Alfred Tennyson: The Critical Legacy Studies in English and American Literature and Culture: Literary Criticism in Perspective Literary Criticism in Perspective About Literary Criticism in Perspective Books in the series Literary Criticism in Perspective trace literary scholarship and criticism on major and neglected writers alike, or on a single major work, a group of writers, a literary school or movement. In so doing the authors — authorities on the topic in question who are also well-versed in the principles and history of literary criticism — address a readership consisting of scholars, students of literature at the graduate and undergraduate level, and the general reader. One of the primary purposes of the series is to illuminate the nature of literary criticism itself, to gauge the influence of social and historic currents on aesthetic judgments once thought objective and normative. Alfred Tennyson The Critical Legacy Laurence W. Mazzeno CAMDEN HOUSE Copyright © 2004 Laurence W. Mazzeno All Rights Reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. First published 2004 by Camden House Camden House is an imprint of Boydell & Brewer Inc. 668 Mt. Hope Avenue, Rochester, NY 14620, USA www.camden-house.com and of Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydell.co.uk ISBN: 1–57113–262–7 Library of Congress Cataloging-in-Publication Data Mazzeno, Laurence W. Alfred Tennyson: the critical legacy / Laurence W. Mazzeno. p. cm. — (Studies in English and American literature and culture. Literary criticism in perspective) Includes bibliographical references and index. ISBN 1–57113–262–7 (hardcover : alk. paper) 1. Tennyson, Alfred Tennyson, Baron, 1809–1892—Criticism and interpretation—History. I. Title. II. Series: Studies in English and American literature, linguistics, and culture (Unnumbered). Literary criticism in perspective PR5587.3.M39 2004 821'.8—dc22 2004012946 A catalogue record for this title is available from the British Library. This publication is printed on acid-free paper. Printed in the United States of America. Contents Acknowledgments vii Introduction 1 1: Tennyson Among His Contemporaries:1827–1892 11 2: A Mixed Legacy: 1892–1916 31 3: Criticism Pro and Con: 1916–1959 65 4: The Tennyson Revival: 1960–1969 104 5: The Height of Critical Acclaim: 1970–1980 127 6: Tennyson Among the Poststructuralists: 1981–1989 149 7: Tennyson Fin-de-Siècle: 1990–2000 175 8: A Twenty-First Century Prospectus 194 Works by Alfred Tennyson 197 Works Cited 199 Index 227 Acknowledgments A S THE CRITICS OF CULTURE are quick to point out, no book is produced in a vacuum, and no author can claim exclusive rights to its preparation. Alfred Tennyson: The Critical Legacy was a project that competed for atten- tion with the students, faculty, and staff of Alvernia College, whose friend- ships I value and to whom I owe much both professionally and personally. Among the many people who assisted me, I feel an obligation to single out Ms. Roberta Rohrbach of the Franco Library at Alvernia, a librarian and re- searcher extraordinaire when it comes to locating copies of long-out-of-print volumes and journals. James Hood of Guilford College, who read the draft of this volume with critical acumen, has helped me immensely, though he is certainly not responsible for any errors or faulty judgments that remain. Fi- nally, I would also like to thank James Walker and James Hardin of Camden House for their willingness to let someone — whose duties as a college president must take precedence over his scholarly pursuits — have the time necessary to work on this project. Introduction IN 1855, CHARLES TENNYSON, Baron d’Eyncourt of Bayons Manor, found himself once more embarrassed by one of his unsuitable relatives. Through- out most of his life he had become accustomed to treating the family of his Uncle George with open disdain. But now he was totally exasperated with his nephew Alfred’s latest volume, Maud, and Other Poems. “Horrid rubbish indeed!” he wrote to a correspondent. “What a discredit it is that British taste and Poetry should have such a representative before the Nations of the Earth and Posterity! For a Laureate will so appear. Posterity will, it is hoped, have a sound judgment on such matters, and if so what an age this must ap- pear when such trash can be tolerated and not only tolerated but enthusiasti- cally admired!” (Ricks 233). Posterity has not come to share Uncle Charles’s judgment. The Bayons branch of the family never reconciled themselves to the fame achieved by their poor relation who had been elevated (quite unfairly in their view) to become England’s poet laureate in 1850. The English public, however, and England’s queen found in Tennyson the voice of their deepest hopes and fears. He was not simply one of England’s poet laureates; in his own day, and for a century after, his name became synonymous with the term. No poet has ever or since been more closely associated with his times than Alfred Tennyson. The Victorians were captivated by his poetry. He could make them weep over the plight of the poor fisherman Enoch Arden or fire their idealism with his portrait of the perfect ruler in his Arthurian epic Idylls of the King. He could stir up controversy with poetic tracts such as The Princess or experimental verse such as Maud. And above all, he could of- fer readers the possibility of hope emerging from grief as he did in his signa- tory accomplishment, In Memoriam A. H. H. As Leonée Ormond observes, when he accepted the invitation to become Queen Victoria’s poet laureate, Tennyson was profoundly aware of the temperament of his countrymen. He did not simply become a poet laureate; rather he became “the greatest of all laureates, the man with whom the title itself will always be most closely asso- ciated” (Ormond 109). He was, as Joanna Richardson describes him in the title of her critical biography, the “pre-eminent Victorian.” Hence, it is not surprising that Tennyson’s reputation has risen, fallen, and risen again as critics during the twentieth century continued to reassess and reinterpret the Victorian Age. His early works were criticized as trivial and introspective by a generation raised to appreciate the poetry of the