September 14, 2021

From Gerald R. Lucas
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John William Waterhouse, La Belle Dame sans Merci (1893)
La Belle Dame Sans Merci[1]
By: John Keats (1819)

O what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has withered from the lake
And no birds sing!

O what can ail thee, knight-at-arms, 5
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.

I see a lily on thy brow,
     With anguish moist and fever-dew, 10
And on thy cheeks a fading rose
Fast withereth too.

I met a lady in the meads
Fun, beautiful, a færy’s child;
Her hair was long, her foot was light 15
And her eyes were wild.

I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
     And made sweet moan 20

I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery’s song.

She found me roots of relish sweet, 25
And honey wild, and manna-dew,
And sure in language strange she said—
‘I love thee true’.

She took me to her elfin grot,
     And there she wept and sighed full sore, 30
And there I shut her wild wild eyes
With kisses four.

And there she lulled me asleep,
And there I dream’d—Ah! woo betide!
The latest dream I ever dream’d 35
On the cold hill side.

I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried—“La Belle Dame sans Merci
     Hath thee in thrall!” 40

I saw their starved lips in the gloam,
With horrid warning gaped wide;
And I awoke and found me here,
On the cold hill’s side.

And this is why I sojourn here, 45
Alone and palely loitering,
Though the sedge has withered from the lake,
And no birds sing.

Notes & Commentary

  1. Written in 1819, this ballad tells the story of haggard knight and his beloved: a fairy maiden who bewitches him then abandons him to a desolate landscape. Its deceptively simple ballad form conveys an air of mystery and barrenness in its four-line stanzas and shortened last line (Inglis 1969, p. 116). I can’t help but think of Odysseus and Circe, as the latter seduces and keeps Odysseus and his crew on her island for a year, unable to continue their journey home, but also “in thrall”—unable to be men and continue their violence in the outside world. Like Circe, the woman here has a power—whether it’s supernatural or just a product of her beauty and men’s lust is uncertain—and seems to represent the archetype of the fatal woman (Inglis 1969, p. 117).

Bibliography

  • Battenhouse, Henry M. (1958). English Romantic Writers. New York: Barron’s Educational Series, Inc.
  • Bloom, Harold (2001). John Keats. Bloom’s Major Poets. Broomall, PA: Chelsea House.
  • Frye, Paul H. (1987). "Voices in the Leaves: the 'Ode on a Grecian Urn'". In Bloom, Harold. The Odes of Keats. New York: Chelsea House. pp. 83–92.
  • Garrett, John (1987). Selected Poems of John Keats. MacMillan Master Guides. London: MacMillan.
  • Greenblatt, Stephen, ed. (2018). The Norton Anthology of English Literature. The Major Authors. 2 (Tenth ed.). New York: W. W. Norton.
  • Inglis, Fred (1969). Keats. Arco Literary Critiques. New York: Arco.
  • Nersessian, Anahid (2021). Keats’s Odes: A Lover’s Discourse. Chicago: The University of Chicago Press.
  • Vendler, Helen (1983). The Odes of John Keats. Cambridge, MA: The Belknap Press.
  • Wasserman, Earl (1964). "The Ode on a Grecian Urn". In Bate, Walter Jackson. Keats: A Collection of Critical Essays. Twentieth Century Views. Englewood Cliffs, NJ: Prentice-Hall. pp. 113–141.

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