163:
1027:
620:, quotes the line "Let us hush this cry of 'Forward' till ten thousand years have gone" from "Locksley Hall Sixty Years After" and then asks if anyone recognises it. Hoffman's character is the only one who does (he writes down the title in his notes) but does not reveal this to the class. Biesenthal scolds his students, remarking "How do you expect to compete on a doctoral level if haven't read Locksley Hall..." After impatiently dismissing the other students, Biesenthal calls him out, asking "Levy, why didn't you answer that Tennyson question? It was obvious you knew the answer."
40:
498:, the hero figure Julian West, awoken in the year 2000 after a long trance, remembers and reads four couplets from “For I dipt into the future…” and reflects how the world had become like the poem had envisioned, even while “in his old age, he (Tennyson) momentarily lost faith on his own prediction, as prophets in their hours of depression and doubt generally do; the words had remained eternal testimony to the seership of a poet’s heart, …” (chapter 13).
884:
245:
supplanted him in her affections, interspersed with personal reflection. This criticism is only really interrupted when he reflects that she will eventually have a child, and will be more concerned with her child than about the protagonist. The protagonist promptly continues his angry tirade, this time directed at the mother–child relationship.
423:
In the narrator, Tennyson captures and displays many strong emotions—placid insightfulness, wonder, love, jealousy, despair, and eventually a sort of catharsis. Tennyson also uses the narrator to speculate on what the world might become: he presents a vision of human advance and conflict, of aerial
224:
The poem opens with the unnamed protagonist asking his friends to continue ahead and leave him alone to muse about the past and the future. He reveals that the place he has stopped at is called
Locksley Hall, and he spent his childhood there. The rest of the poem, though written as rhymed metered
519:" (named after a famous hunting seat in Leicestershire, the pre-eminent fox-hunting county.) It described a revival of emotion in a jaded and spend-thrift city MP as he recalls the excitement of his youth foxhunting in Leicestershire, and foresees the end of his Victorian aristocratic society:
244:
In his monologue, the protagonist begins with fond memories of his childhood sweetheart, but those memories quickly lead to a burst of anger as he relates that the object of his affections abandoned him due to her parents' disapproval. He proceeds to offer a biting criticism of her husband who
396:
The narrator is also remarkably emotionally volatile through the poem. A good example occurs when he reminisces about his love for his cousin Amy; while recalling the wonderful experiences of love, he immediately becomes infuriated with her, even going so far as to throw insults:
887:
346:
In the end, he rejects the ideal of the noble savage, preferring the progress that civilisation has made. He also immediately thereafter turns his back on
Locksley Hall, and marches forth to meet his comrades.
136:. It narrates the emotions of a rejected suitor upon coming to his childhood home, an apparently fictional Locksley Hall, though in fact Tennyson was a guest of the Arundel family in their stately home named
670:
Also, it includes one of the most famous lines in all of
English poetry, the last of the following four, albeit very few are aware of the poem whence it came, and it is often, perhaps usually, misquoted:
650:
is called "Pilots of Purple
Twilight" in homage --- as discussed in the Knowledge (XXG) entry on the band, British poetry was an extramusical source of inspiration, particularly to band leader
424:
commerce and combat, resolving in a world of federation, peace, and universal law. As many of these predictions have since been realised, Tennyson's work now seems prescient in many ways.
701:
248:
The protagonist seeks escape from his depression by thinking he might immerse himself in some sort of work that would distract him, but finds this impossible, saying:
433:
363:. The first half of the poem portrays him as a victim, but the second reveals that the protagonist holds views that are now recognised as remarkably racist and
162:
206:
library identifies this form as "the old 'fifteener' line," quoting
Tennyson, who claimed it was written in trochaics because the father of his friend
920:
1391:
393:
This is contrasted however with
Tennyson's known feminist views, making a lot of his similar works a satire on men of the views he wrote about.
1049:
635:
quotes from the poem: "For I dipt into the future, far as human eye could see; Saw the vision of the world, and all the wonder that would be."
