The Lady of Shalott

Psychology 330: The Psychology of Women

Camelot, Sir Lancelot, and The Lady of Shalott have captured the creative imagination of poets and artists. The symbolism in the images of "The Lady" is particularly relevant to the Psychology of Women. Reproduced below you will find one of Tennyson's two versions of his poem "The Lady of Shalott", some of the beautiful artistic impressions of her by Pre-Raphaelite artists, and an analysis of the symbolism by Jan Marsh. [My comments/asides appear within square brackets.]

The Lady of Shalott
Alfred Lord Tennyson
(Note: As mentioned above, Tennyson wrote two versions of the poem--one in 1832 and one in 1842. This one appears to be the 1842 version.)

Part I

On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And thro' the field the road runs by
To many-tower'd 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
Thro' the wave that runs for ever
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-veil'd,
Slide the heavy barges trail'd
By slow horses; and unhail'd
The shallop flitteth silken-sail'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 cheerly
From the river winding clearly,
Down to tower'd 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.

The Lady of Shalott

"The Lady of Shalott"
by Charles Robinson
[Here you can see our "Lady", seated, threads in hand, gazing into her mirror to view the reflected image of Camelot that she might weave it into her intricate tapestry on her circular loom. Compare this to the darkly colourful image of our "Lady" by William Holman Hunt, where she is standing in her loom, entangled in her threads ... on the "Resources" page.]


[Here, again {but in a smaller version}, is Holman Hunt's wild portrayal of our "Lady". Nineteen years he worked on this painting!]
The Lady of Shalott

"The Lady of Shalott"
by William Holman Hunt (1886-1905)


And moving thro' 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 thro' 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 thro' 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.

I am half sick of shadows

"'I Am Half Sick of Shadows' said the Lady of Shalott"
by John W. Waterhouse (1915)
[Ahhh, sigh! Here Waterhouse portrays our "Lady", seated in front of her "work in progress", gazing wistfully (perhaps) into her mirror at the two young lovers. Note that both the loom and the tapestry are also reflected in her mirror. Quite a different mood, overall, from that portrayed by Meteyard in his 1913 painting with the same name ... on the "Psychology of Women MainPage".]


[So I've reproduced, for your re-enjoyment, a smaller image of Meteyard's wonderful painting. I love both paintings and enjoy the mood differences that they evoke in me.]
I am half sick of shadows

"'I Am Half Sick of Shadows' said the Lady of Shalott"
by Sidney H. Meteyard (1913)


Part III

A bow-shot from her bower-eaves,
He rode between the barley-sheaves,
The sun came dazzling thro' 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-jewell'd shone the saddle-leather,
The helmet and the helmet-feather
Burn'd like one burning flame together,
As he rode down to Camelot.
As often thro' the purple night,
Below the starry clusters bright,
Some bearded meteor, trailing light,
Moves over still Shalott.

His broad clear brow in sunlight glow'd;
On burnish'd hooves his war-horse trode;
From underneath his helmet flow'd
His coal-black curls as on he rode,
As he rode down to Camelot.
From the bank and from the river
He flash'd into the crystal mirror,
"Tirra lirra," by the river
Sang Sir Lancelot.

She left the web, she left the loom,
She made three paces thro' the room,
She saw the water-lily bloom,
She saw the helmet and the plume,
She look'd down to Camelot.
The Lady of Shalott

"The Lady of Shalott"
by William Maw Egley (1858)
[Uh-oh-uh-oh! William Maw Egley shows us the bold Sir Lancelot reflected in the mirror and {gasp!} our "Lady", defying the curse, looking directly at the carefree, nonchalant knight.]


Out flew the web and floated wide;
The mirror crack'd from side to side;
"The curse is come upon me," cried
The Lady of Shalott.

The Lady of Shalott

"The Lady of Shalott"
by J.W. Waterhouse (1894)
[Well that tears it! Waterhouse depicts our "Lady" entangled in the golden threads of her "web" and, if you look closely, you can see the crack in the mirror!! This image also appears on the "More Resources" page.]


Part IV

In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his 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.

The Lady of Shalott

"The Lady of Shalott"
by J.W. Waterhouse (1888)
[Here is our "Lady", in her "borrowed-for-the-occasion" boat {complete with her wonderful tapestry getting wet as it drapes over the edge of the bark that she's embarking on her fateful journey in, and with her "name" emblazoned on the prow of said bark} just about to "loose the chain".]


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 loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.

The Lady of Shalott

"The Lady of Shalott"
by John Atkinson Grimshaw
[Here she is, "robed in snowy white", being borne down the stream towards Camelot, at sunset.]


Lying, robed in snowy white
That loosely flew to left and right -
The leaves upon her falling light -
Thro' 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 darken'd wholly,
Turn'd to tower'd Camelot.
For ere she reach'd 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.

The Lady of Shalott

"The Lady of Shalott"
by Arthur Hughes
[Here Hughes depicts the sad discovery of our now-dead "Lady". Note that, unlike Tennyson's depiction, there isn't a knight, burgher, or lord to be seen.]


Who is this? And what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they cross'd themselves for fear,
All the knights at Camelot:
But Lancelot mused a little space;
He said, "She has a lovely face;
God in his mercy lend her grace,
The Lady of Shalott."


