The Daisy
by Lord Alfred Tennyson
English poet and dramatist, generally considered to be the chief representative of the Victorian age in poetry. Tennyson's major works include his Poems. Chiefly Lyrical (1830); his two volume work, again entitled Poems, of 1842 which includes, alongside rewritten earlier works, the dramatic monologue 'Ulysses', 'Morte d'Arthur' and 'Sir Galahad' - his first pieces dealing with Arthurian legend, 'Locksley Hall' and 'Break, Break, Break'; the novella Princess: a Medly (1847) and his In Memorium A.H.H. (1850), a tribute to his deceased friend Arthur Hallam.
Other major works, this time from Tennyson's second period of creative out put after being made poet laureate, include Ode on the Death of the Duke of Wellington (1852), The Charge of the Light Brigade (1854) and Maud (1855), what Tennyson referred to as his "monodrama".
He also wrote, in later years, a number of works centred on Arthurian legends, including The Idylls of the King (1859), The Holy Grail and Other Poems (1870) and Gareth and Lynette (1872), as well as some poetic dramas: Queen Mary (1875), Harold (1877), Becket (1884) and, his only prose work, The Promise of May (produced at the Globe Theatre in November 1882). Other important works are Despair (1881), Locksley Hall Sixty Years After (1886), Demeter and Other Poems (1889) and his famous Crossing the Bar (1889). At Alfred's request, his poem "Crossing the Bar," an epitaph of sorts, is always printed last in any collection of his works (our thanks to visitor Cynthia R. for reminding Passions of this oversight).
The Daisy
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Written At Edinburgh O love, what hours were thine and mine, What Roman strength Turbia show’d How richly down the rocky dell What slender campanili grew How young Columbus seem’d to rove, Now pacing mute by ocean’s rim; Nor knew we well what pleased us most, Or tower, or high hill-convent, seen Where oleanders flush’d the bed We loved that hall, tho’ white and cold, At Florence too what golden hours, In bright vignettes, and each complete, But when we crost the Lombard plain And stern and sad (so rare the smiles O Milan, O the chanting quires, I climb’d the roofs at break of day; How faintly-flush’d, how phantom-fair, Remember how we came at last From Como, when the light was gray, Like ballad-burthen music, kept, Or hardly slept, but watch’d awake What more? we took our last adieu, It told of England then to me, So dear a life your arms enfold I found, tho’ crush’d to hard and dry, And I forgot the clouded Forth, Perchance, to lull the throbs of pain, |