Tennyson and His Friends Part 40

The annals of his daily life, throughout all this later part of it, consist of extracts from letters, journals, and memorials of intercourse, which abound with appropriate, amusing, and valuable matter, connected by the biographer's personal recollections. We have thus a many-coloured mosaic, in which many figures and characters are reproduced by a kind of literary tessellation; while, as to the Poet himself, his habits, wise or whimsical, his thoughts from year to year on the subjects of the day, his manner of working, are all preserved. The correspondence of his friends maintains its high level of quality. Mr. W. H. Lecky gives us, in one of the best among all the reminiscences, a fine sample of his own faculty for delineation of character, bringing out the Poet's simplicity of soul, his love of seclusion, the scope of his religious meditations, the keen sensibility (acquired by long culture) of his rhythmic ear, and also his susceptibility to the hum and p.r.i.c.king of critics.

Many persons spoke of your father as too much occupied with his poetry. It did, no doubt, fill a very large place in his thoughts, and it is also true that he was accustomed to express his opinions about it with a curiously childlike simplicity and frankness. But at bottom his nature seemed to be singularly modest. No poet ever corrected so many lines in deference to adverse criticism. His sensitiveness seemed to me curiously out of harmony with his large powerful frame, with his manly dark colouring, with his great ma.s.sive hands and strong square-tipped fingers.

His son records how in lonely walks together Tennyson would chant a poem that he was composing, would search for strange birds or flowers, and would himself take flight on discovering that he was being stalked by a tourist. Among the letters is one from Victor Hugo, in the grand cosmopolitan style, beginning "Mon eminent et Cher Confrere," professing love for all mankind and admiration for n.o.ble verse everywhere; another from Cardinal Newman, smooth and adroit; there is also a note by Dr. Dabbs of his colloquy with Tennyson, showing how he began with the somewhat musty question about the incompatibility of Science with Religion, and found the Poet, as we infer, tolerably dexterous with the foils. Renan called, and put the essence of his philosophy into one phrase, "La verite est une nuance"; there are jottings of talks with Carlyle, and a long extract from the journal of a yachting voyage with Mr. Gladstone, who said, "No man since Aeschylus could have written the _Bride of Lammermoor_." It would be doing less than justice to the biography if I did not choose a few samples from an ample storehouse, and it would be unfair to make too many quotations, even from a book which surpa.s.ses all recent memoirs as a repertory of characteristic observations and short views of life and literature, interchanged by speech or writing, with many notable friends and visitors.

In 1883 the Queen, on the recommendation of Mr. Gladstone, offered Tennyson a peerage, which, after some rumination, he accepted, saying, "By Gladstone's advice I have consented, but for my own part I shall regret my own simple name all my life." We are to suppose that the Prime Minister's only misgiving "lest my father might insist on wearing his wideawake in the House of Lords" had been duly overcome; and so next year the Poet, having taken his seat, voted, not without some questioning and doubts of the time's ripeness, for extension of franchise. No more worthy representative of literature has ever added l.u.s.tre to that august a.s.sembly than he who now took his seat on the cross benches, holding no form of party creed, but contemplating all. From a man of his traditions and tastes, his dislike of extravagance, his feeling for the stateliness of well-ordered movement, at his age, moderation in politics was to be expected; and indeed we observe that he commended to his friends Maine's work on _Popular Government_, which carries political caution to the verge of timidity. But Tennyson, like Burke, had great confidence in the common sense and inbred good nature of the English people. "Stagnation," he once said, "is more dangerous than revolution." As he was throughout consistently the poet of the _via media_ in politics, the dignified const.i.tutional Laureate, so he was spared the changes that pa.s.sed over the opinions of Wordsworth, Southey, and Coleridge, who were Radicals in youth, and declined into elderly Tories. Undoubtedly the temper of his time affected his politics as well as his poetry, for his manhood began in the calm period which followed the long stormy years when all Europe was one great war-field, and when the ardent spirits of Byron and Sh.e.l.ley had been fired by the fierce uprising of the nations.

