A Taste of TENNYSON

DR JIM CHESHIRE ON FIVE OF TENNYSON’S GREATEST POEMS

Ulysses: Written in 1833 and published in 1842 in Tennyson’s second book of poetry, following Ulysses’ return to Ithaca after the Trojan War. Tennyson worked on the poem shortly after the death of Arthur Henry Hallum and once stated: “There is more about myself in Ulysses, which was written under the sense of loss and that all had gone by, but that still life must be fought out to the end. It was more written with the feeling of his loss upon me than many poems in In Memoriam.”

Crossing the Bar: A later Tennyson poem, written in 1889, using the Isle of Wight sandbar as a metaphor for what occurs after death.

The Lady of Shalott: Inspired by the legend of Elaine of Astolat, a lyrical ballad of 19/20 stanzas.

Morte D'Arthur: Integrated into Idylls of the King, with Bedivere tending to the dying king and disposing of Excalibur.

In Memoriam A.H.H.: Published in 1850 and an elegy for his Cambridge friend Arthur Henry Hallam. The full text runs to 2,916 lines and was of great comfort to Queen Victoria upon the loss of Prince Albert. Arthur died in 1833, and a grief-stricken Alfred left Cambridge University, published his second collection of poems then finally published Memoriam 22 years later, marrying his childhood sweetheart Emily Sellwood and taking her suggestion as the title of the poem.

“His political sympathies ranged from liberal to reactionary. He was also tall and was considered handsome, but he was private too, and tended to run away from crowds.”

“He was also proud of his heritage despite a turbulent childhood. Tennyson was born in August 1809 in Somersby to Rev George and Elizabeth Tennyson.”

“His father’s mental health was unstable and his childhood was under an ever-present threat of violence. He was close to his brothers, especially his older brother Charles. The two wrote Poems by Two Brothers, published by a Louth printer in 1827.”

Some of Tennyson’s work even featured Lincolnshire dialect e.g.: in – The Northern Farmer, Old Style – but any trace of an accent was lost when in 1890 the poet’s own voice was recorded onto a wax cylinder reciting Charge of the Light Brigade.

The Victorian era was one of innovation and as well as voice recording, glass plate photography was pioneered from the mid to late 19th century, enabling photographs of Tennyson to be taken such as Julia Margaret Cameron’s 1866 albumen silver print of the poet produced from a glass negative. Works like this have now been digitised and are held by the Society for future generations. It’s exactly this kind of material which enables The Tennyson Society to maintain interest in the poet’s legacy. Dr Jim is currently introducing KS3 school pupils to the poet, and Tennyson’s work has also featured in the University of Lincoln’s English Literature undergraduate programme and in the University’s masters module, Romantic Legacies.

“The Tennyson Society, the Lincolnshire Archives and the University all have a collaborative working relationship,” he says.

“Together, and through exhibitions like Idylls, as well as our AGM with its featured lecturer, our online Tennyson Talks, and the society’s new website, we aim to promote the enjoyment and study of Tennyson’s work for many generations to come!” n