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The Annotated Edition

The Brook by Lord Alfred Tennyson

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A man named Lawrence Aylmer sits by a brook, reminiscing about his late friend Edmund, a poet who cherished this very stream.

Core theme
Memory
The PoemFull text

The Brook

Lord Alfred Tennyson

'Here, by this brook, we parted; I to the East And he for Italy—too late—too late: One whom the strong sons of the world despise; For lucky rhymes to him were scrip and share, And mellow metres more than cent for cent; Nor could he understand how money breeds, Thought it a dead thing; yet himself could make The thing that is not as the thing that is. O had he lived! In our schoolbooks we say, Of those that held their heads above the crowd, They flourish'd then or then; but life in him Could scarce be said to nourish, only touch'd On such a time as goes before the leaf, When all the wood stands in a mist of green, And nothing perfect: yet the brook he loved, For which, in branding summers of Bengal, Or ev'n the sweet half-English Neilgherry air, I panted, seems, as I re-listen to it, Prattling the primrose fancies of the boy, To me that loved him; for "O brook," he says, "O babbling brook," says Edmund in his rhyme, "Whence come you? " and the brook, why not? replies. I come from haunts of coot and hern, I make a sudden sally And sparkle out among the fern, To bicker down a valley. By thirty hills I hurry down, Or slip between the ridges, By twenty thorps, a little town, And half a hundred bridges. 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. 'Poor lad, he died at Florence, quite worn out, Travelling to Naples. There is Darnley bridge, It has more ivy; there the river; and there Stands Philip's farm where brook and river meet. I chatter over stony ways, In little sharps and trebles, I bubble into eddying bays, I babble on the pebbles. 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. 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. 'But Philip chatter'd more than brook or bird; Old Philip; all about the fields you caught His weary daylong chirping, like the dry High-elbow'd grigs that leap in summer grass. 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, And here and there a foamy flake Upon me, as I travel With many a silvery waterbreak Above the golden gravel, 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. 'O darling Katie Willows, his one child! A maiden of our century, yet most meek; A daughter of our meadows, yet not coarse; Straight, but as lissome as a hazel wand; Her eyes a bashful azure, and her hair In gloss and hue the chestnut, when the shell Divides threefold to show the fruit within. 'Sweet Katie, once I did her a good turn, Her and her far-off cousin and betrothed, James Willows, of one name and heart with her. For here I came, twenty years back—the week Before I parted with poor Edmund; crost By that old bridge which, half in ruins then, Still makes a hoary eyebrow for the gleam Beyond it, where the waters marry—crost, Whistling a random bar of Bonny Doon, And push'd at Philip's garden-gate. The gate, Half-parted from a weak and scolding hinge, Stuck; and he clamour'd from a casement, "run" To Katie somewhere in the walks below, "Run, Katie!" Katie never ran: she moved To meet me, winding under woodbine bowers, A little flutter'd, with her eyelids down, Fresh apple-blossom, blushing for a boon. 'What was it? less of sentiment than sense Had Katie; not illiterate; neither one Who dabbling in the fount of fictive tears, And nursed by mealy-mouth'd philanthropies, Divorce the Feeling from her mate the Deed. 'She told me. She and James had quarrell'd. Why? What cause of quarrel? None, she said, no cause; James had no cause: but when I prest the cause, I learnt that James had flickering jealousies Which anger'd her. Who anger'd James? I said. But Katie snatch'd her eyes at once from mine, And sketching with her slender pointed foot Some figure like a wizard's pentagram On garden gravel, let my query pass Unclaim'd, in flushing silence, till I ask'd If James were coming. "Coming every day," She answer'd, "ever longing to explain, But evermore her father came across With some long-winded tale, and broke him short; And James departed vext with him and her." How could I help her? "Would I—was it wrong?" (Claspt hands and that petitionary grace Of sweet seventeen subdued me ere she spoke) "O would I take her father for one hour, For one half-hour, and let him talk to me!" And even while she spoke, I saw where James Made toward us, like a wader in the surf, Beyond the brook, waist-deep in meadow-sweet. 