The Early Poems of Alfred Lord Tennyson

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It was long popularly supposed that the scene of the poem was a farm
near Somersby known as Baumber's farm, but Tennyson denied this and said
it was a purely "imaginary house in the fen," and that he "never so much
as dreamed of Baumbers farm". See 'Life', i., 28.

With blackest moss the flower-plots
Were thickly crusted, one and all:
The rusted nails fell from the knots
That held the peach [1] to the garden-wall. [2]
The broken sheds look'd sad and strange:
Unlifted was the clinking latch;
Weeded and worn the ancient thatch
Upon the lonely moated grange.
She only said, "My life is dreary,
He cometh not," she said;
She said, "I am aweary, aweary,
I would that I were dead!"

Her tears fell with the dews at even;
Her tears fell ere the dews were dried; [3]
She could not look on the sweet heaven,
Either at morn or eventide.
After the flitting of the bats,
When thickest dark did trance the sky,
She drew her casement-curtain by,
And glanced athwart the glooming flats.
She only said, "The night is dreary,
He cometh not," she said;
She said, "I am aweary, aweary,
I would that I were dead!"

Upon the middle of the night,
Waking she heard the night-fowl crow:
The cock sung out an hour ere light:
From the dark fen the oxen's low
Came to her: without hope of change,
In sleep she seem'd to walk forlorn,
Till cold winds woke the gray-eyed [4] morn
About the lonely moated grange.
She only said, "The day is dreary,
He cometh not," she said;
She said, "I am aweary, aweary,
I would that I were dead!"

About a stone-cast from the wall
A sluice with blacken'd waters slept,
And o'er it many, round and small,
The cluster'd marish-mosses crept.
Hard by a poplar shook alway,
All silver-green with gnarled bark:
For leagues no other tree did mark [5]
The level waste, the rounding gray.[6]
She only said, "My life is dreary,
He cometh not," she said;
She said, "I am aweary, aweary,
I would that I were dead!"

And ever when the moon was low,
And the shrill winds were up and away,[7]
In the white curtain, to and fro,
She saw the gusty shadow sway.
But when the moon was very low,
And wild winds bound within their cell,
The shadow of the poplar fell
Upon her bed, across her brow.
She only said, "The night is dreary,
He cometh not," she said;
She said, "I am aweary, aweary,
I would that I were dead!"

All day within the dreamy house,
The doors upon their hinges creak'd;
The blue fly sung in the pane; [8] the mouse
Behind the mouldering wainscot shriek'd,
Or from the crevice peer'd about.
Old faces glimmer'd thro' the doors,
Old footsteps trod the upper floors,
Old voices called her from without.
She only said, "My life is dreary,
He cometh not," she said;
She said, "I am aweary, aweary,
I would that I were dead!"

The sparrow's chirrup on the roof,
The slow clock ticking, and the sound,
Which to the wooing wind aloof
The poplar made, did all confound
Her sense; but most she loathed the hour
When the thick-moted sunbeam lay
Athwart the chambers, and the day
Was sloping [9] toward his western bower.
Then, said she, "I am very dreary,
He will not come," she said;
She wept, "I am aweary, aweary,
O God, that I were dead!".

[Footnote 1: 1863. Pear.]

[Footnote 2: 1872. Gable-wall.]

[Footnote 3: With this beautiful couplet may be compared a couplet of
Helvius Cinna:--

Te matutinus flentem conspexit Eous,
Te flentem paullo vidit post Hesperus idem.
--'Cinnae Reliq'. Ed. Mueller, p. 83.]

[Footnote 4: 1830. _Grey_-eyed. 'Cf'. 'Romeo and Juliet', ii., 3,
"The _grey morn_ smiles on the frowning night".]

[Footnote 5: 1830, 1842, 1843. Dark.]

[Footnote 6: 1830. Grey.]

[Footnote 7: 1830. An' away.]

[Footnote 8: All editions before 1851. I' the pane. With this line
'cf'. 'Maud', I., vi., 8, "and the shrieking rush of the wainscot
mouse".]

[Footnote 9: 1830. Downsloped was westering in his bower.]

TO----

First printed in 1830.

