Alfred Tennyson as a Celticist

8/2/2019 Alfred Tennyson as a Celticist

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Alfred Tennyson as a CelticistAuthor(s): Tom Peete CrossReviewed work(s):Source: Modern Philology, Vol. 18, No. 9 (Jan., 1921), pp. 485-492Published by: The University of Chicago PressStable URL: http://www.jstor.org/stable/433800 .

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ALFRED TENNYSON AS A CELTICISTThe fewnon-Celtic omances nd chronicles hich orm hechiefsources of Tennyson's Idylls of the King have long been known,and it has generallybeen assumed that the poet's direct contactwithArthurian radition n Celtic scarcelyextendedbeyond LadyGuest's translationof the Mabinogion.' That this assumption sunjustified orms he burden of the following bservations. Eventhe brief ketchheregivenshould establish he fact thatTennysonrespondedas heartilyto the early nineteenth-centuryevival ofCelticantiquities s he did to otherphasesofcontemporarynvesti-gation. Veuillentesimmortels,rotecteurse ma angue,Que e ne diserien uidoive tre epris!At the outset it is improbablethat, in composing series ofpoemson a theme whichfascinatedhis imagination romyouthtoold age, a writerof Tennyson's scholarlytastes and omnivorousliteraryhabits,should have confined is readingto a few medievalromances and one or two Latin chronicles, hen supposedlymoreauthenticsources of informationwere accessible in the worksofCelticistswho claimedto presentKingArthur s he appearedbeforehe was "touch'd by the adulterousfinger"of a later age. Nor isdirect vidence acking. Even inboyhood,when, s thepoethimselftellsus,2 he first ightedupon Malory, Tennysonwas investigatingin moderntreatises nd original ources the poetryand history fthe ancient Celts. Inspired by the newlyrevived Ossianic con-troversy,he dipped into Macpherson's "Dissertation concerningthe Poems of Ossian,"3 and "The Druid's Prophecies,"written1 Contrary to the general impression, Tennyson, according to his own statement,was not fond of romances and, in fact, prior to 1853 had never read through even theMorteDarthur. See AlfredLord Tennyson, A Memoir by His Son, 1897, I, 194. Foran account of Tennyson's chief sources, see especially M. W. MacCallum, Tennyson'sIdylls of the King and Arthurian Story, 1894; Walther Wiillenweber, Uber TennysonsKdnig8idylle The Coming of Arthur und ihre Quellen (Marburg dissn.), 1889; Harold

Littledale, Essays on Lord Tennyson's Idylls of the King, 1893; Richard Jones, Growthofthe dylls oftheKing, 1895. Cf. MorteDarthur,ed. Sommer, 1891, III 3, ff.2 Mem., II, 128. Cf. Mem., I, xii.3See Tennyson's quotation in the note to "On Sublimity" (Poems byTwo Brothers,1827: Facsimile edition, 1893, p. 107). For the source, see Tauchnitz Ossian, 1847,p. 34. Another note (p. 72) shows that Tennyson had been reading Macpherson's485] 149 [MODERNHILOLOGY,anuary, 921


