The Full Text of “The Brook”
1I come from haunts of coot and hern:
2 I make a sudden sally
3And sparkle out among the fern,
4 To bicker down a valley.
5By thirty hills I hurry down,
6 Or slip between the ridges,
7By twenty thorps, a little town,
8 And half a hundred bridges.
9Till last by Philip’s farm I flow
10 To join the brimming river,
11For men may come and men may go,
12 But I go on for ever.
13I chatter over stony ways,
14 In little sharps and trebles,
15I bubble into eddying bays,
16 I babble on the pebbles.
17With many a curve my banks I fret
18 By many a field and fallow,
19And many a fairy foreland set
20 With willow-weed and mallow.
21I chatter, chatter, as I flow
22 To join the brimming river,
23For men may come and men may go,
24 But I go on for ever.
25I wind about, and in and out,
26 With here a blossom sailing,
27And here and there a lusty trout,
28 And here and there a grayling,
29And here and there a foamy flake
30 Upon me, as I travel
31With many a silvery waterbreak
32 Above the golden gravel,
33And draw them all along, and flow
34 To join the brimming river;
35For men may come and men may go,
36 But I go on for ever.
37I steal by lawns and grassy plots:
38 I slide by hazel covers;
39I move the sweet forget-me-nots
40 That grow for happy lovers.
41I slip, I slide, I gloom, I glance,
42 Among my skimming swallows;
43I make the netted sunbeam dance
44 Against my sandy shallows;
45I murmur under moon and stars
46 In brambly wildernesses;
47I linger by my shingly bars;
48 I loiter round my cresses;
49And out again I curve and flow
50 To join the brimming river;
51For men may come and men may go,
52 But I go on for ever.
The Full Text of “The Brook”
1I come from haunts of coot and hern:
2 I make a sudden sally
3And sparkle out among the fern,
4 To bicker down a valley.
5By thirty hills I hurry down,
6 Or slip between the ridges,
7By twenty thorps, a little town,
8 And half a hundred bridges.
9Till last by Philip’s farm I flow
10 To join the brimming river,
11For men may come and men may go,
12 But I go on for ever.
13I chatter over stony ways,
14 In little sharps and trebles,
15I bubble into eddying bays,
16 I babble on the pebbles.
17With many a curve my banks I fret
18 By many a field and fallow,
19And many a fairy foreland set
20 With willow-weed and mallow.
21I chatter, chatter, as I flow
22 To join the brimming river,
23For men may come and men may go,
24 But I go on for ever.
25I wind about, and in and out,
26 With here a blossom sailing,
27And here and there a lusty trout,
28 And here and there a grayling,
29And here and there a foamy flake
30 Upon me, as I travel
31With many a silvery waterbreak
32 Above the golden gravel,
33And draw them all along, and flow
34 To join the brimming river;
35For men may come and men may go,
36 But I go on for ever.
37I steal by lawns and grassy plots:
38 I slide by hazel covers;
39I move the sweet forget-me-nots
40 That grow for happy lovers.
41I slip, I slide, I gloom, I glance,
42 Among my skimming swallows;
43I make the netted sunbeam dance
44 Against my sandy shallows;
45I murmur under moon and stars
46 In brambly wildernesses;
47I linger by my shingly bars;
48 I loiter round my cresses;
49And out again I curve and flow
50 To join the brimming river;
51For men may come and men may go,
52 But I go on for ever.
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“The Brook” Introduction
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British poet Alfred, Lord Tennyson penned “The Brook” in 1886, just six years before his death. The poem is a ballad in which the speaker—the brook, or stream, itself—undertakes a long and winding journey across the countryside to join up with a large river. Tucked inside this seemingly sweet poem about a little stream are darker, more poignant themes of death, human impermanence, and nature's indifference to humankind, though the poem also emphasizes nature's sheer beauty. The poem’s most notable characteristic is its refrain, “For men may come and men may go, / But I go on for ever,” which appears four times throughout the poem and captures both the fleetingness of human life and the constancy of nature.
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“The Brook” Summary
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The speaker of the poem, the brook itself, explains that it started out in a body of water where birds called coot and heron often gather. Suddenly, the brook rushes forward. The sunlight glitters on the water as the brook weaves through greenery that grows beside the stream bank. The brook then flows gently into a valley.
Gaining momentum, the brook tumbles down many hills and seeps through narrow crevices on some of the hillsides. Along the way, the brook passes several villages and a small town, and flows underneath lots of bridges.
