Harold the Saxon. The late Lord Lytton (Bulwer) gave to this period and to the closing years of Harold one of the most elaborate of his Historic Studies. He availed himself shrewdly of all the most picturesque aspects (and they were very many) in the career of Harold, and found startling historic facts enough to supply to the full his passion for exaggerated melodrama. There are brilliant passages in his book,* and a great wealth of archæologic material; he shows us the remnants of old Roman villas- the crude homeliness of Saxon house surroundings - the assemblage of old Palace Councils. Danish battle-axes, and long-bearded Saxon thanes, and fiery-headed Welshmen contrast with the polished and insidious Normans. Nor is there lacking a heavy and much over-weighted quota of love-making and misfortune, and joy and death. Tennyson has taken the same * Harold: the Last of the Saxon Kings; first published in 1848 and dedicated to the Hon. C. T. D'Eyncourt, M.P., whose valuable library-says BULWER-supplied much of the material needed for the prosecution of the work. subject, using the same skeleton of story for his play of Harold. It would seem that he has depended on the romance of Bulwer for his archæology; and indeed the book is dedicated to the younger Lord Lytton (better known in the literary world as "Owen Meredith "). As a working play, it is counted, like all of Tennyson's a failure; but there are passages of exceeding beauty. He pictures the King Harold-the hero that he is -but with a veil of true Saxon gloom lowering over him he tells the story of his brother Tostig's jealous wrath, always in arms against Harold: he tells of the hasty oath, which the king in young days had sworn to William in Normandy, never to claim England's throne: and this oath hangs like a cloud over the current of Harold's story. The grief, and noble devotion of poor Edith, the betrothed bride of the king, whom he is compelled by a devilish diplomacy to discard—is woven like a golden thread into the woof of the tale: and Aldwyth, the queen, whom Harold did not and can never love, is set off against Edith-in Tennyson's own unmatchable way in the last scenes of the tragedy. We are in the camp at Hastings: the battle waits ; a vision of Norman saints, on whose bones Harold had sworn that dreadful oath, comes to him in his trance: (these wraiths of saints) They say O hapless Harold! king but for an hour! My battle-axe against your voices! And then-remembering that old Edward the Confessor had told him on his deathbed that he should die by an arrow his hope faints. The king's last word - "the arrow," I shall die: I cannot fall into a falser world -- Hath haunted me — mine oath my wife - I fain Fill all thine hours with peace! A lying Devil Had made my marriage not a lie; I could not: From child to child, from Pope to Pope, from Age to Age, Or till the Pope be Christ's. Aldwyth, the queen, glides in, and seeing Edith, says Away from him! Away! Edith says (we can imagine her sweet plaintiveness) And he turns to Aldwyth, from whose kinsmen he had expected aid Have thy two brethren sent their forces in? Aldwyth-Nay, I fear not. And Harold blazes upon her — Then there's no force in thee! Thou didst possess thyself of Edward's ear Thou hast been false to England and to me! As in some sort - I have been false to thee. -- Leave me. No more. - Pardon on both sides. - Go! O Harold! husband! Shall we meet again? Harold-After the battle-after the battle. Go. Aldwyth - I go. (Aside.) That I could stab her standing there! (Exit Aldwyth.) Edith Alas, my lord, she loved thee. And not on thee - nor England - fall God's doom! Was England. Ethelred was nothing. England Harold Edith, The sign in Heaven - the sudden blast at sea— - the dead saints- the dark dreams. The Pope's Anathema- the Holy Rood That bow'd to me at Waltham - Edith, if I, the last English King of England · Edith No, First of a line that coming from the people, |