No More Learning

Let them so love that men and boys may say,
Lo! how they love each other! till their love
Shall ripen to a proverb unto all,
Known when their faces are forgot in the land.
And as for me, Camilla, as for me,
Think not thy tears will make my name grow green,--
The dew of tears is an unwholesome dew.
The course of Hope is dried,--the life o' the plant--
They will but sicken the sick plant more.
Deem then I love thee but as brothers do,
So shalt thou love me still as sisters do;
Or if thou dream'st aught farther, dream but how
I could have loved thee, had there been none else
To love as lovers, loved again by thee.

Or this, or somewhat like to this, I spoke,
When I did see her weep so ruefully;
For sure my love should ne'er induce the front
And mask of Hate, whom woful ailments
Of unavailing tears and heart deep moans
Feed and envenom, as the milky blood
Of hateful herbs a subtle-fanged snake.
Shall Love pledge Hatred in her bitter draughts,
And batten on his poisons? Love forbid!
Love passeth not the threshold of cold Hate,
And Hate is strange beneath the roof of Love.
O Love, if thou be'st Love, dry up these tears
Shed for the love of Love; for tho' mine image,
The subject of thy power, be cold in her,
Yet, like cold snow, it melteth in the source
Of these sad tears, and feeds their downward flow.
So Love, arraign'd to judgment and to death,
Received unto himself a part of blame.
Being guiltless, as an innocent prisoner,
Who when the woful sentence hath been past,
And all the clearness of his fame hath gone
Beneath the shadow of the curse of men,
First falls asleep in swoon. Wherefrom awaked
And looking round upon his tearful friends,
Forthwith and in his agony conceives
A shameful sense as of a cleaving crime--
For whence without some guilt should such grief be?
So died that hour, and fell into the abysm
Of forms outworn, but not to be outworn,
Who never hail'd another worth the Life
That made it sensible. So died that hour,
Like odour wrapt into the winged wind
Borne into alien lands and far away.
There be some hearts so airy-fashioned,
That in the death of love, if e'er they loved,
On that sharp ridge of utmost doom ride highly
Above the perilous seas of change and chance;
Nay, more, holds out the lights of cheerfulness;
As the tall ship, that many a dreary year
Knit to some dismal sandbank far at sea,
All through the lifelong hours of utter dark,
Showers slanting light upon the dolorous wave.
For me all other Hopes did sway from that
Which hung the frailest: falling, they fell too,
Crush'd link on link into the beaten earth,
And Love did walk with banish'd Hope no more,
It was ill-done to part ye, Sisters fair;
Love's arms were wreathed about the neck of Hope,
And Hope kiss'd Love, and Love drew in her breath
In that close kiss, and drank her whisper'd tales.
They said that Love would die when Hope was gone,
And Love mourned long, and sorrowed after Hope;
At last she sought out memory, and they trod
The same old paths where Love had walked with Hope,
And Memory fed the soul of Love with tears.

II

From that time forth I would not see her more,
But many weary moons I lived alone--
Alone, and in the heart of the great forest.
Sometimes upon the hills beside the sea
All day I watched the floating isles of shade,
And sometimes on the shore, upon the sands
Insensibly I drew her name, until
The meaning of the letters shot into
My brain: anon the wanton billow wash'd
Them over, till they faded like my love.
The hollow caverns heard me--the black brooks
Of the mid-forest heard me--the soft winds,
Laden with thistledown and seeds of flowers,
Paused in their course to hear me, for my voice
Was all of thee: the merry linnet knew me,
The squirrel knew me, and the dragon-fly
Shot by me like a flash of purple fire.
The rough briar tore my bleeding palms; the hemlock,
Brow high, did strike my forehead as I pas'd;
Yet trod I not the wild-flower in my path,
Nor bruised the wild-bird's egg.
Was this the end?
Why grew we then together i' the same plot?
Why fed we the same fountain? drew the same sun?
Why were our mothers branches of one stem?
Why were we one in all things, save in that
Where to have been one had been the roof and crown
Of all I hoped and fear'd? if that same nearness
Were father to this distance, and that _one_
Vauntcourier this _double_? If affection
Living slew Love, and Sympathy hew'd out
The bosom-sepulchre of Sympathy.