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150 ToM PEETE CROSSby Tennyson etween heagesoffifteennd seventeen,was suggestedby the description ftheRoman slaughter f thedruidson the IsleofAnglesey iven n Tacitus' Annales (xiv. 30).1In a manuscript ketch of an Arthurian ompositionwrittenabout 1833,2 whenTennysonwas borrowing ooks from he Cam-bridge University ibrary nd was studyinghard,3 he poet refers o"King Arthur's hreeGuineveres" and to "two Guineveres,"whichlatter he interpretsas "primitive Christianity" and "RomanCatholicism." No betterevidencecouldbe adduced ofTennyson'searlyacquaintancewith Welsh Arthurian radition. The source ofthe story hatArthurhad threewives,each namedGwenhwyfar,sthe so-calledhistoricalWelshTriads,4 everalversions fwhichhadappeared without translation n 1801 in the famous MyvyrianArchaiology fWales (II, 1 ff.). As there s no evidencethatTenny-son knew Welsh in 1833, he probably ran across the necessaryinformationn one or both of two works which in his day werewidelyquoted and were regardedas indispensable o any seriousinvestigator f Britishantiquitiesduring he firsthalf of the nine-teenth entury. They are William Owen's CambrianBiography:or" Dissertation concerningthe Era of Ossian " (Ossian, p. 11) or theArgumentto " Comala."Tennyson's early poetryis full of Ossianic echoes. Late in lifeTennyson branded Mac-pherson's work as 'poor inmostparts," buthe still rememberedcertain ofthe finer assages.See Mem., I, 256, n.; A. P. Graves, Irish Lit'y and Musical Studies, 1913, p. 9. In 1880,while in conversationwith theAnglo-Irish poetWilliam Allingham,he showed an acquaint-ance with genuine Ossianic tradition (William Allingham, A Diary, ed. H. Allinghamand D. Radford, 1908, p. 298). He once told Alfred Perceval Graves that he muchdesired to writean Irish poem, and the latter sent himJoyce's Old CelticRomances (1879),hoping that Tennyson would choose an Ossianic theme, preferablyOisin i Tir na n-6g(Graves, op. cit.,pp. 8-9). The resultwas "The Voyage of Maeldune" (1880), in which,according to Hallam Tennyson (Mem., II, 254), the poet attempted "to represent n hisown original way the Celtic genius." Although Tennyson's interest in Ireland waslargely political, he, like Renan and Arnold,believed in the superior poetic genius of theCelt (Mem., II, 338), and some ofhis most famous lines were inspired by Irish scenes andevents. See furtherHenry Van Dyke, Selectionsfrom Tennyson (Ath. Press), p. xxxvii;Tennyson and his Friends, ed. Hallam, Lord Tennyson, 1911, pp. 144 f.; LettersofWilliam Allingham, ed. H. Aliingham and E. B. Williams, 1911, passim.1Poems byTwooBrothers,p. 69. Cf. Cambridge Tennyson,p. 762, and "Bohidicea"(1859), ibid.,pp. 266 ft.2 Mem., II, facing p. 123.

a See Mem., I, 124, 129, 130. Late in 1833 Tennyson received from Cambridgea copy of Thomas Keightley's Fairy Mythology,which had appeared in 1828. Keight-ley's work contains discussions of the fairy lore of many countries, including Ireland,Wales, and Brittany. Much of Keightley's material is drawn fromT. Crofton Croker'sFairy Legends and Traditions of the South of Ireland, which Tennyson also knew andwhich he used in his poetry. Cf. Littledale, op. cit.,pp. 74, 129, 240, 281. For Tenny-son's knowledge and use of William Carleton's Traits and Stories ofthe rish Peasantry,see Mem., II, 319, note.4There are numerous series of triads. See Ferdinand Walter, Das alte Wales, 1859,pp. 9 ft.,36 ff. 486


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ALFRED TENNYSON AS A CELTICIST 151Historical Notices of CelebratedMen among the Ancient Britons(1803),' and Edward Davies' Mythologynd Rites of theBritishDruids (1809).2 The formerwas a convenienthandbookcompiled,in part fromunprinted ources,by an eminentauthority nd co-editor of the MyvyrianArchaiology,he latter based partly onoriginalmaterial and famous because of the helio-arkitemysteriessupposedly unearthedby its learned author. The Gwenhwyfartraditionn Welshgivesspecial prominenceo Arthur's econd andthirdqueens,of whom the latter s said to have betrayedherlord,whereas heformerwas especiallybelovedbyhimand was in conse-quence buriedby his side at Glastonbury. The infidelityf oneof Arthur'sconsorts, hus assumed in ancientWelshtradition ndset forth n greaterdetail in Lady Guest's notes (Mab., Part I,1838) and inthe Hanes Cymru 1842),3furnished strong ncentiveforTennyson'sretention f Malory's adulterousGueneuer n spiteofnineteenth-centuryrudishness.4In the earliestpreserved utlineof an epic,written lso about1833, Tennysondescribes "the sacred mount of Camelot," whichhe places "on the latest limitoftheWest in the land of Lyonesse,where, ave therocky sles ofScilly, ll is nowwildsea."' When thepoet removed Camelot from ts traditionalposition inland6 and