'O Katie, what I suffer' d for your sake! For in I went, and call'd old Philip out To show the farm: full willingly he rose: He led me thro' the short sweet-smelling lanes Of his wheat-suburb, babbling as he went. He praised his land, his horses, his machines; He praised his ploughs, his cows, his hogs, his dogs; He praised his hens, his geese, his guinea-hens; His pigeons, who in session on their roofs Approved him, bowing at their own deserts: Then from the plaintive mother's teat he took Her blind and shuddering puppies, naming each, And naming those, his friends, for whom they were: Then crost the common into Darnley chase To show Sir Arthur's deer. In copse and fern Twinkled the innumerable ear and tail. Then, seated on a serpent-rooted beech, He pointed out a pasturing colt, and said: 'That was the four-year-old I sold the Squire.' And there he told a long long-winded tale Of how the Squire had seen the colt at grass, And how it was the thing his daughter wish'd, And how he sent the bailiff to the farm To learn the price, and what the price he ask'd, And how the bailiff swore that he was mad, But he stood firm; and so the matter hung; He gave them line: and five days after that He met the bailiff at the Golden Fleece, Who then and there had offer'd something more, But he stood firm; and so the matter hung; He knew the man; the colt would fetch its price; He gave them line: and how by chance at last (It might be May or April, he forgot, The last of April or the first of May) He found the bailiff riding by the farm, And, talking from the point, he drew him in, And there he mellow'd all his heart with ale, Until they closed a bargain, hand in hand. 'Then, while I breathed in sight of haven, he, Poor fellow, could he help it? recommenced, And ran thro' all the coltish chronicle, Wild Will, Black Bess, Tantivy, Tallyho, Reform, White Rose, Bellerophon, the Jilt, Arbaces, and Phenomenon, and the rest, Till, not to die a listener, I arose, And with me Philip, talking still; and so We turn'd our foreheads from the falling sun, And following our own shadows thrice as long As when they follow'd us from Philip's door, Arrived, and found the sun of sweet content Re-risen in Katie's eyes, and all things well. I steal by lawns and grassy plots, I slide by hazel covers; I move the sweet forget-me-nots That grow for happy lovers. I slip, I slide, I gloom, I glance, Among my skimming swallows; I make the netted sunbeam dance Against my sandy shallows. I murmur under moon and stars In brambly wildernesses; I linger by my shingly bars; I loiter round my cresses; 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. Yes, men may come and go; and these are gone, All gone. My dearest brother, Edmund, sleeps, Not by the well-known stream and rustic spire, But unfamiliar Arno, and the dome Of Brunelleschi; sleeps in peace: and he, Poor Philip, of all his lavish waste of words Remains the lean P. W. on his tomb: I scraped the lichen from it: Katie walks By the long wash of Australasian seas Far off, and holds her head to other stars, And breathes in converse seasons. All are gone.' So Lawrence Aylmer, seated on a style In the long hedge, and rolling in his mind Old waifs of rhyme, and bowing o'er the brook A tonsured head in middle age forlorn, Mused, and was mute. On a sudden a low breath Of tender air made tremble in the hedge The fragil bindweed-bells and briony rings; And he look'd up. There stood a maiden near, Waiting to pass. In much amaze he stared On eyes a bashful azure, and on hair In gloss and hue the chestnut, when the shell Divides threefold to show the fruit within: Then, wondering, ask'd her 'Are you from the farm?' 'Yes' answer'd she. 'Pray stay a little: pardon me; What do they call you? 'Katie.' 'That were strange. What surname?' 'Willows.' 'No!' 'That is my name.' 'Indeed!' and here he look'd so self-perplext, That Katie laugh'd, and laughing blush'd, till he Laugh'd also, but as one before he wakes, Who feels a glimmering strangeness in his dream. Then looking at her; 'Too happy, fresh and fair, Too fresh and fair in our sad world's best bloom, To be the ghost of one who bore your name About these meadows, twenty years ago.' 'Have you not heard?' said Katie, 'we came back. We bought the farm we tenanted before. Am I so like her? so they said on board. Sir, if you knew her in her English days, My mother, as it seems you did, the days That most she loves to talk of, come with me. My brother James is in the harvest-field: But she—you will be welcome—O, come in!'

