Tennyson made a journey to the Pyrenees with Arthur Hallam, who was engaged to the poet's sister Emilia, and in the same year he published an independent volume, entitled "Poems chiefly Lyrical." In this, his first venture alone in poetry, and in another issued in 1832, Tennyson was to manifest to the world his poetic powers and art, for they contained, besides much rhythmical and contemplative verse, such poems as 'Mariana,' Claribel,' 'Lilian,' 'Lady Clare,' 'The Lotus Eaters,' 'A Dream of Fair Women,' 'The May Queen,' and The Miller's Daughter.' In spite of the great promise bodied forth in these works, the volumes were subject to not a little unfavorable criticism, which stayed his further publishing for a period of ten years, though not the furtherance of his creative work, nor his enthusiastic efforts towards increasing the perfection of his art.

It was not until 1842 that the poet again appeared in print, this time with a volume to which he appended his name, "Poems by Alfred Tennyson," and which gave him high rank among the acknowledged singers of his day, Wordsworth, Southey, Landor, Campbell, Rogers, and Leigh Hunt, in England; and in the New World, Longfellow, Bryant, Lowell, Whittier, and Emerson. The poet-contemporaries of his youth Byron, Scott, Coleridge, Shelley, and Keats this time all died, and in 1843 Southey died, when

had by

Wordsworth, whom Tennyson reverenced, became Poet Laureate. The gap occasioned by the death of these early English poets of the century was now to be filled in large measure by Tennyson, though among the writers of song to arise were the Brownings, Rossetti, Matthew Arnold, and Swinburne. Critical appreciation of the volume of 1842 was happily encouraging to the poet; indeed, it was most gratifying, for its many remarkable beauties were now justly and adequately appraised, particularly such fine new themes as the volume contained-Ulysses,' 'Godiva,' 'The Two Voices,' The Talking Oak,' Enone,' 'Locksley Hall,' 'The Vision of Sin,' and 'Morte D'Arthur,' the germ of the future "Idylls of the King." Nor on this side the Atlantic did the new volume lack substantial recognition, and from such competent critics as Emerson and Hawthorne; while among his English contemporaries Tennyson became, if we except for the time Wordsworth, the acknowledged head of English song. At this period the poet resided in London or its neighborhood, his family home in Lincolnshire having been broken up in 1837, six years after the death of his father. Here, in spite of the secluded life he led, he became a notable figure in literary circles, and greatly increased the range of his friends, correspondents, and admirers. Among the latter were the Carlyles, Thomas and his clever wife Jane being especially drawn to the

poet, and to them we owe interesting sketches of the personal appearance of Tennyson at this time. Mrs. Carlyle, in one of her delightful letters gossiping about Dickens, Bulwer-Lytton, and Tennyson, esteems the latter "the greatest genius of the three," adding that "besides, he is a very handsome man, and a noblehearted one, with something of the gypsy in his appearance, which for me is perfectly charming." This is the historian, her husband's, piece of portraiture: "A fine, large-featured, dim-eyed, bronze-colored, shaggyheaded man, dusty, smoky, free-and-easy; who swims, outwardly and inwardly, with great composure in an articulate element as of tranquil chaos and tobacco smoke; great now and then when he does emerge; a most restful, brotherly, solid-hearted man." Another portrait we have from the Chelsea philosopher and scorner of shams which describes the poet very humanly as "one of the finest-looking men in the world, with a great shock of rough, dusky, dark hair; bright, laughing, hazel eyes; massive, aquiline face, most massive, yet most delicate; of sallow-brown complexion, almost Indian looking; clothes cynically loose, freeand-easy; smokes infinite tobacco. His voice is musical, metallic, fit for loud laughter and piercing wail, and all that may lie between; speech and speculation free and plenteous. I do not meet in these late decades such company over a pipe! We shall see what he will

grow to." Besides the Carlyles and other notable contemporaries, Tennyson numbered at this time among his intimates John Sterling, whose life was written by the author of "Sartor Resartus," James Spedding, Bacon's editor, who wrote a fine critique of the 1842 volume of poems for the Edinburgh Review, Aubrey De Vere, Edmund Lushington, A. P. Stanley (afterwards Dean of Westminster), and Edward Fitzgerald, the future translator of the "Rubaiyat," or Quatrains of the Persian Poet, Omar Khayyam. These were all enthusiastic admirers of Tennyson's work and art, and his close personal friends, who have left on record many interesting sketches of the poet in their published writings, or in letters to him, and especially in reminiscences furnished for the Memoir by the poet's

son.

Nine years before the appearance of the 1842 volume of Tennyson's verse the poet's bosom friend, Arthur Hallam, died at an immature age at Vienna, and his death was the subject of much brooding in noble, elegiac verse, written, as was Milton's 'Lycidas,' to commemorate the loss of one very dear to the poet. In "In Memoriam," as all know, Tennyson sought to assuage his grief and give fine, artistic expression to his profound sorrow at the loss of his companion and friend; but the work is more than a labored monument of woe, since it enshrines reflections of the most exalted and