curiosity shop with the Phidian Marbles。〃 Tennyson's poems 〃being
clear to the bottom as well as beautiful； do not seem to cockney eyes
so deep as muddy waters。〃
In November 1870 The Last Tournament was begun； it was finished in
May 1871。 Conceivably the vulgar scandals of the last days of the
French Imperial regime may have influenced Tennyson's picture of the
corruption of Arthur's Court； but the Empire did not begin； like the
Round Table； with aspirations after the Ideal。 In the autumn of the
year Tennyson entertained； and was entertained by； Mr Huxley。 In
their ideas about ultimate things two men could not vary more widely；
but each delighted in the other's society。 In the spring of 1872
Tennyson visited Paris and the ruins of the Louvre。 He read Victor
Hugo； and Alfred de Musset； whose comedies he admired。 The little
that we hear of his opinion of the other great poet runs to this
effect； 〃Victor Hugo is an unequal genius； sometimes sublime； he
reminds one that there is but one step between the sublime and the
ridiculous；〃 but the example by which Tennyson illustrated this was
derived from one of the poet's novels。 In these we meet not only the
sublime and the ridiculous； but passages which leave us in some
perplexity as to their true category。 One would have expected Hugo's
lyrics to be Tennyson's favourites； but only Gastibelza is mentioned
in that character。 At this time Tennyson was vexed by
〃Art with poisonous honey stolen from France；〃
a phrase which cannot apply to Hugo。 Meanwhile Gareth was being
written； and the knight's song for The Coming of Arthur。 Gareth and
Lynette； with minor pieces； appeared in 1872。 Balin and Balan was
composed later； to lead up to Vivien； to which； perhaps； Balin and
Balan was introduction sufficient had it been the earlier written。
But the Idylls have already been discussed as arranged in sequence。
The completion of the Idylls； with the patriotic epilogue； was
followed by the offer of a baronetcy。 Tennyson preferred that he and
his wife 〃should remain plain Mr and Mrs；〃 though 〃I hope that I have
too much of the old…world loyalty not to wear my lady's favours
against all comers； should you think that it would be more agreeable
to her Majesty that I should do so。〃
The Idylls ended； Tennyson in 1874 began to contemplate a drama；
choosing the topic； perhaps neither popular nor in an Aristotelian
sense tragic； of Mary Tudor。 This play was published； and put on the
stage by Sir Henry Irving in 1875。 Harold followed in 1876； The Cup
in 1881 （at the Lyceum）； The Promise of May （at the Globe） in 1882；
Becket in 1884； with The Foresters in 1892。 It seems best to
consider all the dramatic period of Tennyson's work； a period reached
so strangely late in his career； in the sequence of the Plays。 The
task is one from which I shrink； as conscious of entire ignorance of
the stage and of lack of enthusiasm for the drama。 Great dramatic
authors have； almost invariably； had long practical knowledge of the
scenes and of what is behind them。 Shakespeare and his
contemporaries； Moliere and his contemporaries； had lived their lives
on the boards and in the foyer； actors themselves； or in daily touch
with actors and actresses。 In the present day successful playwrights
appear to live much in the world of the players。 They have practical
knowledge of the conventions and conditions which the stage imposes。
Neither Browning nor Mr Swinburne （to take great names） has had； it
seems； much of this practical and daily experience； their dramas have
been acted but rarely； if at all； and many examples prove that
neither poetical genius nor the genius for prose fiction can enable
men to produce plays which hold their own on the boards。 This may be
the fault of public taste； or partly of public taste； partly of
defect in practical knowledge on the side of the authors。 Of the
stage； by way of practice； Tennyson had known next to nothing； yet
his dramas were written to be acted； and acted some of them were。
〃For himself； he was aware；〃 says his biographer； 〃that he wanted
intimate knowledge of the mechanical details necessary for the modern
stage； although in early and middle life he had been a constant
playgoer； and would keenly follow the action of a play； criticising
the characterisation； incidents； scenic effects； situations；
language； and dramatic points。〃 He was quite prepared to be 〃edited〃
for acting purposes by the players。 Miss Mary Anderson says that 〃he
was ready to sacrifice even his MOST beautiful lines for the sake of
a real dramatic effect。〃