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A man named Lawrence Aylmer sits by a brook, reminiscing about his late friend Edmund, a poet who cherished this very stream. As he reflects on the past — Edmund's untimely death, the ceaseless chatter of a farmer named Philip, and a young woman named Katie whose love quarrel Lawrence once helped resolve — the brook continues to flow, singing its own song, indifferent to human lives. In the end, time reveals a twist: the young woman Lawrence encounters by the brook isn’t the Katie he once knew, but her daughter, sharing the same name and face as they return to the same meadows.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. 'Here, by this brook, we parted; I to the East / And he for Italy—too late—too late:

    Editor's note

    Lawrence begins his memory at the place where he last said goodbye to his friend Edmund. The phrase "too late" resonates deeply from the start—Edmund passed away before he could fulfill his potential. We discover that Edmund was a poet, indifferent to wealth, with a unique ability to bring the imaginary to life. Lawrence grieves not only for the man but also for the life that was never lived, likening Edmund's premature death to a tree that never fully blossomed.

  2. I come from haunts of coot and hern, / I make a sudden sally

    Editor's note

    Here, the poem takes on a new voice: the brook speaks for itself. Tennyson infuses the stream with a lively, bouncy rhythm (anapestic tetrameter that feels like skipping) that stands in stark contrast to Lawrence's sorrow. The brook narrates its journey from wild marshlands to hills, villages, and bridges — it's full of energy, intention, and entirely unaffected by human grief. The refrain "men may come and men may go, / But I go on for ever" resonates for the first time here, establishing the poem's main tension between human mortality and the enduring nature of the world.

  3. By thirty hills I hurry down, / Or slip between the ridges,

    Editor's note

    The brook carries on with its self-portrait, capturing the scenery it flows through: hills, ridges, small villages ("thorps"), a town, and bridges. The numbers — thirty hills, twenty thorps, fifty bridges — convey a feeling of expansive, leisurely distance. The brook isn’t in a hurry; it’s just moving along, as it always has. Philip's farm shows up at the end of this stanza, grounding the brook in the specific local landscape that Lawrence is reflecting on.

  4. Till last by Philip's farm I flow / To join the brimming river,

    Editor's note

    The brook arrives at the river, bringing the refrain in full for the first time. The word "brimming" implies abundance and overflow, representing life in all its fullness. This contrasts subtly yet intentionally with Edmund's shortened existence. The brook doesn’t grieve; it merely reaches its destination.

  5. 'Poor lad, he died at Florence, quite worn out, / Travelling to Naples.

    Editor's note

    Lawrence returns with a straightforward, nearly stark remark about Edmund's death. "Quite worn out" carries a poignant weight in its simplicity—there's no grand deathbed scene, just sheer fatigue. He then highlights the genuine surroundings: Darnley bridge, the river, Philip's farm. The poem firmly roots itself in the physical location while memories surge through it.

  6. I chatter over stony ways, / In little sharps and trebles,

    Editor's note

    The brook's second stanza uses musical language—terms like "sharps and trebles" suggest that the brook is essentially putting on a performance. The very sounds of words like "chatter," "bubble," and "babble" imitate water flowing over stones. As the brook flows through bays, pebbles, fields, and fallow land, it remains vibrant and active, while the humans around it grow old and pass away.

  7. With many a curve my banks I fret / By many a field and fallow,

    Editor's note

    "Fret" here refers to the gradual wearing away or erosion — the brook carves its banks as time goes by. The fairy-tale imagery ("fairy foreland") and the specific plants (willow-weed, mallow) lend this stanza a rich, almost magical feel. The brook is more than just water; it's a living entity with its own gentle strength.

  8. I chatter, chatter, as I flow / To join the brimming river,

    Editor's note

    The refrain comes back, but this time the word "chatter" ties the brook to old Philip, who is described right after as chattering more than either the brook or the bird. Tennyson subtly connects the brook's continuous babble to Philip's non-stop chatter — both keep going, but only one of them truly lasts forever.

  9. 'But Philip chatter'd more than brook or bird; / Old Philip; all about the fields you caught

    Editor's note

    Lawrence introduces Philip, the chatty farmer, with a playful sense of affection. The comparison to "dry high-elbow'd grigs" (a type of grasshopper) is both specific and amusing—Philip is loud, relentless, and a bit eccentric. This part sets the stage for the lengthy comic digression about Philip's farm tour that follows.

  10. I wind about, and in and out, / With here a blossom sailing,

    Editor's note

    The brook's third stanza is the most visually captivating: blossoms drifting, trout zipping by, grayling fish, frothy bubbles on the surface, golden gravel below. The brook carries everything with it—fish, foam, light—in a generous, unselective flow. It stands in stark contrast to Edmund's brief, unfinished life.

  11. And draw them all along, and flow / To join the brimming river,

    Editor's note

    The refrain returns, and "draw them all along" now carries weight — the brook takes everything with it, including the reader's focus. It's a soft yet unstoppable force.

