The poem was particularly popular amongst artists of the Pre-Raphaelite movement, who shared Tennyson's interest in Arthuriana several of the Pre-Raphaelite Brotherhood made paintings based on episodes from the poem. Critics such as Hatfield have suggested that The Lady of Shalott is a representation of how Tennyson viewed society the distance at which other people are in the lady's eyes is symbolic of the distance he feels from society. Modern critics consider "The Lady of Shalott" to be representative of the dilemma that faces artists, writers, and musicians: to create work about and celebrate the world, or to enjoy the world by simply living in it. Yet, Tennyson deviated from the subject of the original legend, and focused instead on the Lady's isolation in the tower and her decision to enter the real world after a long period of seclusion. ![]() ![]() The poem is more purely fanciful than Tennyson perhaps was willing to own his explanation of the allegory, as he gave it to Canon Ainger: "The new-born love for something, for some one in the wide world from which she has been so long excluded, takes her out of the region of shadows into that of realities". The text of 1842 became the permanent text, and in this no subsequent material alterations were made. This poem was composed in its first form as early as May, 1832 or 1833, as we learn from Fitzgerald's note-of the exact year he was not certain ('Life of Tennyson', i., 147). It is based on an Arthurian legend of Elaine of Astolat, as recounted in a thirteenth-century Italian novella titled Donna di Scalotta. This poem is a Victorian ballad by the English poet Alfred, Lord Tennyson (1809–1892). Knight, minstrel, abbot, squire, and guest. They cross'd themselves, their stars they blest, ![]() The broad stream in his banks complaining,Ĭlasp'd with one blinding diamond bright)
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