Directions
Links on words and phrases take notes in the this column; clicking on your back button (or on the command key and left bracket) return you to your place in the poem.
Notes
1.
Christopher Ricks's invaluable introduction (400) to his edition lists a wide range of sources, including Ecclesiastes ii 1-17, Luke xii 19-20, Herbert's "The World" ("Love built a stately house"), and Shelley's "Queen Mab." He also quotes the poet hismelf who related that Richard Chevenix Trench told him when they were students at Cambridge, "Tennyson, we cannot live in art."
2.
Tennyson here introduces the subject of the aesthete's isolation that makes this poem a companion-piece to "The Lady of Shalott." That poem explores how giving in to normal social needs and desires destroys the poetic soul; here in this poem he presents the opposite pole of the Victorian poet's dilemma — isolation, keeping oneself apart from society, destroys the soul morally and psychologically. Tennyson's personal project, in other words, involves finding the proper balance between self and society, the personal and political. Put another way, this poem, which uses the distancing stragey of allegory, starts the exploration of ways Tennyson (and other Victorian poets and painters) can employ personal experience for public good without either plunging into egotistic self-display or entirely losing all privacy and sense of self. He does not solve this problem until In Memoriam.
4.
Tennyson here begins his catalogue of historical and mythological figures who embody the high points of human culture with one of the most common subjects of European painting —the Madonna and child. That the poet depicts a painting of the Virgin Mary and infant Jesus and not the holy figures themselves appears in two details: they are (1) near a crucifix, a prefiguration of Christ's death, and (2) beneath "branch-work of costly sardonyx." Costly sardonyx and the crucifix are anachronistic symbols not found in the gospels but in Renaissance paintings. Tennyson's aesthete here emphasizes the imaginative and artistic treatments belief as much as the faith itself. Like the late-nineteenth-century Decadents, Tennyson's speaker treats religion as a means of imaginative pleasure and not as a matter of belief.
5.
Tennyson here continues his catalogue of historical and mythological figures embodying the high points of human culture with Saint Cecily, more commonly known as Saint Cecilia, traditionally the patron saint of music.
In the 1857 illustrated edition of Tennyson poems published by Moxon, Dante Gabriel Rossetti chose these lines as the subject of his first illustration for the poem, the second being King Arthur, who appears two quatrains later.
6.
"Uther's deeply-wounded son" is King Arthur of legend, whose legend will serve as the center of one of Tennyson's greatest works — The Idylls of the King, his experimental version of an epic. This is one of the earliest, of not the earliest, mention of Arthur, whose story was not very wellknown when Tennyson write "Morte d'Arthur" in 1833-34 in part as a recation to Arthur Henry Hallam's death (the poem was not published until 1842).
In the 1857 illustrated edition of Tennyson poems published by Moxon, Dante Gabriel Rossetti chose these lines as the subject of his second illustration for the poem, the first being Saint Cecily, more commonly known as Saint Cecilia, who appears two quatrains earlier.
7.
In his note to this line, Ricks explains that Tennyson did not introduce the word "Ausonian" until 1850 (earlier editions read "Tuscan"), and he quotes Tennyson's explanation that the nymph Egeria "gave the laws to Numa Pompilia," a legend told in Rollin's Ancient History. This section of the poem, which began with two Christian scenes — the Madonna and child and St. Cecilia — and then moved to Islam and the British myth of King Arthur, here introduces Roman history, specifically the mythological origin of Roman law. In the next stanza he moves to Hindu mythology.
8.
"Verulam" is Francis Bacon, the English thinker who is often considered the father of modern science. Tennyson, who pairs him with Plato as the greatest of philosphers, included the following line from Dante's Inferno as a note to the 1832 edition of the poem: "Il maëstro di color chi sanno" ("the master of them who know," Canto IV, l. 131), Dante's description of Aristotle.
Christopher Ricks reminds us that in his memoirs, Tennyson pointed out that he had taken Dante's praise of Aristotle and applied it instead to Bacon. The poet, who in this poem and elsewhere alludes to astronomy, chemistry, physics, geology, and paleontology, here makes the inspirer of the physical sciences the peer of the great ancient philosopher.
9.
Tennyson, who here sums up both the subject and method of this section of the poem, the use of the so-called paysage interieure, or interior landscape, to capture a mood or emotion. This method had provided the entire method of an entire poem — "Mariana" — in which the speaker's description of the landscape surrounding her perfectly conveys her depression and desolation. Part of Tennyson's poetic project, one might point out, involves finding the best way to use the descriptive set-pieces he loved to write. In "The Palace of Art" he creates a segmented poetry whose structure takes the form of stringing together these separate panels, tableaux, or scenes, each of which in this section communicates a mood or emotion. In Memoriam makes a subtler and more varied use of this technique.
