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The Two Voices by Alfred, Lord Tennyson

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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
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The PoemFull text

The Two Voices

Alfred, Lord Tennyson

A still small voice spake unto me, "Thou art so full of misery, Were it not better not to be?' Then to the still small voice I said; "Let me not cast in endless shade What is so wonderfully made." To which the voice did urge reply; "To-day I saw the dragon-fly Come from the wells where he did lie. "An inner impulse rent the veil Of his old husk: from head to tail Came out clear plates of sapphire mail. "He dried his wings: like gauze they grew: Thro' crofts and pastures wet with dew A living flash of light he flew." I said, "When first the world began, Young Nature thro' five cycles ran, And in the sixth she moulded man. "She gave him mind, the lordliest Proportion, and, above the rest, Dominion in the head and breast." Thereto the silent voice replied; "Self-blinded are you by your pride: Look up thro' night: the world is wide. "This truth within thy mind rehearse, That in a boundless universe Is boundless better, boundless worse. "Think you this mould of hopes and fears Could find no statelier than his peers In yonder hundred million spheres?" It spake, moreover, in my mind: "Tho' thou wert scatter'd to the wind, Yet is there plenty of the kind." Then did my response clearer fall: "No compound of this earthly ball Is like another, all in all." To which he answer'd scoffingly; "Good soul! suppose I grant it thee, Who'll weep for thy deficiency? "Or will one beam be less intense, When thy peculiar difference Is cancell'd in the world of sense?" I would have said, "Thou canst not know," But my full heart, that work'd below, Rain'd thro' my sight its overflow. Again the voice spake unto me: "Thou art so steep'd in misery, Surely 'twere better not to be. "Thine anguish will not let thee sleep, Nor any train of reason keep: Thou canst not think, but thou wilt weep." I said, "The years with change advance: If I make dark my countenance, I shut my life from happier chance. "Some turn this sickness yet might take, Ev'n yet." But he: "What drug can make A wither'd palsy cease to shake?" I wept, "Tho' I should die, I know That all about the thorn will blow In tufts of rosy-tinted snow; "And men, thro' novel spheres of thought Still moving after truth long sought, Will learn new things when I am not." "Yet," said the secret voice, "some time, Sooner or later, will gray prime Make thy grass hoar with early rime. "Not less swift souls that yearn for light, Rapt after heaven's starry flight, Would sweep the tracts of day and night. "Not less the bee would range her cells, The furzy prickle fire the dells, The foxglove cluster dappled bells." I said that "all the years invent; Each month is various to present The world with some development. "Were this not well, to bide mine hour, Tho' watching from a ruin'd tower How grows the day of human power?" "The highest-mounted mind," he said, "Still sees the sacred morning spread The silent summit overhead. "Will thirty seasons render plain Those lonely lights that still remain, Just breaking over land and main? "Or make that morn, from his cold crown And crystal silence creeping down, Flood with full daylight glebe and town? "Forerun thy peers, thy time, and let Thy feet, millenniums hence, be set In midst of knowledge, dream'd not yet. "Thou hast not gain'd a real height, Nor art thou nearer to the light, Because the scale is infinite. "'Twere better not to breathe or speak, Than cry for strength, remaining weak, And seem to find, but still to seek. "Moreover, but to seem to find Asks what thou lackest, thought resign'd, A healthy frame, a quiet mind." I said, "When I am gone away, 'He dared not tarry,' men will say, Doing dishonour to my clay." "This is more vile," he made reply, "To breathe and loathe, to live and sigh, Than once from dread of pain to die. "Sick art thou—a divided will Still heaping on the fear of ill The fear of men, a coward still. "Do men love thee? Art thou so bound To men, that how thy name may sound Will vex thee lying underground? "The memory of the wither'd leaf In endless time is scarce more brief Than of the garner'd Autumn-sheaf. "Go, vexed Spirit, sleep in trust; The right ear, that is fill'd with dust, Hears little of the false or just." "Hard task, to pluck resolve," I cried, "From emptiness and the waste wide Of that abyss, or scornful pride! "Nay—rather yet that I could raise One hope that warm'd me in the days While still I yearn'd for human praise. "When, wide in soul and bold of tongue, Among the tents I paused and sung, The distant battle flash'd and rung. "I sung the joyful Pæan clear, And, sitting, burnish'd without fear The brand, the buckler, and the spear— "Waiting to strive a happy strife, To war with falsehood to the knife, And not to lose the good of life— "Some hidden principle to move, To put together, part and prove, And mete the bounds of hate and love— "As far as might be, to carve out Free space for every human doubt, That the whole mind might orb about— "To search thro' all I felt or saw, The springs of life, the depths of awe, And reach the law within the law: "At least, not rotting like a weed, But, having sown some generous seed, Fruitful of further thought and deed, "To pass, when Life her light withdraws, Not void of righteous self-applause, Nor in a merely selfish