The friend to whom these verses were addressed was Joseph William
Blakesley, third Classic and Senior Chancellor's Medallist in 1831, and
afterwards Dean of Lincoln. Tennyson said of him: "He ought to be Lord
Chancellor, for he is a subtle and powerful reasoner, and an honest
man".--'Life', i., 65. He was a contributor to the 'Edinburgh' and
'Quarterly Reviews', and died in April, 1885. See memoir of him in the
'Dictionary of National Biography'.

1

Clear-headed friend, whose joyful scorn,
Edged with sharp laughter, cuts atwain
The knots that tangle human creeds, [1]
The wounding cords that [2] bind and strain
The heart until it bleeds,
Ray-fringed eyelids of the morn
Roof not a glance so keen as thine:
If aught of prophecy be mine,
Thou wilt not live in vain.

2

Low-cowering shall the Sophist sit;
Falsehood shall bear her plaited brow:
Fair-fronted Truth shall droop not now
With shrilling shafts of subtle wit.
Nor martyr-flames, nor trenchant swords
Can do away that ancient lie;
A gentler death shall Falsehood die,
Shot thro' and thro'[3] with cunning words.

3

Weak Truth a-leaning on her crutch,
Wan, wasted Truth in her utmost need,
Thy kingly intellect shall feed,
Until she be an athlete bold,
And weary with a finger's touch
Those writhed limbs of lightning speed;
Like that strange angel [4] which of old,
Until the breaking of the light,
Wrestled with wandering Israel,
Past Yabbok brook the livelong night,
And heaven's mazed signs stood still
In the dim tract of Penuel.

[Footnote 1: 1830. The knotted lies of human creeds.]

[Footnote 2: 1830. "Which" for "that".]

[Footnote 3: 1830. Through and through.]

[Footnote 4: The reference is to Genesis xxxii. 24-32.]

MADELINE

First published in 1830.

1

Thou art not steep'd in golden languors,
No tranced summer calm is thine,
Ever varying Madeline.
Thro' [1] light and shadow thou dost range,
Sudden glances, sweet and strange,
Delicious spites and darling angers,
And airy [2] forms of flitting change.

2

Smiling, frowning, evermore,
Thou art perfect in love-lore.
Revealings deep and clear are thine
Of wealthy smiles: but who may know
Whether smile or frown be fleeter?
Whether smile or frown be sweeter,
Who may know?
Frowns perfect-sweet along the brow
Light-glooming over eyes divine,
Like little clouds sun-fringed, are thine,
Ever varying Madeline.
Thy smile and frown are not aloof
From one another,
Each to each is dearest brother;
Hues of the silken sheeny woof
Momently shot into each other.
All the mystery is thine;
Smiling, frowning, evermore,
Thou art perfect in love-lore,
Ever varying Madeline.

3

A subtle, sudden flame,
By veering passion fann'd,
About thee breaks and dances
When I would kiss thy hand,
The flush of anger'd shame
O'erflows thy calmer glances,
And o'er black brows drops down
A sudden curved frown:
But when I turn away,
Thou, willing me to stay,
Wooest not, nor vainly wranglest;
But, looking fixedly the while,
All my bounding heart entanglest
In a golden-netted smile;
Then in madness and in bliss,
If my lips should dare to kiss
Thy taper fingers amorously, [3]
Again thou blushest angerly;
And o'er black brows drops down
A sudden-curved frown.

[Footnote 1: 1830. Through.]

[Footnote 2: 1830. Aery.]

[Footnote 3: 1830. Three-times-three; though noted as an _erratum_ for
amorously.]

SONG.--THE OWL

First printed in 1830.

1

When cats run home and light is come,
And dew is cold upon the ground,
And the far-off stream is dumb,
And the whirring sail goes round,
And the whirring sail goes round;
Alone and warming his five wits,
The white owl in the belfry sits.

2

When merry milkmaids click the latch,
And rarely smells the new-mown hay,
And the cock hath sung beneath the thatch
Twice or thrice his roundelay,
Twice or thrice his roundelay;
Alone and warming his five wits,
The white owl in the belfry sits.

SECOND SONG

TO THE SAME.

First printed in 1830.

1

Thy tuwhits are lull'd I wot,
Thy tuwhoos of yesternight,
Which upon the dark afloat,
So took echo with delight,
So took echo with delight,
That her voice untuneful grown,
Wears all day a fainter tone.