10.
Christopher Ricks (408n) cites Tennyson's own explanation from the memoirs: Cama (or Camdeo) is "the Hindu God of young love, son of Brahma," and he points out that in "Love" the poet quoted Sir William Jones's "Hymn to Camdeo." (Does Camdeo mean "the god Cam" since it is formed from Cam plus deo/deus [god]?).
Tennyson not only introduces another religion that is a creation of the "Caucasian" mind he also cites the first of three examples of sexual love, those in the following stanzas both coming from Greek and Roman mythology.
11.
By "Caucasian" Tennyson means not "white European" but, as Christopher Ricks points out, "Indo-European (an early nineteenth-century sense)" (408n). The poet here alludes to the nineteenth-century realization that all Romance and Germanic European languages descended from Sanskrit, an ancient Indian language — thus the term "Indo-European." Pioneers of historical linguistics, including the Brothers Grimm, emphasized the similarities of Europe and South Asia when they discovered that some common words have remained essentially the same for thousands of years: Sanskrit "vatr" becomes Latin "pater," German "Vater," and English "father." Like Tennyson's allusions elswhere to details of physics and astronomy, this use of "caucasian" shows his awareness of contemporary intellectual developments.
13.
Tennyson here creates a pantheon of major poets, including Homer, Dante, Shakespeare, and Milton, which is very similar to the bas relief of poets on the Albert Memorial (1876). I assume that include such a pantheon on the monument to Prince Albert derives not from Tennyson's influence but from the Victorian desire to create a literary and artistic canon, in part to provide a pedigree and a context for contemporary artists and writers.
14.
"The Ionian father of the rest" is Homer.
Tennyson several times revised this presentation of his pantheon and markedly improved his mention of Homer, albeit at the cost of simplicity. Ricks points out (409n) that the 1842 edition of "The Palace of Art" had instead "The bald blind Homer smiled."
15.
Like Satan in Milton's Paradise Lost, the Soul here commits the obvious sin of pride in foolishly trying to rival God. The overall pattern of "The Palace of Art" resembles that of so many Victorian works in being essentially a Paradise Lost. The difference in Tennyson's version lies in the fact that his lover of beauty is driven from paradise not by an angel with a flaming sword or other external force but by the psychological consequences of proud isolation — depression and self-loathing. Tennyson here anticipates by five decades the story and plot resolution of J.K. Huysman's decadent parable, A rebours (usually translated as Against the Grain).
16.
Like Satan in Milton's Paradise Lost, the Soul, having committed the obvious sin of pride in foolishly trying to rival God and "mimic heaven," Tennyson's lover of beauty finds herself in hell! Again like Milton, Tennyson justifies God's ways to man by showing how the fall into suffering is, despite first appearances, a fortunate fall.
17.
Unlike many evangelicals who remained deeply suspicious of art and literature, Tennyson obviously does not abandon art (and poetry) here but wants to save the Palace of Art for the masses — a major Victorian project to which John Ruskin, Matthew Arnold, and many others devoted their lives. Here, in 1832, Tennyson points to one of the main concerns of mid- and late-Victorian culture.
18.
Tennyson's closing his group of highly dramatic landcapes with an quiet domestic English one is certainly appropriate for someone who became Poet Laureate at the death of Wordsworth in 1850. Both the landscape itself and its placement at the end of passionate or troubled scenes also anticipates the later sections of In Memoriam. See, for example, sections 100, 101, 115, and 121.
19.
One can make several obvious points about this stanza, which presents Tennyson's rather mild version of the myth of Europa and the bull. First, it obviously offers an oddly tranquil, undisturbing version of the myth in which Zeus in the guise of an animal rapes Europa in both classical senses of the word, since rape meant both "to snatch or kidnap" (as in the Roman story of the rape of the Sabine women, when the founders of Rome kidnap and marry local women), and "to violate sexually." Second by not focusing on the story's obvious violence and bestiality, Tennyson can also make it his second example of erotic love (after Indian Cama). Finally, it represents an example in classical mythology of what will later become a central concern of the poet, especially in In Memoriam 95: the meeting of the divine and the human, the supernatural and the natural.
20.
Here begins a series of quatrains that offer a view of human life from the speaker's aesthetic point of view. This section is one point at which "The Palace of Art" to an extent parallels what I take to be its companion poem, "The Lady of Shalott." However, unlike the cloistered artist of that poem who presents a neutral picture of the lower orders, the proud Soul sees the people as "a beast of burden slow" and "over these she trod" by putting them on the floor!