cause— "In some good cause, not in mine own, To perish, wept for, honour'd, known, And like a warrior overthrown; "Whose eyes are dim with glorious tears, When, soil'd with noble dust, he hears His country's war-song thrill his ears: "Then dying of a mortal stroke, What time the foeman's line is broke, And all the war is roll'd in smoke." "Yea!" said the voice, "thy dream was good, While thou abodest in the bud. It was the stirring of the blood. "If Nature put not forth her power About the opening of the flower, Who is it that could live an hour? "Then comes the check, the change, the fall. Pain rises up, old pleasures pall. There is one remedy for all. "Yet hadst thou, thro' enduring pain, Link'd month to month with such a chain Of knitted purport, all were vain. "Thou hadst not between death and birth Dissolved the riddle of the earth. So were thy labour little-worth. "That men with knowledge merely play'd, I told thee—hardly nigher made, Tho' scaling slow from grade to grade; "Much less this dreamer, deaf and blind, Named man, may hope some truth to find, That bears relation to the mind. "For every worm beneath the moon Draws different threads, and late and soon Spins, toiling out his own cocoon. "Cry, faint not: either Truth is born Beyond the polar gleam forlorn, Or in the gateways of the morn. "Cry, faint not, climb: the summits slope Beyond the furthest nights of hope, Wrapt in dense cloud from base to cope. "Sometimes a little corner shines, As over rainy mist inclines A gleaming crag with belts of pines. "I will go forward, sayest thou, I shall not fail to find her now. Look up, the fold is on her brow. "If straight thy track, or if oblique, Thou know'st not. Shadows thou dost strike, Embracing cloud, Ixion-like; "And owning but a little more Than beasts, abidest lame and poor, Calling thyself a little lower "Than angels. Cease to wail and brawl! Why inch by inch to darkness crawl? There is one remedy for all." "O dull, one-sided voice," said I, "Wilt thou make everything a lie, To flatter me that I may die? "I know that age to age succeeds, Blowing a noise of tongues and deeds, A dust of systems and of creeds. "I cannot hide that some have striven, Achieving calm, to whom was given The joy that mixes man with Heaven: "Who, rowing hard against the stream, Saw distant gates of Eden gleam, And did not dream it was a dream; "But heard, by secret transport led, Ev'n in the charnels of the dead, The murmur of the fountain-head— "Which did accomplish their desire, Bore and forbore, and did not tire, Like Stephen, an unquenched fire. "He heeded not reviling tones, Nor sold his heart to idle moans, Tho' cursed and scorn'd, and bruised with stones: "But looking upward, full of grace, He pray'd, and from a happy place God's glory smote him on the face." The sullen answer slid betwixt: "Not that the grounds of hope were fix'd, The elements were kindlier mix'd." I said, "I toil beneath the curse, But, knowing not the universe, I fear to slide from bad to worse. "And that, in seeking to undo One riddle, and to find the true I knit a hundred others new: "Or that this anguish fleeting hence, Unmanacled from bonds of sense, Be fix'd and froz'n to permanence: "For I go, weak from suffering here; Naked I go, and void of cheer: What is it that I may not fear?" "Consider well," the voice replied, "His face, that two hours since hath died; Wilt thou find passion, pain or pride? "Will he obey when one commands? Or answer should one press his hands? He answers not, nor understands. "His palms are folded on his breast: There is no other thing express'd But long disquiet merged in rest. "His lips are very mild and meek: Though one should smite him on the cheek, And on the mouth, he will not speak. "His little daughter, whose sweet face He kiss'd, taking his last embrace, Becomes dishonour to her race— "His sons grow up that bear his name, Some grow to honour, some to shame,— But he is chill to praise or blame. "He will not hear the north-wind rave, Nor, moaning, household shelter crave From winter rains that beat his grave. "High up the vapours fold and swim: About him broods the twilight dim: The place he knew forgetteth him." "If all be dark, vague voice," I said, "These things are wrapt in doubt and dread, Nor canst thou show the dead are dead. "The sap dries up: the plant declines. A deeper tale my heart divines. Know I not Death? the outward signs? "I found him when my years were few; A shadow on the graves I knew, And darkness in the village yew. "From grave to grave the shadow crept: In her still place the morning wept: Touch'd by his feet the daisy slept. "The simple senses crown'd his head: 'Omega! thou art Lord,' they said, 'We find no motion in the dead.' "Why, if man rot in dreamless ease, Should that plain fact, as taught by these, Not make him sure that he shall cease? "Who forged that other influence, That heat of inward evidence, By which he doubts against the sense? "He owns the fatal gift of eyes, That read his spirit blindly wise, Not simple as a thing that dies. "Here sits he shaping wings to fly: His heart forebodes a mystery: He names the name Eternity. "That type of Perfect in his mind In Nature can he nowhere find. He sows himself in every wind. "He seems to hear a Heavenly Friend, And thro' thick veils to apprehend A labour working to an end. "The end and the beginning vex His reason: many things perplex, With motions, checks, and counterchecks. "He knows a baseness in his blood At such strange war with something good, He may not do the thing he would. "Heaven