On either side the river lies
Long fields of barley and of rye,
That clothed the world and met the sky;
Through the field the road runs by
To many‑towered Camelot;
And up and down the people go,
Gazing where the lilies blow
Round an island there below,
The island of Shalott.Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs forever
By the island in the river
Flowing down to Camelot.
Four gray walls, and four gray towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.By the margin, willow veiled,
Slide the heavy barges trailed
By slow horses; and unaired
The shallop flitted silksail’d
Skimming down to Camelot:
But who hath seen her wave her hand?
Or at the casement seen her stand?
Or is she known in all the land,
The Lady of Shalott?Only reapers, reaping early
In among the bearded barley,
Hear a song that echoes cheerfully
From the river winding clearly,
Down to towered Camelot:
And by the moon the reaper weary,
Piling sheaves in uplands airy,
Listening, whispers “Tis the fairy
Lady of Shalott.”Part II
There she weaves by night and day
A magic web with colours gay.
She has heard a whisper say,
A curse is on her if she stay
To look down to Camelot.
She knows not what the curse may be,
And so she weaveth steadily,
And little other care hath she,
The Lady of Shalott.And moving through a mirror clear
That hangs before her all the year,
Shadows of the world appear.
There she sees the highway near
Winding down to Camelot:
There the river eddy whirls,
And there the surly village‑churls,
And the red cloaks of market girls,
Pass onward from Shalott.Sometimes a troop of damsels glad,
An abbot on an ambling pad,
Sometimes a curly shepherd‑lad,
Or long‑hair’d page in crimson clad,
Goes by to tower‑d Camelot;
And sometimes through the mirror blue
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,
For often through the silent nights
A funeral, with plumes and lights
And music, went to Camelot:
Or when the moon was overhead,
Came two young lovers lately wed:
“I am half sick of shadows,” said
The Lady of Shalott.Part III
A bow‑shot from her bower‑eaves,
He rode between the barley‑sheaves,
The sun came dazzling through the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red‑cross knight for ever kneel’d
To a lady in his shield,
That sparkled on the yellow field,
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
As he rode down to Camelot:
And from his blazon’d baldric slung
A mighty silver bugle hung,
And as he rode his armour rung,
Beside remote Shalott.All in the blue unclouded weather
Thick‑jewelled shone the saddle‑leather,
The helmet and the feather‑helmet
Burn’d like one burning flame together,
As he rode down to Camelot.
As often through the purple night,
Below the starry clusters bright,
Some bearded meteor, trailing light,
Moves over still Shalott.His broad clear brow in sunlight glowed;
On burnished hooves his war‑horse trod;
From underneath his helmet flowed
His coal‑black curls as he rode,
As he rode down to Camelot.
From the bank and from the river
He flashed into the crystal mirror,
“Tirra lirra,” by the river
Sang Sir Lancelot.She left the web, she left the loom,
She made three paces through the room,
She saw the water‑lily bloom,
She saw the helmet and the plume,
She looked down to Camelot.
Out flew the web and floated wide;
The mirror cracked from side to side;
“The curse is come upon me,” cried
The Lady of Shalott.Part IV
In the stormy east‑wind straining,
The pale yellow woods were waning,
The broad stream in its banks complaining,
Heavily the low sky raining
Over tower‑d Camelot;
Down she came and found a boat
Beneath a willow left afloat,
And round about the prow she wrote
The Lady of Shalott.And down the river’s dim expanse—
Like some bold seer in a trance,
Seeing all his own mischance—
With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosened the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.Lying, robed in snowy white
That loosely flew to left and right—
The leaves upon her falling light—
Through the noises of the night
She floated down to Camelot:
And as the boat‑head wound along
The willowy hills and fields among,
They heard her singing her last song,
The Lady of Shalott.Heard a carol, mournful, holy,
Chanted loudly, chanted lowly,
Till her blood was frozen slowly,
And her eyes were darkened wholly,
Turned to tower‑d Camelot.
For ere she reached upon the tide
The first house by the water‑side,
Singing in her song she died,
The Lady of Shalott.Under tower and balcony,
By garden‑wall and gallery,
A gleaming shape she floated by,
Dead‑pale between the houses high,
Silent into Camelot.
Out upon the wharfs they came,
Knight and burgher, lord and dame,
And round the prow they read her name,
The Lady of Shalott.Who is this? and what is here?
And what is she that lingers? The Lady of Shalott.
by Alfred Tennyson
Welcome to a journey into one of the most enchanting and thought‑provoking poems in the English language, Alfred Tennyson’s “The Lady of Shalott”. This ballad, steeped in Arthurian legend and rich with symbolism, invites readers to explore themes of isolation, artistic expression, and the perilous allure of the outside world. Prepare to uncover the layers of meaning within this timeless masterpiece.
