March 26, 2022

From Gerald R. Lucas
The Lady of Shalott
By: Alfred, Lord Tennyson (1842)

Part I

On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And thro’ the field the road runs by
     To many-tower’d Camelot;[1] 5
The yellow-leaved waterlily
The green-sheathed daffodilly
Tremble in the water chilly
     Round about Shalott.[2]

Willows whiten, aspens shiver. 10
The sunbeam showers break and quiver
In the stream that runneth ever
By the island in the river
     Flowing down to Camelot.
Four gray walls, and four gray towers[3] 15
Overlook a space of flowers,
And the silent isle imbowers[4]
     The Lady of Shalott.[5]

Underneath the bearded barley,
The reaper,[6] reaping late and early, 20
Hears her ever chanting cheerly,
Like an angel, singing clearly,
     O’er the stream of Camelot.
Piling the sheaves in furrows airy,
Beneath the moon, the reaper weary 25
Listening whispers, “ ’Tis the fairy,
     Lady of Shalott.”

The little isle is all inrail’d
With a rose-fence, and overtrail’d
With roses: by the marge[7] unhail’d[8] 30
The shallop[9] flitteth silken sail’d,
     Skimming down to Camelot.
A pearl garland winds her head:
She leaneth on a velvet bed,
Full royally apparelled, 35
     The Lady of Shalott.


Part II

There she weaves by night and day
A magic web with colours gay.[10]
She has heard a whisper say,
A curse is on her if she stay 40
     To look down to Camelot.
She knows not what the curse may be;[11]
Therefore she weaveth steadily,
Therefore no other care hath she,
     The Lady of Shalott. 45

And moving thro’ a mirror clear
That hangs before her all the year,
Shadows of the world appear.[12]
There she sees the highway near
     Winding down to Camelot: 50
There the river eddy whirls,
And there the surly village-churls,[13]
And the red cloaks of market girls,
     Pass onward from Shalott.

Sometimes a troop of damsels glad, 55
An abbot on an ambling pad,[14]
Sometimes a curly shepherd lad,
Or long-hair’d page in crimson clad,
     Goes by to tower’d Camelot:
And sometimes thro’ the mirror blue 60
The knights come riding two and two:
She hath no loyal knight and true,
     The Lady of Shalott.

But in her web she still delights
To weave the mirror’s magic sights, 65
For often thro’ the silent nights
A funeral, with plumes and lights
     And music, came from Camelot:
Or when the moon was overhead
Came two young lovers lately wed; 70
“I am half sick of shadows,”[15] said
     The Lady of Shalott.


Part III

A bow-shot from her bower-eaves,
He rode between the barley-sheaves,
The sun came dazzling thro’ the leaves, 75
And flam’d upon the brazen greaves[16]
     Of bold Sir Lancelot.[17]
A red-cross knight for ever kneel’d
To a lady in his shield,
That sparkled on the yellow field, 80
     Beside remote Shalott.

The gemmy bridle glitter’d free,
Like to some branch of stars we see
Hung in the golden Galaxy.
The bridle bells rang merrily 85
     As he rode down from Camelot:
And from his blazon’d baldric[18] slung
A mighty silver bugle[19] hung,
And as he rode his armour rung,
     Beside remote Shalott. 90

All in the blue unclouded weather
Thick-jewell’d shone the saddle-leather,
The helmet and the helmet-feather
Burn’d like one burning flame together,
     As he rode down from Camelot. 100
As often thro’ the purple night,
Below the starry clusters bright,
Some bearded meteor, trailing light,
     Moves over green Shalott.

His broad clear brow in sunlight glow’d; 105
On burnish’d hooves his war-horse trode;
From underneath his helmet flow’d
His coal-black curls as on he rode,
     As he rode down from Camelot.
From the bank and from the river 110
He flash’d into the crystal mirror,
“Tirra lirra, tirra lirra”:[20]
     Sang Sir Lancelot.

She left the web, she left the loom
She made three paces thro’ the room 115
She saw the water-flower bloom,
She saw the helmet and the plume,
     She look’d down to Camelot.
Out flew the web and floated wide;
The mirror crack’d from side to side;[21] 120
“The curse is come upon me,”[22] cried
     The Lady of Shalott.


Part IV

In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining, 125
Heavily the low sky raining
     Over tower’d Camelot;
Outside the isle a shallow boat
Beneath a willow lay afloat,
Below the carven stern she wrote, 130
     The Lady of Shalott.

A cloudwhite crown of pearl she dight,[23]
All raimented[24] in snowy white
That loosely flew (her zone in sight
Clasp’d with one blinding diamond bright) 135
     Her wide eyes fix’d on Camelot,
Though the squally east-wind keenly
Blew, with folded arms serenely
By the water stood the queenly
     Lady of Shalott. 140

With a steady stony glance—
Like some bold seer in a trance,
Beholding all his own mischance,
Mute, with a glassy countenance—
     She look’d down to Camelot. 145
It was the closing of the day:
She loos’d the chain, and down she lay;
The broad stream bore her far away,
     The Lady of Shalott.

