suggestive indefinitiveness of meaning, with the view of bringing about a definitiveness of vague and therefore of spiritual effect—this, at least, arose from the silent analytical promptings of that poetic genius which, in its supreme development, embodies all orders of intellectual capacity.
Tennyson's shorter pieces abound in minute rhythmical lapses sufficient to assure me that, in common with all poets, living or dead, he has neglected to make precise investigation of the principles of metre; but, on the other hand, so perfect is his rhythmical instinct in general, that he seems to see with his ear."[1]
Margaret Fuller writes in August, 1842: "I have just been reading the new poems of Tennyson. Much has he thought, much suffered, since the first ecstasy of so fine an organization clothed all the world in rosy light. He has not suffered himself to become a mere intellectual voluptuary, nor the songster of fancy and passion, but has earnestly revolved the problems of life, and his conclusions are calmly noble. In these later verses is a still, deep sweetness;
- ↑ "Democratic Review" (New York, December, 1844), p. 580.
