In the 'Gardener's Daughter' we have the first of that delightful series of poems dealing with scenes and characters from ordinary English life, and named appropriately 'English Idylls'. The originator of this species of poetry in England was Southey, in his 'English Eclogues', written before 1799. In the preface to these eclogues, which are in blank verse, Southey says: "The following eclogues, I believe, bear no resemblance to any poems in our language. This species of composition has become popular in Germany, and I was induced to attempt it by an account of the German idylls given me in conversation." Southey's eclogues are eight in number: 'The Old Mansion House', 'The Grandmother's Tale', 'Hannah', 'The Sailor's Mother', 'The Witch', 'The Ruined Cottage', 'The Last of the Family' and 'The Alderman's Funeral'. Southey was followed by Wordsworth in 'The Brothers' and 'Michael'. Southey has nothing of the charm, grace and classical finish of his disciple, but how nearly Tennyson follows him, as copy and model, may be seen by anyone who compares Tennyson's studies with 'The Ruined Cottage'. But Tennyson's real master was Theocritus, whose influence pervades these poems not so much directly in definite imitation as indirectly in colour and tone.
'The Gardener's Daughter' was written as early as 1835, as it was read to Fitzgerald in that year ('Life of Tennyson', i., 182). Tennyson originally intended to insert a prologue to be entitled 'The Antechamber', which contained an elaborate picture of himself, but he afterwards suppressed it. It is given in the 'Life', i., 233-4. This poem stands alone among the Idylls in being somewhat overloaded with ornament. The text of 1842 remained unaltered through all the subsequent editions except in line 235. After 1851 the form "tho'" is substituted for "though".
This morning is the morning of the day,
When I and Eustace from the city went
To see the Gardener's Daughter; I and he,
Brothers in Art; a friendship so complete
Portion'd in halves between us, that we grew
The fable of the city where we dwelt.
My Eustace might have sat for Hercules;
So muscular he spread, so broad of breast.
He, by some law that holds in love, and draws
The greater to the lesser, long desired
A certain miracle of symmetry,
A miniature of loveliness, all grace
Summ'd up and closed in little;–Juliet, she 
So light of foot, so light of spirit–oh, she
To me myself, for some three careless moons,
The summer pilot of an empty heart
Unto the shores of nothing! Know you not
Such touches are but embassies of love,
To tamper with the feelings, ere he found
Empire for life? but Eustace painted her,
And said to me, she sitting with us then,
"When will _you_ paint like this?" and I replied,
(My words were half in earnest, half in jest),
"'Tis not your work, but Love's. Love, unperceived,
A more ideal Artist he than all,
Came, drew your pencil from you, made those eyes
Darker than darkest pansies, and that hair
More black than ashbuds in the front of March."
And Juliet answer'd laughing, "Go and see
The Gardener's daughter: trust me, after that,
You scarce can fail to match his masterpiece ".
And up we rose, and on the spur we went.
Not wholly in the busy world, nor quite
Beyond it, blooms the garden that I love.
News from the humming city comes to it
In sound of funeral or of marriage bells;
And, sitting muffled in dark leaves, you hear
The windy clanging of the minster clock;
Although between it and the garden lies
A league of grass, wash'd by a slow broad stream,
That, stirr'd with languid pulses of the oar,
Waves all its lazy lilies, and creeps on,
Barge-laden, to three arches of a bridge
Crown'd with the minster-towers.
The fields between
Are dewy-fresh, browsed by deep-udder'd kine,
And all about the large lime feathers low,
The lime a summer home of murmurous wings. 
In that still place she, hoarded in herself,
Grew, seldom seen: not less among us lived
Her fame from lip to lip. Who had not heard
Of Rose, the Gardener's daughter? Where was he,
So blunt in memory, so old at heart,
At such a distance from his youth in grief,
That, having seen, forgot? The common mouth,
So gross to express delight, in praise of her
Grew oratory. Such a lord is Love,
And Beauty such a mistress of the world.
And if I said that Fancy, led by Love,
Would play with flying forms and images,
Yet this is also true, that, long before
I look'd upon her, when I heard her name
My heart was like a prophet to my heart,
And told me I should love. A crowd of hopes,
That sought to sow themselves like winged seeds,
Born out of everything I heard and saw,
Flutter'd about my senses and my soul;
And vague desires, like fitful blasts of balm
To one that travels quickly, made the air
Of Life delicious, and all kinds of thought,
That verged upon them sweeter than the dream
Dream'd by a happy man, when the dark East,
Unseen, is brightening to his bridal morn.