The Lady of Shalott Summary
Tennyson’s “The Lady of Shalott” recounts the tragic tale of a mysterious woman confined to a tower on an island in a river flowing towards Camelot. She lives under a peculiar curse: she must continuously weave a magical tapestry, observing the world only through a mirror. Should she look directly out of her window towards Camelot, a curse will befall her. For years, she diligently weaves, seeing the “shadows of the world” reflected in her mirror. One day, the dazzling Sir Lancelot rides past, his splendor so captivating that the Lady cannot resist turning from her loom to gaze directly at him and the world outside. Immediately, her mirror cracks, her web flies out, and the curse is upon her. Knowing her fate, she finds a boat, writes her name on its prow, and floats down the river towards Camelot, singing a mournful song until she dies just as her boat reaches the city. The people of Camelot, including Lancelot, discover her lifeless form and read her name, pondering her identity.
Central Idea and Noteworthy Knowledge
The central idea of “The Lady of Shalott” often revolves around the conflict between art and life, or the artist’s isolation versus engagement with the world. The Lady embodies the artist who creates beauty from indirect observation, but yearns for direct experience. Her tragic end highlights the potential dangers or sacrifices inherent in breaking free from artistic confinement to embrace reality. This poem is a quintessential example of Victorian literature, particularly associated with the Pre‑Raphaelite Brotherhood, who were deeply inspired by its medieval setting, vivid imagery, and themes of beauty, longing, and tragic romance. It explores the constraints placed upon women in society and the yearning for freedom and experience.
Thematic Exploration in The Lady of Shalott
Tennyson masterfully weaves several profound themes throughout “The Lady of Shalott”, inviting readers to ponder universal questions about existence and creativity.
Isolation Versus Connection
The Lady’s existence is defined by profound isolation. She is physically separated from the world by her island and tower, and further by the curse that prevents direct sight. This is evident from the poem’s opening stanzas:
Four gray walls, and four gray towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.
Her only connection to humanity is through reflections in a mirror, a mediated and detached experience. Her longing for connection is palpable when she exclaims,
“I am half sick of shadows,” said
The Lady of Shalott.
This line powerfully conveys her yearning for genuine, unmediated experience, foreshadowing her desperate act to break free from her solitary confinement.
Art and the Artist’s Dilemma
The Lady is an artist, constantly weaving a “magic web with colours gay” that replicates the “shadows of the world” she sees in her mirror. Her art is both her purpose and her prison. It sustains her, yet it also keeps her from true life. The poem explores the artist’s dilemma: does one create from a detached, observational distance, or must one engage directly with life, risking destruction? Her act of looking directly at Lancelot destroys her art:
Out flew the web and floated wide;
The mirror cracked from side to side;
“The curse is come upon me,” cried
The Lady of Shalott.
This moment symbolizes the shattering of her artistic world and the tragic consequence of choosing life over art.
Reality Versus Illusion
The mirror is central to this theme. It provides the Lady with an illusion of reality, a filtered and safe version of the world. She sees “shadows of the world”, not the world itself. The vibrant reality of Sir Lancelot, described with dazzling imagery, shatters this illusion and forces her to confront the difference between a reflection and direct experience. Her choice to look directly is a choice for reality, even if it leads to her demise.
Fate and Free Will
The curse represents an inescapable fate, a predetermined doom if a certain boundary is crossed. Yet, the Lady ultimately makes a choice to defy this curse, driven by her desire for Lancelot and the world he represents. Her decision to leave the loom and look is an exercise of free will, albeit one with tragic consequences. Her final journey is a poignant blend of accepting her fate and asserting her agency:
And at the closing of the day
She loosened the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.
She chooses her manner of death, embracing the river that had previously only been a distant reflection.
The Allure of the World and Romantic Idealism
Camelot, with its “many‑towered” grandeur and the knights who ride towards it, represents the vibrant, active world from which the Lady is excluded. Sir Lancelot, in particular, embodies the peak of this romantic ideal: chivalrous, handsome, and full of life. His description is overwhelmingly bright and dynamic:
The sun came dazzling through the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
His appearance is the catalyst for her downfall, representing the irresistible pull of romantic love and worldly experience that proves fatal to her isolated existence.
Literary Devices in The Lady of Shalott
Tennyson’s poetic craftsmanship is evident in his masterful use of various literary and poetic devices, which enrich the narrative and deepen its emotional impact.
Imagery
The poem is renowned for its vivid and sensory imagery, painting detailed pictures in the reader’s mind. Tennyson uses color, light, sound, and movement to create distinct atmospheres.
- Pastoral Serenity: The opening stanzas establish a peaceful, almost idyllic setting around Shalott, contrasting with the Lady’s confinement. For example, “Long fields of barley and of rye” and “Gazing where the lilies blow” evoke a tranquil natural world.
- Reflected World: The imagery of the mirror presents a distorted, ethereal version of reality: “Shadows of the world appear” and “sometimes through the mirror blue / The knights come riding two and two”. This emphasizes the Lady’s indirect experience.
- Lancelot’s Dazzling Appearance: Sir Lancelot is described with an explosion of light and sound, making his appearance overwhelmingly vibrant. Lines like “The sun came dazzling through the leaves, / And flamed upon the brazen greaves” and “The gemmy bridle glitter’d free / Like to some branch of stars we see” create an almost supernatural aura around him, highlighting his irresistible allure.
