The Annotated Edition
The Two Voices by Alfred, Lord Tennyson
A man teetering on the brink of despair is confronted by a chilling inner voice that persistently pushes him toward ending his life.
- Core theme
- Despair
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
A still small voice spake unto me, / "Thou art so full of misery,"
Editor's note
The poem begins with a voice contemplating suicide, echoing a biblical phrase from 1 Kings, suggesting that such a miserable life isn't worth living. However, the speaker quickly counters this notion, asserting that the world is too beautifully crafted to be overshadowed by despair.
"To-day I saw the dragon-fly / Come from the wells where he did lie."
Editor's note
The voice wields the dragonfly as its opening weapon: the insect emerges from its larval shell, adorned in stunning sapphire armor, and disappears in a flash of light. This suggests that beings shine brightly yet fleetingly — so why shouldn't the speaker do the same? The imagery is beautiful, but the reasoning feels distant.
I said, "When first the world began, / Young Nature thro' five cycles ran,"
Editor's note
The speaker responds by emphasizing human dignity: It took nature six great ages to bring forth humanity, culminating in our minds, proportions, and moral authority. This serves as a defense of human uniqueness against the voice's simplistic view of naturalism.
"This truth within thy mind rehearse, / That in a boundless universe / Is boundless better, boundless worse."
Editor's note
The voice responds with a cosmic perspective: in a universe filled with a hundred million worlds, what makes this one person so special? The speaker replies that no two things in existence are exactly alike — every individual is truly one of a kind. The voice retorts: who will mourn for one lost difference?
"Or will one beam be less intense, / When thy peculiar difference / Is cancell'd in the world of sense?"
Editor's note
The voice makes a harsh point — the universe won't lose even a single photon when the speaker is gone. Overcome with emotion, the speaker can't find the words; his sorrow pours out as tears.
I said, "The years with change advance: / If I make dark my countenance,"
Editor's note
The speaker finds hope in the idea that time can bring change, believing that isolating himself from life also means shutting out any chance of recovery. However, the voice brushes this off as mere wishful thinking, likening the speaker's condition to a palsy that no medication can heal.
I wept, "Tho' I should die, I know / That all about the thorn will blow"
Editor's note
Even in tears, the speaker sees a hopeful perspective: the hawthorn will keep blooming, and future generations will continue to seek the truth after he's gone. He's starting to look past his own suffering and toward the ongoing flow of life.
"Yet," said the secret voice, "some time, / Sooner or later, will gray prime / Make thy grass hoar with early rime."
Editor's note
The voice makes no concessions: frost will arrive for the speaker's grass just like it does for everyone else's. The bee, the foxglove, the furze — they will all continue on without him. Nature's indifference serves as the voice's strongest point.
I said that "all the years invent; / Each month is various to present / The world with some development."
Editor's note
The speaker believes that progress is a reason to keep living — to observe from a crumbling tower as human knowledge expands. However, the voice responds that regardless of how high the mind ascends, the sacred peak always moves further away; the scale is limitless and no true height is ever reached.
"Forerun thy peers, thy time, and let / Thy feet, millenniums hence, be set / In midst of knowledge, dream'd not yet."
Editor's note
The voice twists the speaker's ambition against him: even if he jumped a thousand years ahead in understanding, he still wouldn’t be closer to the light. Pretending to seek is worse than not seeking at all because it demands a healthy mindset and a calm mind—qualities the speaker has lost.
I said, "When I am gone away, / 'He dared not tarry,' men will say,"
Editor's note
The speaker presents the argument about reputation — that suicide will be seen as an act of cowardice. However, the voice counters this claim: worrying about how others perceive your death is, in itself, a form of cowardice, and the memory of any person, much like a fallen leaf, lasts only a short while.
"Hard task, to pluck resolve," I cried, / "From emptiness and the waste wide"
Editor's note
The speaker expresses his feelings of emptiness, then recalls a younger version of himself: a man who sang battle hymns, maintained his weapons, and was eager to fight for truth against falsehood. This moment serves as the poem's most striking flashback—a depiction of youthful idealism before depression set in.
"Waiting to strive a happy strife, / To war with falsehood to the knife,"
Editor's note
The young man remembered sought to achieve intellectual freedom, explore the essence of life, and pass away honored for a noble cause — much like a warrior who sheds tears while listening to his country's war song. This reflects a heroic self-image, and it's evident that the speaker mourns its absence.
"Yea!" said the voice, "thy dream was good, / While thou abodest in the bud."
Editor's note
The voice acknowledges that the dream was good — for a boy. However, youthful energy is merely biological, and after the flower blooms, reality sets in, change occurs, and decline follows. Pain surfaces, former joys fade, and the voice echoes its message: there is one cure for everything.
"That men with knowledge merely play'd, / I told thee — hardly nigher made,"
Editor's note
The voice suggests that even a lifetime of dedicated intellectual pursuit won't unravel the mystery of existence. Each worm weaves its own cocoon, and each mind creates its own tapestry. If truth exists, it’s likely out of reach, shrouded in uncertainty.
"I will go forward, sayest thou, / I shall not fail to find her now."
Editor's note
The voice ridicules the speaker's determination to seek truth: he will only accept shadows, much like Ixion who chose a cloud over Hera. He considers himself slightly above the beasts, referring to himself as just a bit lower than the angels — the voice urges him to cease inching toward darkness.
"O dull, one-sided voice," said I, / "Wilt thou make everything a lie,"
Editor's note
The speaker identifies the voice's role: reducing all of reality to an argument for death. He responds with stories of individuals who found true peace and joy—those who fought bravely against the current and caught glimpses of Eden. He references Saint Stephen, who prayed as he was stoned to death and witnessed God's glory.