2

I would mock thy chaunt anew;
But I cannot mimick it;
Not a whit of thy tuwhoo,
Thee to woo to thy tuwhit,
Thee to woo to thy tuwhit,
With a lengthen'd loud halloo,
Tuwhoo, tuwhit, tuwhit, tuwhoo-o-o.

RECOLLECTIONS OF THE ARABIAN NIGHTS

First printed in 1830.

With this poem should be compared the description of Harun al Rashid's
Garden of Gladness in the story of Nur-al-din Ali and the damsel Anis al
Talis in the Thirty-Sixth Night. The style appears to have been modelled
on Coleridge's 'Kubla Khan' and 'Lewti', and the influence of Coleridge
is very perceptible throughout the poem.

When the breeze of a joyful dawn blew free
In the silken sail of infancy,
The tide of time flow'd back with me,
The forward-flowing tide of time;
And many a sheeny summer-morn,
Adown the Tigris I was borne,
By Bagdat's shrines of fretted gold,
High-walled gardens green and old;
True Mussulman was I and sworn,
For it was in the golden prime [1]
Of good Haroun Alraschid.

Anight my shallop, rustling thro' [2]
The low and bloomed foliage, drove
The fragrant, glistening deeps, and clove
The citron-shadows in the blue:
By garden porches on the brim,
The costly doors flung open wide,
Gold glittering thro' [3] lamplight dim,
And broider'd sofas [4] on each side:
In sooth it was a goodly time,
For it was in the golden prime
Of good Haroun Alraschid.

Often, where clear-stemm'd platans guard
The outlet, did I turn away
The boat-head down a broad canal
From the main river sluiced, where all
The sloping of the moon-lit sward
Was damask-work, and deep inlay
Of braided blooms [5] unmown, which crept
Adown to where the waters slept.
A goodly place, a goodly time,
For it was in the golden prime
Of good Haroun Alraschid.

A motion from the river won
Ridged the smooth level, bearing on
My shallop thro' the star-strown calm,
Until another night in night
I enter'd, from the clearer light,
Imbower'd vaults of pillar'd palm,
Imprisoning sweets, which, as they clomb
Heavenward, were stay'd beneath the dome
Of hollow boughs.--A goodly time,
For it was in the golden prime
Of good Haroun Alraschid.

Still onward; and the clear canal
Is rounded to as clear a lake.
From the green rivage many a fall
Of diamond rillets musical,
Thro' little crystal [6] arches low
Down from the central fountain's flow
Fall'n silver-chiming, seem'd to shake
The sparkling flints beneath the prow.
A goodly place, a goodly time,
For it was in the golden prime
Of good Haroun Alraschid.

Above thro' [7] many a bowery turn
A walk with vary-colour'd shells
Wander'd engrain'd. On either side
All round about the fragrant marge
From fluted vase, and brazen urn
In order, eastern flowers large,
Some dropping low their crimson bells
Half-closed, and others studded wide
With disks and tiars, fed the time
With odour in the golden prime
Of good Haroun Alraschid.

Far off, and where the lemon-grove
In closest coverture upsprung,
The living airs of middle night
Died round the bulbul [8] as he sung;
Not he: but something which possess'd
The darkness of the world, delight,
Life, anguish, death, immortal love,
Ceasing not, mingled, unrepress'd.
Apart from place, withholding [9] time,
But flattering the golden prime
Of good Haroun Alraschid.

Black the [10] garden-bowers and grots
Slumber'd: the solemn palms were ranged
Above, unwoo'd of summer wind:
A sudden splendour from behind
Flush'd all the leaves with rich gold-green,
And, flowing rapidly between
Their interspaces, counterchanged
The level lake with diamond-plots
Of dark and bright. [11] A lovely time,
For it was in the golden prime
Of good Haroun Alraschid.

Dark-blue the deep sphere overhead,
Distinct with vivid stars inlaid, [12]
Grew darker from that under-flame:
So, leaping lightly from the boat,
With silver anchor left afloat,
In marvel whence that glory came
Upon me, as in sleep I sank
In cool soft turf upon the bank,
Entranced with that place and time,
So worthy of the golden prime
Of good Haroun Alraschid.

