But all is fragmentary. No thread strings these jewels. They form a collection of gems unset and unarranged. Without any system or any definite scope they have nothing of that unity in diversity which is so perceptible in the lyrics and minor poems of Goethe and Wordsworth. Capricious as the gyrations of a sea-gull seem the poet’s moods and movements. We have now the reveries of a love-sick maiden, now the picture of a soul wrestling with despair and death; here a study from rural life, or a study in character, there a sermon on politics, or a descent into the depths of psychological truth, or a sketch from nature. But nothing could be more concentrated than the power employed to shape each fragment into form. What Pope says of the _Æneid_ may be applied with very literal truth to these poems:— Finish’d the whole, and laboured every part With patient touches of unwearied art. In the poems of 1842 we have the secret of Tennyson’s eminence as a poet as well as the secret of his limitations. He appears to have been constitutionally deficient in what the Greeks called _architektoniké_, combination and disposition on a large scale. The measure of his power as a constructive artist is given us in the poem in which the English idylls may be said to culminate, namely, _Enoch Arden_. _In Memoriam_ and the _Idylls of the King_ have a sort of spiritual unity, but they are a series of fragments tacked rather than fused together. It is the same with _Maud_, and it is the same with _The Princess_. His poems have always a tendency to resolve themselves into a series of cameos: it is only the short poems which have organic unity. A gift of felicitous and musical expression which is absolutely marvellous; an instinctive sympathy with what is best and most elevated in the sphere of ordinary life, of ordinary thought and sentiment, of ordinary activity with consummate representative power; a most rare faculty of seizing and fixing in very perfect form what is commonly so inexpressible because so impalpable and evanescent in emotion and expression; a power of catching and rendering the charm of nature with a fidelity and vividness which resemble magic; and lastly, unrivalled skill in choosing, repolishing and remounting the gems which are our common inheritance from the past: these are the gifts which will secure permanence for his work as long as the English language lasts.