And sure this orbit of the memory folds
For ever in itself the day we went
To see her. All the land in flowery squares,
Beneath a broad and equal-blowing wind,
Smelt of the coming summer, as one large cloud 
Drew downward: but all else of heaven was pure
Up to the Sun, and May from verge to verge,
And May with me from head to heel. And now,
As tho' 'twere yesterday, as tho' it were
The hour just flown, that morn with all its sound
(For those old Mays had thrice the life of these),
Rings in mine ears. The steer forgot to graze,
And, where the hedge-row cuts the pathway, stood,
Leaning his horns into the neighbour field,
And lowing to his fellows. From the woods
Came voices of the well-contented doves.
The lark could scarce get out his notes for joy,
But shook his song together as he near'd
His happy home, the ground. To left and right,
The cuckoo told his name to all the hills;
The mellow ouzel fluted in the elm;
The redcap  whistled;  and the nightingale
Sang loud, as tho' he were the bird of day.
And Eustace turn'd, and smiling said to me,
"Hear how the bushes echo! by my life,
These birds have joyful thoughts. Think you they sing
Like poets, from the vanity of song?
Or have they any sense of why they sing?
And would they praise the heavens for what they have?"
And I made answer, "Were there nothing else
For which to praise the heavens but only love,
That only love were cause enough for praise".
Lightly he laugh'd, as one that read my thought,
And on we went; but ere an hour had pass'd,
We reach'd a meadow slanting to the North;
Down which a well-worn pathway courted us
To one green wicket in a privet hedge;
This, yielding, gave into a grassy walk
Thro' crowded lilac-ambush trimly pruned;
And one warm gust, full-fed with perfume, blew
Beyond us, as we enter'd in the cool.
The garden stretches southward. In the midst
A cedar spread his dark-green layers of shade.
The garden-glasses shone, and momently
The twinkling laurel scatter'd silver lights.
"Eustace," I said, "This wonder keeps the house."
He nodded, but a moment afterwards
He cried, "Look! look!" Before he ceased I turn'd,
And, ere a star can wink, beheld her there.
For up the porch there grew an Eastern rose,
That, flowering high, the last night's gale had caught,
And blown across the walk. One arm aloft–
Gown'd in pure white, that fitted to the shape–
Holding the bush, to fix it back, she stood.
A single stream of all her soft brown hair
Pour'd on one side: the shadow of the flowers
Stole all the golden gloss, and, wavering
Lovingly lower, trembled on her waist–
Ah, happy shade–and still went wavering down,
But, ere it touch'd a foot, that might have danced
The greensward into greener circles, dipt,
And mix'd with shadows of the common ground!
But the full day dwelt on her brows, and sunn'd
Her violet eyes, and all her Hebe-bloom,
And doubled his own warmth against her lips,
And on the bounteous wave of such a breast
As never pencil drew. Half light, half shade,
She stood, a sight to make an old man young.
So rapt, we near'd the house; but she, a Rose
In roses, mingled with her fragrant toil,
Nor heard us come, nor from her tendance turn'd
Into the world without; till close at hand,
And almost ere I knew mine own intent,
This murmur broke the stillness of that air
Which brooded round about her: "Ah, one rose,
One rose, but one, by those fair fingers cull'd,
Were worth a hundred kisses press'd on lips
Less exquisite than thine." She look'd: but all
Suffused with blushes–neither self-possess'd
Nor startled, but betwixt this mood and that,
Divided in a graceful quiet–paused,
And dropt the branch she held, and turning, wound
Her looser hair in braid, and stirr'd her lips
For some sweet answer, tho' no answer came,
Nor yet refused the rose, but granted it,
And moved away, and left me, statue-like,
In act to render thanks. I, that whole day,
Saw her no more, altho' I linger'd there
Till every daisy slept, and Love's white star
Beam'd thro' the thicken'd cedar in the dusk.
So home we went, and all the livelong way
With solemn gibe did Eustace banter me.
"Now," said he, "will you climb the top of Art;
You cannot fail but work in hues to dim
The Titianic Flora. Will you match
My Juliet? you, not you,–the Master,
Love, A more ideal Artist he than all."
So home I went, but could not sleep for joy,
Reading her perfect features in the gloom,
Kissing the rose she gave me o'er and o'er,
And shaping faithful record of the glance
That graced the giving–such a noise of life
Swarm'd in the golden present, such a voice
Call'd to me from the years to come, and such
A length of bright horizon rimm'd the dark.
And all that night I heard the watchmen peal
The sliding season: all that night I heard
The heavy clocks knolling the drowsy hours.
The drowsy hours, dispensers of all good,
O'er the mute city stole with folded wings,
Distilling odours on me as they went
To greet their fairer sisters of the East.
Love at first sight, first-born, and heir to all,
Made this night thus. Henceforward squall nor storm
Could keep me from that Eden where she dwelt.