Finally, the brook glides past a farm that belongs to a man named Philip. The brook is on its way to be absorbed by the river, which is already huge and overflowing. The brook claims that while humans live short, impermanent lives, the brook itself will always endure.
Picking its journey back up, the brook rushes over stone paths and streets, sounding like music as it flows over the rocks. The brook pools into bays filled with churning water and then tumbles over small stones that line the shore or are at the bottom of the bay.
The brook curves around the stream bank and passes many meadows and plots of farmland, both in use and left to rest, as it travels through the countryside. It also flows alongside land that seems to belong to fairies, its landscape dotted with green leafy plants and delicate blossoms.
Rushing along, the brook makes little trickling noises as it travels to the almost overflowing river. The brook reminds the listener that human life is fleeting, but the brook itself is eternal.
The brook meanders through the countryside, zig zagging across the landscape. It points out a flower drifting along with its waters, a few particularly hearty trout, and some freshwater fish called graylings.
Occasionally, the brook's water bubbles up and foams as it journeys toward the river. The surface of the brook sometimes forms little waves that crash melodically on top of the pebbles and sand down below in the stream bed.
The vigorous brook pulls the pebbles, flower petals, and fish along with it as it rushes to join up with the large river. While humankind's time on earth is short and temporary, the brook will continue to live on with no end in sight.
The brook quietly creeps past meadows and fields carpeted with grass and slips through densely planted hazel trees that shade the landscape. The rippling water nudges wildflowers called forget-me-nots that grow along the stream bank; the brook says these particular wildflowers are meant for people who are blissfully in love.
The brook describes how it moves along quietly, sometimes looking dark and murky. Other times, the light playfully bounces off of the stream (or perhaps the stream bounces off of the riverbank). All the while, birds called swallows barely brush the water's surface as they search for food. The sunlight shines through the foliage that surrounds the stream, casting a woven pattern on the surface of the water; reflecting on a moving surface, the sunlight looks like it is dancing playfully upon the brook's sandy, shallow water.
The water makes low, quiet sounds as it travels during nighttime, flowing past a forest filled with prickly shrubs. The stream slows its pace when it comes to a sandbank heaped with little pebbles and spends another unhurried moment swirling around the leafy greens (such as watercress) that grow in the shallow waters of the stream.
Once again, the brook continues its winding journey to merge with the big river. The brook reminds listeners that although individual humans are born and die, the brook is eternal.
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“The Brook” Themes
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Mortal Humans vs. Eternal Nature
In Tennyson’s “The Brook,” the poem's refrain, “For men may come and men may go, / But I go on for ever” is repeated four times, as the speaker of the poem—the brook—emphasizes the central theme of the poem: that human life is fleeting, while the brook, as part of the larger tapestry of nature, will endure forever.
The refrain treats humankind as impermanent—as individuals who “come” and “go”—and nature as eternal. In fact, the only two verbs associated with humans in the poem are “come” and “go,” suggesting that human life is breezy and short-lived, and that humans don’t endure the way that nature does. The brook, in contrast, firmly asserts that “I go on for ever.” This claim of permanence is bolstered by the way that the brook appears to be constantly renewing itself and changing throughout the poem, adapting effortlessly to the surrounding landscape. On the journey to the “brimming river,” the brook “make[s] a sudden sally” (rushes forth), condenses itself so that it can “slip between the ridges” of a rocky hillside, and contorts itself to fit the landscape as it “curve[s]” along the twists and turns of the riverbank. Paradoxically, such constant change and adaptability allow the brook to be unchanging on a more fundamental level—to “go on for ever,” despite whatever lies in its path. The water of the brook moves constantly, but the brook remains forever a brook. Near the end of the poem, though the brook seems to be slowing down in the second to last stanza as it “linger[s]” and “loiter[s],” it finds new energy in the final stanza: “And out again I curve and flow / To join the brimming river; / For men may come and men may go, / But I go on for ever.” The use of the word “again” in these lines further draws attention to the way that the brook will continue to renew itself time and time again, never ceasing to exist the way that humans do.
The brook further points to the fleeting nature of human life in lines 39-40, when the brook rushes past “the sweet forget-me-nots / That grow for happy lovers.” The “forget-me-not” is a type of wildflower. Its name hails from a German legend about two lovers walking alongside a river. Seeing the blossoms on the riverbank, the man decides to pick a handful of the wildflowers for his love. As he does so, though, he gets swept up in the churning river and calls to his lover to never forget him. This myth imbues Tennyson’s “happy lovers” with deeper significance. The poem implies that all things human, both individual lives and the love between two people, will be swept away by the passage of time and mortality, while the brook and nature itself will live on.