In 1885, being then in his seventy-sixth year, Lord Tennyson published "Tiresias," preluding with the verses to E. FitzGerald, so vigorous in tone and so finely wrought, with their rhymes ringing true to the expectant ear like the chime of a clear bell. Some years before, he had paid a pa.s.sing visit at Woodbridge to "the lonely philosopher, a man of humorous melancholy mark, with his gray floating locks, sitting among his doves.... We fell at once into the old humour, as if we had been parted twenty days instead of so many years." It is a rarity in modern life that two such men as Tennyson and FitzGerald, whose mutual friendship was never shaken, should have met but once in some twenty-five years, although divided by no more s.p.a.ce than could be traversed by a three hours' railway journey. "Tiresias" was soon followed by "Locksley Hall: Sixty Years After"; then, in 1889, came "Demeter" and other poems; until, in 1892, the volume containing the "Death of none" and "Akbar's Dream" closed the long series of poems which had held two generations under their charm. One line in the second "Locksley Hall" its author held to be the best of the kind he had ever written:

Universal ocean softly washing all her warless isles;

though in my poor judgment the harmony seems marred by the frequent sibilants, which vex all English composers[97]; and the suggestion that the sea would become stormless when the land should be at peace may be thought overbold.

It was but seasonable that his later poetry should have been tinged with autumnal colouring. The philosophic bent of his mind had necessarily grown with increasing years; its range had been widened by constant a.s.similation with the scientific ideas of the day, with social and political changes; but as far horizons breed sadness and wistful uncertainty, so his later verse leans more toward the moral lessons of experience, toward reflective and retrospective views of life and character. In poetry, as in prose, the sequel to a fine original piece has very rarely, if ever, been successful; though the second part, when it follows the first after a long interval, often exhibits the special value that comes from alteration of style and the natural changes of mood. Tennyson himself thought that "the two 'Locksley Halls' were likely to be in the future two of the most historically interesting of his poems, as descriptive of the tone of the age at two distant periods of his life." In my opinion, the interest is less historical than biographical, in the sense that the second poem takes its deeper shade from the darkening that seems to have overspread his later meditations. For the interval of sixty years had, in fact, brought increased activity and enterprising eagerness to the English people; and the gray thoughts of the sequel, the heavier feeling of errors and perils encompa.s.sing the onward path toward the remote ideal, are the Poet's own.

He employed them, it is true, for the dramatic presentation of old age, and disclaimed any ident.i.ty with the imaginary personage.

However this may be, the poems that appeared toward the close of his long literary career show a change of manner. We miss, to some degree, the delicate handling, the self-restraint, the serene air of his best compositions; there is a certain gloominess of atmosphere,[98] breaking out occasionally into vehement expression, in the rolling dithyrambic stanzas of "Vastness," "The Dawn," or "The Dreamer." In the "Death of none," the beautiful antique nymph of Tennyson's youth, deserted and pa.s.sionately lamenting on many-fountained Ida, has become soured and vindictive.[99] She is now a jealous wife, to whose feet Paris, dying from the poisoned arrow, crawls "lame, crooked, reeling," to be spurned as an adulterer, who may "go back to his adulteress and die." Here the Poet abandons the style and feeling of h.e.l.lenic tradition;[100] the echo of the old-world story has died away; it is rather the voice of some tragedy queen posing as the injured wife of modern society; and one remembers that the Homeric adulteress, Helen of Troy, went back to live happily and respected with her husband in Sparta. It was not to be expected that Tennyson's later inspirations should reach the supreme level of the poems which he wrote in his prime, or that there should be no ebb from the high-water mark that he touched, in my opinion, fifty years earlier in 1842.[101] Yet hardly any poet has so long retained consummate mastery of his instrument, or has published so little that might have been omitted with advantage or without detriment to his permanent reputation. And it will never be forgotten that he wrote "Crossing the Bar" in his eighty-first year.