As when to sailors while they roam, 150
By creeks and outfalls far from home,
Rising and dropping with the foam,
From dying swans wild warblings come,
     Blown shoreward; so to Camelot
Still as the boathead wound along 155
The willowy hills and fields among,
They heard her chanting her deathsong,
     The Lady of Shalott.

A longdrawn carol, mournful, holy,
She chanted loudly, chanted lowly, 160
Till her eyes were darken’d wholly,
And her smooth face sharpen’d slowly,
     Turn’d to tower’d Camelot:
For ere she reach’d upon the tide
The first house by the water-side, 165
Singing in her song she died,
     The Lady of Shalott.

Under tower and balcony,[25]
By garden wall and gallery,
A pale, pale corpse she floated by, 170
Deadcold, between the houses high,
     Dead into tower’d Camelot.
Knight and burgher,[26] lord and dame,
To the planked wharfage came:
Below the stern they read her name, 175
     The Lady of Shalott.

Who is this? and what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they cross'd themselves for fear, 180
     All the knights at Camelot:
But Lancelot mused a little space;
He said, “She has a lovely face;
God in his mercy lend her grace,
     The Lady of Shalott.” 185

Introduction

Alfred, Lord Tennyson’s “The Lady of Shalott,” published in 1833 and revised in 1842, is one of his most well-known works, reflecting both the medievalism and the preoccupations with isolation and art that characterize much of Victorian literature. The poem, set in the Arthurian world of Camelot, is influenced by the medieval romances and legends that captivated Tennyson, as well as the work of Romantic poets like Keats and Wordsworth, who explored the tension between the imagination and reality.

The poem is structured in four parts, each composed of nine-line stanzas with a distinct rhyme scheme that reinforces the lyrical quality of the narrative. This structure allows Tennyson to build a rhythm that mirrors the repetitive, confined life of the Lady of Shalott, who is cursed to live isolated in a tower, weaving images of the world that she can only see through a mirror. The Lady’s existence in the tower, “half sick of shadows,” symbolizes the theme of the artist’s isolation and the tension between the inner world of imagination and the outer world of reality.

John William Waterhouse, The Lady of Shalott

The central symbol of the mirror in the poem reflects this theme, representing the Lady’s mediated experience of life, one step removed from reality. Her weaving is another key symbol, standing for the creative process itself—an activity that is both fulfilling and confining. The moment she turns to look directly at Sir Lancelot, breaking the mirror and initiating her doom, can be interpreted as the artist’s fatal engagement with the real world, a common theme in Tennyson’s work. The curse that befalls her when she looks directly at the world can be seen as a metaphor for the dangers of stepping outside one’s prescribed role or the conflict between idealism and reality.

Tennyson’s use of language is rich with imagery and allusion, drawing on the medieval setting to create a sense of timelessness and fate. The repetition of certain phrases, such as “the mirror crack’d from side to side,” emphasizes the inevitability of the Lady’s tragic end. The imagery of water, with the river that flows past her tower and eventually carries her to Camelot, serves as a metaphor for the passage of time and the unstoppable flow of life, which the Lady is ultimately powerless to resist.

Tennyson blends narrative and lyrical elements, creating a poem that is as much about the experience of reading and imagining as it is about the story itself. This blending reflects the Victorian fascination with the role of the artist and the boundaries between art and life. Other Victorian literary characteristics include a fascination with medievalism and chivalry, as well as an exploration of the role of women in society. The Lady of Shalott’s passive existence and her tragic end can be read as a commentary on the limited roles available to women in the Victorian era, confined to the domestic sphere and largely excluded from public life.

“The Lady of Shalott” remains relevant for its exploration of the artist’s role in society, the conflict between illusion and reality, and the constraints placed on individuals—especially women—by societal expectations. The poem continues to resonate with modern readers who grapple with questions of identity, creativity, and the cost of pursuing one’s desires in a world that often demands conformity.

Questions for Consideration

  1. How does Tennyson explore the theme of isolation? What is the significance of the Lady’s isolation, and how does it relate to her final fate?
  2. What role does the contrast between reality and artifice play in the poem? How does the Lady’s weaving in the tower reflect her perception of the outside world?
  3. How does “The Lady of Shalott” comment on the roles of women in Victorian society? What might the Lady’s situation symbolize about the limitations placed on women during that period?
  4. Consider the theme of fate versus free will in the poem. Does the Lady have control over her destiny, or is she a passive victim of her circumstances?
  5. Discuss the structure of the poem. How does Tennyson use meter, rhyme, and repetition to create a musical or lyrical quality? What effect does this have on the reader’s experience of the poem?
  6. How does the use of imagery contribute to the overall mood of the poem? Identify specific images and explain their significance.
  7. What does Lancelot represent in the poem, and how does his character contrast with the Lady of Shalott? How does his presence impact the Lady’s decision to leave the tower?
  8. Analyze the character of the Lady of Shalott. How does Tennyson portray her inner world, and what does this suggest about her desires and fears?
  9. Explore the symbolic significance of the mirror in the Lady’s tower. What does it represent in terms of perception, reality, and the Lady’s experience of the world?
  10. The river in the poem plays a crucial role in the Lady’s journey. What does the river symbolize, and how does it relate to the poem’s themes of life, death, and transition?
  11. How does Tennyson draw on Arthurian legend? In what ways does the poem both adhere to and diverge from traditional interpretations of these legends?
  12. Consider “The Lady of Shalott” within the context of Victorian literature. How does the poem reflect Victorian concerns about industrialization, art, and the role of the artist?
  13. How do you interpret the Lady’s curse? Is it a literal curse, or could it be understood metaphorically? What does it suggest about the relationship between the artist and society?
  14. What is the significance of the Lady’s death at the end of the poem? How do different interpretations of her death alter the overall meaning of the poem?

