The Early Poems of Alfred Lord Tennyson

Produced by Jonathan Ingram, Clytie Siddall, Charles Franks,
and the Online Distributed Proofreading Team




The Early Poems of Alfred, Lord Tennyson

edited with a critical introduction, commentaries and notes, together with the
various readings, a transcript of the poems temporarily and finally suppressed
and a bibliography

by John Churton Collins

Table of Contents

Preface
Introduction
Part I—the editions
Part II—comparison of the editions
Part III—grouping the poems
Part IV—“Art for art, art for truth.”

Early Poems
To the Queen
Claribel—a Melody
Lilian
Isabel
Mariana
To —— (“Clear-headed friend, whose joyful scorn”)
Madeline
Song—The Owl
Second Song to the Same
Recollections of the Arabian Nights
Ode to Memory
Song (“A spirit haunts the year’s last hours”)
Adeline
A Character
The Poet
The Poet’s Mind
The Sea-Fairies
The Deserted House
The Dying Swan
A Dirge
Love and Death
The Ballad of Oriana
Circumstance
The Merman
The Mermaid
Sonnet to J. M. K.
The Lady of Shalott
Mariana in the South
Eleänore
The Miller’s Daughter
Fatima
Œnone
The Sisters
To—— (“I send you here a sort of allegory”)
The Palace of Art
Lady Clara Vere de Vere
The May Queen
New Year’s Eve
Conclusion
The Lotos-Eaters
Dream of Fair Women
Margaret
The Blackbird
The Death of the Old Year
To J. S.
“You ask me, why, tho’ ill at ease”
“Of old sat Freedom on the heights”
“Love thou thy land, with love far-brought”
The Goose
The Epic
Morte d’Arthur
The Gardener’s Daughter; or, The Pictures
Dora
Audley Court
Walking to the Mail
Edwin Morris; or, The Lake
St. Simeon Stylites
The Talking Oak
Love and Duty
The Golden Year
Ulysses
Locksley Hall
Godiva
The Two Voices
The Day-Dream:—Prologue
The Sleeping Palace
The Sleeping Beauty
The Arrival
The Revival
The Departure
L’Envoi
Epilogue
Amphion
St. Agnes
Sir Galahad
Edward Gray
Will Waterproof’s Lyrical Monologue
To ——, after reading a Life and Letters
To E.L., on his Travels in Greece
Lady Clare
The Lord of Burleigh
Sir Launcelot and Queen Guinevere: a Fragment
A Farewell
The Beggar Maid
The Vision of Sin
“Come not, when I am dead”
The Eagle
“Move eastward, happy earth, and leave”
“Break, break, break”
The Poet’s Song
Appendix—Suppressed Poems
Elegiacs
The “How” and the “Why”
Supposed Confessions
The Burial of Love
To —— (“Sainted Juliet! dearest name !”)
Song (“I’ the glooming light”)
Song (“The lintwhite and the throstlecock”)
Song (“Every day hath its night”)
Nothing will Die
All Things will Die
Hero to Leander
The Mystic
The Grasshopper
Love, Pride and Forgetfulness
Chorus (“The varied earth, the moving heaven”)
Lost Hope
The Tears of Heaven
Love and Sorrow
To a Lady Sleeping
Sonnet (“Could I outwear my present state of woe”)
Sonnet (“Though Night hath climbed her peak of highest noon”)
Sonnet (“Shall the hag Evil die with child of Good”)
Sonnet (“The pallid thunderstricken sigh for gain”)
Love
The Kraken
English War Song
National Song
Dualisms
We are Free
οἱ ῥέοντες.
“Mine be the strength of spirit, full and free”
To — (“All good things have not kept aloof”)
Buonaparte
Sonnet (“Oh, Beauty, passing beauty! sweetest Sweet!”)
The Hesperides
Song (“The golden apple, the golden apple, the hallowed fruit”)
Rosalind
Song (“Who can say”)
Kate
Sonnet (“Blow ye the trumpet, gather from afar”)
Poland
To — (“As when with downcast eyes we muse and brood”)
O Darling Room
To Christopher North
The Skipping Rope
Timbuctoo
Bibliography of the _Poems_ of 1842




Preface


A Critical edition of Tennyson’s poems has long been an acknowledged
want. He has taken his place among the English Classics, and as a
Classic he is, and will be, studied, seriously and minutely, by many
thousands of his countrymen, both in the present generation as well as
in future ages. As in the works of his more illustrious brethren, so in
his trifles will become subjects of curious interest, and assume an
importance of which we have no conception now. Here he will engage the
attention of the antiquary, there of the social historian. Long after
his politics, his ethics, his theology have ceased to be immediately
influential, they will be of immense historical significance. A
consummate artist and a consummate master of our language, the process
by which he achieved results so memorable can never fail to be of
interest, and of absorbing interest, to critical students.

I must, I fear, claim the indulgence due to one who attempts, for the
first time, a critical edition of a text so perplexingly voluminous in
variants as Tennyson’s. I can only say that I have spared neither time
nor labour to be accurate and exhaustive. I have myself collated, or
have had collated for me, every edition recorded in the British Museum
Catalogue, and where that has been deficient I have had recourse to
other public libraries, and to the libraries of private friends. I am
not conscious that I have left any variant unrecorded, but I should not
like to assert that this is the case.