It is clear from the _Memoir_, at any rate, that the burden of nigh fourscore years weakened none of his interest in literature and art, in political and philosophical speculation, or diminished his resources of humorous observation and anecdote. Among many recollections he told of Hallam (the historian) saying to him, "I have lived to read Carlyle's _French Revolution_, but I cannot get on, the style is so abominable;" and of Carlyle groaning about Hallam's _Const.i.tutional History_: "Eh, it's a miserable skeleton of a book"--bringing out into short and sharp contrast two opposite schools, the picturesque and the precise, of history-writing. Robert Browning's death in December 1889 distressed him greatly; it was, moreover, a forewarning to the elder of two brothers, if not equals, in renown. In 1890 Oliver Wendell Holmes, who was Tennyson's junior by only twenty-three days, wrote to him:

I am proud of my birth-year, and humbled when I think of who were and who are my coevals. Darwin, the destroyer and creator; Lord Houghton, the pleasant and kind-hearted lover of men of letters; Gladstone, whom I leave it to you to characterise, but whose vast range of intellectual powers few will question; Mendelssohn, whose music still rings in our ears; and the Laureate, whose "jewels five words long"--many of them a good deal longer--sparkle in our memories.

He wrote kindly to William Watson and Rudyard Kipling, whose patriotic verse pleased him; and twelve months later Watson paid a grateful tribute to his memory in one of the best among many threnodies. He spoke of Carlyle's having come to smoke a pipe with him one evening in London, "when the talk turned upon the immortality of the soul, upon which Carlyle said, 'Eh, old Jewish rags, you must clear your mind of all that. Why should we expect a hereafter?'" and likened man's sojourn on earth to a traveller's rest at an inn, whereupon Tennyson turned the simile against him. His son describes how the old man's "dignity and repose of manner, his low musical voice, and the power of his magnetic eye kept the attention riveted." In August 1892 Lord Selborne and the Master of Balliol visited him; but

... he did not feel strong enough for religious discussions with Jowett, and begged Jowett not to consult with him or argue with him, as was his wont, on points of philosophy and religious doubt. The Master answered him with a remarkable utterance: "Your poetry has an element of philosophy more to be considered _than any regular philosophy in England_";

which is certainly an ambiguous and possibly not an extravagant eulogy.

The final chapter of the _Memoir_ gives, briefly, some sentences from his last talks, and describes a peaceful and n.o.ble ending. He found his Christianity undisturbed by jarring of sects and creeds; but he said, "I dread the losing hold of forms. I have expressed this in my 'Akbar.'" The welfare of the British Empire, its expansion and its destiny, had been from the beginning and were to the end of his poetic career matters of intense pride and concern to him. When, in September 1892, he fell seriously ill, and Sir Andrew Clark arrived, the physician and the patient fell to discussing Gray's "Elegy"; and a few days later, being much worse, he sent for his Shakespeare, tried to read but had to let his son read for him. Next day he said: "'I want the blinds up, I want to see the sky and the light.' He repeated 'The sky and the light.' It was a glorious morning, and the warm sunshine was flooding the weald of Suss.e.x and the line of South Downs, which were seen from his window." On the second day after this he pa.s.sed away very quietly. The funeral service in Westminster Abbey, with its two anthems--"Crossing the Bar" and "The Silent Voices"--filling the long-drawn aisle and, rising to the fretted vault above the heads of a great congregation, will long be remembered by those who were present. "The tributes of sympathy," his son writes, "which we received from many countries and from all cla.s.ses and creeds, were not only remarkable for their universality, but for their depth of feeling."

To those who had so long lived with him, the loss of one whom they had tended for many years with devoted affection and reverence was indeed irreparable. Yet they had the consolation of knowing that his life had been on the whole happy and fortunate, marked by singularly few griefs or troubles; that he had proved himself a master of the high calling which he set before himself, and departed, full of honours, at the coming of the time when no man can work.

A collection of letters that pa.s.sed between the Queen and Tennyson, including two from Her Majesty to his son on receiving the news of Tennyson's death, is added to the _Memoir_; and the volume closes with "Recollections of the Poet," written at some length, by Lord Selborne, Jowett, John Tyndall, F. Myers, F. T. Palgrave, and the Duke of Argyll.

