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 instruction out of Mme. Bovary or some other 'masterful transcript of actuality' than out of Tristram and Iseult, and if I want to be romantic, the likeness of King Arthur to the Prince Consort takes all the vigour out of the prehistoric personage. The Prince Consort, no doubt, deserved Tennyson's profound respect; but when we find him masquerading among the Knights of the Round Table, his admirable propriety of behaviour looks painfully like insipidity and incapacity for his position.

This line of criticism is, of course, very obvious; and, I admit, may be simply a proof of the critic's unsuitability. I desire simply to state the historical fact that the publication of the Idylls marks the point at which some disciples were sensible of a partial refrigeration of their zeal. The old Tennysonian power was not extinct; many of the poems up to the last had all the old exquisite charm, and the older poetry never lost it. But from this time a certain class of admirers—perhaps the duller class—felt that they dwelt in the outer court, and that they could not enter the inmost shrine with befitting reverence. There was not, I must add, in my case at least, any objection to the combination, as it is called, of