1S.v. Gwenhwyvar, p. 158. About 1806 Owen added the name Pughe to hisformer ppellation. See his life in Robert Williams' Enwogion Cymru 1852), where, bythe way, Tennyson could have confirmedhis earlier impression that there were threeGuineveres. In 1838 he could have found a reference to Arthur's three queens in thenotes to Part I of Lady Guest's Mabinogion, and in 1842 in Villemarqu6's Contes popu-laires des anciens Bretons (see p. 226 of Les Romans de la Table Ronde et les Contes desanciens Bretons,nouv. ed., 1861). See also Loth, Les Mabinogion, 1913, II, 250.2Tennyson may conceivably have been acquainted with the complete translationsof the Triads in William Probert's Ancient Laws of Cambria (1823, pp. 393, 410) and inVols. I, II, and III of TheCambro-Briton1820-22), but they are not so likelyto have beenknown to him as the books by Owen and Davies.*See also [Algernon Herbert] Britannia aftertheRomans, 1836, pp. 91 ft.,where, asin Tennyson's note, ancient British tradition is interpreted allegorically. Cf. ThomasStephens, Literatureof the Kymry,1849, p. 82. On Tennyson's knowledge of the HanesCymru,see infra,p. 490.4Cf. Rhis, Studies in theArthurianLegend,1891, p. 49. a Mem., II, 122.6For various identificationsof this illusive place, see Foerster, Christianvon Troyessdmtliche Werke, 1899, IV, 362 f.; Howard Maynadier, The Arthur of the EnglishPoets, 1907, p. 183, n.; Percy's Reliques,notes to " King Ryence's Challenge," where, n apassage quoted fromStow's Annales of England, Camelot is described as "sometimes a

famous towne or castle . . . . situate on a very high tor or hill." In 1839 Tennysonran across an English poem on the floodingof a whole districtofWales throughthe care-lessness of the drunken Seithenin--a storyreferred o in the Triads (cf. Probert, op. cit.,p. 393) and otherWelsh documents (Mem., I, 173). Later he doubtless read a full accountof the catastrophe in the notes to Part VII (1849) of the Mabinogion. The traditionis referred o by Davies, op. cit.,p. 242, and Bingley,NorthWales, 1804, II, 20. See alsoCamden, Britannia (Gough), 1806, I, 78, 91.487


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152 TOM PEETE CROSSlocated it in the submergeddistrictwhich,accordingto an oft-recorded radition, nce formed art of the peninsulaofCornwall,'he was doubtless actuated by reasons more cogent than a merepoeticfancy risingfrom he fact that in the source of "The LadyofShalott" Camelotis placed nearthesea.2 In a conversationaidto have taken place in 18603Tennyson expressedthe convictionthat Arthurwas an historical ersonage nd that the original ceneof his exploitswas Cornwall, "though old Speed's narrative hasmuchthat can be onlytraditional." The book referred o is JohnSpeed'sHistory fGreat ritaine, irst ublishedn1611 as a continua-tionoftheauthor'sTheatrefGreatBritaine. In connectionwithanextended discussion of the background of Arthuriantradition,Speed reaches the conclusion that the historicalArthur ived inCornwall, adding, "Tindagell Castle . . . . firstbrought nto theworld this gloriousPrince, ... and Cambula receiued his lastbloud" (p. 317). SharonTurner n hisHistory ftheAnglo-Saxons,with which, as we shall see in a moment, Tennyson was alsoacquainted,takes muchthe same position,4nd Thomas Stephens5arguesthat the mabinogionwhichfixArthur's eat and exploits nCornwall are the earliest and asserts that "long after the rest ofthe world had turnedtheireyes to Caerlleon," the Welsh bards"persisted in confining im to Cornwall." In this connection tshouldbe observed hat, lthough ennysonmade several excursionsinto Wales,6his most extensive nvestigations f local antiquitiesappear to have been in Cornwall.7 Especially important re thevisits of 1848 and 1860. On the formeroccasion he discussedArthurianmatterswith the poet-antiquarian awker and borrowed