Thence thro' the garden I was drawn--[13]
A realm of pleasance, many a mound,
And many a shadow-chequer'd lawn
Full of the city's stilly sound, [14]
And deep myrrh-thickets blowing round
The stately cedar, tamarisks,
Thick rosaries [15] of scented thorn,
Tall orient shrubs, and obelisks
Graven with emblems of the time,
In honour of the golden prime
Of good Haroun Alraschid.

With dazed vision unawares
From the long alley's latticed shade
Emerged, I came upon the great
Pavilion of the Caliphat.
Right to the carven cedarn doors,
Flung inward over spangled floors,
Broad-based flights of marble stairs
Ran up with golden balustrade,
After the fashion of the time,
And humour of the golden prime
Of good Haroun Alraschid.

The fourscore windows all alight
As with the quintessence of flame,
A million tapers flaring bright
From twisted silvers look'd [16] to shame
The hollow-vaulted dark, and stream'd
Upon the mooned domes aloof
In inmost Bagdat, till there seem'd
Hundreds of crescents on the roof
Of night new-risen, that marvellous time,
To celebrate the golden prime
Of good Haroun Alraschid.

Then stole I up, and trancedly
Gazed on the Persian girl alone,
Serene with argent-lidded eyes
Amorous, and lashes like to rays
Of darkness, and a brow of pearl
Tressed with redolent ebony,
In many a dark delicious curl,
Flowing beneath [17] her rose-hued zone;
The sweetest lady of the time,
Well worthy of the golden prime
Of good Haroun Alraschid.

Six columns, three on either side,
Pure silver, underpropt [18] a rich
Throne of the [19] massive ore, from which
Down-droop'd, in many a floating fold,
Engarlanded and diaper'd
With inwrought flowers, a cloth of gold.
Thereon, his deep eye laughter-stirr'd
With merriment of kingly pride,
Sole star of all that place and time,
I saw him--in his golden prime,
THE GOOD HAROUN ALRASCHID!

[Footnote 1: "Golden prime" from Shakespeare.

"That cropp'd the _golden prime_ of this sweet prince."

--_Rich. III._, i., sc. ii., 248.]

[Footnote 2: 1830. Through.] [Footnote 3: 1830. Through.]

[Footnote 4: 1830 and 1842. Sophas.] [Footnote 5: 1830. Breaded blosms.]

[Footnote 6: 1830. Through crystal.] [Footnote 7: 1830. Through.]

[Footnote 8: "Bulbul" is the Persian for nightingale. _Cf. Princes_,
iv., 104:--

"O Bulbul, any rose of Gulistan Shall brush her veil".]

[Footnote 9: 1830. Witholding. So 1842, 1843, 1845.]

[Footnote 10: 1830. Blackgreen.] [Footnote 11: 1830. Of saffron light.]

[Footnote 12: 1830. Unrayed.] [Footnote 13: 1830. Through ... borne.]

[Footnote 14: Shakespeare has the same expression:

"The hum of either army _stilly sounds_".

--_Henry V_., act iv., prol.]

[Footnote 15: 1842. Roseries.] [Footnote 16: 1830. Wreathed.]

[Footnote 17: 1830. Below.]

[Footnote 18: 1830. Underpropped. 1842. Underpropp'd.]

[Footnote 19: 1830. O' the.]

ODE TO MEMORY

First printed in 1830.

After the title in 1830 ed. is "Written very early in life". The
influence most perceptible in this poem is plainly Coleridge, on whose
'Songs of the Pixies' it seems to have been modelled. Tennyson
considered it, and no wonder, as one of the very best of "his early and
peculiarly concentrated Nature-poems". See 'Life', i., 27. It is full
of vivid and accurate pictures of his Lincolnshire home and haunts. See
'Life', i., 25-48, 'passim'.

1

Thou who stealest fire,
From the fountains of the past,
To glorify the present; oh, haste,
Visit my low desire!
Strengthen me, enlighten me!
I faint in this obscurity,
Thou dewy dawn of memory.

2

Come not as thou camest [1] of late,
Flinging the gloom of yesternight
On the white day; but robed in soften'd light
Of orient state.
Whilome thou camest with the morning mist,
Even as a maid, whose stately brow
The dew-impearled winds of dawn have kiss'd, [2]
When she, as thou,
Stays on her floating locks the lovely freight
Of overflowing blooms, and earliest shoots
Of orient green, giving safe pledge of fruits,
Which in wintertide shall star
The black earth with brilliance rare.