798:
515:
Locksley Hall was parodied - not without beauty, at least to the foxhunter - by the
English MP William Bromley Davenport (1821–1884) in his "
821:
Poems of the Chase, collected and recollected by Sir
Reginald Graham, Bart. London, 1912. Lowesby Hall, by W. Bromley Davenport, pp.120–129.
1339:
1333:
481:". In the sequel Tennyson describes how the industrialised nature of Britain has failed to fulfil the expectations of the poem of 1842.
854:
284:
To be free of his depression, the protagonist continues into a grand description of the world to come, which he views as somewhat
1345:
450:
quoted the poem to illustrate "a noble dream" that modern US policy decisions may have been neglecting, and he also stated that
1000:
226:
147:
According to
Tennyson, the poem represents "young life, its good side, its deficiencies, and its yearnings". Tennyson's son
733:
1327:
913:
1141:
1119:
1026:
639:
1222:
152:
759:
478:
1155:
1406:
432:
The line "Let the great world spin for ever down the ringing grooves of change." is inspired by his visit to the
343:), and lovingly notes its lack of civilisation, describing it as "Summer isles of Eden" and "knots of Paradise."
1294:
906:
663:
288:. He relapses into anger briefly again when he hears a bugle call from his comrades telling him to hurry up.
1357:
1275:
1105:
631:
1396:
1311:
1126:
944:
440:
132:
61:
436:. He could not see the railcar's wheels due to the crowd, so he imagined that the wheels ran in grooves.
1236:
1063:
929:
507:
203:
127:
30:
1243:
1229:
1162:
1015:
994:
471:
1401:
1042:
966:
613:
604:
445:
1363:
1148:
1098:
1091:
952:
625:
234:
187:
176:
91:
877:
1299:
1169:
1134:
959:
850:
804:
794:
461:
451:
296:
1208:
1201:
1077:
973:
643:
490:
466:
325:
39:
872:
1351:
1250:
1008:
831:
737:
647:
455:
190:
in which the last unstressed syllable has been eliminated; moreover, there is generally a
148:
748:
328:
was to use
Tennyson's expression "the central blue" as the title for his autobiography.
1183:
1176:
980:
609:
574:
565:
495:
331:
Much of the remainder of the poem is built up of an odd contrast between the beauty of
292:
212:
86:
71:
898:
1385:
1369:
1304:
1267:
1070:
1056:
987:
867:
696:
207:
156:
141:
210:
suggested that the English liked the meter. The meter is reminiscent of that of the
658:
651:
617:
516:
502:
336:
332:
1215:
730:
573:"Locksley Hall" inspired many prominent 19th-century poets to parody, including
339:. He recalls the land where he was born (which he only says is somewhere in the
230:
137:
1084:
808:
844:
360:
238:
893:
183:
278:
When the ranks are roll'd in vapour, and the winds are laid with sound.
616:. During the seminar, the cantankerous Professor Biesenthal, played by
195:
191:
180:
788:
485:
364:
340:
285:
199:
691:
In the spring a young man's fancy lightly turns to thoughts of love.
372:
Weakness to be wroth with weakness! woman’s pleasure, woman’s pain--
314:
Heard the heavens fill with shouting, and there rain’d a ghastly dew
501:
A line in "Locksley Hall" would inspire the title of the historian
253:
What is that which I should turn to, lighting upon days like these?
161:
382:
Woman is the lesser man, and all thy passions, match’d with mine,
356:
144:, where he spent much of his time writing whilst on his visits.
902:
309:
Pilots of the purple twilight, dropping down with costly bales;
377:
Nature made them blinder motions bounded in a shallower brain:
263:
Every gate is throng'd with suitors, all the markets overflow.
549:
Saw the landlords yield their acres after centuries of wrongs
402:
Many an evening by the waters did we watch the stately ships,
273:
I had been content to perish, falling on the foeman's ground,
258:
Every door is barr'd with gold, and opens but to golden keys.
676:
In the spring a fuller crimson comes upon the robin's breast
559:
Queen Religion State abandoned and all flags of party furled
554:
To the Cotton Lords to whom it's proved all property belongs
454:
considered it "the most wonderful of modern prophecies" and
407:
And our spirits rush’d together at the touching of the lips.
