{l <
2)
W
h n A lfr d T nnyson le rn d ch t Lor d
Byron h d di d while h lplng Gr ek
n t1on 11st r b Is, h w ent to the woods and
rv d on a pl ce of sandst one, " Byron Is
d d." T nnyson was fourteen y ars old. He
f It sure that he w ould be a poet, and he was
lready practicing the dramatic gestures of the
Romantic poets he admired.
Tennyson's father, a clergyman of good family but little money, encouraged young Alfred's
interest in poetry. At Cambridge University
Alfred joined a group of young intellectuals,
called the Apostles, who believed that their
friend was destined to become the greatest
poet of their generation.
In 183 I, when his father died, lack of funds
forced Tennyson to leave Cambridge, and he
entered a troubled period. In 1832, he published his first significant book of poems, which
some reviewers mocked for its melancholy
themes and weak imitations of Keats's language. The next year Tennyson was devastated
by the death of his closest friend, Arthur Henry
Hallam. He became engaged to marry in 1836,
but the marriage was postponed for fourteen
years because of his uncertain financial
prospects.
During this difficult period, when both his
physical and mental health suffered, Tennyson
apparently never considered any career but
poetry. He polished his style to develop the
melodious line and rich imagery of poems like
"The Lady of Shalon." Tennyson published
almost nothing in his "ten years' silence" from
1832 to 1842, but the friends to whom he read
his poems remained convinced of his promise.
Gradually, Tennyson began to make his way.
The two-volume Poems ( 1842) was favo rably
The Victorian Period
Caricature of Alfred, Lord Tennyson
( 1872) by Frederick Waddy.
reviewed, and in 1845 the government granted
him an annual pension of two hundred pounds.
In 1850, he published In Memoriam, an elegy to
Hallam that was immediately successful. It tells
the story of his own recovery of faith in the
immortality of the soul and of the harmony of
creation- despite the new, unsettling discoveries of science and his deep sense of the unfairness of Hallam's death. That year, he was
named poet laureate (after Wordsworth's
death), and he finally married.
In the forty years before his death in 1892,
Tennyson published nearly a dozen volumes of
poems. His books sold like bestselling novels
and made him rich. In 1884, he was made a
peer of the realm and became Alfred, Lord
Tennyson.
Tennyson never lost the melancholy and
sense of chaos that friends and reviewers
found in his early poems. He was immensely
popular with his contemporaries because he
spoke in a beautiful, measured language of
their sense of the fragility and sadness of life.
He also assured his readers that his own
experience of sadness and disorder had taught
him that everything was part of a benevolent
plan in which eventually all losses would be
made good.
Lady of Shalott
M k
the Connection
Qulckwrlte
One of the main symbols in chis dreamlike
ballad is a mirror that the Lady uses as she
w eaves. Watch for how the mirror, w ith its
reflected images, stands in opposition co the
real world. This Is only one opposition, or
tension, in the world of the Lady of Shalon,
of whom Tennyson said: "The newborn love
for something, for someone in the wide
world from which she had been so long
secluded, takes her out of the region of
shadows into that of realities."
What might Tennyson have meant by
" the region of shadows" and the region of
"realities"? Joe down a few ideas.
Literary Focus
Word Music
Ballads were originally songs. and indeed,
Tennyson's ballad "The Lady of Shalott" almost begs co be sung. Its rhythms, cadences,
and echoes are so strong chat the ballad
creates what is known as word music.
Word music is created by the expert use of
meter and by the regular and repetitive use
of such elements as rhyme, alliteration,
and assonance. Working together, these
elements create an overall musical effect in
a poem.
Be sure you read this poem aloud co hear
the famous music of Tennyson's language.
The first t ime you read the poem, enjoy the
rhythmical power of the verse. On subsequent readings, try to identify the individual
elements that contribute co the poem's
musical quality.
For many years, students in both England
and the United States could recite the mysterious story of the Lady of Shalott from
memory. You might cry to memorize the
entire poem or parts of it.
Word music is created when a
poet uses a variety of elements such
as meter, rhyme, alliteration, and
assonance to generate an overall
musical quality in a work.
For more on Meter, Rhyme, Alliteration,
and Assonance, see the Handbook of
Uterary and Historical Terms.
