Tennyson’s friend Arthur Hallam was a great admirer of Goethe and Schiller. At the time of Hallam’s early death in 1833, Tennyson, too, was preoccupied with these two authors, and his interest in them was renewed some six years later, as he was beginning work on his long narrative poem The Princess. Its most celebrated passage, ‘Come down, O maid, from yonder mountain height’, is much indebted to Schiller’s Maid of Orleans, and the poem as a whole combines the influence of that text with that of Faust: Part Two. In turning to German literature, Tennyson was following in Hallam’s footsteps, and it seems possible that he also identified with the profound grief that Goethe had felt in response to the early death of Schiller. By combining the influence of these two writers in The Princess, Tennyson may have been seeking figuratively to reunite them, and to create, also, a similar sense of communion between himself and Hallam. This interpretation can be strengthened if we examine the poem’s subtle but extensive engagement with the themes of death and resurrection, which are also central to the roughly contemporaneous In Memoriam.