opens inward, chasms yawn. Vast images in glimmering dawn, Half shown, are broken and withdrawn. "Ah! sure within him and without, Could his dark wisdom find it out, There must be answer to his doubt. "But thou canst answer not again. With thine own weapon art thou slain, Or thou wilt answer but in vain. "The doubt would rest, I dare not solve. In the same circle we revolve. Assurance only breeds resolve." As when a billow, blown against, Falls back, the voice with which I fenced A little ceased, but recommenced. "Where wert thou when thy father play'd In his free field, and pastime made, A merry boy in sun and shade? "A merry boy they called him then. He sat upon the knees of men In days that never come again. "Before the little ducts began To feed thy bones with lime, and ran Their course, till thou wert also man: "Who took a wife, who rear'd his race, Whose wrinkles gather'd on his face, Whose troubles number with his days: "A life of nothings, nothing-worth, From that first nothing ere his birth To that last nothing under earth!" "These words," I said, "are like the rest, No certain clearness, but at best A vague suspicion of the breast: "But if I grant, thou might'st defend The thesis which thy words intend— That to begin implies to end; "Yet how should I for certain hold, Because my memory is so cold, That I first was in human mould? "I cannot make this matter plain, But I would shoot, howe'er in vain, A random arrow from the brain. "It may be that no life is found, Which only to one engine bound Falls off, but cycles always round. "As old mythologies relate, Some draught of Lethe might await The slipping thro' from state to state. "As here we find in trances, men Forget the dream that happens then, Until they fall in trance again. "So might we, if our state were such As one before, remember much, For those two likes might meet and touch. "But, if I lapsed from nobler place, Some legend of a fallen race Alone might hint of my disgrace; "Some vague emotion of delight In gazing up an Alpine height, Some yearning toward the lamps of night. "Or if thro' lower lives I came— Tho' all experience past became Consolidate in mind and frame— "I might forget my weaker lot; For is not our first year forgot? The haunts of memory echo not. "And men, whose reason long was blind, From cells of madness unconfined, Oft lose whole years of darker mind. "Much more, if first I floated free, As naked essence, must I be Incompetent of memory: "For memory dealing but with time, And he with matter, could she climb Beyond her own material prime? "Moreover, something is or seems, That touches me with mystic gleams, Like glimpses of forgotten dreams— "Of something felt, like something here; Of something done, I know not where; Such as no language may declare." The still voice laugh'd. "I talk," said he, "Not with thy dreams. Suffice it thee Thy pain is a reality." "But thou," said I, "hast miss'd thy mark, Who sought'st to wreck my mortal ark, By making all the horizon dark. "Why not set forth, if I should do This rashness, that which might ensue With this old soul in organs new? "Whatever crazy sorrow saith, No life that breathes with human breath Has ever truly long'd for death. "'Tis life, whereof our nerves are scant, Oh life, not death, for which we pant; More life, and fuller, that I want." I ceas'd, and sat as one forlorn. Then said the voice, in quiet scorn, "Behold it is the Sabbath morn". And I arose, and I released The casement, and the light increased With freshness in the dawning east. Like soften'd airs that blowing steal, When meres begin to uncongeal, The sweet church bells began to peal. On to God's house the people prest: Passing the place where each must rest, Each enter'd like a welcome guest. One walk'd between his wife and child, With measur'd footfall firm and mild, And now and then he gravely smiled. The prudent partner of his blood Lean'd on him, faithful, gentle, good, Wearing the rose of womanhood. And in their double love secure, The little maiden walk'd demure, Pacing with downward eyelids pure. These three made unity so sweet, My frozen heart began to beat, Remembering its ancient heat. I blest them, and they wander'd on: I spoke, but answer came there none: The dull and bitter voice was gone. A second voice was at mine ear, A little whisper silver-clear, A murmur, "Be of better cheer". As from some blissful neighbourhood, A notice faintly understood, "I see the end, and know the good." A little hint to solace woe, A hint, a whisper breathing low, "I may not speak of what I know." Like an Æolian harp that wakes No certain air, but overtakes Far thought with music that it makes: Such seem'd the whisper at my side: "What is it thou knowest, sweet voice?" I cried. "A hidden hope," the voice replied: So heavenly-toned, that in that hour From out my sullen heart a power Broke, like the rainbow from the shower, To feel, altho' no tongue can prove, That every cloud, that spreads above And veileth love, itself is love. And forth into the fields I went, And Nature's living motion lent The pulse of hope to discontent. I wonder'd at the bounteous hours, The slow result of winter showers: You scarce could see the grass for flowers. I wonder'd, while I paced along: The woods were fill'd so full with song, There seem'd no room for sense of wrong. So variously seem'd all things wrought, I marvell'd how the mind was brought To anchor by one gloomy thought; And wherefore rather I made choice To commune with that barren voice, Than him that said, "Rejoice! rejoice!"