Reading Sktlls
~
Identifying Contrasting Images
"The Lady of Shalott" is brimming with
contrasting images: the flat, flow ing r iver
and the upright, unchanging cower; the
bustling lives of the villagers and the solitary
life of the Lady; the weary whisper o f the
reaper and the robust song o f Sir Lancelot.
As you read the poem, be alert co such
oppositions- the large and the small- in
setting, actions, or imagery. Record the first
example of each that you notice. Then,
when Sir Lancelot appears in Part Ill, jot
down at least one other contrast chat
he introduces.
Background
Tennyson wrote "The Lady of Sha Iott" in
1832 and then extensively revised it in 1842.
He once commented: " I met the story first In
some Italian novelle: but the web, mirror,
island, etc., were my own." The symbol of
Arthur's Camelot-an orderly, patriarchal
kingdom in which beautiful, enchanted
women languish-appealed to Tennyson, and
to the Viaorlan Imagination In general. Tennyson would return to this setting In such
works as "Lancelot and Elaine" and the Idylls
of the King, a series of twelve connected
poems telling the story of King Arthur and
the Knights of the Round Table.
Alfred, Lord Tennyson
"
...
....... ~J
Analyze we
which poetS
sounds to
.voke rHd
emotion,.
191
696
The Victorian Period
DY
OF
ALOTT~
Altred, Lord Tennyson
Part I
5
10
15
20
25
neither ide the river lie
Long fields of barley and of rye,
Thal clothe the wold 0 and meel the ky;
And through the field the road run by
To many-lowered amelot; 0
And up and down the people go,
azing where the lilie blow0
Round an i land there below,
The i land of halott.
Willows whiten, 0 a pen quiver,
Li llie breezes du k and shiver
Through the wave that runs forever
By the island in the river
Flowing down to amelot.
Fourgraywall ,andfourgray towers,
Overlook a space of flowers,
And tJ1e ilent isle imbower 0
The Lady of halotl.
By the margin, willow-veiled,
Slide the heavy barges trailed
By slow horses; and un.hailed
The hallop 0 flitteth iJken-sailed
Skimming down to Ca melot:
But who hath seen her wave her hand?
rat the casement een her stand ?
r i she known in all the land,
The Lady of ha Iott?
3. wo.ld 11.: roJJing plain.
5. Camelot: legendary city,
iLe of King Arthur' court and
Round Table.
7. blow v.: blos om.
IO. whiten v.: show the white
UJ1dersides of their leaves
when blown by Lhe wind.
17. imbowe.rs 11. pl.: shelters
with tree , gardens, and
nowers.
22. shallop n.: small, open
boa l.
nly reapers, reaping ea rly
ln among the bearded barley,
Alfred, Lord Tennyson
697
Tltt Lady of /J Jou (c 18 6- I 90S) by
Wllll.lm Holm n Hun 011
10
,~
~ hecrly"
I 1om the river winding clearly,
Down to tow red am lo t;
nd b the moon the reaper weary,
Piling ,hc,we, in uplands airy,
l.i,tening, whi,per '" i the fairy
Lad) of halo tt."
11 ·.it ,1 ,ong th.it echo
fart II
O
4S
50
55
60
65
698
T her she weaves by n ight a nd day
m.igic web with colo rs gay.
he ha hec1rd a whispe r ay,
A cure i o n her if she tay
To look down to am elo t.
he kn ow no t what the cur e m ay be,
And so he weaveth stead ily,
And littJe other care hath he,
The Lady of h alotl.
And movin g tJ1 ro ugh a mirror clear0
That ha ng before her all the year,
hadow of tJ1e world appear.
There she ee the highway near
Wi nding dow n to Camelot;
There the river eddy whirl ,
And there the surly viUage churls,0
And the red cloaks o f market girls,
Pass o nward from halott.
ometimes a troop of dam els glad ,
An abbo t on an ambling pad, 0
Som etim es a curly shepherd lad ,
Or lon g- haired page in crimson clad ,
Goes by to towered Camelot;
And sometimes through the mirror blue
T he knights come riding two and two:
he hath no loyal knight and tru e,
The Lady of Shalott.
But in her web she still d elights
To weave the mirror's magic sights,
For often through the silent nigh ts
A fun eral, with plumes and lights
• I
•
t
The Victorian Period
30. cheerly adv.: archaic fo r
"cheerily."
46. mirror dear: Weavers
worked on the back of the tapestry so that they could easily
knot their yarns. To ee the
front of their designs, weaver
looked in a mirror that reflected the front of the tapestry.