[Apparently, Meteyard produced a painting depicting Lancelot musing on her lovely dead face. Unfortunately I have not yet been able to find it; if you can find it anywhere please let me know.]


Re: Symbolism
Still wondering why I find the story and images of our "Lady" so relevant to a Psychology of Women course? The following quotations, taken from Jan Marsh's beautiful book entitled Pre-Raphaelite Women (1987/1998) may clarify things for you.

"In Tennyson's poem, with its hypnotic rhythm and repetition, the lady is imprisoned on an island, forbidden to look directly at the world, watching only through a mirror whose reflections she weaves into a tapestry web. Solitary and mysteriously accursed, she dreams of her own "loyal knight", and confesses herself 'half sick of shadows', yearning for real experience. So when the shining image of Lancelot, the red cross knight, appears in her mirror, she suddenly breaks the ban." (p. 149)

…..

"Most artists chose to depict this moment, the most dramatic in the poem, when the lady is condemned to die. She leaves her tower, finds a boat and drifts down river, singing as she dies. Lancelot is among those who watch as she arrives, saying: 'She has a lovely face; God in his mercy send her grace.'" (p. 149)

…..

"In the last quarter of the century, Holman Hunt returned to the subject in what has been called his 'last and greatest' Pre-Raphaelit picture, based on his earlier illustration. This shows the lady entangled in her web, her hair floating wildly about her head, on a very large canvas crowded with exotic decorative detail. This glows with dramatic colour within a dense pattern of encircling lines." (p. 150)
…..

[Aside: I actually found TWO versions of this painting on the web and wondered what the difference was … they both have the same 19-year creation span … one seemed a little darker than the other but … then I noticed that one of the paintings was at a museum in the States while the other was at a museum in England! … STRANGE … it wasn't until I printed them both out, full size [well, not FULL size … but 8.5 x 11 … full PAGE], that I discovered subtle little differences … the legs of the circular loom, in which she's standing entangled in the threads, differ [and those legs differ from the ones in his original woodcut many years earlier] plus a whole slew of other little differences … NEAT!!!]

…..

"True to form, the prolific J.W. Waterhouse produced three separate versions of the story, using his favourite dark-haired model, and showing her firstly(sic), in the Lady of Shalott (1888), casting off her boat in what looks like an overgrown backwater of the Thames, her tapestry web trailing in the water. The second Lady of Shalott (1894) shows her entangled in threads in a manner similar to Hunt's composition [Aside: actually, I don't find them all that similar but …], while the third version 'I am Half Sick of Shadows' said the Lady of Shalott (1915) shows her at an elaborate loom, gazing languorously at the mirrored sight of young lovers and Camelot in the distance. A very similar moment is also presented in S.H. Meteyard's picture of the same title dated 1913. [(Aside: it IS a similar moment … but a VERY different image]" (p. 150)

…..

"Several dozen other depictions of the Lady of Shalott might be cited, but the striking aspect of those ladies illustrated here is their powerful imagery of confinement and bondage, presaged by the poem in its tale of solitary seclusion, but strongly emphasized by the artists. The bondage motif evidently presented itself to the painters despite Tennyson's own claim that the poem articulated the dilemma of art, caught between reflection and reality or, alternatively, a metaphor of the sudden transformation through the power of love from the world of shadows to that of substance. On his own account, Holman Hunt analysed the text as a moral fable illustrating 'the failure of a human soul towards its accepted responsibility'. In the poem, the prohibition on the lady is arbitrary, but in Hunt's picture the iconography is of moral disobedience and the conflict between good and evil." (p. 150)

…..

"Nevertheless, it is hard to read his, or the other, images as anything but an oblique account of the confined and restricted world of the Victorian woman--accursed and prohibited by virtue of her sex alone--and the dire consequences attendant on rebellion. The rejection of seclusion in the shadowy sphere of prescribed femininity, where the approved activity is weaving or embroidery, leads immediately to ostracism and social death. The enclosed rooms in which these ladies live, looking out on inviting sunlit landscapes, and the tangled threads binding their vigorous limbs, are surely metaphors of woman's condition, signifying the docile, passive, reflective and domestic role that dominated Victorian ideas of femininity. The lady cannot break from her constraints: her gesture of independence provokes the curse. It is interesting that most artists chose to depict this particular moment, so that their ladies are frozen forever in their decision of defiance." (p. 152)

…..

"A similar message seems to be submerged in Evelyn de Morgan's disturbing painting The Captives (c. 1888), which shows five nubile maidens in flowing drapery assailed by mythical monsters, in a moment of permanent tension: they neither escape nor submit." (p. 152)

The Captives

"The Captives"
by Evelyn de Morgan (c. 1888)
[I agree, totally, with Jan Marsh that this is a disturbing painting. But I love the colours. It seems also, in a way, oddly 21st Century science-fantasy-like.]


…..

"A comparable theme is handled more explicity in de Morgan's The Gilded Cage (1919), the artist's last work before her death in 1919. … (T)his is captive femininity, confined by old ideas, and longing for freedom." (p. 152)

The Gilded Cage

"The Gilded Cage"
by Evelyn de Morgan (1919)
[Although neither of these two paintings by de Morgan are of our "Lady", they fit so well with the symbolism of "The Lady of Shalott"--especially as described by Jan Marsh--that I just had to include them. If I can find a better scan of this painting I will replace the current one.]


[Need I say more?]



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