Chiefly I sought the cavern and the hill
Where last we roam'd together, for the sound
Of the loud stream was pleasant, and the wind
Came wooingly with violet smells. Sometimes
All day I sat within the cavern-mouth,
Fixing my eyes on those three cypress-cones
Which spired above the wood; and with mad hand
Tearing the bright leaves of the ivy-screen,
I cast them in the noisy brook beneath,
And watch'd them till they vanished from my sight
Beneath the bower of wreathed eglantines:
And all the fragments of the living rock,
(Huge splinters, which the sap of earliest showers,
Or moisture of the vapour, left in clinging,
When the shrill storm-blast feeds it from behind,
And scatters it before, had shatter'd from
The mountain, till they fell, and with the shock
Half dug their own graves), in mine agony,
Did I make bear of all the deep rich moss
Wherewith the dashing runnel in the spring
Had liveried them all over. In my brain
The spirit seem'd to flag from thought to thought,
Like moonlight wandering through a mist: my blood
Crept like the drains of a marsh thro' all my body;
The motions of my heart seem'd far within me,
Unfrequent, low, as tho' it told its pulses;
And yet it shook me, that my frame did shudder,
As it were drawn asunder by the rack.
But over the deep graves of Hope and Fear,
The wreck of ruin'd life and shatter'd thought,
Brooded one master-passion evermore,
Like to a low hung and a fiery sky
Above some great metropolis, earth shock'd
Hung round with ragged-rimmed burning folds,
Embathing all with wild and woful hues--
Great hills of ruins, and collapsed masses
Of thunder-shaken columns, indistinct
And fused together in the tyrannous light.

So gazed I on the ruins of that thought
Which was the playmate of my youth--for which
I lived and breathed: the dew, the sun, the rain,
Unto the growth of body and of mind;
The blood, the breath, the feeling and the motion,
The slope into the current of my years,
Which drove them onward--made them sensible;
The precious jewel of my honour'd life,
Erewhile close couch'd in golden happiness,
Now proved counterfeit, was shaken out,
And, trampled on, left to its own decay.




The Lover's Tale

Sometimes I thought Camilla was no more,
Some one had told me she was dead, and ask'd me
If I would see her burial: then I seem'd
To rise, and thro' the forest-shadow borne
With more than mortal swiftness, I ran down
The sleepy sea-bank, till I came upon
The rear of a procession, curving round
The silver-sheeted bay: in front of which
Six stately virgins, all in white, upbare
A broad earth-sweeping pall of whitest lawn,
Wreathed round the bier with garlands: in the distance,
From out the yellow woods, upon the hill,
Look'd forth the summit and the pinnacles
Of a grey steeple. All the pageantry,
Save those six virgins which upheld the bier,
Were stoled from head to foot in flowing black;
One walk'd abreast with me, and veiled his brow,
And he was loud in weeping and in praise
Of the departed: a strong sympathy
Shook all my soul: I flung myself upon him
In tears and cries: I told him all my love,
How I had loved her from the first; whereat
He shrunk and howl'd, and from his brow drew back
His hand to push me from him; and the face
The very face and form of Lionel,
Flash'd through my eyes into my innermost brain,
And at his feet I seemed to faint and fall,
To fall and die away. I could not rise,
Albeit I strove to follow. They pass'd on,
The lordly Phantasms; in their floating folds
They pass'd and were no more: but I had fall'n
Prone by the dashing runnel on the grass.