3

Whilome thou camest with the morning mist.
And with the evening cloud,
Showering thy gleaned wealth into my open breast,
(Those peerless flowers which in the rudest wind
Never grow sere,
When rooted in the garden of the mind,
Because they are the earliest of the year).
Nor was the night thy shroud.
In sweet dreams softer than unbroken rest
Thou leddest by the hand thine infant Hope.
The eddying of her garments caught from thee
The light of thy great presence; and the cope
Of the half-attain'd futurity,
Though deep not fathomless,
Was cloven with the million stars which tremble
O'er the deep mind of dauntless infancy.
Small thought was there of life's distress;
For sure she deem'd no mist of earth could dull
Those spirit-thrilling eyes so keen and beautiful:
Sure she was nigher to heaven's spheres,
Listening the lordly music flowing from
The illimitable years.[3]
O strengthen me, enlighten me!
I faint in this obscurity,
Thou dewy dawn of memory.

4

Come forth I charge thee, arise,
Thou of the many tongues, the myriad eyes!
Thou comest not with shows of flaunting vines
Unto mine inner eye,
Divinest Memory!
Thou wert not nursed by the waterfall
Which ever sounds and shines
A pillar of white light upon the wall
Of purple cliffs, aloof descried:
Come from the woods that belt the grey hill-side,
The seven elms, the poplars [4] four
That stand beside my father's door,
And chiefly from the brook [5] that loves
To purl o'er matted cress and ribbed sand,
Or dimple in the dark of rushy coves,
Drawing into his narrow earthen urn,
In every elbow and turn,
The filter'd tribute of the rough woodland.
O! hither lead thy feet!
Pour round mine ears the livelong bleat
Of the thick-fleeced sheep from wattled folds,
Upon the ridged wolds,
When the first matin-song hath waken'd [6] loud
Over the dark dewy earth forlorn,
What time the amber morn
Forth gushes from beneath a low-hung cloud.

5

Large dowries doth the raptured eye
To the young spirit present
When first she is wed;
And like a bride of old
In triumph led,
With music and sweet showers
Of festal flowers,
Unto the dwelling she must sway.
Well hast thou done, great artist Memory,
In setting round thy first experiment
With royal frame-work of wrought gold;
Needs must thou dearly love thy first essay,
And foremost in thy various gallery
Place it, where sweetest sunlight falls
Upon the storied walls;
For the discovery
And newness of thine art so pleased thee,
That all which thou hast drawn of fairest
Or boldest since, but lightly weighs
With thee unto the love thou bearest
The first-born of thy genius.
Artist-like,
Ever retiring thou dost gaze
On the prime labour of thine early days:
No matter what the sketch might be;
Whether the high field on the bushless Pike,
Or even a sand-built ridge
Of heaped hills that mound the sea,
Overblown with murmurs harsh,
Or even a lowly cottage [7] whence we see
Stretch'd wide and wild the waste enormous marsh,
Where from the frequent bridge,
Like emblems of infinity, [8]
The trenched waters run from sky to sky;
Or a garden bower'd close
With plaited [9] alleys of the trailing rose,
Long alleys falling down to twilight grots,
Or opening upon level plots
Of crowned lilies, standing near
Purple-spiked lavender:
Whither in after life retired
From brawling storms,
From weary wind,
With youthful fancy reinspired,
We may hold converse with all forms
Of the many-sided mind,
And those [10] whom passion hath not blinded,
Subtle-thoughted, myriad-minded.
My friend, with you [11] to live alone,
Were how much [12] better than to own
A crown, a sceptre, and a throne!
O strengthen, enlighten me!
I faint in this obscurity,
Thou dewy dawn of memory.

[Footnote 1: 1830. Cam'st.]

[Footnote 2: 1830. Kist.]

[Footnote 3: Transferred from 'Timbuctoo'.

And these with lavish'd sense
Listenist the lordly music flowing from
The illimitable years.]

[Footnote 4: The poplars have now disappeared but the seven elms are
still to be seen in the garden behind the house. See Napier, 'The
Laureate's County', pp. 22, 40-41.]