1For early printed accounts of the submergence of Lyonesse, see Robert Hunt,Popular Romances oftheWestofEngland, a new impression,1916, pp. 190ff. See furtherDunlop, History of Fiction (1814), American reprint of 2d London ed., 1842, I, 169.The legend of Lyonesse was currentamong Cornish fishermen f Tennyson's day (M. A.Courtney, CornishFeasts and Folk-Lore, 1890, p. 67), and when Tennyson was cruisingoffthe Land's End in 1887, he gazed into the depths of the sea, "searching, as he said,for some ruins of town or castle, parts of the ancient Lyonesse" (Mem., II, 340).2 Cf. Cambridge Tennyson, p. 797.3See MemoriesofOld Friends, Being Extractsfrom heJournals and Letters fCarolineFox, ed. H. N. Pym, 1882, II, 274 f.4 See Vol. I, pp. 272 if., of the 4th (1823) ed. The work appeared originally inparts between 1799 and 1805.5Op. cit., pp. 319, 416. Cf. Cambrian Journal, 1859, p. 337; Warton, Hist. Eng.Poet, ed. of 1871, I, 97.6 Mem., I, 173, 222; II, 108, 125; "The Golden Year," Cambridge Tennyson,p. 86.?Mem., I, 274 ff.,460 f., 465 f., 513; II, 125, 340, 385; Tennyson and His Friends,pp. 145, 329, n.; Caroline Fox, op. cit.,II, 138 f.,274 f.488


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ALFRED TENNYSON AS A CELTICIST 153books and manuscripts bout King Arthur,ncludingR. J. King'sFairyMythologyf Tintadgel.'

The portrayalof Arthur s an ideal man, Tennyson ustifiedfrom arlydocuments,ne at leastofwhichhe regarded s represent-ing ancient Celtic tradition. In supportof his positionhe citedthefollowing assagefrom an old writer:" "In shortGod has notmade since Adam was, a man more perfect han Arthur.''2 Thepassage, as Hallam Tennyson indicates, is translatedfromtheWelshBrutab Arthur, hich hepoet, n commonwitha number frespectable uthorities fhisday, regarded s thesourcerather hanthependantofGeoffreyf Monmouth'sHistoriaregum ritanniae.3After earningWelsh,Tennysonmighthave consulted the originalin theMyvyrianArchaiologyII, 299: -Ac ar vyrder i wnaeth uwor pan vuAda un dyngwblachnocArthur); he actuallyfoundthetranslationn SharonTurner'sHistory ftheAnglo-Saxons.4That Tennyson's reading before the publicationof the firstIdylls (1859) had led him into the domain of Bretontradition, simplied n a letter written n 1855 to the Bretonpoet HippolyteLucas.5 Whenthe aureatemadean excursionntoBrittanyn 1864,he visited numerousplaces associated with Arthur.6 He knewRenan, and whenthe author ofLa pogsiedes racesceltiques alledon Tennyson in London, the two discussed Breton antiquities.7While in Brittany,Tennysonmade an unsuccessful ffort o meetVillemarque, nd his remark o Renan that "Villemarqu6est pluspoete que savant" impliesthat he was acquainted at least withthe unscrupulous Breton nobleman's Barzaz-Breiz,s a widely1Life and LettersofR. S. Hawker, 1905, pp. 190 ff.; Mem., I, 274. From Hawker,Tennyson appears to have derived the spelling "Dundagil," afterwards changed to" Tintagil" in line 292 of " Guinevere." Cf. Idylls oftheKing, 1859, p. 240. See further[R. H. Shepherd], Tennysoniana, 1866, p. 115, n.; The Poetical Worksof . ... Hawker,1899, p. 160; Camden, Britannia (Gough), 1806, I, 6.2 Mem., I, 194; II, 128 f.a For a balance ofearly opinion, see Stephens, op. cit.,pp. 307 ff. Cf. Walter, op. cit.,pp. 44 ff.; Mem., II, 121, 129; Warton, op. cit., , 98.4Ed. cited, I, 271, n. 13. The passage is lacking in Geoffrey'sLatin (Book IX,chap. i)-a fact which may have strengthenedTennyson's conviction that the Welshrepresentsa more authentic tradition.5Mem., I, 385, n. 1.8 Mem., II, 5, 232. That Brittany is the home of Arthurian tradition, was main-tained by various authorities during the firsthalf of the last century. See, forexample,Dunlop, op. cit., I, 137; De la Rue, Essais historiques,1834, I, 63 if.; Stephens, op. cit.,pp. 416ff.; Thomas Wright, Hist. of King Arthur, 1858, I, v; Villemarqud, Romansde la Table Ronde, ed. cit., pp. 21 f.7 Mem., II, 232; Francis Epinasse, Life of Ernest Renan, 1895, p. 74.8First published in 1839. For other works of Villemarqud's which may have beenknown to Tennyson, see Littledale, op. cit., p. 3,1n. 43. An English translation of theBarzaz-Breiz, by Tom Taylor, appeared in 1865.489