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The Beauty and Power of Nature
In “The Brook,” Tennyson illustrates how nature, though captivating in its beauty, is at the same time powerful and indifferent to the plight of humankind, making it worthy of appreciation, respect, and perhaps even fear.
Tennyson uses a lively group of verbs and thoughtful imagery to depict the brook as both beautiful and powerful. Throughout its journey, the brook describes how it “sparkle[s],” “bubble[s],” and “make[s] the netted sunbeam dance.” These positive verbs infuse the brook, and the wider natural world, with a certain playfulness and beauty. Tennyson further depicts nature as being lovely and idyllic through evocative images like the “lusty trout” and the delicate “blossom sailing” gently on the water’s surface. The brook’s beauty is even reflected through the various sounds it makes. As the brook “chatter[s] over stony ways,” the sound of the water tumbling over rocks rings out like “little sharps and trebles,” clearly aligning the brook with music. Similarly, Tennyson’s use of onomatopoeia means that many of the brook’s actions contain a sort of musical quality, as the brook “babble[s],” “chatter[s],” and “murmur[s]” as if it were singing. Furthermore, the brook’s resilience lends it a certain presence and power; it molds itself around the rest of the landscape, effortlessly “slip[ping] between the ridges” of rocky hills, bumping across the backs of stones along the way, and “wind[ing] about, in and out,” whenever necessary—nothing will stand in its way.
Even as it highlights the depths of nature’s beauty and power, the poem also underscores that nature is indifferent to humankind. The refrain, “For men may come and men may go, / But I go on for ever” neatly encapsulates this idea, painting human life as wholly insignificant. The brook is concerned only with itself and other elements of nature, as evidenced by the brook’s frequent repetition of the word “I” and observations about the surrounding “brambly wildernesses,” “moon and stars,” and “lawns and grassy plots.” In contrast, the brook barely mentions humans at all. Near the beginning of the brook’s journey (lines 7-8), the brook flows alongside “twenty thorps, a little town, / And half a hundred bridges.” In this instance, the brook mentions the spaces that humans have carved out for themselves on the natural landscape without bothering to acknowledge the humans themselves. Moments later, the brook slides past “Philip’s farm” on the way to the river. Although it’s curious that the brook knows this man’s name in the first place, the brook doesn’t pause to explain who Philip is or give him any wider significance. It is not Philip that the brook recognizes, but the farm that will outlive him—even as the brook itself will outlive the farm. Another example of the brook’s indifference to humans appears in lines 39-40, which briefly mention a pair of “happy lovers” among the wildflowers. Folded into these lines is an allusion to a German myth about a man who is swept away in a river while trying to pluck forget-me-nots for his beloved, presumably resulting in his death by drowning—making these “happy lovers” a dark reminder of nature’s overwhelming power and callousness toward humans.
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Human Life and Death
Even as the poem sets up a contrast between the eternal brook (and eternal nature as a whole) versus mortal humanity, it simultaneously establishes the brook as an extended metaphor for human life and, perhaps, death.
The brook changes and matures as the poem unfolds, reflecting the natural aging process that all humans experience, and signaling that the brook’s journey to “join the brimming river” represents the course of a human life. At the beginning of the poem, the brook is dynamic; it “hurr[ies],” “chatter[s],” “bickers,” “babble[s],” and “sparkle[s]” as it curves across the landscape like an energetic, exuberant child. As the poem continues and then comes to a close, though, the brook gradually seems to ease its pace, echoing the way time works on humans, transforming them from spirited children to elderly folks who, like the brook just before it reaches the river, “murmur,” “linger,” and “loiter” as they move slowly through their days.
As part of the extended metaphor of the brook representing human life, the brook’s joining with the river could be read as death and afterlife, as the brook is absorbed by something greater than itself and lives on for eternity that way. However, this reading is complicated by the certainty of the brook’s refrain that it “go[es] on for ever,” while humans merely “come” and “go”; the refrain states unequivocally that while the brook lives on as part of the “brimming river,” humans only live from birth to death, and no further. Thus, the brook in the poem asserts that men are simply mortal and therefore do not “go on for ever,” but the extended metaphor that equates the brook's path to human life can be seen as implying that humans, in death, join a kind of afterlife—a “brimming river” of their own. This tension surrounding human life and death is never resolved in the poem, a fact which perhaps reflects a kind of uncertainty or fear on Tennyson’s part about whether there really is such a thing as human immortality as taught by Christianity (that is, that Christians receive “everlasting life” by going to Heaven after death). This uncertainty is a notable theme found in many of Tennyson’s later poems even as some other of his poems, such as his famous poem “Crossing the Bar,” express more confidence in Christian teachings of human immortality in Heaven.
