1. Introduction
This paper will try to analyze the growth of consciousness of the Lady of Shalott. Ranging from her state of mind in total isolation, her 'childhood', to her changing 'adolescence' and eventually reaching 'adulthood' and death, all in a sort of quick-motion.
It will further deal with the development of tension throughout the poem. By making a distinction between tension through formal aspects, such as rhyme scheme, and tension through content it will try to show the interconnection between both of them. Additionally, the paper will deal with the possible effect of tension on the reader and how the poem might be perceived by him/her.
2. Growth of Consciousness
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This is always interrupted by sudden drops produced by the plosive sound 't' as in 'Camelot';, 'Shalott'; or 'Lancelot'; in lines 5 and 9. The whole scheme could already be seen as an indicator for the omnipresent basic suspense of the poem. Almost as if something or someone is constantly trying to break free but is stopped every time before reaching its climax. Maybe a dire forecast for the entire poem ?
2.2. The Turning Point
Things suddenly change when the Lady of Shalott sees '… two lovers lately wed…'; (70) one night (part II). She starts to realize the possibilities the exterior world has to offer but they are still beyond her grasp. The Lady begins to regret her weary little life inside her chambers. This passage could be seen as the gradual coming of age of the Lady of Shalott. Her consciousness is developing and she questions her existence, consequently no longer wanting to live a secluded life of interior. The question that now arises is: Why did she not leave the loom at this point of time? A solution to this problem might be that she simply had nowhere to go, no prospect or person she could turn to.
'She hath no loyal knight and true, The Lady of Shalott.'; (62-63)
That is why 'I am half sick of shadows, …'; (71) clearly marks the turning point of the poem.
Prior to this incident another interesting topic comes up. For the first time in the poem the curse of
In many ways, this poem is unusual in its subject. It deters in several ways from a typical aubade, such as Donne's "The Sun Rising" or the internal aubade introducing the bird narrator in Chaucer's "Troilus and Criseyde." For this poem, it is important to note that rather than detailing the parting of lovers, this poem addresses a parting which has already taken place. The speaker is likely driving away from his love, having left her, and imagining her still asleep. The last line of the poem has a certain intimacy to it, that even though they are apart, in the speaker's mind they are still joined by this moment, as he seems to have an awareness or thoughtfulness regarding what she is doing as he moves further away. Also, the speaker in an aubade is usually discontented that he has to leave his love; this speaker is somehow consoled by the knowledge that a parting is never really a parting (his driving off is somehow symbolic of this.) It is also interesting to note that this aubade doesn't greet the sun; rather it mentions the moon instead.
The last few lines in the poem are sentience that have been chopped up into different lines, to help
of her tower down to Camelot. As the mood of the poem changes it makes
The fact that enjambment is used throughout the poem such as in the lines, “like a colour slide or press an ear against its hive” portrays a lack of structure and therefore emphasizes the initial enjoyment one feels when reading a poem before the chore of analyzing it begins. This is also emphasized through the fact that the poem is a free verse poem.
You really feel a sense of hopelessness then in line eight of stanza two you see your first word that has some kind of hope to it which is the word lightness. Once you go to stanzas three and four you see a shift from once hopelessness to maybe there is hope in the mist of darkness. Also, another thing that the poet does is how in some lines there is an extra spacing between certain words, I think by him doing that he wants the reader to really focus on this words because if you notice the spaces are in between words that are simple and could be overlooked so by putting the extra spaces it will make the reader notice it more. For me the turn(volta) it’s happening in line eight line “As how its lightness after was a gift”, like a said before this line is the start of a different word tone compared to what was said before that line and also what is said after. This line does a good job at showing this next start of life like for example it says in line eleven “ I couldn’t while they watch me set it
Apart from that, the poem consists of a series of turns that reflect different parts of the speaker’s feelings and the experiences he had. The significance of these turns is made possible through the use of stanza breaks. For example, the first
The reader experiences euphoria and extreme amusement reading the entire poem which flows in a very stupefy way. But, it also promotes
However, the poem has fluidity despite its apparent scarcity of rhyme. After examining the alteration of syllables in each line, a pattern is revealed in this poem concerning darkness. The first nine lines alternate between 8 and 6 syllables. These lines are concerned, as any narrative is, with exposition. These lines set up darkness as an internal conflict to come. The conflict intensifies in lines 10 and 11 as we are bombarded by an explosion of 8 syllables in each line. These lines present the conflict within one's own mind at its most desperate. After this climax, the syllables in the last nine lines resolve the conflict presented. In these lines, Dickinson presents us with an archetypal figure that is faced with a conflict: the “bravest” hero. These lines present the resolution in lines that alternate between 6 and 7 syllables. Just as the syllables decrease, the falling action presents us with a final insight. This insight discusses how darkness is an insurmountable entity that, like the hero, we must face to continue “straight” through “Life” (line 20).
The desperation and destruction continues to escalate throughout part I of the poem until it reaches a close at,
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An unlikely candidate to dispute the unfair, misogynistic treatment of women by men and society, Christine de Pizan successfully challenged the accepted negative views that were being expressed about women by the all-male literary world of her era. Part of Christine’s uniqueness stems from the time in which she lived, the middle to late 1300’s. The lack of a positive female role model to pattern herself after made Christine a true visionary in the fight for the equal rights of women. Her original ideas and insight provided a new and more intelligent way to view females. Pizan’s work, The Book of the City of Ladies, provided women much needed guidance in how to survive without the support of a man.
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One of the most notorious topics of interest in the works of Shakespeare is the role women receive in his plays. The way Shakespeare wrote his plays, women were very submissive to men and had no will and choice of their own. Women were extremely reliant upon the men in their lives, believing that they were inferior and thus following their desire for the women’s lives. This included that marriages were usually arranged by a powerful male, instead of giving the woman the opportunity of choosing marriage for love. It is not surprising that Shakespeare portrayed women in a way that was familiar to him and the time era in which he lived. In A Midsummer Night’s Dream and The Taming of the Shrew, both focus on the development of love and not, with
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In the poem ‘The Lady of Shalott’, Tennyson addresses the isolation of women which was present due to the increasing gender divisions at the time. Tennyson may be responding to the anxieties surrounding isolation since the Victorian era; rigid class systems were put in place and women were most at risk as they had to abide by traditional British values which were to remain behind closed doors and be subservient to men.