52. churls 11. pl.: peasants;
country folk.
56. pad 11.: easy-gaitedhor e.
rtlll
75
76. greaves n. pl.: armor for
the lower leg .
78. red-cross knight: The red
cro is the emblem of Saint
George, England's patron
80
0
ainL
mmy" bridl glitter d fre ,
· e to ome branch of tar we ee
Hu ng in the gold n nla .0
Th bridle b U' rang merrily
he rode down to Camelot;
nd from hi blazoned baldric0 sl.ung
mighty il er bugle hung,
And a h rode his armor rung,
Be id remote halotr.
82. gemmy adj.: set with jewels.
84. Galaxy: Mill<y Way.
87. blazoned baldric: richly
decorated sash worn across the
chest diagonally.
Uin the blue unclouded weather
Thick-jeweled shone the saddle leather,
The helmet and the helmet feather
Burned like one burning flame together,
As he rode down to Camelot;
A often through the purple night,
Below the starry dusters bright,
ome bearded meteor, trailing light,
Moves over still Shalott.
Joo His broad clear brow in sunlight glowed;
On burnjshed _hooves bis war horse trode;
0
101. bu.r,ushed adj.: polished.
From underneath his helmet flowed
His coaJ·black curls as on be rode,
& he to~ down to Camelot.
IOS
Prom the bank and from the river
He Bashed into the crystal .rnirro,,
Tim lim,•by the river
uncelot
Alfred •. Lo.rd Tennyson
699
11 0
11 s
he ldt th web, h left th lo m,
m,ide thrc pace through th ro m,
hl• ,. w the waterlily bloom,
hl· aw the helm t and th plum ,
he looked down to Camelot.
( ut flrn the web and floated wide;
The mirror ra ked from ide to id ;
u,I he cur~e i\ come upon me," ried
rh I ady of halott.
Shl·
I rt J
110
125
uo
135
140
145
In the tormy ea t wind training,
Th pale yellow wood were waning,
The broad tream in h1 ban complaining,
Hea,·ily the low ky raining
0 er towered amelot;
Down he came and found a boat
Beneath a willow left afloat,
nd round about the pro, he, rote
The Lady of halott.
nd do, n the river' dim expan e
Like ome bold eer0 in a trance,
e ing all hi own mischance\'\'ith a gla y countenance
Did he look to Cam elot.
nd at the do ing o f the day
he loo ed the chain, and down he lay;
The broad trearn bore her far away,
The Lady of halo tt.
Lying, robed in no, white
Th al loo ely flew to left and rightThe leave upon her falling lightThrough the noi es of the night
he floated down to Camelot;
And as the boat head wound along
The willowy hill and field among,
They heard her singing her last ong,
The Lady of halott.
Heard a carol, mournful, holy,
hantcd loudly, chanted Jowl ,
Till her blood was frozen 10\ ly,
And her eye were darkened wholly,
Turn d to towered Camelo t.
The Lady of Shalon
{19th cenw ry) by John W illiam W uerhouse.
700
The Victorian Period
125. pro
n.. front pan of a
boaL
128. eer n.: prophet.
1 1
Im l"fl'.' hr r ~ h..J upon 1hr 1,J
I h,· hr I houlot' h) lh watcrnJ •
\tn1111111111 hrr ,on~ h<' lli<'J,
Thc I Jy of h Iott.
l lnJ r tower ,tnd ti.kony,
IN>
It,\
110
Ry g.uJrn w,111 .anll gallrr ,
A 11lc,11111ng ,hap , hl· llodltd hy,
I t'ad I' lc ol"lwrcn 1he hollln high,
\ tll'nl inlo Camelot.
ut upon lhc wharf\ thry cam ,
Knigh l .ind burghcr, lord ,ind d m ,
nd round tlw prow th y re d h r nam ,
T/1 Lody of. halo/I.
0
t 60. bur
son.
r rt.;
nd in the light<'d palace n r
Died the ~ound of roya l che r:
nd th y ro~sed th m elvc~ fo r Ci ar,
All the knights a l am lot:
Uul La ne lot mus d o little spa ;
He ~aid, "She has n lovely fa :
God in hi men:, lend her gra ,
Th Lady of halott."