Light pretexts drew me: sometimes a
Dutch love For tulips; then for roses, moss or musk,
To grace my city-rooms; or fruits and cream
Served in the weeping elm; and more and more
A word could bring the colour to my cheek;
A thought would fill my eyes with happy dew;
Love trebled life within me, and with each
The year increased. The daughters of the year,
One after one, thro' that still garden pass'd:
Each garlanded with her peculiar flower
Danced into light, and died into the shade;
And each in passing touch'd with some new grace
Or seem'd to touch her, so that day by day,
Like one that never can be wholly known, 
Her beauty grew; till Autumn brought an hour
For Eustace, when I heard his deep "I will,"
Breathed, like the covenant of a God, to hold
From thence thro' all the worlds: but I rose up
Full of his bliss, and following her dark eyes
Felt earth as air beneath me,  till I reach'd
The wicket-gate, and found her standing there.
There sat we down upon a garden mound,
Two mutually enfolded; Love, the third,
Between us, in the circle of his arms
Enwound us both; and over many a range
Of waning lime the gray cathedral towers,
Across a hazy glimmer of the west,
Reveal'd their shining windows: from them clash'd
The bells; we listen'd; with the time we play'd;
We spoke of other things; we coursed about
The subject most at heart, more near and near,
Like doves about a dovecote, wheeling round
The central wish, until we settled there. 
Then, in that time and place, I spoke to her,
Requiring, tho' I knew it was mine own,
Yet for the pleasure that I took to hear,
Requiring at her hand the greatest gift,
A woman's heart, the heart of her I loved;
And in that time and place she answer'd me,
And in the compass of three little words,
More musical than ever came in one,
The silver fragments of a broken voice,
Made me most happy, faltering  "I am thine".
Shall I cease here? Is this enough to say
That my desire, like all strongest hopes,
By its own energy fulfilled itself,
Merged in completion? Would you learn at full
How passion rose thro' circumstantial grades
Beyond all grades develop'd? and indeed
I had not staid so long to tell you all,
But while I mused came Memory with sad eyes,
Holding the folded annals of my youth;
And while I mused, Love with knit brows went by,
And with a flying finger swept my lips,
And spake, "Be wise: not easily forgiven
Are those, who setting wide the doors, that bar
The secret bridal chambers of the heart.
Let in the day". Here, then, my words have end.
Yet might I tell of meetings, of farewells–
Of that which came between, more sweet than each,
In whispers, like the whispers of the leaves
That tremble round a nightingale–in sighs
Which perfect Joy, perplex'd for utterance,
Stole from her  sister Sorrow. Might I not tell
Of difference, reconcilement, pledges given,
And vows, where there was never need of vows,
And kisses, where the heart on one wild leap
Hung tranced from all pulsation, as above
The heavens between their fairy fleeces pale
Sow'd all their mystic gulfs with fleeting stars;
Or while the balmy glooming, crescent-lit,
Spread the light haze along the river-shores,
And in the hollows; or as once we met
Unheedful, tho' beneath a whispering rain
Night slid down one long stream of sighing wind,
And in her bosom bore the baby, Sleep.
But this whole hour your eyes have been intent
On that veil'd picture–veil'd, for what it holds
May not be dwelt on by the common day.
This prelude has prepared thee. Raise thy soul;
Make thine heart ready with thine eyes: the time
Is come to raise the veil. Behold her there,
As I beheld her ere she knew my heart,
My first, last love; the idol of my youth,
The darling of my manhood, and, alas!
Now the most blessed memory of mine age.
[Footnote 1: 'Cf. Romeo and Juliet', ii., vi.:–
O so light a foot
Will ne'er wear out the everlasting flint.]
[Footnote 2: 'Cf.' Keats, 'Ode to Nightingale':–
The murmurous haunt of flies on summer eves.]
[Footnote 3: 'Cf'. Theocritus, 'Id'., vii., 143:–
[Greek: pant' _osden thereos mala pionos.]]
[Footnote 4: Provincial name for the goldfinch. See Tennyson's letter to the Duke of Argyll, 'Life', ii., 221.]
[Footnote 5: This passage is imitated from Theocritus, vii., 143 'seqq'.]
[Footnote 6: This passage originally ran:–
Her beauty grew till drawn in narrowing arcs
The southing autumn touch'd with sallower gleams
The granges on the fallows. At that time,
Tir'd of the noisy town I wander'd there.
The bell toll'd four, and by the time I reach'd
The wicket-gate I found her by herself.
But Fitzgerald pointing out that the autumn landscape was taken from the background of Titian (Lord Ellesmere's 'Ages of Man') Tennyson struck out the passage. If this was the reason he must have been in an unusually scrupulous mood. See his 'Life', i., 232.]
[Footnote 7: So Massinger, 'City Madam', iii., 3:–
I am sublim'd.
Supports me not.
'I walk on air'.]
[Footnote 8: Cf. Dante, 'Inferno', v., 81-83:–
Quali columbe dal desio chiamatè,
Con 1' ali aperte e ferme, al dolce nido Volan.]
[Footnote 9: 1842-1850. Lisping.]
[Footnote 10: In privately printed volume 1842. His.]