'Elegy'. Nothing could be more artificial than the style, but what poem
in the world appeals more directly to the heart and to the eye? It is
one thing to call art to the assistance of art, it is quite another
thing to call art to the assistance of nature. And this is what both
Gray and Tennyson do, and this is why their artificiality, so far from
shocking us, "passes in music out of sight". But this cannot be said of
Tennyson without reserve. At times his strained endeavours to give
distinction to his style by putting common things in an uncommon way led
him into intolerable affectation. Thus we have "the knightly growth that
fringed his lips" for a moustache, "azure pillars of the hearth" for
ascending smoke, "ambrosial orbs" for apples, "frayed magnificence" for
a shabby dress, "the secular abyss to come" for future ages, "the
sinless years that breathed beneath the Syrian blue" for the life of
Christ, "up went the hush'd amaze of hand and eye" for a gesture of
surprise, and the like. One of the worst instances is in 'In Memoriam',
where what is appropriate to the simple sentiment finds, as it should
do, corresponding simplicity of expression in the first couplet, to
collapse into the falsetto of strained artificiality in the second:--


To rest beneath the clover sod
That takes the sunshine and the rains,
_Or where the kneeling hamlet drains
The chalice of the grapes of God_.


An illustration of the same thing, almost as offensive, is in 'Enoch
Arden', where, in an otherwise studiously simple diction, Enoch's wares
as a fisherman become