The trend of the Modern Language Association has been, thus far, almost exclusively in the direction of grammatical criticism and philological exegesis. The literary side of language has been subordinated or retired until it is almost faded out of memory, in the confusion of tongues and the strife of phonetics. Nearly all of the illustrating power, the æsthetic brilliance of literary culture, is lost upon the philological devotee. As an attempt to counteract this tendency, I purpose a special investigation of some points suggested by the study of one of the noblest works through which the spiritual genius and the artistic sense of our age has expressed itself—I mean Tennyson's “In Memoriam.” As is well known to students of our literature, “In Memoriam “appeared in 1850, the year of Wordsworth's death and of Tennyson's succession to the office of Laureate. It is one of the five or six supreme elegiac poems of our language, “Lycidas “standing first in point of time (1637), then Dryden's “Ode on Mrs. Killigrew” (1686), then Shelley's “Adonais “(1822), suggested by the death of Keats and “In Memoriam “which was occasioned by the death of Arthur Hallam at Vienna in September, 1833—in 1850. Matthew Arnold's “Thyrsis,” evoked by the death of his friend Arthur Hugh Clough, in point of grace and tenderness is entitled to most honorable recognition, but as it is subsequent by several years to the appearance of “In Memoriam,”