  12. 'O darling Katie Willows, his one child! / A maiden of our century, yet most meek;

    Editor's note

    Lawrence introduces Katie with genuine warmth. His description captures her essence: she's contemporary without being harsh, elegant yet sturdy. The simile comparing her chestnut hair to a shell revealing the fruit inside is one of Tennyson's best small images—it conveys both beauty and the allure of something not fully uncovered.

  13. 'Sweet Katie, once I did her a good turn, / Her and her far-off cousin and betrothed,

    Editor's note

    Lawrence transitions into storytelling, recalling a visit from twenty years back when he assisted Katie and her fiancé James in mending a disagreement. The scene unfolds with a touch of social comedy: the gate that wouldn’t budge, Philip hollering from a window, and Katie moving gracefully instead of rushing. The detail of Lawrence whistling "Bonny Doon" — a Scottish tune about lost love — introduces a subtle ironic twist.

  14. 'What was it? less of sentiment than sense / Had Katie; not illiterate; neither one

    Editor's note

    Lawrence takes a moment to describe Katie's intelligence. She isn't a sentimental dreamer; she's grounded and pragmatic. The phrase "divorce the Feeling from her mate the Deed" captures Tennyson's view that Katie doesn’t dwell on emotions — she takes action. This quality makes her relatable and genuine, rather than just a typical ingénue.

  15. 'She told me. She and James had quarrell'd. Why? / What cause of quarrel? None, she said, no cause;

    Editor's note

    The argument is rooted in jealousy — James's fleeting jealous feelings and something Katie seems hesitant to discuss (she opts to draw a pentagram in the gravel with her foot instead of answering). There’s a gentle humor in the situation: young love, minor miscommunications, and a third party stepping in to allow the couple some privacy. Lawrence agrees to keep Philip occupied so James can have a moment with Katie.

  16. 'O Katie, what I suffer'd for your sake! / For in I went, and call'd old Philip out

    Editor's note

    The poem features a hilarious moment: Philip's farm tour. He enthusiastically praises everything he possesses — his land, horses, machines, ploughs, cows, hogs, dogs, hens, geese, guinea-hens, pigeons, and puppies — before diving into a never-ending tale about selling a colt to the Squire. The story seems pointless and goes on forever; Philip repeats it, coming back to it again. Lawrence puts up with it all for Katie's benefit. The humor is gentle rather than harsh — Philip is silly but not mean-spirited.

  17. 'Then, while I breathed in sight of haven, he, / Poor fellow, could he help it? recommenced,

    Editor's note

    Just when Lawrence believes Philip has finished, Philip begins the colt story all over, naming each horse. Lawrence eventually breaks free by standing up and walking away. When they return, they find Katie beaming with joy — James has had his moment to explain, and everything is good. The line "sun of sweet content / Re-risen in Katie's eyes" beautifully wraps up the lengthy comic adventure.

  18. I steal by lawns and grassy plots, / I slide by hazel covers;

    Editor's note

    The brook's last and longest stanza is the most lyrical. The verbs — steal, slide, move, slip, gloom, glance, murmur, linger, loiter — slow the brook down, creating a dreamy, twilight feel. It flows "under moon and stars / In brambly wildernesses." Here, the brook feels most timeless, and the forget-me-nots it carries (flowers whose name means "remember me") tie it back to the poem's themes of memory and loss.

  19. And out again I curve and flow / To join the brimming river,

    Editor's note

    The refrain echoes one last time in the brook's voice, now holding the weight of all that has happened. Edmund is gone. Philip is gone. Katie is in Australia. The brook continues to flow.

  20. Yes, men may come and go; and these are gone, / All gone.

    Editor's note

    Lawrence takes the brook's refrain and transforms it with a sense of grief instead of cheerfulness. "All gone" stands out as one of the most quietly heartbreaking phrases in the poem. Edmund sleeps by the Arno in Florence, far from the English stream he once cherished. Philip's life of words has been reduced to initials on a tombstone. Katie is now on the other side of the world. Lawrence gently scrapes lichen off Philip's grave — a small, tender act to resist forgetting.

  21. So Lawrence Aylmer, seated on a style / In the long hedge, and rolling in his mind

    Editor's note

    The narrator pulls back, giving us our first glimpse of Lawrence from the outside: a middle-aged man, alone, hunched over the brook. The term "tonsured" (referring to a monk's shaved head) implies both his age and a sense of commitment. Just then, a breeze rustles through the hedge, prompting him to look up and see a young woman about to pass — she has Katie's eyes and Katie's hair.

