Journeys Through Bookland Volume X Part 24

VII. _Life-like Characters._ The great storyteller makes his characters seem like human beings. The reader can almost see them; at any rate, he feels that he knows them and that they are real, not merely life-like.

It is hard to understand how the author accomplishes the wonderful feat (for it is the most wonderful thing about story writing), and it is much more difficult to tell how it is done. One word here, a clear descriptive phrase there, and Tom, or the Squire, or the old schoolmistress, or Mrs. Bedonebyasyoudid with her awkward name, has become so much of a personality that you cannot forget if you would.

Certainly one of the fine things about _Tom, the Water Baby_ is the living reality of its characters, which appeals universally to young and old, even in the first reading of the story.

VIII. _The Writer's Art._ It will add something to a child's interest in the story if his attention is called to the skilful way in which Kingsley handles his plot. It is high _art_ to throw into the early part of the story the conversation between the keeper and Grimes. It shows that Grimes is a poacher and known to be one. The keeper is inclined to wink at the offense, but still he feels that a warning is necessary.

Nothing more is said about poaching till much later, where Tom, the Water Baby, sees Grimes meet a poacher's death.

Again, it is early evident that Grimes has done other wicked things and that the poor Irishwoman knows of one at least. She even mentions Vendale, but the reader attaches no importance to it. Tom flees to Vendale and is pitied and kindly treated by the old Schoolmistress, but it is not until Tom finds Grimes suffering his punishment in the chimney flues that the reader learns what the poor Irishwoman knew about Grimes, and that the schoolmistress was Grimes's poor ill-treated mother.

Once more, Kingsley's art is seen in the selection of incidents and the arrangement of influences which bring to Tom the conviction of his dirtiness and create in him the overpowering desire to be clean.

But this interpretation of _Tom, the Water Baby_ has already reached the limits of s.p.a.ce and we must forego the pleasure of pointing out other examples of artistic treatment. Probably it is better to leave the story to plead its own cause.

_The Pa.s.sing of Arthur_

(Volume V, page 237)

While the outline differs in form from those we have been using, it is a helpful variation, and shows that while a narrative poem must be studied first in the same manner as a story, there are still other points that need careful examination.

Tennyson's _The Pa.s.sing of Arthur_ is one of the n.o.ble things in literature, solemn, impressive, inspiring. In order to appreciate a careful study of it, one should have read at least those selections which appear in the fifth volume, beginning with page 113 and extending to page 236. With this preliminary setting there should be no difficulty in feeling a sufficient interest in King Arthur to be appreciative of Tennyson's work from the very beginning.

a. _Characters._ Three characters appear in this poem, viz: King Arthur; Sir Bedivere, the knight first made and last surviving of all those who sat about King Arthur's table; Modred, Arthur's traitorous nephew.

Besides these three human characters, the ghost of Gawain, the three queens who came in the barge, and even Excalibur itself are of so much interest that they may be considered as almost human.

King Arthur is shown in his old age, when wife and friend are traitor to his peace, and all his realm has sunk back into disorder and is rapidly approaching extinction.

Bedivere, oldest of the knights, now in the white winter of his age, when he himself was really no more than a voice, is supposed to tell the story to those with whom he dwelt, new faces, other minds.

Modred is seen retreating league by league before King Arthur. At Lyonnesse, after a fierce battle in which confusion reigned and friends and foes were shadows in the mist, he meets his king. The false knight strikes Arthur hard upon the helmet, and gives the wound that finally proves fatal; while the king, with the last stroke of Excalibur, slays his traitorous nephew.

The dead Gawain appears, a ghost blown along a wandering wind, and on the eve of the battle warns King Arthur of approaching death, but intimates that somewhere is an isle of rest for him.

b. _The Incidents._ 1. Arthur mourns for his departed kingdom.