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A man teetering on the brink of despair is confronted by a chilling inner voice that persistently pushes him toward ending his life. He responds, stanza by stanza, standing up for the worth of existence. Their debate touches on topics ranging from the individuality of the human soul to the potential for life beyond death. Just as the tension peaks, a scene unfolds on a Sunday morning, filled with the simple joys of family life, shattering the dark mood. In that moment, a softer voice gently whispers "hidden hope," leading the man outside into a vibrant world alive with flowers and birdsong, where he consciously chooses to embrace life.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. 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.

  2. "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.

  3. 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.

  4. "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?

  5. "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.

  6. 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.

  7. 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.

  8. "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.

  9. 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.

  10. "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.

  11. 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.

  12. "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.

  13. "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.

  14. "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.

  15. "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.

  16. "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.

  17. "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.

  18. 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.

  19. "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.

  20. "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.

  21. "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.

  22. "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.

  23. "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.

  24. "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.

  25. 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.

  26. 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.

  27. 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.

  28. 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

The tone varies greatly throughout the poem. For much of it, there's a sense of tension and fatigue—a man pleading for his life while struggling to believe his own words. The inner voice, filled with despair, is harsh and unyielding, while the speaker's responses are sincere yet often filled with emotion. In the final movement, following the church bells and the family scene, the tone transforms into something soft and contemplative—not victorious, but truly relieved, like the easing of a fever at dawn.

§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

Tennyson wrote most of this poem in 1833, during a time of deep depression after the sudden death of his close friend Arthur Henry Hallam. It was published in 1842 and has kept its title since then. The poem is part of a long tradition of psychomachia — the soul wrestling with itself — yet Tennyson lays out the internal struggle in a stark and clinical way, foreshadowing the later Victorian concerns about faith, science, and the worth of individual life. It also reflects the era's geological and astronomical discoveries, which challenged educated readers to confront the vastness of deep time and a universe much larger than what scripture suggested. Tennyson would revisit these themes in *In Memoriam A.H.H.* (1850), his major elegy for Hallam, but *The Two Voices* feels more raw and urgent — much closer to the crisis itself.

§07FAQ

Questions readers ask

The first voice represents the speaker's inner thoughts about suicide — it's cold, logical, and unyielding in its belief that life isn’t worth living. The second voice emerges only at the end: a soft, warm whisper that presents 'a hidden hope' without further details. Tennyson portrays the entire poem as a clash between despair and the subtle yet genuine chance of finding meaning.

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The study desk

Teaching materials and reference tools prepared for this poem.

Adjacent texts in the archive