Always th' inaudible, invisible thought
Artificer and subject, lord and slave
Shaped by the audible and visible,
Moulded the audible and visible;
All crisped sounds of wave, and leaf and wind,
Flatter'd the fancy of my fading brain;
The storm-pavilion'd element, the wood,
The mountain, the three cypresses, the cave,
Were wrought into the tissue of my dream.
The moanings in the forest, the loud stream,
Awoke me not, but were a part of sleep;
And voices in the distance, calling to me,
And in my vision bidding me dream on,
Like sounds within the twilight realms of dreams,
Which wander round the bases of the hills,
And murmur in the low-dropt eaves of sleep,
But faint within the portals. Oftentimes
The vision had fair prelude, in the end
Opening on darkness, stately vestibules
To cares and shows of Death; whether the mind,
With a revenge even to itself unknown,
Made strange division of its suffering
With her, whom to have suffering view'd had been
Extremest pain; or that the clear-eyed Spirit,
Being blasted in the Present, grew at length
Prophetical and prescient of whate'er
The Future had in store; or that which most
Enchains belief, the sorrow of my spirit
Was of so wide a compass it took in
All I had loved, and my dull agony.
Ideally to her transferred, became
Anguish intolerable.
The day waned;
Alone I sat with her: about my brow
Her warm breath floated in the utterance
Of silver-chorded tones: her lips were sunder'd
With smiles of tranquil bliss, which broke in light
Like morning from her eyes--her eloquent eyes
(As I have seen them many hundred times),
Fill'd all with clear pure fire, thro' mine down rain'd
Their spirit-searching splendours. As a vision
Unto a haggard prisoner, iron-stay'd
In damp and dismal dungeons underground
Confined on points of faith, when strength is shock'd
With torment, and expectancy of worse
Upon the morrow, thro' the ragged walls,
All unawares before his half-shut eyes,
Comes in upon him in the dead of night,
And with th' excess of sweetness and of awe,
Makes the heart tremble, and the eyes run over
Upon his steely gyves; so those fair eyes
Shone on my darkness forms which ever stood
Within the magic cirque of memory,
Invisible but deathless, waiting still
The edict of the will to reassume
The semblance of those rare realities
Of which they were the mirrors. Now the light,
Which was their life, burst through the cloud of thought
Keen, irrepressible.
It was a room
Within the summer-house of which I spoke,
Hung round with paintings of the sea, and one
A vessel in mid-ocean, her heaved prow
Clambering, the mast bent, and the revin wind
In her sail roaring. From the outer day,
Betwixt the closest ivies came a broad
And solid beam of isolated light,
Crowded with driving atomies, and fell
Slanting upon that picture, from prime youth
Well-known, well-loved. She drew it long ago
Forth gazing on the waste and open sea,
One morning when the upblown billow ran
Shoreward beneath red clouds, and I had pour'd
Into the shadowing pencil's naked forms
Colour and life: it was a bond and seal
Of friendship, spoken of with tearful smiles;
A monument of childhood and of love,
The poesy of childhood; my lost love
Symbol'd in storm. We gazed on it together
In mute and glad remembrance, and each heart
Grew closer to the other, and the eye
Was riveted and charm-bound, gazing like
The Indian on a still-eyed snake, low crouch'd
A beauty which is death, when all at once
That painted vessel, as with inner life,
'Gan rock and heave upon that painted sea;
An earthquake, my loud heartbeats, made the ground
Roll under us, and all at once soul, life,
And breath, and motion, pass'd and flow'd away
To those unreal billows: round and round
A whirlwind caught and bore us; mighty gyves,
Rapid and vast, of hissing spray wind-driven
Far through the dizzy dark. Aloud she shriek'd--
My heart was cloven with pain. I wound my arms
About her: we whirl'd giddily: the wind
Sung: but I clasp'd her without fear: her weight
Shrank in my grasp, and over my dim eyes
And parted lips which drank her breath, down hung
The jaws of Death: I, screaming, from me flung
The empty phantom: all the sway and whirl
Of the storm dropt to windless calm, and I
Down welter'd thro' the dark ever and ever.




Index to First Lines


A gate and a field half ploughed
All thoughts, all creeds, all dreams, are true
Angels have talked with him and showed him thrones
As when a man, that sails in a balloon
Blow ye the trumpets, gather from afar
But she tarries in her place
Check every outflash, every ruder sally
Could I outwear my present state of woe
Ere yet my heart was sweet Love's tomb
Every day hath its night
First drink a health, this solemn night
God bless our Prince and Bride
Heaven weeps above the earth all night
Here far away, seen from the topmost cliff
His eyes in eclipse
Home they brought him slain with spears
How much I love this writer's manly style
How often, when a child I lay reclined
I am any man's suitor
I stood on a tower in the wet
I stood upon the Mountain which o'erlooks
I' the glooming light
Me my own fate to lasting sorrow doometh
My Rosalind, my Rosalind
O darling room, my heart's delight
Oh, Beauty, passing beauty! sweetest sweet!
Oh, go not yet, my love
O maiden fresher than the first green leaf
O sad _No more_! O sweet _No more_
O thou whose fringed lids I gaze upon
Rise, Britons, rise, if manhood be not dead
Sainted Juliet! dearest name
Shall the hag Evil die with the child of Good
Sure never yet was Antelope
The lintwhite and the throstlecock
The Northwind fall'n in the new starred night
The pallid thunderstricken sigh for gain
There are three things that fill my heart with sighs
Therefore your halls, your ancient colleges
There is no land like England
The varied earth, the moving heaven
Thou, from the first, unborn, undying love
Though Night hath climbed her peak
Two bees within a chrystal flowerbell rocked
Voice of the summerwind
We have had enough of motion
We know him, out of Shakespeare's art
What time I wasted youthful hours
Where is the Giant of the Sun, which stood
Who can say
Who fears to die? Who fears to die
With roses musky breathed
You cast to ground the hope which once was mine
You did late review my lays
Your ringlets, your ringlets