LC
Escaping a World of Shadows
Readers may differ In their interprecatlons of
the meaning o r moral of the simple story
this richly ornamented and carefully wrought
poem tells. As you learned before you read
the poem, no one should disregard the clue
offered by Tennyson himself: "The newborn
love fo r something." he said of the Lady of
Shaloa, "for someone In the wide world
from which she had been so long secluded,
cakes her out of the region of shadows into
that of realities." He Is referring particularly
to the last lines of Part II when, having
watched a young bride and ,g room in tt,e
moonlight, the Lady declares that she is "half
sick of shadows."
Like the weaving that perpetually occupies
the herolne-"A m~glc web with colors
gay"-the narratlve moves from scene to
INFORMATIONAL
· MATERIALS ·
scene with a tapestried grace that quietly
captures the romantic heart of the Age of
Chivalry. The Lady is appropriately beautiful,
wan, sequestered, and mysterious. Sir
Lancelot, panoplied to the hilt with every
object in the book of heraldry, is less a man
than a vision of a man. And Camelot itself,
"many-towered," exists like a little city
afloat In time.
The "mirror clear" in line 46 is crucial
both to the poem's narrative line and to its
meaning. In the custom of weavers, the Lady
has placed this mirror in a spot facing the
loom from which she is able to see at a
glance how her work is going. But, for the
purposes of the story, the more important
function of the mirror is to allow the Lady
glimpses or "shadows" of the world in which
she takes no part.
Atfrad, Lord Tennyson
701
n
nay
I, Dn<nbt ""-• IN Lady oJ Shllou
1,.,.. ,n rtlat,on to the city of Camelo<
What must !he Lady oJ Shaloa do co
•
t . Whes, Tennyson published die fi
ven,o,, of ·•r he Lady of SNloa" m
1832. du II how th• Ian swm ended.
avoid the curw'
3. After the han Sir Lanceloc ..._
what doot the Lady do' What IS IN
l'flUlt of
In rp
IS acoe>nl
........
language
1di1eve ~1f,c
aeuhet1c
purposes.
..........
S....._.3.4
Analyn ways in
wh1eh poeu use
sounds to evoke
readers'
emotions.
702
The Victorian Period
"
I,
Compare d'111 JCenano to what occurs
m the last stanza of the ven1on you've
just read. What do you think of Tennyson's reV1St0n 1 Which endtng do you
find more moving' Explain.
OM
4. Summariu: the main events m the plot
of this nan-auve poem What moment
mar1u th poem's climax'
S. Potnt out Im ai , of duil1ng
t
USOClated with Sir Lancelot m Part IU
Ftnd contruttnc lma1es usoc11ted
With the Lady What do you think
T nn)'IOll 1s trymg to achl ve through
this contrUt' R i to your r ding
notes
6. Explain why l1n 6
could
for shadow, or htnt at. Lancelo t's
arrival and the Lady's acoons in the
,econd half of the poem. What yearning
do you think the Lady expresses when
she exclaims. "I am half sick of shadows" (line 71 )I
7. How does Tennyson contr'Ut: the
Lady's life with the hves of the villagers
and court 1n Camelot! Do you think
that Tennyson Indicates a preference
for any of these ways of life! Explaln.
8. Scan the poem to Ond Its me trical
form and rhyme scheme. Then,
locate examples of alliteration and assonance that contribute to the poem's
haunting strains. How do these examples of word music make you (eel!
n
.......... 3 .3
Ari•lv1e the
WIY, or, which
the ,uthor's
style and the
•,our,d " of
r11e Wfll was WMn a , ~
The charm II l>toun ur:rM'(
0 - near and fear IIOI
The Lady of Shalott.
W
Ing
Stlaclows
net Realfty
In a short enay, analyxe the theme o f
"The Lady of Shalon " ,n light or Tennyson's comment about the Lady: "The
newborn love for so mething. for someone
In the wide world from which she had
b en so long secluded, takes her o ut of the
region of shadows Into that of realities."
Before you begin, gamer deta.lls for your
analysis n a chart like the one that follows:
Wh,it
~ilppt'ftt,
'" U·,,
DOe'ff'I
Y-ry wo ri:19
11.ey ,ma.:,e!>
l\.ey p.il!j~agM
s ,gnific;ance
ot comment
(!Ill<:
above)
Theme of poem
Be sure to check your Quk kwrite notes as
you decide what Tennyson means by "the
region or shadows" and "that of reallijes." ,