Such is _Harold_—narrative, narrative, narrative throughout; very excellent narrative some of it, but no drama, no centre of interest around which the whole is made to turn. The misfortune about all historical plays is that the reader begins with a full knowledge of all the circumstances, and to make them dramatically interesting needs a most skilful adaptation of plot and counterplot, a slow unfolding of events from some necessary cause, a development of character, a silent Fate, so to say, moving in and out, and, in spite of all things, shaping events to one great end, so that, while we feel the consummation impending, we yet know not how, or when, or where, or by what instrumentality it will come. There is nothing of this in _Harold_. It has been seen that Tennyson has no great love for the Pope. Indeed, if some of the lines quoted represent the man, he has, of late years at least, the heartiest hatred for the Catholic Church. We cannot help that, however much we may regret it. We must take men as they are, and, if Tennyson hates the Pope, why let him hate him and be happy. The Pope can exist and rule the Catholic Church, and be obeyed, revered, loved, and honored by intellects as bright at least as Mr. Tennyson’s, for all that gentleman’s hate. A true dramatist, however, sinks, or at least disguises, all his private personal feelings in depicting known characters or types of character. This is only to be true to nature, to art, and to history. Where there is question regarding the right reading of a character or a period, a writer is of course at liberty, after having consulted respectable authorities, to form his own estimate. Men who lived in the eleventh century must be true to their time. To make such men think, argue, reflect, question, doubt on most matters, particularly on matters of faith, just as do men of the nineteenth century, is a gross solecism. It is absurd and self-condemnatory on the face of it. To make eleventh-century Catholics speak of the Catholic faith, and Rome, and the pope after the fashion of the average Protestant or infidel journalist in these days, is absurd, not to characterize such practice by a harsher expression. This is what Tennyson has gone out of his way to do in _Harold_; and the only impression with which we rise from its perusal is that the writer detests Normans and Catholics. Between the Vere de Veres and the Pope Tennyson has lost his temper and his right hand has forgotten its cunning.