This proved unusual common…sense in a poet。 Modern times and manners
are notoriously unfavourable to the serious drama。 In the age of the
Greek tragedians； as in the days of 〃Eliza and our James；〃 reading
was not very common； and life was much more passed in public than
among ourselves； when people go to the play for light recreation； or
to be shocked。 So various was the genius of Tennyson； that had he
devoted himself early to the stage； and had he been backed by a
manager with the enterprise and intelligence of Sir Henry Irving； it
is impossible to say how much he might have done to restore the
serious drama。 But we cannot regret that he was occupied in his
prime with other things； nor can we expect to find his noblest and
most enduring work in the dramatic experiments of his latest years。
It is notable that； in his opinion； 〃the conditions of the dramatic
art are much more complex than they were。〃 For example； we have 〃the
star system；〃 which tends to allot what is； or was； technically
styled 〃the fat；〃 to one or two popular players。 Now； a poet like
Tennyson will inevitably distribute large quantities of what is most
excellent to many characters； and the consequent difficulties may be
appreciated by students of our fallen nature。 The poet added that to
be a first…rate historical playwright means much more work than
formerly； seeing that 〃exact history〃 has taken the part of the
〃chance chronicle。〃
This is a misfortune。 The dramas of the Attic stage； with one or two
exceptions； are based on myth and legend； not on history； and even in
the Persae； grounded on contemporary events； AEschylus introduced the
ghost of Darius； not vouched for by 〃exact history。〃 Let us conceive
Shakespeare writing Macbeth in an age of 〃exact history。〃 Hardly any
of the play would be left。 Fleance and Banquo must go。 Duncan
becomes a young man； and far from 〃gracious。〃 Macbeth appears as the
defender of the legitimist prince； Lulach； against Duncan； a usurper。
Lady Macbeth is a pattern to her sex； and her lord is a clement and
sagacious ruler。 The witches are ruled out of the piece。
Difficulties arise about the English aid to Malcolm。 History； in
fact； declines to be dramatic。 Liberties must be taken。 In his
plays of the Mary Stuart cycle； Mr Swinburne telescopes the affair of
Darnley into that of Chastelard； which was much earlier。 He makes
Mary Beaton （in love with Chastelard） a kind of avenging fate； who
will never leave the Queen till her head falls at Fotheringay；
though； in fact； after a flirtation with Randolph； Mary Beaton
married Ogilvy of Boyne （really in love with Lady Bothwell）； and not
one of the four Maries was at Fotheringay。 An artist ought to be
allowed to follow legend； of its essence dramatic； or to manipulate
history as he pleases。 Our modern scrupulosity is pedantic。 But
Tennyson read a long list of books for his Queen Mary； though it does
not appear that he made original researches in MSS。 These labours
occupied 1874 and 1875。 Yet it would be foolish to criticise his
Queen Mary as if we were criticising 〃exact history。〃 〃The play's
the thing。〃
The poet thought that 〃Bloody Mary〃 〃had been harshly judged by the
verdict of popular tradition。〃 So have most characters to whom
popular dislike affixes the popular epithet〃Bloody Claverse；〃
〃Bloody Mackenzie；〃 〃Bloody Balfour。〃 Mary had the courage of the
Tudors。 She 〃edified all around her by her cheerfulness； her piety；
and her resignation to the will of Providence；〃 in her last days
（Lingard）。 Camden calls her 〃a queen never praised enough for the
purity of her morals； her charity to the poor〃 （she practised as a
district visitor）； 〃and her liberality to the nobles and the clergy。〃
She was 〃pious； merciful； pure； and ever to be praised； if we
overlook her erroneous opinions in religion；〃 says Godwin。 She had
been grievously wronged from her youth upwards。 In Elizabeth she had
a sister and a rival； a constant intriguer against her； and a
kinswoman far from amiable。 Despite 〃the kindness and attention of
Philip〃 （Lingard）； affairs of State demanded his absence from
England。 The disappointment as to her expected child was cruel。 She
knew that she had become unpopular； and she could not look for the
success of her Church； to which she was sincerely attached。 M。
Auguste Filon thought that Queen Mary might secure dramatic rank for
Tennyson； 〃if a great actress arose who conceived a passion for the
part of Mary。〃 But that was not to be expected。 Mary was middle…
aged； plain； and in aspect now terrible； now rueful。 No great
actres