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LXVII. In fancy, at night, I see the tablet over Arthur's grave in the
LXVIII. In my dreams he is not dead. See note at bottom of page 148.
1. Sleep, Death's twin-brother. See note on Adonais, vii. 7, page 139. LXIX. A dream. LXX. Out of the shadowiness of dreams Arthur's fair face appears and
drives all phantoms away. LXXI. Recollections of one pleasant episode in our lives. LXXII. Anniversary of Arthur's death. A stormy, dreary day in autumn
again. Compare with xcix. LXXIII. Fame. He lived not to achieve it — and why should he?
Compare with Lycidas, 78. LXXIV. A simile. His family likeness to the good and great. LXXV. His deeds while here were potential, but certainly, somewhere,
he is now making his power active. Compare this and the next two flights with Shakespeare, Sonnet 17:
“Who will believe my verse in time to come,
If it were filled with your most high deserts?
LXXVI. Fame at its best is transient.
LXXVII. These verses may be but short-lived, yet what of that? I sing
for love, and not for fame.
LXXVIII. The second Christmas. Compare with xxviii., xxix., above. 4.
Grief is not so poignant as it was a year ago. LXXIX. The closeness of our friendship. Here begins a series of verses in which the poet musingly reviews the
loving relationship which existed between him and Arthur. LXXX. Suppose he had lived and I had died.
LXXXI. My love for him has been made mature through his death.
All else is well.
3. See Lycidas, 142-151; also note 16, page 34. LXXXIV. Visions of what might have been.
3. See vi. 7, and the note to the same. LXXXV. After all, another friendship is not impossible. 25. clasping brother-hands. This poem is probably addressed to
Tennyson's brother-in-law (husband of Arthur's betrothed), and if
so, must have been written at least seven years after Hallam's death. LXXXVI. The coming of Spring brings hallowed influences, and whispers
2. high-built organs. Compare with Milton, Il Penseroso, 161:
There let the pealing organ blow
LXXXVIII. The contrast of fierce and secret joy in the song of the
nightingale. See Keats's Ode to a Nightingale. 3. See Locksley Hall :
" Love took up the harp of life, and smote on all the chords with might." LXXXIX. Memoirs of country delights.
6. Tuscan poets. Dante, Petrarch. XC. A change of circumstances may make return of the dead to life
undesirable to some, but never would his return be unwelcome to me. XCI. Both spring and summer bring glad remembrances of him, and
seem to bid him come back.
XCII. And yet even should he return in visible spirit-form, I could hardly
XCIII. Oh, that our spirits might at least have some sort of communion.
2. Compare with this from Aylmer's Field :
"Star to star vibrates light: may soul to soul
XCIV. Only the pure in heart can hold communion with the dead.
XCV. Another reminiscence called up by reading his letters one night
while tenting in the fields. 7. defying change. See Shakespeare, Sonnet 123: —
“No, Time, thou shalt not boast that I do change,
Thy registers and thee, I both defy." 5. from me and night. Compare with Gray's Elegy, 4. XCVI. Doubt and faith.
6. Sinai's peaks of old. See Exodus xxxii. 1-4. XCVII. The love of faith.
XCVIII. Vienna, the city of his death.
CI. On leaving the home of childhood. Tennyson left his ancestral home
about the year 1835, and this division of the poem was probably
written at that time. 3. lesser wain. The constellation Ursa Major, or the Great Bear,
is frequently called “Charles's wain” (probably from ceorles wain, the countryman's wagon). Tennyson doubtless resers here to the constellation Ursa Minor, or the Little Bear.
CII. The remembrances which make the old home so dear are of two
kinds. 2. Two spirits, etc. See Shakespeare, Sonnet 144:
“ Two loves I have of comfort and despair,
Which like two spirits do suggest me still.” CIII. The last night in my childhood's home, and what I dreamed. “The vision presents the thought that, his memory going with us, the
spirit of all that is wise and good and graceful sails with us in the
life-voyage.” Robertson. CIV. The approach of Christmas. Strange Christmas bells. CV. The third Christmas eve. In a new house, and among strange
associations. Compare with xxviii. and lxxviii. CVI. The bells of the New Year. CVII. Celebration of Arthur's birthday.
However bitter the winter weather, let us keep the day with festal cheer.
CVIII. The wisdom which sorrow brings.
CIX. Arthur's distinctive characteristics.
CX. His influence over his associates.
CXI. A true gentleman he was in heart and life:
“ The rank is but the guinea's stamp,
CXII. The growth of his intellectual power.
ter in which to knowledge was added reverence and charity, - and
CXV. The coming of spring. Compare with xxxviii.
meeting 3. All the courses of the suns. Compare with Shakespeare, Sonnet
59: “Five hundred courses of the sun.” CXVIII. The evolution of man from the lower forms of nature is but an
indication that his upward progress will continue. 1. dying Nature's earth and lime. Compare with
“ Before the little ducts began
To feed the bones with lime." Two Voices, 326. CXIX. Another visit to the house which was Arthur's home. Compare
CXX. Man is not “a greater ape.” He is born for higher things. 1. Like Paul with beasts. See I Corinthians xv. 32. This poem was
written before the enunciation of the doctrine of evolution by Darwin, probably soon after the publication of The Vestiges of the Natural History of Creation (1844), which had produced much
discussion on this and kindred themes. CXXI. The evening and the morning star. As Hesper, the evening star,
changes in time to Phosphor, the morning star, so my grief has
changed from despair to hope. See ix., above. CXXII. Did Arthur know of my despair and wretchedness? Then let
him be with me now in my feeling of blessedness,
1. Compare with Shakespeare, Sonnet 64:
“When I have seen the hungry ocean gain
CXXIII. The great changes which have taken place on earth, yet no
change can make me think our separation final.
CXXIV. An answer to the sceptic's doubts. Do we ask, Where is God?
We feel Him, know Him, in our inmost hearts. 5. See liv. 5.
CXXV. In all these sorrowing verses, Hope and Love have been present;
for it was he that “ breathed the spirit of the song.” 2. Compare with Shakespeare, Sonnet 72:
"Unless you would devise some virtuous lie,
CXXVI. The majesty of Love.
CXXVII. All is well. All is moving on towards God. 2. fool-fury of the Seine. The French revolution. We infer from
the expression “ thrice again ” that he has in mind three revolutions. If so, this poem must have been written about the time of the popular uprising in 1848 and the dethronement of Louis Philippe.
CXXVIII. Love conquers doubt.
CXXIX. The ennobling power of the friendship which I have for him.
2. Sweet human hand, etc. Compare with, —
“In the blazon of sweet beauty's best,
Shakespeare, Sonnet 106.
CXXX. He is now a universal presence.
2. I do not therefore love thee less. Compare with, –
"I love not less though less the show appear."
Shakespeare, Sonnet 102. ÇXXXI. A prayer for spiritual strength,