Notes & Commentary

  1. Camelot is the legendary castle and court associated with King Arthur. In the poem, it symbolizes the center of chivalry, society, and reality, in contrast to the Lady’s isolated existence in Shalott. It represents the world that the Lady longs to see but cannot directly experience due to the curse.
  2. The name “Shalott” is a fictional place created by Tennyson. It is often interpreted as a poetic variation on the name “Astolat,” a location from Arthurian legend associated with the Lady of the Lake or Elaine, who dies of unrequited love for Sir Lancelot. The setting of Shalott on an island in a river also adds to the poem’s dreamlike and isolated atmosphere. The title itself is worth noting as it emphasizes the identity of the protagonist. She is defined by her place (Shalott) rather than her name, reflecting her role as an emblematic or symbolic figure rather than a fully individualized character.
  3. This phrase emphasizes the Lady’s confinement within the castle. The repetition of “four” and the color “gray” creates a sense of monotony and imprisonment, underscoring the bleakness of her existence.
  4. Enclosed or surrounded, typically by trees or greenery.
  5. The Lady of Shalott is an unnamed woman who lives under a mysterious curse that confines her to a tower on the island of Shalott. She is often interpreted as a symbol of the artist or poet, isolated from the world, creating art that reflects life but is removed from it.
  6. Farmers who harvest crops, typically using a scythe or other tools. The reapers hear the Lady of Shalott singing as they work in the fields. Their presence emphasizes the contrast between the Lady’s isolated life and the active world outside.
  7. A marge is an edge or border, especially of a body of water like a river or lake.
  8. Not greeted or acknowledged.
  9. Shallop: A small, light boat, often used for short journeys or in shallow waters.
  10. The Lady spends her days weaving a colorful tapestry that reflects the scenes she observes in her cra. The “magic web” can be seen as a metaphor for artistic creation, where the artist transforms reality into something new and beautiful, yet ultimately illusory.
  11. The Lady is aware of the curse but does not know its exact nature. This adds to the tension of the poem, as she follows the rule of not looking directly at the outside world without fully understanding the consequences.
  12. The Lady sees the world only through reflections in her mirror, meaning she experiences reality only as “shadows.” This can be interpreted as a comment on the limitations of perception and the distance between art and life.
  13. Peasants or rude, low-class people.
  14. Ambling pad: A path or road where one walks or rides at a leisurely pace (ambling).
  15. This line reflects the Lady’s growing discontent with her passive, shadowy existence. It marks a turning point in the poem, as her dissatisfaction foreshadows her decision to break the curse and look directly at the real world.
  16. Made of brass; in this context, it likely refers to something bold or harsh. The phrase “brazen greaves” refers to the brass armor worn by knights to protect their legs. It emphasizes the strength and grandeur of the world outside the Lady’s tower.
  17. Sir Lancelot is one of the most famous knights of the Round Table in Arthurian legend. Known for his bravery, gallantry, and tragic love affair with Queen Guinevere, he symbolizes the ideal of chivalric manhood. His appearance in the poem, described in rich detail, becomes the catalyst for the Lady’s fateful decision to look directly at the world outside.
  18. A baldric is a belt worn over one shoulder and across the chest, typically used to carry a sword, bugle, or other weapons.
  19. The bugle adds to the depiction of Lancelot as the ideal chivalric knight. The image of Lancelot riding with a “baldric slung” and carrying a bugle conjures up the romanticized view of knighthood, where a knight is not just a warrior but also a figure of honor, music, and pageantry.
  20. A phrase from an old song or ballad, possibly imitative of the sound of a bird or a trumpet.
  21. When the Lady finally looks directly out of her window at Lancelot, the mirror she has been using to view the world shatters, symbolizing the breaking of the barrier between her and reality. The breaking of the mirror is a pivotal moment, signaling the onset of the curse’s punishment.
  22. This phrase marks the Lady’s realization that she has triggered the curse by looking out at Lancelot. It conveys the inevitability of her fate and the tragic consequence of her yearning for a life beyond her isolated existence.
  23. “Dight” is an archaic term meaning adorned, dressed, or equipped.
  24. “Raimented” is an archaic term meaning clothed or dressed in a particular manner.
  25. This phrase refers to the architecture of Camelot and adds to the romantic and medieval atmosphere of the poem. The tower and balcony are symbols of both nobility and the inaccessibility of the Lady to the world she desires to join.
  26. Burgher: A citizen of a town or city, typically a member of the wealthy bourgeoisie.