These papers will be read, as they deserve to be, with attentive interest for their descriptions of the personal characteristics, recorded by those who knew him best, of a very remarkable man; they show also how his poems were conceived and elaborated, they trace his thoughts on high subjects, and they contain very ample dissertations on his poetry. They inevitably antic.i.p.ate the work of the public reviewer, who cannot pretend to write with equal authority, while it is not his business to criticize the carefully composed opinions of others.

One can see, looking backward, that Tennyson's genius flowered in due season; there had been a plentiful harvest of verse in the preceding generation, but it had been garnered, and the field was clear. The hour had come for a new writer to take up the succession to that brilliant and ill.u.s.trious group who, in the first quarter of the last century, raised English poetry to a height far above the cla.s.sic level of the age before them. Three leaders of that band--Byron, Keats, and Sh.e.l.ley--died young; the sum total of their years added together exceeds by no more than a decade the s.p.a.ce of Tennyson's single life. And if the creative period of a poet's life may be reckoned as beginning at twenty-one (which is full early), it sums up to no more than thirty-one years for all the three poets whom we have named, and to sixty years for Tennyson alone. When his first volume appeared (1832), Byron, Sh.e.l.ley, and Keats were dead; Scott and Coleridge had long ceased to write poetry, and were dying; Wordsworth, who had done all his best work long before, alone survived, for Southey cannot be counted in the same rank. Moreover, England may be said to have been just then pa.s.sing through one of those periods of artistic depression that precede a revival; the popular taste was artificial and decadent, it was running down to the pseudo-romantic and false Gothic, to the conventional Keepsake note in sentiment, to extravagant admiration of such poems as Moore's _Lalla Rookh_. The purchase by the State of the Elgin Marbles, and the opening of the National Gallery, had prepared the way for better things in art; but I may affirm, speaking broadly, that it was a flat interval, when the new generation was just looking for some one to give form to an upward movement of ideas.

It was upon the rising wave after this calm that Tennyson was lifted forward by the quick recognition of his talent among his ardent and open-minded contemporaries; although his general popularity came gradually, since even in 1850, as may be seen from the list already given of his compet.i.tors for the Laureateship, his pre-eminence had not been indisputably established in high political society. Yet all genuine judges might perceive at once that here was the man to raise again from the lower plane the imaginative power of verse, who knew the magical charm that endows with beauty and dramatic force the incidents and impressions which the ordinary artist can only reproduce in a commonplace or unreal way, while the master-hand suddenly illumines the whole scene, foreground and background. He struck a note that touched the feelings and satisfied the spiritual needs of his contemporaries, and herein lay the promise of his poetry; for to the departing generation the coming man can say little or nothing. We have to bear in mind, also, that during Tennyson's youth the whole complexion and "moving circ.u.mstance" of the age had undergone a great alteration. It was the uproar and martial clang, the drums and trampling of long and fierce wars, the mortal strife between revolutionary and reactionary forces, that kindled the fiery indignation of Sh.e.l.ley and Byron, inspiring such lines as

Still, Freedom, still thy banner, torn yet flying, Streams like a meteor flag _against_ the wind,

and affected Coleridge and even Southey "in their hot youth, when George the Third was king." Tennyson's opportunity came when these thunderous echoes had died away, when the Reform Bill had become law, when the era of general peace and comfortable prosperity that marks for England the middle of this century was just setting in. The change may be noticed in Tennyson's treatment of landscape, of the aspects of earth, sea, and sky.

With Byron and Coleridge the prevailing effects were grand, stormy, wildly magnificent; with Tennyson the impressions are mainly peaceful, melancholy, mysterious: he is looking on the happy autumn fields, or listening in fancy to the long wash of Australasian seas. There are of course exceptions on both sides; yet in Byron the best-known descriptive pa.s.sages are all of the former, and in Tennyson of the latter, character.