However much this medievalizing allegorical poem might seem to be in some sense escapist, we have to remember that Tennyson wrote it in 1832, the year of the first great Reform Act, which extended the right to vote down the social scale. Many works written at this time of marked political agitation, which many thought would bring on a conflict like the French Revolution, directly or indirectly concern national politics, and "The Palace of Art" is no exception, the young poet ties together the artistic, moral, psychological, and political implications of the aesthete's selfish withdrawal from society. At this point in the poem Tennyson appears particularly Victorian, since, following Carlyle, early and middle Victorian authors frequently struggled to unite the personal and the public or political.
21.
ennyson here alludes to the famous passage about The Writing on the Wall from the Book of Daniel. Christopher Ricks provides without explanation this biblical text — Daniel V 23-37 — where the Old Testament prophet tells Belshazzar, who does not understand the meaning of the words written in fire, that he “hath praised the gods of silver, and gold, of brass, iron, wood, and stone, which see not, nor hear, nor know: and the hand in whose hand thy breath is, and whose are all thy ways, has thou not glorified. . . This is the interpretation of the thing: MENE; God hath numbered thy kingdom, and finished it. TEKEL; Thou art weighed in the balances, and art found wanting. PERES, thy kingdom is divided.”
This famous episode in the Book of Daniel about the writing on the wall and the prophet's interpretation of it was used by Carlyle and other Victorians to rouse their contemporaries to political action, specifically to improve the lot of the lower classes in order to prevent a justifiably violent revolution. In using this scriptural allusion, Tennyson both presents God's judgment of the aesthete who selfishly abandons his or her social responsibility and places the psychological action of the poem in a broader political context.
22.
An "Islamite" is a Muslim, or follower of Islam. In this passage, which Tennyson added in the 1842 and later versions of the poem, he introduces another of the world's great religions. In 1842 the poet added lines that mentioned the Old Testament prophets and Confucius as well, but then he later cut the passage.
An "Islamite" is a Muslim, or follower of Islam. In this passage, which Tennyson added in the 1842 and later versions of the poem, he introduces another of the world's great religions. In 1842 the poet added lines that mentioned the Old Testament prophets and Confucius as well, but then he later cut the passage.
Related Materials
Kincaid's discussion of the poem
The Crystal Palace and Empire
"The Palace of Art"
Re-imagined — Stephen DeLucia's Hypermedia Project
Art for art's sake in the palace
Loss of Place and Identity
The Female Self in the palace
"O God-like isolation which art mine"
The Arrogance of Isolation
The interplay of form and content
D. G. Rossetti's illustrations for "The Palace of Art" (St. Celecilia and the Angel) (Dying Arthur and the Queens)
I built my soul a lordly pleasure-house,
Wherein at ease for aye to dwell.
I said, "O Soul, make merry and carouse,
Dear soul, for all is well."
A huge crag-platform, smooth as burnish'd brass,
I chose. The ranged ramparts bright
From level meadow-bases of deep grass
Suddenly scaled the light.
Thereon I built it firm. Of ledge or shelf
The rock rose clear, or winding stair.
My soul would live alone unto herself
In her high palace there.
And "while the world runs round and round," I said,
"Reign thou apart, a quiet king,
Still as, while Saturn whirls his stedfast shade
Sleeps on his luminous ring."
To which my soul made answer readily:
"Trust me, in bliss I shall abide
In this great mansion, that is built for me,
So royal-rich and wide."
Four courts I made, East, West and South and North,
In each a squared lawn, wherefrom
The golden gorge of dragons spouted forth
A flood of fountain-foam.
And round the cool green courts there ran a row
Of cloisters, branch'd like mighty woods,
Echoing all night to that sonorous flow
Of spouted fountain-floods.
And round the roofs a gilded gallery
That lent broad verge to distant lands,
Far as the wild swan wings, to where the sky
Dipt down to sea and sands.
From those four jets four currents in one swell
Across the mountain stream'd below
In misty folds, that floating as they fell
Lit up a torrent-bow.
And high on every peak a statue seem'd
To hang on tiptoe, tossing up
A cloud of incense of all odour steam'd
From out a golden cup.
So that she thought, "And who shall gaze upon
My palace with unblinded eyes,
While this great bow will waver in the sun,
And that sweet incense rise?"
For that sweet incense rose and never fail'd,
And, while day sank or mounted higher,
The light aerial gallery, golden-rail'd,
Burnt like a fringe of fire.
Likewise the deep-set windows, stain'd and
traced,
Would seem slow-flaming crimson fires
From shadow'd grots of arches interlaced,
And tipt with frost-like spires.
