Summary

Edmund William Gosse 1911 Encyclopædia Britannica, Volume 26… (1911)

What this is cannot easily be defined; it consists, perhaps, in the beauty of the atmosphere which Tennyson contrives to cast around his work, moulding it in the blue mystery of twilight, in the opaline haze of sunset: this atmosphere, suffused over his poetry with inestimable skill and with a tact very rarely at fault, produces an almost unfailing illusion or mirage of loveliness, so that, even where (as must sometimes be the case with every poet) the thought and the imagery have little value in themselves, the fictive aura of beauty broods over the otherwise undistinguished verse.
Source: Wikisource

Edmund William Gosse 1911 Encyclopædia Britannica, Volume 26… (1911)

We still look to the earlier masters for supreme excellence in particular directions: to Wordsworth for sublime philosophy, to Coleridge for ethereal magic, to Byron for passion, to Shelley for lyric intensity, to Keats for richness. Tennyson does not excel each of these in his own special field, but he is often nearer to the particular man in his particular mastery than any one else can be said to be, and he has in addition his own field of supremacy.
Source: Wikisource

Edmund William Gosse 1911 Encyclopædia Britannica, Volume 26… (1911)

The distance between the generation of Wordsworth and Coleridge and that of Byron and Shelley is not less—it is even probably greater—than that which divides Keats from Tennyson, and he is more the last of that great school than the first of any new one. The qualities in which he seems to surpass his immediate predecessors are exactly those which should be the gift of one who sums up the labours of a mighty line of artists. He is remarkable among them for the breadth, the richness, the substantial accomplishment of his touch
Source: Wikisource

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