End of the Project Gutenberg EBook of The Suppressed Poems of Alfred Lord
Tennyson, by Alfred Lord Tennyson

*** END OF THIS PROJECT GUTENBERG EBOOK POEMS TENNYSON ***

***** This file should be named 14094-8. txt or 14094-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. net/1/4/0/9/14094/

Produced by Jonathan Ingram, Cori Samuel and the PG Online Distributed
Proofreading Team.


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. net/license).


Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.

1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.

1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1. E. Unless you have removed all references to Project Gutenberg:

1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. net

1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.

1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.

1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.

1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.

1. F.

1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.
If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www. pglaf. org.


Section 3. Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf. org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U. S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712. , but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf. org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf. org

For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf. org


Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf. org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: http://pglaf. org/donate


Section 5. General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U. S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

http://www. gutenberg. net

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
? The Project Gutenberg EBook of Tales from Tennyson, by Molly K. Bellew

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org


Title: Tales from Tennyson

Author: Molly K. Bellew

Illustrator: H. S. Campbell

Release Date: March 18, 2011 [EBook #35598]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK TALES FROM TENNYSON ***




Produced by D Alexander, Peter Vickers, Juliet Sutherland
and the Online Distributed Proofreading Team at
http://www. pgdp. net






[Illustration: THREE TIMES THEY BROKE SPEARS]

TALES FROM TENNYSON

BY
MOLLY K. BELLEW

EDITOR OF
"TALES FROM LONGFELLOW"
"DICKENS' CHRISTMAS STORIES FOR CHILDREN"
ETC. , ETC.

ILLUSTRATED BY H. S. CAMPBELL

NEW YORK AND BOSTON
H. M. CALDWELL CO.
PUBLISHERS




COPYRIGHT, 1902
BY
JAMIESON-HIGGINS CO.




CONTENTS.


The Coming of King Arthur 9

Gareth and Lynette 29

The Marriage of Geraint 46

Geraint's Quest of Honor 64

Merlin and Vivien 85

Balin and Balan 95

Lancelot and Elaine 104

The Holy Grail 119

Pelleas and Ettarre 132

The Last Tournament 142

The Passing of Arthur 150




To my Young Readers.


Alfred Lord Tennyson was the typically English poet, and none, perhaps
not even Shakespeare, has appealed so keenly to the human heart. No
other man's poems have caused as many readers to shed tears of sympathy
nor have awakened higher sentiments in the human heart. The critics
agree in pronouncing him the ideal poet laureate. In his "Idylls from
the King" are found the loftiest and proudest deeds of English history
and even in the retelling of these in prose the high spirit that is an
inspiration to the noblest deeds cannot fail to be preserved.

MOLLY K. BELLEW.




THE COMING OF KING ARTHUR.


Over a thousand years ago everybody was talking about the wonderful King
Arthur and his brilliant Knights of the Round Table, who everywhere were
pursuing bold quests, putting to rout the band of outlaws and robbers
which in those days infested every highway and by-way of the country,
going to war with tyrannical nobles, establishing law and order among
the rich, redressing the wrongs of women, the poor and the oppressed,
and winning glorious renown for their valor and their successes.

That was in England which at that time was not England as it is today,
all one kingdom under a single ruler, but was divided into many bits of
kingdoms each with its own king and all warring against each other.
Arthur's kingdom was the most unpeaceful of all. This was because for
twenty years or more, ever since the death of old King Uther, the
country had been without a ruler. Old King Uther had died about a score
of years before without leaving an heir to the throne, and all the
nobles of the realm had immediately gone to war with one another each
trying to get the most land and each trying to get the throne for
himself.