319:
From the nations’ airy navies grappling in the central blue;
304:
Saw the heavens fill with commerce, argosies of magic sails,
686:
In the spring a livelier iris changes on the burnished dove
681:
In the spring the wanton lapwing gets himself another crest
592:
Dead and damned and shut in Hades as a liar from his birth,
539:
When my horse went on before me and my hack was at the door
151:
recalled that his father said the poem was inspired by Sir
608:, graduate student Thomas "Babe" Levy (portrayed by actor
417:
O the dreary, dreary moorland! O the barren, barren shore!
268:
I have but an angry fancy; what is that which I should do?
534:
Make me feel the wild pulsation I have often felt before
477:
Lord Tennyson wrote a sequel to Locksley Hall in 1886, "
832:
https://www.yourdailypoem.com/listpoem.jsp?poem_id=4303
587:
And I saw the Chief Forecaster, dead as any one can be.
582:
Once I dipt into the future far as human eye could see,
529:
Hide me from my deep emotion O thou wonderful champagne
524:
Can I but regain my credit can I spend spent cash again
387:
Are as moonlight unto sunlight, and as water unto wine
597:
With a record of unreason seldom paralleled on earth.
510:: The Past, Present, and Future of the United Nations
412:
O my cousin, shallow-hearted! O my Amy, mine no more!
194:, whether explicit or implicit, after the first four
324:
In the 20th century, Marshal of the Royal Air Force
1320:
1287:
1260:
1193:
1034:
936:
657:"Locksley Hall" is also the source of the title of
112:
97:
85:
77:
67:
57:
49:
20:
237:. The protagonist struggles to reach some sort of
198:in the line. Each couplet is separated as its own
355:Tennyson neither identifies the protagonist as a
878:Illustration for Locksley Hall from Victorianweb
702:Fables for Our Time and Famous Poems Illustrated
130:in 1835 and published in his 1842 collection of
434:Opening of the Liverpool and Manchester Railway
914:
793:. Oxford University Press. pp. 119–120.
773:Schlesinger, Arthur Jr. "Bye, bye, Woodrow."
8:
921:
907:
899:
777:. New York, N.Y.: 27 October 1993. pg. A16
186:. Each line follows a modified version of
38:
17:
849:. New York: W. W. Norton & Company.
843:Tennyson's poetry; authoritative texts,
763:by Hallam, Lord Tennyson, 1897. page 195
291:Tennyson also predicts the rise of both
873:Complete Text With Detailed Annotations
713:
775:Wall Street Journal. (Eastern edition)
7:
505:'s 2006 book on the United Nations,
464:mentions the poem in her 1853 novel
930:Alfred Tennyson, 1st Baron Tennyson
155:'s prose translation of the Arabic
612:) attends an exclusive seminar at
602:In a scene from the American film
14:
841:Hill, Robert W. Jr., ed. (1971).
458:carried the words in his wallet.
1025:
882:
1392:Poetry by Alfred, Lord Tennyson
1050:The Charge of the Light Brigade
629:, the dedication plaque of the
479:Locksley Hall Sixty Years After
847:and early responses, criticism
470:. Lines from it are quoted in
1:
1120:Now Sleeps the Crimson Petal
834:"Weather" by Ambrose Bierce]
623:In the television programme
568:and the dotage of the world.
1223:Flower in the Crannied Wall
892:public domain audiobook at
790:Looking backward, 2000-1887
241:on his childhood feelings.
166:Locksley Hall (illustrated)
44:Locksley Hall (illustrated)
1423:
699:illustrated this poem for
1023:
37:
27:
1295:Chapel House, Twickenham
787:Bellamy, Edward (1888).
664:Let the Great World Spin
299:in the following words:
1358:Charles Tennyson Turner
1106:Lady Clara Vere de Vere
731:Rpo.library.utoronto.ca
638:Track two of the album
227:stream of consciousness
179:written as a set of 97
126:" is a poem written by
1312:Blackdown, West Sussex
945:Poems, Chiefly Lyrical
441:Arthur Schlesinger Jr.
