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Figure 2. Sketch of Elizabeth Siddal by Dante Gabriel Rossetti Ashmolean Museum, Oxford
mischief of industrialization had been done. In spite of possessing perhaps the finest ear for language of any Eng lish poet, Tennyson gives us doubt, vi tiation, and morbidity. There are fatal flaws, not of technique, but of the spirit. How can one explain a gulf as wide as that between Keats's "Endymion" ("A thing of beauty is a joy forever: / Its loveliness increases; it will never / pass into nothingness.... Therefore on every morrow we are weathing / A flowery band to bind us to the earth") and Tennyson's "Tears, Idle Tears"? Tears, idle tears, I know not what they mean, Tears from the depth of some divine de spair Rise in the heart, and gather to the eyes, In looking on the happy Autumn-fields, And thinking of the days that are no more. Dear as remembered kisses after death, And sweet as those by hopeless fancy feigned On lips that are for others; deep as love, Deep as first love, and wild with all regret; Ο Death in Life, the days that are no more. The Pre-Raphaelites were much in fluenced by both Keats and Tennyson, and Millais's rendition of Mariana
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(Figure 1) shows just how well the sen timent of the poet can be transcribed graphically. We come to the third area of discus sion, to science, and thus to the kernel of this brief inquiry. We ask this: Is the loss of innocence evident in the poetry already quoted, apparent in English painting after the PRB, audi ble in such contrasting works as "La Cinquantaine" (Gabriel-Marie, 1887) and "Pavane pour une infante défunte" (Ravel, 1899), also inevitable in science? Or can science preserve its enthusiasm, its naivete, its spiritual isolation from the large historical events of the period? If scientists do follow poets, musicians, and painters in reacting to the new order that began, perhaps, with Watt in 1765 or with Robespierre in 1789, must we expect a change in the texture of science, the mind set with which it is approached? Nothing less has occurred in the arts. Little more can be accomplished here than to raise these questions and, by illustrating the similarities in the creative processes in different disciplines, to suggest answers. The crosscomparisons between poetry, painting,