[Illustration: OLD MERLIN APPEARS. ]

Suddenly, however, old Merlin, the wizard who had been King Uther's
magician, appeared one day in the royal council hall with a handsome
young man, Arthur, and declared him to be the king of the realm. Arthur
was crowned and for a time the nobles were quiet, for he ruled with a
strong hand of iron, put down all the evils in his kingdom and
everywhere gave it peace and order. People in every part of the island
sent for him and his knights, begging him to come to help them out of
their difficulties. But presently the nobles became troublesome again;
they said that Arthur was not the true king, that he was not the son of
Uther and that, therefore, he had no right to reign over them. So there
was fighting and unrest again, and in the midst of it Leodogran, the
king of the Land of Cameliard, asked Arthur to come with his knights and
drive away the enemies besetting him on every side. The country of
Cameliard had gone to waste and ruin, because of the continual warfare
that was waged with the kings that lived in the little neighboring
countries and a mass of wild-eyed foreign heathen peoples who invaded
the land. And so it happened that Cameliard was ravaged with battles,
its strong men were cut down with the sword and wild dogs, wolves, and
bears from the tangled weeds came rooting up the green fields and
wallowing into the palace gardens. Sometimes the wolves stole little
children from the villages and nursed them like their own cubs, until
finally these children grew up into a race of wolf-men who molested the
land worse than the wolves themselves. Then another king fought
Leodogran, and at last the heathen hordes came swarming from over the
seas and made all the earth red with his soldiers' blood, and they made
the sun red with the smoke of the burning homes of his people.

Leodogran simply did not know which way to turn for help until at last
he thought of young Arthur of the Round Table who recently had been
crowned king. So Leodogran sent for Arthur beseeching him to come and
help him, for between the men and the beasts his country was dying.

[Illustration: PRINCESS GUINEVERE. ]

King Arthur and his men welcomed the chance and went at once into the
Land of Cameliard to drive away the heathen marauders. As he marched
with his men past the castle walls, pretty Princess Guinevere stood
outside to watch the glittering soldiers go by. Among so many richly
dressed knights she did not particularly notice Arthur, for he wore
nothing to show that he was king, although his kingly bearing and brave
forehead might suggest leadership. But no royal arms were engraved upon
his helmet or his shield, and he carried simple weapons not nearly so
gorgeously emblazoned as those of some of the others.

[Illustration: HE LED HIS WARRIORS BOLDLY. ]

Although Guinevere did not see the fair young King, Arthur spied her
beside the castle wall; he felt the light of her beautiful eyes
glimmering out into his heart and setting it all aflame with a fire of
love for her.

He led his warriors boldly to the forests where they pitched their
tents, then fought all the heathen until they scampered away to their
own territories, he slew the frightful wild beasts that had plundered
the fields, cut down the forest trees so as to open out roads for the
people of Cameliard to pass over from one part of their land to the
other, then he traveled quietly away with his men, back to fight his own
battles in his own country. For there was fighting everywhere in those
days. But all the time in Arthur's heart, while he was doing those
wonderful things for Leodogran, he was thinking still, not of Leodogran,
but of the lovely Guinevere, and yearning for her.

If only she could be his queen he thought they two together could rule
on his throne as one strong, sweet, delicious life, and could exert a
mighty power over all his people to make them good and wise and happy.
Each day increased his love until he could not bear even to think for a
moment of living without her. So from the very field of battle, while
the swords were flashing and clashing about him, as he fought the barons
and great lords who had risen up against him, Arthur dispatched three
messengers to Leodogran, the King of Cameliard.

These three messengers were Ulfius, Brastias and Bedivere, the very
first knight Arthur had knighted upon his throne. They went to Leodogran
and said that if Arthur had been of any service to him in his recent
troubles with the heathen and the wild beasts, he should give the
Princess Guinevere to be Arthur's wife as a mark of his good will.