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Line-by-Line Explanation & Analysis of “The Brook”
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Lines 1-4
I come from haunts of coot and hern:
I make a sudden sally
And sparkle out among the fern,
To bicker down a valley.The brook, the speaker of the poem, explains its origins in the first line of the poem, claiming to have “come from haunts of coot and hern,” meaning ponds or marshes frequented by coot and heron (two kinds of coastal and freshwater birds). This description of a location both gives the brook a starting point from which it can begin its journey, and is significant because it foregrounds nature—the “coot and hern,” along with their “haunts,” meaning their natural habitats. In this way, the first line hints at the brook’s attitude toward nature versus humankind; it is altogether focused on the natural world around it (of which it is also a part), and sees nature as powerful, important, and enduring. (Humans, in contrast, are just insignificant and temporary visitors—something the brook will explicitly spell out later.)
In the second line, the brook begins its journey with a big rush of energy. The word “sally” suggests that the brook surges forward enthusiastically, but the word can also have a militaristic meaning, suggesting that the brook is making a sudden raid or assault. While the brook isn’t exactly harsh and combative throughout the poem, the martial language emphasizes that the brook is nonetheless a powerful force to be reckoned with. This ties in with the broader idea that nature is powerful and enduring.
The brook is energetic and lively throughout the bulk of the poem. For instance, the word “sparkle” in the third line gives the brook a certain playfulness, and implies that sunlight is reflecting off of the water’s surface. In the fourth line, the word "bicker" means that the brook is making a pleasant trickling sound as it flows into the valley; however, the other, and perhaps more common, meaning of the word bicker—to squabble or argue—subtly gives the brook a more human quality, setting the brook up to be an extended metaphor for human life. In this part of that journey, with its quickness and energy, the brook is like a young child.
The first stanza showcases the structure and meter that persists for the rest of the poem. As a ballad, "The Brook" is broken up into stanzas of four lines, which breaks the poem up into more digestible chunks. The lines are written in common meter—a commonly used meter that alternates between lines of iambic tetrameter and iambic trimeter, or four metric feet per line and three metric feet per line, each with an unstressed-stressed pattern of syllables. However, as the first stanza shows, Tennyson put a little twist on common meter:
I come from haunts of coot and hern:
I make a sudden sally
And sparkle out among the fern,
To bicker down a valley.Note how the second and fourth lines of the poem diverge slightly from common meter by ending in an extra unstressed syllable. In other words, the second and fourth lines of the poem are written in iambic trimeter, or three metric feet of unstressed-stressed syllables—with an extra unstressed syllable floating at the end. This is called a feminine ending, and is actually quite common in poetry. The purpose of feminine endings in "The Brook" is manifold. For now, notice how the feminine endings actually draw attention to the masculine (stressed) endings of the first and third lines: "hern" and "fern." In giving these words special emphasis, the poem emphasizes the importance of the "hern" and "fern" themselves, as elements of nature. In other words, the feminine endings in this stanza actually underscore the poem's broader claim that nature's power and importance is unparalleled.
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Lines 5-8
By thirty hills I hurry down,
Or slip between the ridges,
By twenty thorps, a little town,
And half a hundred bridges. -
Lines 9-12
Till last by Philip’s farm I flow
To join the brimming river,
For men may come and men may go,
But I go on for ever. -
Lines 13-16
I chatter over stony ways,
In little sharps and trebles,
I bubble into eddying bays,
I babble on the pebbles. -
Lines 17-20
With many a curve my banks I fret
By many a field and fallow,
And many a fairy foreland set
With willow-weed and mallow. -
Lines 21-24
I chatter, chatter, as I flow
To join the brimming river,
For men may come and men may go,
But I go on for ever. -
Lines 25-28
I wind about, and in and out,
With here a blossom sailing,
And here and there a lusty trout,
And here and there a grayling, -
Lines 29-32
And here and there a foamy flake
Upon me, as I travel
With many a silvery waterbreak
Above the golden gravel, -
Lines 33-36
And draw them all along, and flow
To join the brimming river;
For men may come and men may go,
But I go on for ever. -
Lines 37-40
I steal by lawns and grassy plots:
I slide by hazel covers;
I move the sweet forget-me-nots
That grow for happy lovers. -
Lines 41-44
I slip, I slide, I gloom, I glance,
Among my skimming swallows;
I make the netted sunbeam dance
Against my sandy shallows; -
Lines 45-48
I murmur under moon and stars
In brambly wildernesses;
I linger by my shingly bars;
I loiter round my cresses; -
Lines 49-52
And out again I curve and flow
To join the brimming river;
For men may come and men may go,
But I go on for ever.
