The Halicarnasseän, and alone,
Alfred the flower of kings,
Isaïah with fierce Ezekiel,
Swarth Moses by the Coptic sea,
Plato, Petrarca, Livy, and Raphaël,
And eastern Confutzee: 1832
A fragment in H.Nbk 5 shows that T. thought also of including Pyrrho, Averröes, Virgil, and Cicero. Hallam wrote to T., 24 Sept. 1832, about ‘the new stanzas in the Palace’: ‘I would hint a change of Livy into some other body. What think you of “Goethe & Raffael”?’ (AHH, p. 652). ‘Our classical tutor at Trinity College used to call [Livy] such a great poet that I suppose he got into my palace through his recommendation’ (T.).
137–40. T. adapted his description of Merlin, Sir Launcelot and Queen Guinevere (MS, p. 99):
High brows above a little face
Had Merlin – these in every place
Ten million lines did cross and lace;
Slow as the shadow was his pace,
The shade that creeps from dawn to dusk.
From cheek and mouth and throat a load
Of beard – a hundred winters snowed
Upon the pummel as he rode
Thin as a spider’s husk.
Cp. the statue of Homer in Pope’s Temple of Fame 185: ‘His Silver Beard wav’d gently o’er his Breast’.
161 – 4] See ll. 137–64n for the placing in 1832.
164. 1832 note: ‘Il maëstro di color chi sanno – Dante, Inferno iii’. T. remarks that this praise of Francis Bacon (Lord Verulam) was Dante’s praise of Aristotle. (Inferno iv 131.)
165] 1842; And many more, that in their lifetime were 1832.
167. Betwixt … were] 1842; Between the stone shafts glimmered, 1832.
171. Memnon: the statue that made music when touched by the sun. Cp. A Fragment 16 (I 315).
173–4. Adapted from Sonnet [Check every outflash] 9: ‘The nightingale, with long and low preamble’.
180. Hallam wrote to W. B. Donne, 13 Feb. 1831: ‘“an artist,” as Alfred is wont to say, “ought to be lord of the five senses.” but if he lacks the inward sense which reveals to him what is inward in the heart, he has left out the part of Hamlet in the play’ (AHH, p. 401).
181–3] 1842; As some rich tropic mountain, that infolds
All change, from flats of scattered palms
Sloping through five great zones of climate, holds
His head in snows and calms –
Full of her own delight and nothing else,
My vainglorious, gorgeous soul
Sat throned between the shining oriels,
In pomp beyond control;
With piles of flavorous fruits in basket-twine
Of gold, upheapèd, crushing down
Muskscented blooms – all taste – grape, gourd or pine –
In bunch, or singlegrown –
Our growths, and such as brooding Indian heats
Make out of crimson blossoms deep,
Ambrosial pulps and juices, sweets from sweets
Sunchanged, when seawinds sleep.
With graceful chalices of curious wine,
Wonders of art – and costly jars,
And bossèd salvers. Ere young night divine 1832
186. anadems: ‘crowns’ (T.). H.T. compares Shelley, Adonais 94: ‘the wreath upon him, like an anadem’.
186–92] 1842; She lit white streams of dazzling gas,
And soft and fragrant flames of precious oils
In moons of purple glass
Ranged on the fretted woodwork to the ground.
Thus her intense untold delight,
In deep or vivid colour, smell and sound,
Was flattered day and night. 1832
1832 continued with a note (omitted in 1842): ‘If the Poem were not already too long, I should have inserted in the text the following stanzas, expressive of the joy wherewith the soul contemplated the results of astronomical experiment. In the centre of the four quadrangles rose an immense tower.
Hither, when all the deep unsounded skies
Shuddered with silent stars, she clomb,
And as with optic glasses her keen eyes
Pierced through the mystic dome,
Regions of lucid matter taking forms,
Brushes of fire, hazy gleams,
Clusters and beds of worlds, and bee-like swarms
Of suns, and starry streams.
She saw the snowy poles of moonless Mars,
That marvellous round of milky light
Below Orion, and those double stars
Whereof the one more bright
Is circled by the other, &c.’
(J. W. Croker, QR, April 1833, as in l. 93, ridiculed T.’s ‘ingenious device … for reconciling the rigour of criticism with the indulgence of parental partiality’.) H.T. quotes T.’s revision of the last stanza, necessitated by astronomical discovery in 1877:
She saw the snowy poles and moons of Mars,
That mystic field of drifted light
In mid Orion and the married stars …
T. made this revision in F. T. Palgrave, Lyrical Poems of Tennyson (1885), p. 249 (as ‘… moons of Mars, / That marvellous field of drifted light …’), and in a copy of W. J. Rolfe’s edition of Select Poems (Boston, 1885, at Lincoln). The allusion is to the theory of the nebulous matter diffused throughout the universe; ‘lucid’, ‘matter’, and ‘forms’ are all scientific terms. Cp. The Princess ii 101–4 (p. 243). H.Lpr 182 has deleted stanzas leading up to those on astronomy:
Yet saw she shadowed in her vast abode
The secret entities of Faith,
Those ethnic instincts of Eternal God
And epic dreams of Death.