2. Gawain warns Arthur of his approaching death; Arthur is depressed by the warning.

3. Bedivere warns Arthur that he must rise and conquer Modred; Arthur hesitates to make war against his people.

4. He moves his host to Lyonnesse: the last weird battle is fought.

5. Arthur thinks himself king only among the dead.

6. Bedivere professes affection, and calls Arthur's attention to the traitor, Modred.

7. The king promises one last act of kinghood.

8. Modred wounds the king; the king kills Modred.

9. Bedivere carries the wounded Arthur to the ruined chapel.

10. The dying Arthur directs Bedivere to throw Excalibur into the mere; Bedivere twice deceives Arthur and is twice reproved.

11. Bedivere throws Excalibur into the mere, and tells King Arthur what happened.

12. Bedivere bears Arthur to the margin of the mere.

13. The three black-hooded queens with crowns of gold come in the dusky barge.

14. Arthur is placed in the barge and speaks his last words to Bedivere; the barge moves swan-like from the brink.

15. Bedivere watches the speck that bears the king move down the long water opening on the deep.

c. _Scenes._ 1. Arthur in his tent among the slumbering host.

2. The march to the sunset bound of Lyonnesse, and the moving pageant to the battlefield.

3. The dark strait of barren land with the ocean on one side and on the other the great water; the ruined chapel with its broken chancel and broken cross, and, near at hand, the place of tombs with its bones of ancient mighty men; athwart all s.h.i.+nes the moon, and over all the chill wind with flakes of foam sings shrilly. Zigzag paths lead around jutting points of rock down to the s.h.i.+ning levels of the lake, where the ripple washes softly in the reeds, the wild water laps the crags, and many-knotted water-flags whistle stiff and dry. Frozen hills, barren chasms with icy caves, the bare black cliff and slippery crag wall, and the level lake gleaming in the glories of the winter moon.

d. _Descriptive Pa.s.sages._ Besides those pa.s.sages which relate especially to the scenes, there are other beautiful and powerful bits of description that will well repay examination. For instance:

1. Of King Arthur's dream the poet says,

"And fainter onward, like wild birds that change Their season in the night and wail their way From cloud to cloud, down the long wind the dream Shrill'd."

Note the figure of speech (simile), beginning with the word _like_.

2. The description of the last, dim, weird battle in the west, beginning at the bottom of page 240 with the line "A death-white mist slept over land and sea," is one of the most stirring things in the poem, and deserves particularly close reading. The pictures are crowded, the figures vivid, the phrases full of force.

3. Tennyson has used his highest art in the composition, and makes the sound of his lines imitate in no feeble way the noise of battle. For instance:

"Shocks, and the splintering spear, the hard mail hewn, s.h.i.+eld-breakings, and the clash of brands, the crash Of battle-axes on shatter'd helms, and shrieks After the Christ, of those who falling down Look'd up for heaven, and only saw the mist."

4. The brilliancy of description corresponds well with the glittering marvel of Excalibur:

"For all the haft twinkled with diamond sparks, Myriads of topaz-lights, and jacinth-work Of subtlest jewelry."

".....the wonder of the hilt, How curiously and strangely chased,"

"The great brand Made lightnings in the splendor of the moon, And flas.h.i.+ng round and round, and whirl'd in an arch, Shot like a streamer of the northern morn, Seen where the moving isles of winter shock By night, with noises of the Northern Sea."

5. King Arthur, as he lay in the barge with his weary head upon the lap of the fairest and tallest of the three queens, is described as follows:

"a brow Striped with dark blood: for all his face was white And colorless, and like the wither'd moon Smote by the fresh beam of the springing east; And all his greaves and cuisses dash'd with drops Of onset; and the light and l.u.s.trous curls-- That made his forehead like a rising sun High from the dais-throne--were parch'd with dust, Or, clotted into points and hanging loose, Mix'd with the knightly growth that fringed his lips.

So like a shatter'd column lay the king; Not like that Arthur, who, with lance in rest, From spur to plume a star of tournament, Shot thro' the lists at Camelot, and charged Before the eyes of ladies and of kings."

_e. Character Study_--King Arthur. The best estimate of King Arthur's character is made from his own words and those of Bedivere, not from Tennyson's description.

1. He has been a devout man. He has fought for Christ and searched for Christ and