The difference in style corresponds, manifestly, not only with the contrast in the temper of their times, warlike for the earlier poets and peaceful for the later, but also with the disorder and unrest which vexed the private lives of Byron, Sh.e.l.ley, and Coleridge, as compared with the happy domestic fortunes of Tennyson.

It is almost superfluous to lay stress on the well-known metrical variety of Tennyson's poems, or upon the musical range of his language. He followed the best models, and perhaps improved upon them, in using the primitive onomatopia as the base for a higher order of composition, in which the words have a subtle connotation, blending sound and colour into harmonies that accord with the sense and spirit of a pa.s.sage, convey the thought, and create the image. His skill in wielding the long flowing line was remarkable, nor had any poet before him employed it so frequently; its flexibility lent freedom and scope to his impersonations of character, and in other pieces he could give it the rolling melody of a chant or a chorus. On the instrumental power of blank verse we know that he set the highest value; he had his own secret methods of scansion, and his long practice enabled him to extend the capabilities of this peculiarly English metre. But for an excellent critical a.n.a.lysis of Tennyson's blank verse, in comparison with the rhythm of other masters, I must refer my readers to Mr. J. B. Mayor's _Chapters on English Metre_, with especial reference to the final chapter, where the styles of Tennyson and Browning, as representative of modern English verse, are scientifically examined.

I make no apology for having included some criticisms of Tennyson's work in this review of his life, because not the least valuable feature of the _Memoir_ is that it has been so arranged as to form a running commentary upon and interpretation of his poems, as reflecting his mind and his manner of life. Throughout the second half of the last century Tennyson has been foremost among English men of letters, and it is his proud distinction to have maintained the apostolic succession of our national poets in a manner not unworthy of those famous men who went immediately before him.

TENNYSON: THE POET AND THE MAN

By PROFESSOR HENRY BUTCHER[102]

A hundred years have pa.s.sed since Tennyson's birth, seventeen years since his death. It is too soon to attempt to fix his permanent place among English poets, but it is not too soon to feel a.s.sured that much that he has written is of imperishable worth. Will you bear with me if I offer some brief remarks, not by way of critical estimate, but in loving appreciation of the poet and the man? And let me say at once how deeply all who care for Tennyson are indebted to the illuminating _Memoir_ and Annotated Edition published by his son.

Tennyson's poetic career is in some respects unique in English literature.

He fell upon a time when fiction, science, and sociology were displacing poetry. He succeeded in conquering the poetic indifference of his age. For nearly sixty years he held a listening and eager audience, including not only fastidious hearers but also the larger public. Probably no English poet except Shakespeare has exercised such a commanding sway over both learned and unlearned. He unsealed the eyes of his contemporaries and revealed to them again the significance of beauty. To the English people, and indeed the English-speaking race, he was not merely the gracious and entrancing singer, but also the seer who divined their inmost thoughts and interpreted them in melodious forms of verse.