* * * * * * * * * * * * *
* * * * * * * * * * * * *
Full of long-sounding corridors it was,
over-vaulted grateful gloom,
Thro' which the livelong day my soul did pass,
Well-pleased, from room to room.
Full of great rooms and small the palace stood,
All various, each a perfect whole
From living Nature, fit for every mood
And change of my still soul.
For some were hung with arras green and blue,
Showing a gaudy summer-morn,
Where with puff'd cheek the belted hunter blew
His wreathed bugle-horn.
One seem'd all dark and red — a tract of sand,
And some one pacing there alone,
Who paced for ever in a glimmering land,
Lit with a low large moon.
One show'd an iron coast and angry waves
You seem'd to hear them climb and fall
And roar rock-thwarted under bellowing caves,
Beneath the windy wall.
And one, a full-fed river winding slow
By herds upon an endless plain,
The ragged rims of thunder brooding low,
With shadow-streaks of rain.
And one, the reapers at their sultry toil.
In front they bound the sheaves. Behind
Were realms of upland, prodigal in oil,
And hoary to the wind.
And one a foreground black with stones and slags,
beyond, a line of heights, and higher
All barr'd with long white cloud the scornful crags,
And highest, snow and fire.
And one, an English home — gray twilight pour'd
On dewy pastures, dewy trees,
Softer than sleep — all things in order stored,
A haunt of ancient Peace.
Nor these alone, but every landscape fair,
As fit for every mood of mind,
Or gay, or grave, or sweet, or stern, was there,
Not less than truth design'd.
* * * * * * * * * * * * *
* * * * * * * * * * * * *
Or the maid-mother by a crucifix.
In tracts of pasture sunny-warm.
Beneath branch-work of costly sardonyx
Sat smiling, babe in arm.
Or in a clear-wall'd city on the sea,
Near gilded organ-pipes, her hair
with white roses, slept Saint Cecily;
An angel look'd at her.
Or thronging all one porch of Paradise
A group of Houris bow'd to see
The dying Islamite, with hands and eyes
That said, We wait for thee.
Or mythic Uther's deeply-wounded son
In some fair space of sloping greens
Lay, dozing in the vale of Avalon,
And watch'd by weeping queens.
Or hollowing one hand against his ear,
To list a foot-fall, ere he saw
The wood-nymph, stay'd the Ausonian king to hear
Of wisdom and of law.
Or over hills with peaky tops engrail'd,
And many a tract of palm and rice,
The throne of Indian Cama slowly sail'd
A summer fann'd with spice.
Or sweet Europa's mantle blew unclasp'd,
From off her shoulder backward borne:
From one hand droop'd a crocus: one hand grasp'd
The mild bull's golden horn.
Or else flush'd Ganymede, his rosy thigh
Half-buried in the Eagle's down,
Sole as a flying star shot thro' the sky
Above the pillar'd town.
Nor these alone: but every legend fair
Which the supreme Caucasian mind
Carved out of Nature for itself was there'
Not less than life design'd.
* * * * * * * * * * * * *
* * * * * * * * * * * * *
Then in the towers I placed great bells that swung,
Moved of themselves, with silver sound;
And with choice paintings of wise men I hung
The royal dais round.
For there was Milton like a seraph strong,
Beside him Shakespeare bland and mild;
And there the world-worn Dante grasp'd his song,
And somewhat grimly smiled.
And there the Ionian father of the rest;
A million wrinkles carved his skin;
A hundred winters snow'd upon his breast,
From cheek and throat and chin.
Above, the fair hall-ceiling stately-set
Many an arch high- up did lift,
And angels rising and descending met
With interchange of gift.
Below was all mosaic choicely plann'd
With cycles of the human tale
Of this wide world, the times of every land
So wrought they will not fail.
The people here, a beast of burden slow,
Toil'd onward, prick'd with goads and stings;
Here play'd, a tiger, rolling to and fro
The heads and crowns of kings;
Here rose, an athlete, strong to break or bind
All force in bonds that might endure,
And here once more like some sick man declined,
And trusted any cure.
But over these she trod: and those great bells
Began to chime. She took her throne:
She sat betwixt the shining Oriels.
To sing her songs alone.
And thro' the topmost Oriels, coloured flame
Two godlike faces gazed below;
Plato the wise, and large-brow'd Verulam,
The first of those who know.
And all those names that in their motion were
Full-welling fountain-heads of change,
Betwixt the slender shafts were blazon'd fair
In diverse raiment strange:
Thro' which the lights' rose, amber, emerald, blue,
Flush'd in her temples and her eyes,
And from her lips, as morn from Memnon, drew
Rivers of melodies.