The sullen answer slid betwixt: / "Not that the grounds of hope were fix'd,"
Editor's note
The voice brushes off the saints as mere fortunate quirks of personality, rather than evidence of something genuine. The speaker confesses his fear: he feels he doesn't understand the universe deeply enough to gamble on making things worse, and every answer he discovers just entangles him in a web of a hundred new questions.
"Consider well," the voice replied, / "His face, that two hours since hath died;"
Editor's note
The voice shifts to a vivid image of a recently deceased man: still, gentle, beyond praise or blame, unaware of the north wind or his children's futures. The place he once knew will forget him. This is the poem's most haunting moment — death as complete erasure.
"If all be dark, vague voice," I said, / "These things are wrapt in doubt and dread,"
Editor's note
The speaker rejects the voice's confidence regarding death. He has been familiar with death since he was a child—the shadows cast on graves, the darkness of the yew tree—but he maintains that these external signs don’t resolve the deeper question. Unlike other creatures, only man names 'Eternity' and struggles to find the Perfect in Nature because it resides within him.
"He seems to hear a Heavenly Friend, / And thro' thick veils to apprehend"
Editor's note
The speaker suggests that human consciousness — with its moral conflicts, fleeting moments of transcendence, and deep doubts — indicates a reality beyond just physical existence. The ability to question our senses shows that we are more than just beings that come and go.
"But thou canst answer not again. / With thine own weapon art thou slain,"
Editor's note
The speaker calls it a draw, noting that the voice can't make its case either, leading to a circular argument. After a pause — likened to a wave being pushed back — the voice shifts tactics, recounting the speaker's father's life as a series of empty moments from birth to death.
"Where wert thou when thy father play'd / In his free field, and pastime made,"
Editor's note
The voice outlines the father's journey — starting as a joyful boy, growing into a man with a wife, kids, and the marks of age, and then fading away. The speaker won't let this reality weigh him down: he can’t recall anything before his birth, so he can’t truly believe there was nothing. He entertains the notion of the soul moving between different states, much like a sip from the river Lethe between lives.
"So might we, if our state were such / As one before, remember much,"
Editor's note
The speaker considers the ideas of pre-existence and reincarnation—not as a steadfast belief, but as a possibility that hasn't been dismissed. He mentions mystic glimmers and fragments of lost dreams as potential signs of a past life. It's a cautious exploration, but it’s sufficient to keep the discussion going.
The still voice laugh'd. "I talk," said he, / "Not with thy dreams. Suffice it thee / Thy pain is a reality."
Editor's note
The voice laughs, slicing through the speculation: pain exists, but dreams do not. Yet the speaker flips this around: the voice has only cast a shadow over the horizon, never revealing what the soul would truly experience in a new body. Then comes the poem's turning point — the speaker's own assertion that no life genuinely desires death; instead, it yearns for more life.
I ceas'd, and sat as one forlorn. / Then said the voice, in quiet scorn, / "Behold it is the Sabbath morn".
Editor's note
The debate concludes in fatigue. The voice, now nearly tender, gestures toward the Sabbath morning. The speaker opens the window, hears the church bells, and sees a family — husband, wife, and their young daughter — heading to church. Their simple love melts his icy heart. The bitter voice fades away.
A second voice was at mine ear, / A little whisper silver-clear,
Editor's note
A new, quiet voice takes the place of the old one—not arguing but softly offering comfort: 'Be of better cheer,' 'I see the end, and know the good,' 'A hidden hope.' It doesn't try to explain itself, much like an Aeolian harp playing melodies without a set tune. The speaker embraces the hope without asking for proof.
To feel, altho' no tongue can prove, / That every cloud, that spreads above / And veileth love, itself is love.
Editor's note
The poem's emotional resolution reveals that even suffering exists within a greater love. The speaker strolls through the fields, discovering them filled with vibrant flowers and the sounds of birds. He reflects on how he allowed a single gloomy thought to weigh down his entire mind. The closing lines softly criticize his prolonged connection with the desolate voice when a joyful one was always within reach.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The still small voice
- Borrowed from 1 Kings 19:12, where God speaks to Elijah in a gentle whisper, Tennyson flips the original idea: in this case, the quiet voice pushes for self-destruction instead of offering divine comfort. By the end, a second, genuinely gentle voice emerges, bringing back the biblical meaning.
- The dragonfly
- The voice draws on the dragonfly's fleeting and stunning emergence from its larval shell to suggest that life is merely a brief flash of light without lasting significance. However, the beauty of this image subtly challenges the nihilistic viewpoint — the dragonfly's transformation also implies renewal and the soul's departure from the body.
- The Sabbath morning
- Sunday dawn marks a shift from death to life. As the casement opens, light pours in, and the church bells signal the rhythm of communal life — a stark contrast to the isolated, timeless despair that the voice has been conveying.
- The family (husband, wife, daughter)
- The three figures walking to church symbolize everyday human love and the continuity of life—everything the suicidal voice dismissed as meaningless. Their 'double love' and the child’s downcast eyes soften the speaker's heart in a way that all philosophical arguments could not.
- The Aeolian harp
- A wind-harp that plays without human intention represents a second voice: not a logical argument, but an intuition that comes unexpectedly, creating music from the air. It indicates that the resolution is felt rather than reasoned.
- The rainbow from the shower
- When hope breaks free from the speaker's heavy heart, it arrives like a rainbow—a classic symbol of promise and agreement, appearing right after the storm that came before it. The poem illustrates how suffering and hope are intertwined, reinforcing the closing idea that every cloud hiding love is, in fact, a form of love.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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