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“The Brook” Symbols
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Villages and Bridges
In the second stanza of the poem, the brook flows past “twenty thorps, a little town, / And half a hundred bridges.” These human constructions contain a few levels of symbolic significance. Notably, the brook acknowledges these “thorps” (small villages) and the “little town” but doesn’t bother to mention their human inhabitants. Likewise, the brook points out “half a hundred bridges” but doesn’t bring up the people who built the bridges or travel on them. In this way, the villages and bridges, seemingly devoid of life, symbolize humankind’s insignificance in the face of nature. This fits with the broader attitude of the poem—seen most clearly in the poem's refrain—that humans are just temporary guests on earth, as they “come” and “go” quickly. That impermanence is perhaps why the individual humans who inhabit those “twenty thorps” and “little town” don’t matter to the brook—they’ll be gone soon, while their bridges and villages will stay standing for at least a little longer.
The villages and bridges also represent human progress—but not necessarily in a good way. Tennyson wrote the poem in 1886, during Queen Victoria’s reign, which was a time of explosive technological advancement called the Industrial Revolution. The underbelly of the Industrial Revolution, though, was that advancement (especially the increasing industrialization of cities) often happened at the expense of nature. The “twenty thorps” and “half a hundred bridges”—numbers most likely used to signify a lot of villages and bridges more so than a specific number of them—are perhaps instances of human progress creeping into a previously untouched countryside. This may be why the brook is uninterested in the villages’ human inhabitants: the towns and bridges themselves, more so than the people, are representative of increasing industrialization. In this reading, the brook's belief in its permanence can be read as being either dispiriting or hopeful: that the brook in fact will eventually be fouled and maybe even destroyed by creeping industrialization, or that despite growing industrialization that the brook, and nature, will nonetheless endure.
However, Tennyson’s use of the word “thorps,” though, may modify this reading of the poem and its relation to industrialization. The word “thorp” is a Middle English word, thus gesturing to an England of yore, or a time gone by. Furthermore, the word “thorp” specifically means a hamlet or small village, not necessarily a bustling city, thus suggesting that these “twenty thorps” are slices of old English life, before the wild frenzy of industrialization. If this is the case, Tennyson may be subtly lamenting the loss of this quaint, idyllic way of life (as Poet Laureate of England, which he was at the time, his job was to praise England’s pursuits, including industrialization, so this critique would have to be so faint as to go unnoticed by then-contemporary readers). Tennyson fostered a deep connection to nature throughout his life, which may add weight to the possibility that he is mourning or at least remembering the old England, which was a swath of countryside dotted with hamlets rather than a series of industrial cities dotted with the occasional countryside.
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“The Brook” Poetic Devices & Figurative Language
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Extended Metaphor
In the poem, the brook’s journey “to join the brimming river” represents the course of a human life—a person’s journey from birth to death. This extended metaphor highlights the similarities between both journeys, like the way that the brook seems to gradually “age,” transforming over the course of 13 stanzas from a lively, energetic little brook to a languid stream just like an energetic child gradually growing into adulthood and then old age. In emphasizing the similarities between the stream’s course and the course of a human life, the poem allows readers to use something they can understand easily (a small stream flowing to a river) to better understand more complex concepts (human life, aging, mortality).
The extended metaphor also brings up questions surrounding death and the afterlife: namely, if the stream’s path to “join the brimming river” really does represent the trajectory of a human life, does the brook’s joining up with something bigger than itself (the river) and living on in that new form mean that humans go on to some sort of afterlife and live on that way? By framing this question within the extended metaphor, Tennyson sidesteps the responsibility of having to answer it directly—and perhaps he didn’t have an answer, considering his deep anxieties surrounding mortality and the Christian promise of an afterlife, which consumed much of his later poetry following the death of his dear friend, Arthur Hallam (Tennyson's poem "In Memoriam" is one such example), as well as the death of his son.
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Personification
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Repetition
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Alliteration
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Imagery
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End-Stopped Line
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Enjambment
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Allusion
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Onomatopoeia
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"The Brook" Vocabulary
Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.
