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"In Memoriam"
Selected Text
(Summary and Commentary will focus on the following excerpts)
Prologue
Strong Son of God, immortal Love,
Whom we, that have not seen thy face,
By faith, and faith alone, embrace,
Believing where we cannot prove;
Thine are these orbs of light and shade;
Thou madest Life in man and brute;
Thou madest Death; and lo, thy foot
Is on the skull which thou hast made.
Thou wilt not leave us in the dust:
Thou madest man, he knows not why,
He thinks he was not made to die;
And thou hast made him: thou art just.
Thou seemest human and divine,
The highest, holiest manhood, thou.
Our wills are ours, we know not how;
Our wills are ours, to make them thine.
Our little systems have their day;
They have their day and cease to be:
They are but broken lights of thee,
And thou, O Lord, art more than they.
We have but faith: we cannot know;
For knowledge is of things we see
And yet we trust it comes from thee,
A beam in darkness: let it grow.
Let knowledge grow from more to more,
But more of reverence in us dwell;
That mind and soul, according well,
May make one music as before,
But vaster. We are fools and slight;
We mock thee when we do not fear:
But help thy foolish ones to bear;
Help thy vain worlds to bear thy light.
Forgive what seem'd my sin in me;
What seem'd my worth since I began;
For merit lives from man to man,
And not from man, O Lord, to thee.
Forgive my grief for one removed,
Thy creature, whom I found so fair.
I trust he lives in thee, and there
I find him worthier to be loved.
Forgive these wild and wandering cries,
Confusions of a wasted youth;
Forgive them where they fail in truth,
And in thy wisdom make me wise.
XXVII
Thou comest, much wept for: such a breeze
Compell'd thy canvas, and my prayer
Was as the whisper of an air
To breathe thee over lonely seas.
For I in spirit saw thee move
Thro' circles of the bounding sky,
Week after week: the days go by:
Come quick, thou bringest all I love.
Henceforth, wherever thou may'st roam,
My blessing, like a line of light,
Is on the waters day and night,
And like a beacon guards thee home.
So may whatever tempest mars
Mid-ocean, spare thee, sacred bark;
And balmy drops in summer dark
Slide from the bosom of the stars.
So kind an office hath been done,
Such precious relics brought by thee;
The dust of him I shall not see
Till all my widow'd race be run.
LVI
'So careful of the type?' but no.
From scarped cliff and quarried stone
She cries, `A thousand types are gone:
I care for nothing, all shall go.
'Thou makest thine appeal to me:
I bring to life, I bring to death:
The spirit does but mean the breath:
I know no more.' And he, shall he,
Man, her last work, who seem'd so fair,
Such splendid purpose in his eyes,
Who roll'd the psalm to wintry skies,
Who built him fanes of fruitless prayer,
Who trusted God was love indeed
And love Creation's final law-
Tho' Nature, red in tooth and claw
With ravine, shriek'd against his creed-
Who loved, who suffer'd countless ills,
Who battled for the True, the Just,
Be blown about the desert dust,
Or seal'd within the iron hills?
No more? A monster then, a dream,
A discord. Dragons of the prime,
That tare each other in their slime,
Were mellow music match'd with him.
O life as futile, then, as frail!
O for thy voice to soothe and bless!
What hope of answer, or redress?
Behind the veil, behind the veil.
Summary
Prologue:
The poem begins as a tribute to and invocation of the "Strong Son of God."
Since man, never having seen God's face, has no proof of His existence, he can
only reach God through faith. The poet attributes the sun and moon ("these orbs
or light and shade") to God, and acknowledges Him as the creator of life and
death in both man and animals. Man cannot understand why he was created, but he
must believe that he was not made simply to die.
The Son of God seems both human and divine. Man has control of his own will,
but this is only so that he might exert himself to do God's will. All of man's
constructed systems of religion and philosophy seem solid but are merely
temporal, in comparison to the eternal God; and yet while man can have knowledge
of these systems, he cannot have knowledge of God. The speaker expresses the
hope that "knowledge [will] grow from more to more," but this should also be
accompanied by a reverence for that which we cannot know.
The speaker asks that God help foolish people to see His light. He repeatedly
asks for God to forgive his grief for "thy [God's] creature, whom I found so
fair." The speaker has faith that this departed fair friend lives on in God,
and asks God to make his friend wise.
XXVII:
Here the speaker states that he feels no jealousy for the man who is captured
and does not know what it means to feel true rage, or for the bird that is born
with in a cage and has never spent time outside in the "summer woods."
Likewise, he feels no envy for beasts that have no sense of the passage of time
and no conscience to check their behavior. He also does not envy those who have
never felt pain ("the heart that never plighted troth") or those who
complacently enjoy a leisure that they do not rightfully deserve. Even when he
is in the greatest pain, he still realizes that "'Tis better to have loved and
lost / Than never to have loved at all."