335:and the beauty of the
167:
1064:A Dream of Fair Women
1002:The Miller's Daughter
736:15 April 2008 at the
564:In the government of
508:The Parliament of Man
204:University of Toronto
175:"Locksley Hall" is a
165:
1244:Ring Out, Wild Bells
1230:The Higher Pantheism
1016:The Ballad of Oriana
995:Mariana in the South
484:In the popular 1888
1156:St. Simeon Stylites
1043:Break, Break, Break
967:The Lady of Shalott
614:Columbia University
472:the 2007 adaptation
446:Wall Street Journal
225:verse, follows the
1364:Frederick Tennyson
1099:In Memoriam A.H.H.
1092:Idylls of the King
953:The Deserted House
761:Tennyson, a Memoir
626:Star Trek: Voyager
428:Cultural influence
235:interior monologue
188:trochaic octameter
177:dramatic monologue
168:
92:Trochaic octameter
58:First published in
1379:
1378:
1300:Farringford House
1170:Tears, Idle Tears
1135:The Palace of Art
800:978-0-19-192184-1
462:Elizabeth Gaskell
452:Winston Churchill
443:, writing in the
297:military aviation
120:
119:
1414:
1407:World government
1346:Charles Tennyson
1202:Crossing the Bar
1029:
974:The Lotos-Eaters
923:
916:
909:
900:
886:
885:
835:
828:
822:
819:
813:
812:
784:
778:
771:
765:
757:
751:
749:Victorianweb.org
746:
740:
727:
721:
718:
644:electronic music
491:Looking Backward
326:Sir John Slessor
108:
106:
98:Publication date
42:
33:
23:
18:
1422:
1421:
1417:
1416:
1415:
1413:
1412:
1411:
1382:
1381:
1380:
1375:
1352:Emilia Tennyson
1340:Lionel Tennyson
1334:Hallam Tennyson
1316:
1283:
1256:
1189:
1030:
1021:
932:
927:
883:
864:
838:
829:
825:
820:
816:
801:
786:
785:
781:
772:
768:
758:
754:
747:
743:
738:Wayback Machine
728:
724:
720:Quoted in Hill.
719:
715:
711:
648:Tangerine Dream
456:Harry S. Truman
430:
389:(lines 149–152)
367:; for example:
353:
222:
173:
128:Alfred Tennyson
104:
102:
45:
31:Alfred Tennyson
28:
21:
12:
11:
5:
1420:
1418:
1410:
1409:
1404:
1399:
1394:
1384:
1383:
1377:
1376:
1374:
1373:
1367:
1361:
1355:
1349:
1343:
1337:
1331:
1328:Emily Tennyson
1324:
1322:
1318:
1317:
1315:
1314:
1309:
1308:
1307:
1297:
1291:
1289:
1285:
1284:
1282:
1281:
1273:
1264:
1262:
1258:
1257:
1255:
1254:
1247:
1240:
1233:
1226:
1219:
1212:
1205:
1197:
1195:
1191:
1190:
1188:
1187:
1180:
1177:The Two Voices
1173:
1166:
1159:
1152:
1145:
1138:
1131:
1123:
1116:
1109:
1102:
1095:
1088:
1081:
1074:
1067:
1060:
1053:
1046:
1038:
1036:
1032:
1031:
1024:
1022:
1020:
1019:
1012:
1005:
998:
991:
984:
977:
970:
963:
956:
949:
940:
938:
934:
933:
928:
926:
925:
918:
911:
903:
897:
896:
880:
875:
870:
863:
862:External links
860:
859:
858:
837:
836:
823:
814:
799:
779:
766:
752:
741:
722:
712:
710:
707:
694:
693:
688:
683:
678:
661:'s 2009 novel
610:Dustin Hoffman
600:
599:
594:
589:
584:
577:in "Weather":
575:Ambrose Bierce
571:
570:
561:
556:
551:
542:
541:
536:
531:
526:
496:Edward Bellamy
474:of the novel.