- Haunts
- Coot and Hern
- Sally
- Bicker
- Thorps
- Brimming
- Eddying
- Fret
- Fallow
- Foreland
- Willow-weed and Mallow
- Lusty
- Grayling
- Foamy Flake
- Waterbreak
- Hazel Covers
- Forget-me-nots
- Skimming Swallows
- Brambly
- Shingly Bars
- Cresses
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A place where a particular person or group spend a lot of time. In this case, "haunts" refers to the ponds or lakes that freshwater birds frequent.
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Form, Meter, & Rhyme Scheme of “The Brook”
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Form
"The Brook" is a form of poem called a ballad. Like traditional ballads, the poem is comprised of quatrains, stanzas of four lines, and features a refrain, which is a repeated set of lines in various parts of the poem. As is also typical in a ballad, the refrain serves as a kind of chorus that distills key ideas or themes of the poem into a few lines. In "The Brook," the refrain “For men may come and men may go, / But I go on for ever” describes the poem's central idea that human life is short-lived and insignificant, while nature is powerful and enduring. The poem also ends with the refrain, leaving readers to grapple with this thought even as they leave the pages of the poem and go back out into the world.
The poem's structure is also interesting in other ways that subtly support and comment on the poem's themes. The poem contains 13 quatrains, which means it contains 52 total lines, and the refrain appears roughly at each quarter point of the poem—it appears every three stanzas for its first three repetitions (stanzas 3, 6, and 9), and after four stanzas for its last repetition in stanza 13. The poem's structure, in which 52 lines are grouped into stanzas of 4 lines, and with its entirely cut into four quarters by the refrains, therefore matches the pattern of a year (52 weeks, grouped into months of roughly 4 weeks, and all quartered into the 4 seasons).
This structural echo of a year connects with the themes of the poem, in two main ways. First, it aligns with the poem's structure with the cycles of nature, which makes sense in a poem that describes a brook that is at once always changing and at the same time enduring. Nature itself, with the shift of the seasons, is itself always changing and enduring. At the same time, the passage of a year also connects with the way that time affects humans—the march of the weeks, and months, and seasons connects to the way that each individual person, inescapably, ages and dies. The poem's structure captures both the two main themes of the poem, and the way that those themes are connected through the passage of time.
"The Brook" diverges from balladic tradition when it comes to rhyme scheme: while most ballads follow an ABCB rhyme scheme, Tennyson's poem is written in alternate rhyme, meaning that the rhyme scheme follows an ABAB pattern. Although Tennyson diverges from tradition here, his ABAB rhyme scheme still fits the typical jaunty rhythm that ballads are known for.
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Meter
The poem is written in common meter, though Tennyson puts a bit of a twist on it. Traditionally, common meter involves alternating lines of 8-syllable and 6-syllable lines, with both sets of lines using an iambic rhythm of unstressed-stressed syllables. Take, for example, the first line of the poem:
I come from haunts of coot and hern:
This is iambic tetrameter, as there are four metrical feet that each follow a unstressed-stressed pattern.
Common meter dictates that following this line of iambic tetrameter should be a line of iambic trimeter, meaning three metrical feet, with each foot following the same unstressed-stressed pattern. However, notice what happens in the second line of the poem:
I make a sudden sally
When broken down into iambs, the line looks like this: I make / a sud / den sal / ly. The extra unstressed syllable at the end (“ly”) is extrametrical, meaning that it exceeds the number of syllables that are expected for the line (and is often not counted toward that number of syllables, meaning that a poetry "expert" might still refer to this seven syllable line as being iambic tetrameter).
Ending on an unstressed syllable is called a feminine ending, and is common in poetry (a prime example being Shakespeare’s "Sonnet 20"). In the case of “The Brook,” every line of iambic trimeter has a feminine ending (an unstressed syllable), while every line of iambic tetrameter ends on a stressed syllable. Zooming out to look at the entire poem, that means that the entire poem ends alternatingly on stressed and unstressed syllables. Such a pattern heightens the musical quality of the ABAB rhyme scheme, giving the brook itself musical quality as it makes its way through the landscape (an idea reinforced by lines 13-14, in which the brook “chatter[s] over stony ways, / In little sharps and trebles).