- Tragic Journey: The final journey down the river is marked by somber, poignant imagery: “Lying, robed in snowy white / That loosely flew to left and right” and “Dead‑pale between the houses high”. This evokes a sense of purity, sacrifice, and ultimate stillness.
Symbolism
Beyond literal descriptions, several elements in the poem carry deeper symbolic weight.
- The Island and Tower: These symbolize the Lady’s isolation, confinement, and perhaps the protected, yet restrictive, space of the artist.
- The Mirror: Represents indirect perception, illusion, and the barrier between the artist and direct experience. Its cracking signifies the breaking of this barrier and the onset of reality.
- The Web/Tapestry: Symbolizes the Lady’s art, her creative output, and the intricate world she constructs from her observations. Its destruction marks the end of her artistic life.
- Camelot: Represents the vibrant, active, and often dangerous world of human society, chivalry, and direct experience, which contrasts sharply with Shalott.
- Sir Lancelot: Embodies the irresistible allure of the external world, romantic love, and the catalyst for the Lady’s tragic decision. He is the ultimate temptation.
- The River: Symbolizes the passage of time, fate, and the journey from isolation to death, carrying the Lady from her confined world to her ultimate end in Camelot.
Sound Devices and Poetic Structure
Tennyson’s mastery of sound and structure contributes significantly to the poem’s musicality and emotional resonance.
- Ballad Stanza: The poem is composed of stanzas, each with nine lines. The rhyme scheme is consistently AAAA BCBB B. This regular, almost hypnotic rhythm, often referred to as a modified ballad stanza, creates a flowing, song‑like quality that suits the narrative of a tragic tale. For example, in the first stanza: “lies” (A), “rye” (A), “sky” (A), “by” (A), “Camelot” (B), “go” (C), “blow” (B), “below” (B), “Shalott” (B).
- Meter: The dominant meter is iambic tetrameter, meaning four pairs of unstressed and stressed syllables per line. However, Tennyson often varies this, particularly with the eighth line of each stanza often being iambic trimeter (three pairs of syllables), creating a slight pause or shift before the final line. This rhythmic variation prevents monotony and enhances the narrative flow.
- Alliteration: The repetition of initial consonant sounds adds musicality and emphasis. Examples include “willows whiten, aspens quiver” and “she saw the water‑lily bloom, / She saw the helmet and the plume”.
- Assonance: The repetition of vowel sounds within words creates a sense of harmony and connection. Notice the long “o” sound in “often through the silent nights” or the “ee” sound in “The gemmy bridle glitter’d free“.
- Repetition: The repeated phrase “The Lady of Shalott” at the end of almost every stanza reinforces her identity, her isolation, and her central role in the narrative, creating a refrain‑like quality that emphasizes her tragic destiny.
- Personification: Giving human qualities to inanimate objects or abstract ideas. For instance, “The broad stream in its banks complaining” gives the river a voice of sorrow, mirroring the Lady’s own grief.
- Simile: Direct comparisons using “like” or “as”. Lancelot’s bridle glitters “Like to some branch of stars we see”, elevating his image to something celestial and awe‑inspiring.
Analysis of Key Quotations
Examining specific lines provides deeper insight into the poem’s emotional and thematic core.
“I am half sick of shadows,” said The Lady of Shalott.
This pivotal line from Part II reveals the Lady’s growing discontent with her mediated existence. It signifies her profound longing for direct experience and her weariness of merely observing life through reflections. This statement is a turning point, foreshadowing her eventual act of defiance against the curse and her desperate yearning for genuine engagement with the world, even at the cost of her life.
“The mirror cracked from side to side; ‘The curse is come upon me,’ cried The Lady of Shalott.”
This dramatic moment in Part III marks the climax of the poem. The cracking of the mirror is a powerful symbol of the breaking of her isolation and the shattering of her illusionary world. Her cry acknowledges the inevitability of her fate, yet it also underscores the tragic consequence of her choice to embrace reality, highlighting the destructive power of the curse.
“Heard a carol, mournful, holy, Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darkened wholly, Turned to tower‑d Camelot.”
These lines from Part IV describe the Lady’s final moments. Her “mournful, holy” song is a poignant expression of her sorrow, sacrifice, and perhaps a spiritual acceptance of her fate. The chilling imagery of her “blood was frozen slowly” and “eyes were darkened wholly” emphasizes the tragic finality of her journey, while her gaze “Turned to tower‑d Camelot” signifies her enduring longing for the world she could never truly join.
Conclusion
“The Lady of Shalott” by Alfred Tennyson remains an enduring masterpiece, captivating readers with its lyrical beauty and profound exploration of the human condition. Through its rich tapestry of imagery, symbolism, and evocative language, the poem invites us to reflect on the delicate balance between artistic creation and lived experience, the allure of the unknown, and the tragic consequences of breaking free from imposed limitations. The Lady’s story resonates as a timeless exploration of isolation, longing, and the ultimate sacrifice for a glimpse of true life. Her journey from the silent isle to the bustling wharfs of Camelot continues to inspire contemplation on the nature of art, reality, and destiny.