439:The historian
429:
426:
421:
420:
414:
409:
404:
391:
390:
384:
379:
374:
352:
351:Main character
349:
322:
321:
316:
311:
306:
293:civil aviation
282:
281:
280:(lines 99–104)
275:
270:
265:
260:
255:
221:
218:
213:Nibelungenlied
172:
169:
118:
117:
114:
110:
109:
99:
95:
94:
89:
83:
82:
79:
75:
74:
72:United Kingdom
69:
65:
64:
59:
55:
54:
51:
47:
46:
43:
35:
34:
25:
24:
13:
10:
9:
6:
4:
3:
2:
1419:
1408:
1405:
1403:
1400:
1398:
1397:British poems
1395:
1393:
1390:
1389:
1387:
1371:
1370:Arthur Hallam
1368:
1365:
1362:
1359:
1356:
1353:
1350:
1347:
1344:
1341:
1338:
1335:
1332:
1329:
1326:
1325:
1323:
1319:
1313:
1310:
1306:
1305:Tennyson Down
1303:
1302:
1301:
1298:
1296:
1293:
1292:
1290:
1286:
1280:
1278:
1274:
1272:
1270:
1269:The Foresters
1266:
1265:
1263:
1259:
1252:
1248:
1245:
1241:
1239:
1238:
1234:
1231:
1227:
1224:
1220:
1218:
1217:
1213:
1210:
1206:
1203:
1199:
1198:
1196:
1192:
1185:
1181:
1178:
1174:
1171:
1167:
1164:
1163:Sweet and Low
1160:
1157:
1153:
1150:
1146:
1144:
1143:
1139:
1136:
1132:
1129:
1128:
1124:
1121:
1117:
1114:
1113:Locksley Hall
1110:
1107:
1103:
1100:
1096:
1094:
1093:
1089:
1087:
1086:
1082:
1079:
1075:
1072:
1068:
1065:
1061:
1058:
1057:The Day-Dream
1054:
1051:
1047:
1044:
1040:
1039:
1037:
1033:
1028:
1017:
1013:
1010:
1006:
1004:
1003:
999:
996:
992:
989:
985:
982:
978:
975:
971:
968:
964:
961:
957:
954:
950:
947:
946:
942:
941:
939:
935:
931:
924:
919:
917:
912:
910:
905:
904:
901:
895:
891:
890:
889:Locksley Hall
881:
879:
876:
874:
871:
869:
868:Locksley Hall
866:
865:
861:
856:
855:0-393-09953-9
852:
848:
846:
840:
839:
833:
827:
824:
818:
815:
810:
806:
802:
796:
792:
791:
783:
780:
776:
770:
767:
764:
762:
756:
753:
750:
745:
742:
739:
735:
732:
726:
723:
717:
714:
708:
706:
705:
703:
698:
697:James Thurber
692:
689:
687:
684:
682:
679:
677:
674:
673:
672:
668:
666:
665:
660:
655:
653:
649:
645:
641:
636:
634:
633:
628:
627:
621:
619:
615:
611:
607:
606:
598:
595:
593:
590:
588:
585:
583:
580:
579:
578:
576:
569:
567:
562:
560:
557:
555:
552:
550:
547:
546:
545:
540:
537:
535:
532:
530:
527:
525:
522:
521:
520:
518:
513:
511:
509:
504:
499:
497:
493:
492:
487:
482:
480:
475:
473:
469:
468:
463:
459:
457:
453:
449:
447:
442:
437:
435:
427:
425:
419:(lines 37–40)
418:
415:
413:
410:
408:
405:
403:
400:
399:
398:
394:
388:
385:
383:
380:
378:
375:
373:
370:
369:
368:
366:
362:
358:
350:
348:
344:
342:
338:
334:
329:
327:
320:
317:
315:
312:
310:
307:
305:
302:
301:
300:
298:
294:
289:
287:
279:
276:
274:
271:
269:
266:
264:
261:
259:
256:
254:
251:
250:
249:
246:
242:
240:
236:
232:
228:
219:
217:
215:
214:
209:
208:Arthur Hallam
205:
201:
197:
193:
189:
185:
182:
178:
170:
164:
160:
158:
154:
153:William Jones
150:
145:
143:
142:Staffordshire
139:
135:
134:
129:
125:
124:Locksley Hall
115:
111:
100:
96:
93:
90:
88:
84:
80:
76:
73:
70:
66:
63:
60:
56:
52:
48:
41:
36:
32:
26:
22:Locksley Hall
19:
16:
1279:(song cycle)
1276:
1268:
1235:
1214:
1142:The Princess
1140:
1125:
1112:
1090:
1083:
1001:
943:
937:Early poetry
888:
842:
826:
817:
789:
782:
774:
769:
760:
755:
744:
725:
716:
700:
695:
690:
685:
680:
675:
669:
662:
659:Colum McCann
656:
652:Edgar Froese
637:
632:USS. Voyager
630:
624:
622:
618:Fritz Weaver
605:Marathon Man
603:
601:
596:
591:
586:
581:
572:
563:
558:
553:
548:
543:
538:
533:
528:
523:
517:Lowesby Hall
514:
506:
503:Paul Kennedy
500:
489:
483:
476:
465:
460:
444:
438:
431:
422:
416:
411:
406:
401:
395:
392:
386:
381:
376:
371:
354:
345:
337:noble savage
333:civilisation
330:
323:
318:
313:
308:
303:
290:
283:
277:
272:
267:
262:
257:
252:
247:
243:
223:
220:Plot summary
211:
174:
146:
131:
123:
121:
15:
1261:Other works
1216:Enoch Arden
1194:Late poetry
1149:Sir Galahad
231:protagonist
171:Poetic form
138:Loxley Hall
1402:1842 poems
1386:Categories
1348:(grandson)
1342:(grandson)
1277:The Window
1085:Lady Clare
960:The Kraken
809:1237769516
709:References
157:Mu'allaqat
1366:(brother)
1360:(brother)
1209:The Eagle
1078:St. Agnes
845:juvenilia
646:ensemble
361:anti-hero
239:catharsis
1372:(friend)
1354:(sister)
1251:Tithonus
1009:Claribel
894:LibriVox
734:Archived
467:Cranford
196:trochees
184:couplets
78:Language
1288:Related
1184:Ulysses
981:Mariana
544:later:
486:utopian
359:nor an
286:utopian
229:of its
192:caesura
181:rhyming
103: (
81:English
68:Country
50:Written
1330:(wife)
1321:People
1271:(play)
1130:(1842)
1071:Godiva
1035:Poetry
988:Oenone
948:(1830)
853:
807:
797:
729:Hill;
566:Cobden
488:novel
365:sexist
341:Orient
233:as an
202:. The
200:stanza
149:Hallam
1336:(son)
1127:Poems
494:, by
140:, in
133:Poems
113:Lines
87:Meter
62:Poems
1237:Maud
851:ISBN
805:OCLC
795:ISBN
640:Exit
357:hero
295:and
105:1842
101:1842
53:1835
642:by
116:194
29:by
1388::
803:.
667:.
654:.
512:.
216:.
159:.
1253:"
1249:"
1246:"
1242:"
1232:"
1228:"
1225:"
1221:"
1211:"
1207:"
1204:"
1200:"
1186:"
1182:"
1179:"
1175:"
1172:"
1168:"
1165:"
1161:"
1158:"
1154:"
1151:"
1147:"
1137:"
1133:"
1122:"
1118:"
1115:"
1111:"
1108:"
1104:"
1101:"
1097:"
1080:"
1076:"
1073:"
1069:"
1066:"
1062:"
1059:"
1055:"
1052:"
1048:"
1045:"
1041:"
1018:"
1014:"
1011:"
1007:"
997:"
993:"
990:"
986:"
983:"
979:"
976:"
972:"
969:"
965:"
962:"
958:"
955:"
951:"
922:e
915:t
908:v
857:.
830:[
811:.
704:.
448:,
122:"
107:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