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Rhyme Scheme
"The Brook" diverges from balladic tradition when it comes to rhyme scheme: while most ballads follow an ABCB rhyme scheme, Tennyson's poem is written in alternate rhyme, meaning that the rhyme scheme follows an ABAB pattern. (the next stanza being CDCD, then EFEF, and so on). Although Tennyson diverges from tradition here, his ABAB rhyme scheme still fits the typical jaunty rhythm that ballads are known for.
This rhyme is scheme is consistent throughout the poem, though it is slightly imperfect in stanzas that contain the refrain, where "river" is meant to rhyme with the similar-sounding but not-quite-rhyming word "ever." For example, the sixth stanza reads as follows:
I chatter, chatter as I flow
To join the brimming river,
For men may come and men may go,
But I go on for ever.This sort of rhyme is called a slant rhyme (or half rhyme), in which the words are close but don't quite rhyme. In maintaining a perfect ABAB rhyme throughout the entirety of the poem but only slipping up slightly in the refrain (which appears four times), it seems that the poem is trying to intermittently catch the reader or listener's attention, encouraging them to linger on the refrain. This is significant, as those two lines—"For men may come and men may go, / But I go on for ever"—enfold the poem's key theme: that humans live short, temporary lives on earth, while nature is enduring.
Overall, though, the otherwise perfect ABAB rhyme scheme lends the brook with a uniform, balanced quality. This, too, points to the overarching message that nature is enduring. Like the constancy and regularity of the alternating rhyme, the brook, as part of nature, is also constant and unchanging on a fundamental level. On the other hand, the fact that the rhyme itself does change in some sense—the rhyme scheme isn't AAAA but is instead the alternating ABAB—also reflects the way that the brook is dynamic and forever changing throughout its journey. Like the rhyme scheme that alternates between A and B, the water of the brook is constantly changing (it slims down to squeeze through two rocks, expands to pool out onto a stone path, and so on) but the brook itself always remains.
A moment of Internal rhyme appears in line 25, "I wind about, and in and out." This quickens the pace of the line and emphasizes the stream's playfulness and vigor at this moment, and perhaps, by extension, the power that underpins all of nature.
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“The Brook” Speaker
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The speaker of the poem is the brook from the poem’s title. A small but lively stream, the brook seeks to merge with “the brimming river” and become part of something bigger than itself. Throughout the poem, it remains committed to this goal, repeating it four times as a refrain. Although the poem never makes it explicit if the brook ever does merge with the river, it restates its intentions to do so in the last stanza, revealing its unflinching determination, and implying that the brook will join with the river.
The brook is also adamant about nature’s beauty and power and also emphasizes that nature is eternal—humans “come” and “go,” but nature “go[es] on for ever.” The brook is fairly indifferent to humans, hardly acknowledging them at all as it moves through the landscape. As the poem unspools, the river shifts from an energetic little thing to a languid, slow-moving stream, mirroring the way that humans age. This reinforces that the brook’s journey is an extended metaphor for the course of a human life. However, the brook is not actually a human—even after it has undergone its "aging" process, the brook finds it within itself to pick up the pace once more in line 49, with renewed vigor and purpose. Throughout the poem, the brook is constantly changing, becoming a thin stream of water in one moment as it trickles through a narrow crevice between two rocks (like in line 6), and becoming expansive not long after, pooling lazily and spreading out into the bay (like in lines 47-48). At the same time, though, the brook is, like nature, also unchanging. Though its water shifts and changes, it never ceases to be a brook.
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“The Brook” Setting
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“The Brook” is set in the beautiful wilderness that, given Tennyson’s Britishness and status as Britain’s Poet Laureate, is most likely the British countryside. As the poem unfolds, and the brook embarks on its long and winding journey to join up with a large river, elements of the countryside crop up one by one. Throughout its journey, the brook points out different kinds of fish and foliage, and acknowledges the sun, moon, and starlight, painting a fuller picture of the wooded scene. The brook also passes a handful of villages and bridges but mostly passes swaths of untouched countryside that is so majestic and undisturbed that it’s like a “fairy foreland.” This lush landscape is a fitting setting for the poem, which emphasizes the unrivaled beauty of nature.