No nightingale delighteth to prolong
Her low preamble all alone,
More than my soul to hear her echo'd song
Throb thro' the ribbed stone;
Singing and murmuring in her feastful mirth,
Joying to feel herself alive,
Lord over Nature, Lord of the visible earth,
Lord of the senses five;
Communing with herself: "All these are mine,
And let the world have peace or wars,
'T is one to me." She — when young night divine
Crown'd dying day with stars,
Making sweet close of his delicious toils —
Lit light in wreaths and anadems,
And pure quintessences of precious oils
In hollow'd moons of gems,
To mimic heaven; and clapt her hands and cried,
I marvel if my still delight
In this great house so royal-rich, and wide,
Be flatter'd to the height.
"O all things fair to sate my various eyes!
O shapes and hues that please me well!
O silent faces of the Great and Wise,
My Gods, with whom I dwell!
"O God-like isolation which art mine,
I can but count thee perfect gain,
What time I watch the darkening droves of swine
That range on yonder plain.
"In filthy sloughs they roll a prurient skin,
They graze and wallow, breed and sleep;
And oft some brainless devil enters in,
And drives them to the deep."
Then of the moral instinct would she prate
And of the rising from the dead,
As hers by right of full-accomplish'd Fate;
And at the last she said:
"I take possession of man's mind and deed.
I care not what the sects may brawl.
I sit as God holding no form of creed,
But contemplating all."
* * * * * * * * * * * * *
* * * * * * * * * * * * *
Full oft the riddle of the painful earth
Flash'd thro' her as she sat alone,
Yet not the less held she her solemn mirth,
And intellectual throne.
And so she throve and prosper'd: so three years
She prosper'd; on the fourth she fell,
Like Herod, when the shout was in his ears,
Struck thro' with pangs of hell.
Lest she should fail and perish utterly,
God, before whom ever lie bare
The abysmal deeps of Personality,
Plagued her with sore despair.
When she would think, where'er she turn'd her sight
The airy hand confusion wrought,
Wrote, "Mene, mene," and divided quite
The kingdom of her thought.
Deep dread and loathing of her solitude
Fell on her, from which mood was born
Scorn of herself; again, from out that mood
Laughter at her self-scorn.
"What! is not this my place of strength," she said,
"My spacious mansion built for me,
Whereof the strong foundation-stones were laid
Since my first memory."
But in dark corners of her palace stood
uncertain shapes; and unawares
On white-eyed phantasms weeping tears of blood,
And horrible nightmares,
And hollow shades enclosing hearts of flame,
And, with dim fretted foreheads all,
On corpses three-months-old at noon she came,
That stood against the wall.
A spot of dull stagnation, without light
Or power of movement, seem'd my soul,
'Mid onward-sloping motions infinite
Making for one sure goal.
A still salt pool, lock'd in with bars of sand,
Left on the shore; that hears all night
The plunging seas draw backward from the land
Their moon-led waters white.
A star that with the choral starry dance
Join'd not, but stood, and standing saw
The hollow orb of moving Circumstance
Roll'd round by one fix'd law.
Back on herself her serpent pride had curl'd
"No voice," she shriek'd in that lone hall,
"No voice breaks thro' the stillness of this world:
One deep, deep silence all!"
She, mouldering with the dull earth's mouldering sod,
Inwrapt tenfold in slothful shame,
Lay there exiled from eternal God,
Lost to her place and name;
And death and life she hated equally,
And nothing saw, for her despair,
But dreadful time, dreadful eternity,
No comfort anywhere;
Remaining utterly confused with fears,
And ever worse with growing time,
And ever unrelieved by dismal tears,
And all alone in crime:
Shut up as in a crumbling tomb, girt round
With blackness as a solid wall,
Far off she seem'd to hear the dully sound
Of human footsteps fall.
As in strange lands a traveller walking slow,
In doubt and great perplexity,
A little before moon-rise hears the low
Moan of an unknown sea;
And knows not if it be thunder, or a sound
Of rocks thrown down, or one deep cry
Of great wild beasts; then thinketh, "I have found
A new land, but I die."
She howl'd aloud, "I am on fire within.
There comes no murmur of reply.
What is it that will take away my sin,
And save me lest I die?"
So when four years were wholly finished,
She threw her royal robes away.
"Make me a cottage in the vale," she said,
"Where I may mourn and pray.
"Yet pull not down my palace towers, that are
So lightly, beautifully built.
Perchance I may return with others there
When I have purged my guilt."
1832; revised 1842
Victorian
Web
Authors
Alfred Lord
Tennyson
Leading
Questions
Last modified 28 April 2015