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154 Tol PEETE CROSScirculated collection of alleged Celtic traditional ongs,some ofwhichhad been provedspuriousby Luzel in 1872.1The Welshromanceof Geraint p Erbin,withan Englishtrans-lation and notes,was published n 1840as Part III ofLady Guest'sMabinogion,2 ut it was not until the springof 1856 that it wasused by Tennyson3 s the source of the idyllof "Enid."4 By thesummer of 1856 the poet, with the assistance of Welsh school-masters,had learnedsomeWelsh,and according o his son,"he andhis wife nowreadtogetherheHanesCymru,... .the Mabinogionand LlywarchHen." By the Mabinogion s of course meantLadyGuest's edition. The work firstmentioned s the Hanes Cymru,Chenedly Cymry, 'r Cynoesoeddhyd at Farwolaeth lewelynapGruffydd;hat s, "HistoryofWales and ofthe WelshPeople,fromAntiquity ill the Death of Llewelynap Gruffydd." This book,written y thedistinguishedWelsh scholar nd antiquarianThomasPrice, appeared n1842, nd,as it was compiled rom riginal ources,someunprinted,t longremained he standardnativeauthority nthe earlyhistory f Britain. The thirdbook read by Tennyson nhis studyof Welshis The HeroicElegiesand other ieces ofLlywargHen, Prince oftheCambrianBritons, collection f ancientWelshpoems accompaniedby a translation nd an introduction n thebardic system, nd published n 1792 by WilliamOwen, the com-pilerofthe CambrianBiography.' Tennyson's knowledge f Welshwas probablynot extensive. Onlyin the case ofthe Hanes Cymruwas he forcedto translate his text without a "crib," and Price'sbook shouldoccasion no troubleto one reasonablyconversantwithmodernWelsh.71 e l'authenticitd es chants du Barzaz-Breiz, etc.2Vol. I of the Mabinogion contains Parts I (1838) and II (1839); Vol. II, Parts III(1840), IV (1842), and V (1843); Vol. III, Parts VI (1845) and VII (1849). The threevolumes were bound with separate title-pages dated 1849.

sFor Tennyson's use of other mabinogion, ee Littledale, op. cit.,pp. 133 f.; see alsop. 75.4 Mem., I, 414 f. 6 Mem., I, 416.6Tennyson may have learned of the Hanes Cymru and The Heroic Elegies fromLady Guest's notes to Geraint Mab., II, 145, 151), where both are referred o. They arefrequentlycited by early nineteenth-centurywriters on the Celts.7Between 1856 and 1859 Tennyson discovered "that the 'E' of 'Enid' was pro-nounced short (as if it were spelt 'Ennid')" (!) and accordingly changed "weddedEnid" in line 4 of the earlier version to "married Enid" as it now appears in "TheMarriage of Geraint" (Mem., II, 125, n. 2). On the point, see Dosparth EderynDavodAur, tr. John Williams, ab Ithel, 1856, p. 5, where just this pronunciation is given for490


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ALFRED TENNYSON AS A CELTICIST 155Tennysoncompleted he originaldraftof "Merlin and Nimu&"in March, 1856. As is impliedin the legend Enid and Nimue:The True and theFalse, whichappeared on the title-pageof theearliest volume of Idylls, printed n 1857,1Tennyson's choice ofthe storyof "Enid" as his nextsubjectwas partlydetermined ythe contrast betweenthe heroineand the guilefulnymphof thepreceding idyll. There is, however, another and an equallycogent reason why Tennysonshould have feltthat no Arthurianepicought o lack an accountofGeraint. Not onlymustTennyson's