Tennyson wrote this poem in 1886, in the wake of the Industrial Revolution of the late eighteenth century and the rise of the Second Industrial Revolution. With the rapid advancement and industrialization of cities still in the public consciousness—so-called progress that encroached on the previously untouched countryside—it's interesting that Tennyson chooses to paint such an idyllic picture of nature and minimize any trace of humans. In one of the few instances in which it acknowledges humans in some capacity, the brook glides past "twenty thorps, a little town, / And half a hundred bridges" (lines 7-8). These two lines provide a hazy picture of how industrialization has impacted the countryside. Are the "half a hundred bridges" (the number likely meant only to signify that there are a lot of bridges, not that there were actually 50) evidence of industrialization bleeding into the brook's terrain? Or does the fact that there is only one "little town," while there are "twenty thorps" (small villages), mean that this scene is still one of a quaint, pre-industrialized Britain? Regardless, the brook passes the towns in an instant, making Tennyson's purpose clear: to show nature in its best light—when "the netted sunbeam[s] dance"—and elevate nature's beauty, eternalness, and importance in comparison to humans, who are merely passing through in their brief time on Earth.
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Literary and Historical Context of “The Brook”
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Literary Context
Just as the brook wishes “To join the brimming river” in Tennyson’s “The Brook,” so too does the river join the sea in Emily Dickinson’s short poem “My River Runs to Thee.” Dickinson’s poem has a romantic texture that Tennyson’s poem lacks, but both poems highlight the constancy of nature. Both poems are also brimming with “s” sounds that reflect the sound of rushing water. Rupert Brooke’s “Heaven” also resembles Tennyson’s “The Brook” in that both poems entertain the concept of an afterlife. While this is far more subtle in “The Brook” (with the eponymous brook being absorbed into the “brimming river” in a way reminiscent of a human living on in some kind of afterlife), Brooke’s “Heaven” asks directly if “there [is] anything Beyond.” Brooke’s “Heaven,” which follows fish swimming along in a stream, is also far more optimistic about the existence of something “Beyond,” while Tennyson’s “The Brook” remains vague and questioning.
Tennyson wrote the poem in 1886, when he was 77 years old. Around this time, Tennyson’s age began to bleed through his work, as he increasingly engaged the concepts of mortality and the afterlife. This reflective quality appears in “The Brook,” which emphasizes the constancy of nature and the fleetingness of human life—as the brook itself says in the refrain in stanzas 3, 6, 9, and 13, “For men may come and men may go, / But I go on for ever.” During his lifetime, Tennyson was forced to grapple with two particularly painful deaths: that of his best friend, Arthur Hallam, and Tennyson’s youngest son, Lionel. It is no wonder, then, why Tennyson became increasingly consumed with questions surrounding death, mortality, and the afterlife. In the poem "In Memoriam A. H. H.," Tennyson grapples with his heavy feelings of grief over Arthur's death and, in the process, raises pressing but unanswerable questions about human life and religion. “The Brook” only vaguely gestures at the question of the afterlife: if the brook’s journey, as an extended metaphor for a human life, culminates with the brook “join[ing] the brimming river” and living on in that new form, does that mean humans also live on in some form of afterlife? Tennyson leaves this ambiguous, a reflection of his own perhaps uncertain mind.
Historical Context
During the time he wrote “The Brook,” Tennyson was serving as Poet Laureate (a kind of spokesperson-meets-poet) for Queen Victoria, succeeding the late William Wordsworth. Throughout the Queen’s six-decade reign, the British colonial empire continued to expand (Victoria was named empress of India just ten years before Tennyson wrote “The Brook). At the same time, industrialization continued to expand across Britain. While there was much to be gained from industrial progress, rapid technological advancement also spelled trouble for the natural landscape, as factories, machinery, and industrial cities began to crop up and infringe on the wilderness (a fact that Gerard Manley Hopkins, for instance, decried in his 1877 poem "God's Grandeur").
Both colonialism and industrialization are often portrayed in literature as negative. But as Poet Laureate, it was Tennyson’s job to unflinchingly praise England’s so-called progress to buoy the English people. Interestingly, he sidesteps the issue altogether in “The Brook,” which depicts an idyllic slice of the English countryside. The speaker of the poem, the brook itself, does flow past a town, a handful of small villages, and dozens of bridges, but that is the only possible glimpse of industrialization Tennyson provides. Of course, it's unclear if these villages are quaint, old-timey hamlets, untouched by industrialization, or if they are cropping up as part of a larger trend of concentrated, industrialized communities. The poem leaves those questions up to the reader to ponder.
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More “The Brook” Resources
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External Resources
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"The Brook" Put to Music — Enjoy this archived copy of vintage sheet music—or even play along!
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More Background — Read more about Tennyson's private and public life.
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"The Brook" Read Aloud — Listen to a reading of Tennyson's "The Brook."
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Tennyson's Life — Read about how Tennyson's personal life shaped his work.
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LitCharts on Other Poems by Alfred Lord Tennyson
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