  22. Then, wondering, ask'd her 'Are you from the farm?' / 'Yes' answer'd she.

    Editor's note

    The poem ends with a twist: the young woman turns out to be Katie's daughter, also named Katie, and the family has returned to purchase the farm they used to rent. Time has circled back. The brook's refrain about lasting forever feels less sad and more genuine—life goes on, taking new shapes and passing through new generations. Lawrence's laughter and bewilderment, "as one before he wakes / Who feels a glimmering strangeness in his dream," perfectly encapsulates the strange joy of the moment. The invitation to enter and meet the family gives the poem a warm, welcoming conclusion.

§04Tone & mood

How this poem feels

The poem captures two tones simultaneously, never allowing one to overshadow the other. Lawrence's voice carries an elegiac and tender quality; he mourns friends and a lost world, and his grief feels genuine. In contrast, the brook's voice is bright, lively, and utterly cheerful, while the lengthy section about Philip is downright funny. Tennyson skillfully keeps these tones in dialogue rather than conflict: the humor from Philip's farm tour enhances the human aspect of the surrounding grief, and the brook's persistent cheerfulness makes Lawrence's sorrow more impactful. By the end, the tone evolves into something warmer than mere elegy — the return of younger Katie introduces a sense of quiet wonder and even comfort.

§05Symbols & metaphors

Symbols & metaphors

The brook
The brook stands as the poem's main symbol of time and the continuity of nature. It keeps flowing, unaffected by who lives or dies along its banks. Its refrain — "men may come and men may go, / But I go on for ever" — captures the poem's main idea. Yet, the brook isn't cold or indifferent; it has a playful and musical quality, making its enduring presence feel less like a criticism and more like an accepted part of life.
The brimming river
The river that the brook flows into symbolizes the broader passage of time and existence where individual lives eventually blend. The word "brimming" conveys a sense of fullness instead of loss — the brook doesn’t vanish when it meets the river; it becomes a part of something greater.
The forget-me-nots
The brook carries the forget-me-nots "that grow for happy lovers" — flowers whose name directly asks us to remember. In a poem filled with themes of memory and loss, these flowers link the brook's constant flow to our deep human desire to hold onto memories.
Philip's tombstone
Philip's life, filled with endless words—his babbling, his stories, his cheerful noise—now exists as just two initials on a stone covered in lichen. Lawrence's act of scraping away the lichen serves as a small gesture of remembrance, yet it also highlights how thoroughly time wipes away even the most loquacious lives.
The younger Katie
Katie's daughter, sharing her mother's name and looks, embodies how life continues through generations. She isn't a ghost or a substitute but rather a continuation — the same traits, the same name, yet a distinct individual. Her arrival at the end responds to the brook's refrain with a human counterpart: people may leave, but a part of them returns.
Edmund's unfinished life
Edmund is likened to a tree in early spring — "such a time as goes before the leaf, / When all the wood stands in a mist of green, / And nothing perfect." He passed away before he could fully realize his potential, and this image of stunted growth lingers throughout the poem's reflection on time and loss.

§06Historical context

Historical context

Tennyson published "The Brook" in 1855 as part of his collection *Maud, and Other Poems*. By this time, he was serving as Poet Laureate of Britain, a role he had taken on in 1850, and he was at the peak of his creativity and recognition. The poem fits within the tradition of English pastoral poetry, which often uses landscapes—particularly water—as reflections of human emotions. However, Tennyson adds complexity by giving the brook its own voice and portraying its indifference to human sorrow. The 1850s were marked by personal loss for Tennyson: his close friend Arthur Hallam passed away in 1833, and the lengthy elegy *In Memoriam A.H.H.* (1850) was his profound response to that grief. While "The Brook" is quieter and more intimate than *In Memoriam*, it still grapples with the theme of how nature persists as human lives come to an end. The poem's framework—a man revisiting a landscape from his past—was a narrative style Tennyson frequently returned to throughout his career.

§07FAQ

Questions readers ask

That’s precisely what Tennyson intends. The poem features a frame story—Lawrence Aylmer by a brook, reflecting on his deceased friend Edmund and others from his past. Within this frame, the brook shares its own voice through a series of song stanzas. These two perspectives interact with one another: the brook is lively and timeless, while Lawrence embodies grief and mortality. This contrast is central to the poem’s message.

Adjacent texts in the archive