LVI:
After having asserted in Section LV that Nature cares only for the survival of
species ("so careful of the type") and not for the survival of individual lives,
the speaker now questions whether Nature even cares for the species. He quotes
a personified, feminine Nature asserting that she does not attend to the
survival of the species, but arbitrarily bestows life or death on all creatures.
For Nature, the notion of the "spirit" does not refer to any divine, unearthly
element, but rather to the simple act of breathing.
The poet questions whether Man, who prays and trusts in God's love in spite of
the evidence of Nature's brutality ("Nature, red in tooth and claw"), will
eventually be reduced to dust or end up preserved like fossils in rock: "And he,
shall he, Man...Be blown about the desert dust, Or sealed within the iron
hills?" The thought of this evokes a notion of the human condition as
monstrous, and more terrifying to contemplate than the fate of prehistoric
"dragons of the prime." The speaker declares that life is futile and longs for
his departed friend's voice to soothe him and mitigate the effect of Nature's
callousness.
Form
"In Memoriam" consists of 131 smaller poems of varying length. Each short poem
is comprised of isometric stanzas. The stanzas are iambic tetrameter quatrains
with the rhyme scheme ABBA, a form that has since become known as the "In
Memoriam Stanza." (Of course, Tennyson did not invent the form--it appears in
earlier works such as Shakespeare's "The Phoenix and the Turtle"--but he did
produce an enduring and memorable example of it.) With the ABBA rhyme
scheme, the poem resolves itself in each quatrain; it cannot propel itself
forward: each stanza seems complete, closed. Thus to move from one stanza to
the next is a motion that does not come automatically to us by virtue of the
rhyme scheme; rather, we must will it ourselves; this force of will symbolizes
the poet's difficulty in moving on after the loss of his beloved friend Arthur
Henry Hallam.
Commentary
Tennyson wrote "In Memoriam" after he learned that his beloved friend Arthur
Henry Hallam had died suddenly and unexpectedly of a fever at the age of 22.
Hallam was not only the poet's closest friend and confidante, but also the
fiance of his sister. After learning of Hallam's death, Tennyson was
overwhelmed with doubts about the meaning of life and the significance of man's
existence. He composed the short poems that comprise "In Memoriam" over the
course of seventeen years (1833-1849) with no intention of weaving them
together, though he ultimately published them as a single lengthy poem in 1850.
T.S. Eliot called this poem "the most unapproachable of all his [Tennyson's]
poems," and indeed, the sheer length of this work encumbers one's ability to
read and study it. Moreover, the poem contains no single unifying theme,
and its
ideas do not unfold in any particular order. It is loosely organized around
three Christmas sections (28, 78, and 104), each of which marks another year
that the poet must endure after the loss of Hallam. The climax of the poem is
generally considered to be Section 95, which is based on a mystical trance
Tennyson had in which he communed with the dead spirit of Hallam late at night
on the lawn at his home at Somersby.
"In Memoriam" was intended as an elegy, or a poem in memory and praise of one
who has died. As such, it contains all of the elements of a traditional
pastoral elegy such as Milton's "Lycidas," including ceremonial mourning for the
dead, praise of his virtues, and consolation for his loss. Moreover, all
statements by the speaker can be understood as personal statements by the poet
himself. Like most elegies, the "In Memoriam" poem begins with
expressions of
sorrow and grief, followed by the poet's recollection of a happy past spent with
the individual he is now mourning. These fond recollections lead the poet to
question the powers in the universe that could allow a good person to die, which
gives way to more general reflections on the meaning of life. Eventually, the
poet's attitude shifts from grief to resignation. Finally, in the climax, he
realizes that his friend is not lost forever but survives in another, higher
form. The poem closes with a celebration of this transcendent survival.
"In Memoriam" ends with a an epithalamion, or wedding poem, celebrating the
marriage of Tennyson's sister Cecilia to Edmund Lushington in 1842. The poet
suggests that their marriage will lead to the birth of a child who will serve as
a closer link between Tennyson's generation and the "crowning race." This birth
also represents new life after the death of Hallam, and hints at a greater,
cosmic purpose, which Tennyson vaguely describes as "One far-off divine event /
To which the whole creation moves."
Not just an elegy and an epithalamion, the poem is also a deeply philosophical
reflection on religion, science, and the promise of immortality. Tennyson was
deeply troubled by the proliferation of scientific knowledge about the origins
of life and human progress: while he was writing this poem, Sir Charles
Lyell
published his Principles of Geology, which undermined the biblical
creation story, and Robert Chambers published his early evolutionary tract,
Vestiges of the Natural History of Creation. In "In Memoriam," Tennyson
insisted that we hold fast to our faith in a higher power in spite of our
inability to prove God's existence: "Believing where we cannot prove." He
reflects early evolutionary theories in his faith that man, through a process
lasting millions of years, is developing into something greater. In the end,
Tennyson replaces the doctrine of the immortality of the soul with the
immortality of mankind through evolution, thereby achieving a synthesis between
his profound religious faith and the new scientific ideas of his day.
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