avowed faith n a historicalArthur2 ave found trong onfirmationin Price's twelve-pagediscussion of that hero,but the poet musthave been impressedwith the Welsh scholar's explicit assertionthat no historyof Arthurshould disregardGeraint.3 Accordingto the MarwnadGeraint b Erbin, published n the HeroicElegies4and quoted in part in the Hanes Cymru,Geraint perishedwhileservingwithArthurn thebattle ofLlongporth, traditionwhich,although ackingin the mabinogi f Geraint,Tennysonutilized inthe last two lines of "Enid" as firstwritten.5One of the most far-reachingnd as yet neglectedinfluencesduringthe Romantic revival ofBritishantiquitiesemanatedfroma collection fWelshmaterial of variousages and degreesof trust-worthiness,made duringthe late eighteenth enturyby EdwardWilliams (Iolo Morganwg)and printed n various books, notablyearly Welsh e. For the correct value, see John Strachan, An Introduction to EarlyWelsh,1909, p. 2. That modern Welsh e may be either ong or short,Tennyson might,ofcourse,have learned fromany one of several grammars. The fanciful etymologyofNimu? referredto by Tennyson (Mem., II, 366), I have been unable to run down. Itsuggests the discussion of " nynu,to kindle," in John Williams' Gomer, econd Part, 1854,p. 57. See furtherMiss Paton, RadcliffeColl. Monog., XIII, 240 ff.1But not published. Cf. Mem., I, 418, 436. On the bibliography of the Idylls, seeJones, op. cit., 45 if., 159 if.; T. J. Wise, A Bibliography of . ... Tennyson, 1908,pp. 148 if., 161, 241.2 Mem., II, 121, 129. Tennyson's belief was of course shared by a long line ofauthorities. Cf. Owen, Camb. Biog., pp. 13 ff.; R. H. Fletcher, Harvard Studies andNotes, IX, s.v. Arthur n Index.

a The passage in Price's account runs: Yn mhlithy gwroniono'r ardaloedd yma, nidcyfiawnfyddai annghofioenw Geraint ab Erbin, yr hwn oedd dywysogo'r dalaeth a elwidDyfnaint, Devon] a'r hwna elwiryny Trioedd,ynun o'r " Tri LlynghesawgynysBrydain"(Hanes Cymru,p. 275). Geraint had already been treated as historical by Owen (Camb.Biog., p. 130), by Davies (op. cit.,p. 379, note), and by Turner Vindication, pp. 172 ff.)See also Cambrian Register,1818, p. 210.4Printed also in the Myvyrian, , 101; Skene, Four Ancient Books of Wales, 1868,I, 266 if.; II, 37 ff.6See Nicoll and Wise, Lity. Anecdotesofthe NineteenthCentury,1896, II, 233.491


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156 ToM PEETE CROSSin the MyvyrianArchaiology,he Cyfrinach eirdd Ynys Prydain(1829), theIolo Manuscripts 1848), and a volumeentitledBarddas;or a Collection f OriginalDocuments,llustrative f theTheology,Wisdom nd UsagesoftheBardo-Druidic ystem fthe sle ofBritain,the latter published n 1862 with a translation nd notes by theRev. JohnWilliams ab Ithel,whose too ready acceptanceof IoloMorganwg'sdocumentsrritatedMatthew Arnold. The last-namedwork is probably heBarddas' ofwhichthe first olumecame intoTennyson's possession n 1867.2 BothBarddas and the Iolo Manu-scripts iveprominenceo theoft-quotedardicmotto,Y gwir n rbynybyd thetruth gainsttheworld),3whichTennysonclaimedas hisfavorite nd in 1868 had prominentlymblazoned on the thresholdofAldworth.4 In 1869 he recommended t as "a veryold Britishapothegm" to the Tennyson Society of Philadelphia,' and in"Harold" (published1876) he put it into the mouth of the hero(II, ii, 218).In 1881, according o J.C. Walters,6 ennysonwas elected vice-presidentof the Welsh National Eisteddfod.Most of the books used by Tennyson overemphasizetheantiquityofbardictradition nd in somecases their onclusions revitiatedby fantastic heoriesregardinghe philosophy nd religionof the ancientCelts,7but the important act whichtriumphantlyemerges rom he materialpresented bove is that Tennysonmadean honesteffort o groundhis Idylls on themostreputable uthori-ties ofhis day.

TOM PEETE CROSSUNIVERSITY OF CHICAGO1Apparently no more were published.2 Mem., II, 49 f. Tennyson's way ofreferringo the book makes it likely that thisis the workmeant rather than R. J. Prys's Barddas y Cymry,Part I, 1851. Cf. Arch.Cambr.,N.S., III, 160.' Also quoted by Owen, HeroicElegies, p. xxv,and by Price, Hanes Cymru,pp. 49 f.4See Tennysonand His Friends, p. 250; H. J. Jennings,Lord Tennyson,1884, p. 197.5 Mem., II, 91.6 Tennyson: Poet, Philosopher, and Idealist, 1893, p. 359.7 See Stephens, op. cit., passim, and D. W. Nash, Taliesin, orthe Bards and Druids ofBritain,1858.

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