At the outset of his poetic life, Arthur Hallam notes the "strange earnestness of his worship of beauty." Like Milton, he was studious of perfection. Like Milton, too, he had in a supreme degree the poet's double endowment of an exquisite ear for the music of verse and an unerring eye for the images of nature. Like Milton, he acquired a mastery of phrase which has enriched the capacities of our English speech; and not Milton himself drew from the purely English elements in the language more finely modulated tones. No poet since Milton has been more deeply imbued with cla.s.sical literature, and the perfection of form which he sought fell at once into a cla.s.sic and mainly a h.e.l.lenic mould. We find in him reminiscences or close reproductions not only of Homer and Theocritus, of Virgil and Horace, of Lucretius and Catullus, of Ovid and Persius, but also of Sappho and Alcman, of Pindar and Aeschylus, of Moschus, Callimachus, and Quintus Smyrnaeus, more doubtfully of Simonides and Sophocles. We can follow the tracks of his reading also in Herodotus, Plato, Plutarch, and Livy. His early volumes contain varied strains of cla.s.sical and romantic legend. In some of the poems we are aware at once of the pervasive atmosphere and enchantment of romance, as in "The Lady of Shalott," "Mariana," "Sir Galahad," and many more. Others--such as "none," "The Lotos-Eaters," "Ulysses," "t.i.thonus"--what are we to call them, cla.s.sical or romantic? The thought and the form are chiefly cla.s.sical, but the poems are shot through with romantic gleams and tinged with modern sentiment. Yet so skilful is the handling that there is no sense of incongruity between the things of the past and the feelings of a later day. The harmony of tone and colour is almost faultless, more so than in the treatment of the longer themes taken from Celtic sources. But while some poems are dominantly cla.s.sical, others dominantly romantic, Tennyson's genius as a whole is the spirit of romance expressing itself in forms of cla.s.sical perfection. To the romanticist he may seem cla.s.sical; to the cla.s.sicist he is romantic: romantic in his choice of subjects, in his att.i.tude towards Nature, in his profusion of detail, in an ornateness sometimes running to excess; in his moods, too, of reverie or languor and in the slumberous charm that broods over many of his landscapes. Yet he is free from the disordered individualism of the extreme romantic school.

Disquietude and unrest are not wanting, but there is no unruly self-a.s.sertion; the cry of social revolt is faintly heard, and, when heard, its tones are among the least Tennysonian. Those who demand subtle or curious psychology find him disappointing; his characters are in the Greek manner _broadly human_, types rather than deviations from the type.

That he was capable of expressing intense and poignant feeling is shown by such impa.s.sioned utterances as those of "Fatima" and "Maud"; but pa.s.sion with him is usually restrained. There are critics for whom pa.s.sion is genuine only if turbid, just as thought is profound only if obscure; and for them Tennyson's reserve--again a Greek quality--seems an almost inhuman calm. His own most deeply felt experiences find their truest expression when pa.s.sed through the medium of art; they come out tranquillized and transfigured. The sorrow and love of "In Memoriam"--which poem I take to be the supreme effort of his genius--are merged in large impersonal emotions. The poem, as he himself says, "is rather the cry of the whole human race than mine." Tennyson's intense humanity gives rise to a peculiar vein of pathos, and even of melancholy.

Side by side there are his "mighty hopes" for the future and the power and "pa.s.sion of the past"--"the voice of days of old and days to be": on the one hand the forward straining intellect, on the other the backward glance, the lingering regret, and "some divine farewell." Those haunting and recurrent words, "the days that are no more," "for ever and for ever,"

and the "vague world whisper" of the "far-far-away," are charged with a sadness which recalls the pathetic but stoical refrain of "Nequiquam" in Lucretius.

Throughout Tennyson's long career we can trace the essential oneness of his mind and art, beginning with his early experiments in language and metrical form. By degrees his range of subjects was enlarged; we are amazed at the ever-growing variety of theme and treatment and his manifold modes of utterance. In some, as in his lyrics and dramatic monologues, he displays a flawless excellence, in almost all consummate art. But diverse as are the chords he has struck, the voice, the touch, the melody are all his own. In his latest poems we may miss something of the early rapture of his lyric song, but he is still himself and unmistakable; and had he written nothing but the lines "To Virgil" and "Crossing the Bar" he would surely take rank among the highest. We think of him primarily as the artist, but the artist and the man in him were never far apart; and as years went on his human sympathies, always strong, were strengthened and broadened, and drew him closer to the common life of humble people. We overhear more of "the still sad music of humanity." Towards the close of his life the moral and religious content of the poems becomes fuller with his deepening sense of the grandeur and the pathos of man's existence.

Some see in this a weakening of his art, the intrusion into poetry of an alien substance. Yet eliminate this element from art, and how much of the greatest poetry of the world is gone! Now and then, it must be confessed, the ethical aim in Tennyson seems to some of us unduly prominent, but _very rarely_ does the artist lose himself in the teacher or the preacher.

He has a message to deliver, but it is not a mere moral lesson: its true appeal is to the imagination; put it into prose and it is no longer his.