She saw them blind and vague in form and face,
Not yet mixt up with human deeds,
But always waiting in a dusky place
To clothe themselves in creeds.
And likewise many a fair philosophy
From Plato to the German, wrought
In mystic groups as far as this might be
That served the central thought.
Yet saw she Earth laid open. Furthermore
How the strong Ages had their will,
A range of Giants breaking down the shore
And heaving up the hill.
And likewise every life that Nature made,
What yet is left and what is gone
To where the classes vanish, shade by shade,
Life and half-life, to none.
And likewise every Science fair displayed
By which men work with Nature’s power.
And in the centre of the courts I made
With toil a wondrous tower,
To which, when all the deep unsounded skies…
The ninth line was adapted as In Memoriam xxiii 21: ‘And many an old philosophy’. The fourth stanza was adapted to form Ode on Wellington 259–61:
For though the Giant Ages heave the hill
And break the shore, and evermore
Make and break, and work their will;
With the fifth stanza, cp. In Memoriam lv (p. 396). H.Nbk 4 has a further astronomical stanza between the second and third of 1832:
Bright points the centre of a hazy shroud,
Cold Uranus, cold Jupiter,
Girthed eight times round with slowly streaming cloud
And through his red-brown air
Sparkled the snowy poles …
188. ‘Gems hollowed out for lamps’ (H.T.).
193–204] 1851; not 1832; 1842–50 had the revised text of ll. [13–20] of the lines from 1832 quoted at l. 128n (retaining Into, and with moulded] modeled).
205–8] 1842; not 1832.
209–12] 1850; not 1832 (see l. 128n);
‘I take possession of men’s minds and deeds.
I live in all things great and small.
I sit apart, holding no forms of creeds,
But contemplating all.’ 1842–8
213. Full oft] 1842; Sometimes 1832.
216–17] 1850; … throne / Of fullsphered contemplation. So three years 1832–48.
218. prospered:] 1850; throve, but 1832 – 48.
219–20. Acts xii 21–3: ‘And upon a set day Herod, arrayed in royal apparel, sat upon his throne, and made an oration unto them. And the people gave a shout, saying, It is the voice of a god, and not of a man. And immediately the angel of the Lord smote him, because he gave not God the glory: and he was eaten of worms, and gave up the ghost.’
223. T. points out that this was from Arthur Hallam’s Theodicaea Novissima: ‘God’s election, with whom alone rest the abysmal secrets of personality’ (Motter, pp. 210–11). Cp. Psalm cxxxix 1–4: ‘O Lord, thou hast searched me and known me …’
227. As at the feast of Belshazzar, Daniel v 23–7: who ‘hast praised the gods of silver, and gold, of brass, iron, wood, and stone, which see not, nor hear, nor know: and the God in whose hand thy breath is, and whose are all thy ways, hast thou not glorified … This is the interpretation of the thing: MENE; God hath numbered thy kingdom, and finished it. TEKEL; Thou art weighed in the balances, and art found wanting. PERES; Thy kingdom is divided …’
232 ^ 3] ‘Who hath drawn dry the fountains of delight,
That from my deep heart everywhere
Moved in my blood and dwelt, as power and might
Abode in Sampson’s hair? 1832
239. Cp. another guilty soul, that of Faustus, in Marlowe’s Dr Faustus 1386–8: ‘I would weep, but the devil draws in my tears. Gush forth blood, instead of tears.’ Also Shelley, Prologue to Hellas 88: ‘Whose pores wept tears of blood’. Cp. Armageddon i 107 ^ 8: ‘phantasies / From whose pale fronts and white unhallowed eyes’.
241. Beckford’s Vathek, which has a palace, mentions spirits with hearts like Soliman, ‘discerned through his bosom, which was as transparent as crystal, his heart enveloped in flames’ (A. C. Howell, SP xxxiii (1936) 517). But when Arthur Coleridge suggested this influence to Tennyson, he replied: ‘No, merely spectral visions’ (Tennyson and His Friends, p. 264). On possible echoes of Vathek see A. A. Mendilow, ‘Tennyson’s Palace of the Sinful Muse’, Scripta Hierosolymitana xvii (1966) 164–5.
242. fretted: ‘worm-fretted’ (T.).
247. onward-] 1842; downward- 1832.
255. T. comments: ‘Some old writer calls the Heavens “the Circumstance”…. Here it is more or less a play on the word.’ Cp. Milton’s astronomy: ‘the hollow Universal Orb’, PL vii 257.
257. Probably referring to the scorpion’s stinging itself to death. T. calls a scorpion a ‘serpent’ of the mind in The Passions 16. Cp. Byron, The Giaour 422–3: ‘The Mind, that broods o’er guilty woes, / Is like the Scorpion girt by fire.’
277–84. Cp. a fragment of the poem in H.Nbk 4:
And as a lated man that makes all night
For some warm town, [but?] dazzled and cold,
Finds but a wreath of straw that ploughmen light
Upon a windy wold
To scorch the glebe and he has far to go –
Even so she seemèd to have strayed from love,
The central [?] light of knowledge; [even so?]
She had no strength to move.
281. a] 1842; the 1832.
282. rocks] 1850; Stones 1832–48.
288. And … lest] 1842; Dying the death 1832.