[Illustration: ARTHUR DISPATCHED THREE MESSENGERS TO LEODOGRAN. ]

Well, when they had said this, Leodogran did not know what to do any
better than when the heathen and the beasts had come upon him. For while
he thought Arthur a very bold soldier and a very fine man, and, although
he felt very grateful indeed to him for all the great things he had
done, still he was not certain that Guinevere ought to marry him. For,
as Guinevere was the daughter of a king she should become the wife of
none but the son of a king. And Leodogran did not know precisely who
this King Arthur was; but he did know that the barons of Arthur's court
had burst out into this uproar against him because they said he was not
their true king and not the son of King Uther who had reigned before
him. Some of them declared him to be the child of Gerlois, and others
avowed that Sir Anton was his father.

As poor, puzzled Leodogran knew nothing about the matter himself, he
sent for his gray-headed trusty old chamberlain, who always had good
counsel to give him in any dilemma; and he asked the chamberlain whether
he had heard anything certainly as to Arthur's birth. The chamberlain
told him that there were just two men in all the world who knew the
truth with respect to Arthur and where he had come from, and that both
these men were twice as old as himself. One of them was Merlin the
wizard, the other was Bleys, Merlin's teacher in magic, who had written
a book of his renowned pupil's wonders, which probably related
everything regarding the secret of Arthur's birth.

"If King Arthur had done no more for me in my wars than you have just
now in my present trouble," the king answered the chamberlain, "I would
have died long ago from the wild beasts and the heathen. Send me in
Ulfius and Brastias and Bedivere again. "

So the chamberlain went out and Arthur's three men came into Leodogran
who spoke to them this way: "I have often seen a big cuckoo chased by
little birds and understood why such tiny birds plagued him so, but why
are the nobles in your country rebelling against their king and saying
that he is not the son of a king. Tell me whether you yourselves think
he is the child of King Uther. "

[Illustration: SIR KING, THERE ARE ALL SORTS OF STORIES ABOUT THAT. ]

Ulfius and Brastias answered immediately "yes," but Bedivere, the first
of all Arthur's knights, became very bold when anyone slandered his
sovereign and he replied: "_Sir King, there are all sorts of stories
about that_; some of the nobles hate him just because he is good and
they are wicked; they cry out that he is no man because his ways are
gentler than their rough manners, while others again think he must be
an angel dropped from heaven. But I will tell you the facts as I know
them, King Uther and Gerlois were rivals long ago; they both loved
Ygerne. And she was the wife of Gerlois and had no sons, but three
daughters, one of them the Queen of Orkney who has clung to Arthur like
a sister. The two rivals, Gerlois and Uther went to war with each other
and Gerlois was killed in battle; then Uther quickly married the winsome
Ygerne, the widow of Gerlois, for he loved her dearly and impatiently.
In a few months Uther died, and on that very night of his death Arthur
was born. And as soon as he was born they carried him out by a secret
back gateway to Merlin the magician, to be brought up far away from the
court so that no one would hear about him until he was grown up ready to
sit upon Uther's, his father, throne.

"For those were wild lords in those years just like these of today,
always struggling for the rule, and they would have shattered the
helpless little prince to pieces had they known about him. So Merlin
took the baby and gave him over to old Sir Anton, a friend of Uther's,
and Sir Anton's wife tended Arthur with her own little ones so that
nobody knew who he was or where he had come from. But while the prince
was growing up the kingdom went to weed; the great lords and barons were
fighting all the time among themselves and nobody ruled. But during this
present year Arthur's time for ascending the throne had come, so Merlin
brought him from out of his hiding place, set him in the palace hall and
cried out to all the lords and ladies, 'This is Uther's heir, your
king! ' Of course, none of them would have that. A hundred voices cried
back immediately: 'Away with him! he is no king of ours, that's the son
of Gerlois, or else the child of Anton, and no king. '

"In spite of this opposition Merlin was so crafty and clever he won the
day for the people, who were clamoring for a king and were glad to see
Arthur crowned. But after it all was over the lords banded together and
broke out in open war against Arthur. That is the whole story of this
war. "

Although pleased with Bedivere's good account of Arthur, yet when it was
ended Leodogran scarcely felt satisfied. Was Bedivere right, he thought
to himself, or were the barons right? As he sat pondering over
everything in his palace, _three great visitors came to the castle_;
these were the Queen of Orkney, the daughter of Gerlois and Ygerne, with
her two sons, Gawain and Modred. Leodogran made a great feast for them
and while entertaining them at table remembered what Bedivere had said
about Arthur and this queen. So he turned to the queen and remarked:

[Illustration: THREE VISITORS TO THE CASTLE. ]

"An insecure throne is no better than a mass of ice in a summer's sea;
it all melts away. You are from Arthur's court; tell me, do you think
this king with his few loyal Knights of the Round Table can triumph over
the rebellious lords, and keep his throne? "

"O King, they are few indeed," the Queen of Orkney cried, "but so bold
and true, and all of one mind with him. I was there at the coronation
when the savage yells of the nobles died away, and Arthur sat crowned
upon the dais with all his knights gathered round him to do his service
for him forever. Arthur in low, deep tones, with simple words of great
authority bound them to him with such wonderfully rigid vows that when
they rose from their knees one after the other, some of them looked as
pale as if a ghost had passed by them, others were flushed in their
faces, and yet others seemed dazed and blind with their awe as if not
fully awake. Then he spoke to them, cheering them with divine words that
are far more than my tongue can ever tell you, and while he spoke every
face flashed, for just a moment with his likeness, and from the crucifix
above, three rays in green, blue, scarlet, streamed across upon the
bright, sweet faces of the three tall fair queens, his friends who stood
silently beside his throne, and who will always be ready to help him if
he is in need.

"Merlin, the magician, came there too, with his hundred years of art
like so many hands of vassals to wait upon the young king. Near Merlin
stood the mystical, marvelous Lady of the Lake, who knows a deeper magic
than Merlin's own, dressed in white. A mist of incense curled all about
her and her face was fairly hidden in the dim gloom. But when the holy
hymns were sung a voice like flowing waters sounded through the music.
It was the voice of the Lady of the Lake who lives in the lowest waters
of the lake where it is always calm, no matter what storms may blow over
the earth and who when the waves tumble and roll above her can walk out
upon their crests just as our Lord did.

"_It was she who gave Arthur his remarkable sword_ Excalibur, with its
hilt like a cross wherewith he drove away the heathen for you. That
strange sword rose up from out the bosom of the lake, and Arthur rowed
over in a little boat and took it. The sword is incrusted with rich
jewels on the hilt, with a blade so bright that men are blinded by it.
On one side the words 'Take me' are graven upon it in the oldest
language of the world, while on the other side the words 'Cast me away'
are carved in the tongue that you speak.

[Illustration: SHE GAVE ARTHUR HIS REMARKABLE SWORD]

"Arthur became very sad when he saw the second inscription, but Merlin
advised him to take the beautiful blade and use it; he told him that now
was the time to strike and that the time to cast away was very, very far
off. So Arthur took the tremendous sword and with it he will beat down
his enemies, King Leodogran. "

Leodogran was pleased with the queen's words, but he wished to test the
story Bedivere had told him, so he looked into her eyes narrowly as he
observed, with a question in his tones, "The swallow and the swift are
very near kin, but you are still closer to this noble prince as you are
his own dear sister. "

"I am the daughter of Gerlois and Ygerne," she answered.

"Yes, that is why you are Arthur's sister," the king returned still
questioningly.

"These are secret things," the Queen of Orkney replied, and she motioned
with her hand for her two sons to leave her alone in the room with the
king.

Gawain immediately skipped away singing, his hair flying after and
frolicked outside like a frisky pony, _but cunning Modred laid his ear
close beside the door to listen_, so that he half heard all the strange
story his mother told the king. This is what the queen said in the
beginning to the king.

[Illustration: CUNNING MODRED BESIDE THE DOOR TO LISTEN]

"What should I know about it? For my mother's hair and eyes were dark,
and so were the eyes and hair of Gerlois, and Uther was dark too, almost
black, but the King Arthur is fairer than anyone else in Britain.
However, I remember how my mother used often to weep and say, 'O that
you had some brother, pretty little one, to guard you from the rough
ways of the world. "

"Yes? She said that? " Leodogran rejoined, "but when did you see Arthur
first? "

"O king, I will tell you all about it," cried the Queen of Orkney. "Once
when I was a little bit of a girl and had been beaten for some childish
fault that I had not committed, I ran outside and flung myself on a
grassy bank and hated all the world and everything in it, and wished I
were dead. But all of a sudden little Arthur stood by my side. I don't
know how he came or anything about it.