It lives only in its proper form of imaginative beauty.

Aristotle noted two types of poet, the [Greek: euphyes], the finely gifted artist, plastic to the Muse's touch, who can a.s.sume many characters in turn; and the [Greek: manikos], the inspired poet, with a strain of frenzy, who is lifted out of himself in a divine transport. Were we asked to select three examples of the former type, one from Greece, one from Rome, and one from England, our choice from the ancient world would probably fall on Sophocles and Virgil, and might we not, as a fitting third, add Tennyson to the list? I do not attempt to determine their relative rank, but I do suggest that they all belong to the same family, and that already in this centenary year of our Poet we can recognize the poetic kinship. Each of the three had in him the inmost heart of poetry, beating with a full humanity and instinct with human tenderness; each remained true to his calling as an artist and pursued throughout life the vision of beauty; and each achieved, in his own individual way, a n.o.ble and harmonious beauty of thought and form, of soul and sense.

JAMES SPEDDING

JAMES SPEDDING

By W. ALDIS WRIGHT, Vice-Master of Trinity College, Cambridge.

"Spedding was the Pope among us young men--the wisest man I know."--_Tennyson: a Memoir, by his Son_, p. 32.

James Spedding, of whom FitzGerald wrote, "He was the wisest man I have known," was born June 20, 1808, at Mirehouse, Keswick, and was the third son of John Spedding. He was educated at the Grammar School, Bury St.

Edmunds, where his father, leaving his c.u.mberland home, went to live for the purpose of putting his sons under the care of Dr. Malkin. Among his school-fellows were W. B. Donne, J. M. Kemble (the Anglo-Saxon scholar), the three brothers FitzGerald, and his own brother Edward, who with himself was at the head of the school when they left. From Bury he went to Trinity College, Cambridge, in 1827, where he was contemporary with Frederick, Charles, and Alfred Tennyson, Arthur Hallam, Monckton Milnes (afterwards Lord Houghton), and W. H. Thompson (afterwards Master of Trinity), and was very early admitted into the fellowship of the Apostles.

On Commemoration Day, 1830, he was called upon to deliver an oration in the College Chapel, the subject being "An Apology for the Moral and Literary Character of the Nineteenth Century," which was afterwards printed. Another of his early productions was a speech against Political Unions, written for a debating society in the University of Cambridge, which, although anonymous, attracted the notice of the author of _Philip van Artevelde_, afterwards his colleague in the Colonial Office, who quoted some pa.s.sages from it in the notes to his poem, with the remark: "It is a singular trait of the times that a speech containing so much of sagacity and mature reflection as is to be found in this exercitation, should have been delivered in an academical debating club, and should have pa.s.sed away in a pamphlet, which, as far as I am aware, attracted no notice. Time and place consenting, a brilliant Parliamentary reputation might be built upon a t.i.the of the merit." In 1831 he won the Members'

Prize with a Latin essay on "Utrum boni plus an mali hominibus et civitatibus attulerit dicendi copia," and in 1832 he was again a candidate, and wrote to Thompson on the 4th of May about it:

Tennant and I both got in our Essays, both in a very imperfect state, and both the last minute but one.... I find that Alford also wrote. So the Apostles have three chances. What Alford's may be I do not know.

But Tennant's and mine are neither of them worth much: Tennant's from dryness, mine from impertinence: for of all the impertinent things I ever wrote (and this is a bold word) my "Dissertatio Latina" was the most impertinent. It was in the form of a letter from Son Marcus to Father Cicero; cutting up the Offices in the most reverential way possible. The merit of it is, that if no prize is given at all I may fairly put it down to the novelty of the experiment and the nature of the Judges, whom to my horror I found out the day after to be the Heads of Colleges! Marry, G.o.d forbid! I rather calculated on Graham's[103] being one of the chief voters, who is fond of fun in general, and of my Latin in particular. However, it is no matter. I spent an amusing fortnight and improved my composition: and my mind is easy anyhow, which you will not easily believe.

On June 21 he writes again: