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In Memoriam

Aiton's Encyclopedia (1910)

an elegiac poem by Alfred Tennyson, published in 1850 in memory of his friend, Arthur Henry Hallam, who died in 1833. The poem consists of a series of lyrics, written probably at different times, but all relating to some phase of his grief for his friend. Although In Memoriam was received with considerable criticism it has come to be regarded as Tennyson's most characteristic production, by many as his greatest production, and as the greatest elegy in the English language. QUOTATIONS FROM IN MEMORIAM. Oh, yet we trust that somehow good Will be the final goal of ill. But what am I? An infant crying in the night An infant crying for the light, And with no language but a cry, So many worlds, so much to do, So little done, such things to be. Thy leaf has perish'd in the green, And while we breathe beneath the sun, The world, which credits what is done, Is cold to all that might have been. There lives more faith in honest doubt, Believe me, than in half the creeds. The grave, majestic, hymnal measure swells like the peal of an organ, yet acts as a brake on undue spasmodic outbursts of discordant grief.--E. C. Stedman. No poet save one possessed not only of commanding genius, but of peculiar qualifications for the task, could have attempted to delineate a sorrow like this. The genius of Tennyson found in the work its precise and most congenial employment; and the result is surely the finest elegiac poem in the world.--Peter Bayne.

What Has Changed in the Last Century

The poem itself is exactly as Aiton's found it in 1910, and the lines quoted there are still the ones anthologies print. What has moved is the estimate: the confident 1910 verdict that it is "the greatest elegy in the English language" did not survive the modernist reaction against Victorian verse, and the poem's rehabilitation owes much to T. S. Eliot's 1936 essay, which praised it not for its faith but for the quality of its doubt. Later scholarship has also read the intensity of Tennyson's grief for Hallam in frankly erotic terms, a question the 1910 account does not raise, and has stressed how far the poem's evolutionary anxieties, "Nature, red in tooth and claw," anticipate Darwin's Origin of Species by nearly a decade.

Written for this edition, 2026.