[Footnote 5: This is the Somersby brook which so often reappears in
Tennyson's poetry, cf. 'Millers Daughter, A Farewell', and 'In
Memoriam', 1 xxix. and c.]

[Footnote 6: 1830. Waked. For the epithet "dew-impearled" 'cf'.
Drayton, Ideas, sonnet liii., "amongst the dainty 'dew-impearled
flowers'," where the epithet is more appropriate and intelligible.]

[Footnote 7: 1830. The few.]

[Footnote 8: 1830 and 1842. Thee.]

[Footnote 9: 1830. Methinks were, so till 1850, when it was altered to
the present reading.]

[Footnote 10: The cottage at Maplethorpe where the Tennysons used to
spend the summer holidays. (See 'Life', i., 46.)]

[Footnote 11: 1830. Emblems or Glimpses of Eternity.]

[Footnote 12: 1830. Pleached. The whole of this passage is an exact
description of the Parsonage garden at Somersby. See 'Life', i., 27.]

SONG

First printed in 1830.

The poem was written in the garden at the Old Rectory, Somersby; an
autumn scene there which it faithfully describes. This poem seems to
have haunted Poe, a fervent admirer of Tennyson's early poems.

1

A Spirit haunts the year's last hours
Dwelling amid these yellowing bowers:
To himself he talks;
For at eventide, listening earnestly,
At his work you may hear him sob and sigh
In the walks;
Earthward he boweth the heavy stalks
Of the mouldering flowers:
Heavily hangs the broad sunflower
Over its grave i' the earth so chilly;
Heavily hangs the hollyhock,
Heavily hangs the tiger-lily.

2

The air is damp, and hush'd, and close,
As a sick man's room when he taketh repose
An hour before death;
My very heart faints and my whole soul grieves
At the moist rich smell of the rotting leaves,
And the breath
Of the fading edges of box beneath,
And the year's last rose.
Heavily hangs the broad sunflower
Over its grave i' the earth so chilly;
Heavily hangs the hollyhock,
Heavily hangs the tiger-lily.

ADELINE

First printed in 1830.

1

Mystery of mysteries,
Faintly smiling Adeline,
Scarce of earth nor all divine,
Nor unhappy, nor at rest,
But beyond expression fair
With thy floating flaxen hair;
Thy rose-lips and full blue eyes
Take the heart from out my breast.
Wherefore those dim looks of thine,
Shadowy, dreaming Adeline?

2

Whence that aery bloom of thine,
Like a lily which the sun
Looks thro' in his sad decline,
And a rose-bush leans upon,
Thou that faintly smilest still,
As a Naiad in a well,
Looking at the set of day,
Or a phantom two hours old
Of a maiden passed away,
Ere the placid lips be cold?
Wherefore those faint smiles of thine,
Spiritual Adeline?

3

What hope or fear or joy is thine?
Who talketh with thee, Adeline?
For sure thou art not all alone:
Do beating hearts of salient springs
Keep measure with thine own?
Hast thou heard the butterflies
What they say betwixt their wings?
Or in stillest evenings
With what voice the violet woos
To his heart the silver dews?
Or when little airs arise,
How the merry bluebell rings [1]
To the mosses underneath?
Hast thou look'd upon the breath
Of the lilies at sunrise?
Wherefore that faint smile of thine,
Shadowy, dreaming Adeline?

4

Some honey-converse feeds thy mind,
Some spirit of a crimson rose
In love with thee forgets to close
His curtains, wasting odorous sighs
All night long on darkness blind.
What aileth thee? whom waitest thou
With thy soften'd, shadow'd brow,
And those dew-lit eyes of thine, [2]
Thou faint smiler, Adeline?

5

Lovest thou the doleful wind
When thou gazest at the skies?
Doth the low-tongued Orient [3]
Wander from the side of [4] the morn,
Dripping with Sabsean spice
On thy pillow, lowly bent
With melodious airs lovelorn,
Breathing Light against thy face,
While his locks a-dropping [5] twined
Round thy neck in subtle ring
Make a 'carcanet of rays',[6]
And ye talk together still,
In the language wherewith Spring
Letters cowslips on the hill?
Hence that look and smile of thine,
Spiritual Adeline.

[Footnote 1: This conceit seems to have been borrowed from Shelley,
'Sensitive Plant', i.:--

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