The Quest for the "Nameless" in Tennyson's "The Lady of Shalott"
At the end of "The Lady of Shalott," the questions "Who is this? and what is here?" (1. 163) place the unsuspecting reader among the citizens of Camelot, looking uneasily at the Lady's inscribed name. The possibility of being identified among the dull, limited citizens tempt...
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| Veröffentlicht in: | Victorian poetry 1985-12, Vol.23 (4), p.369-378 |
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| container_title | Victorian poetry |
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| creator | Colley, Ann C. |
| description | At the end of "The Lady of Shalott," the questions "Who is this? and what is here?" (1. 163) place the unsuspecting reader among the citizens of Camelot, looking uneasily at the Lady's inscribed name. The possibility of being identified among the dull, limited citizens tempts the reader to separate himself from them and prompts him to attempt to step into the Lady's boat. In this attempt, he moves to a reading, the impulses of which are similar to those that press the Lady through the poem. These impulses reflect the movement from the doubly enclosed, piecemeal images visible from the tower to the more definite vision in the last section of the poem. The reader is motivated by a desire to move from a synecdochic and metonymic space to a metaphoric landscape. But the reader cannot remain here, for this metaphoric vision destroys itself and dies with the Lady. In the end, this destruction places the reader closer to Tennyson's dilemma, and together poet and reader stare at the name more aware than ever of their inability to reach the non-representational and of their bondage to mortal limits. |
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(1. 163) place the unsuspecting reader among the citizens of Camelot, looking uneasily at the Lady's inscribed name. The possibility of being identified among the dull, limited citizens tempts the reader to separate himself from them and prompts him to attempt to step into the Lady's boat. In this attempt, he moves to a reading, the impulses of which are similar to those that press the Lady through the poem. These impulses reflect the movement from the doubly enclosed, piecemeal images visible from the tower to the more definite vision in the last section of the poem. The reader is motivated by a desire to move from a synecdochic and metonymic space to a metaphoric landscape. But the reader cannot remain here, for this metaphoric vision destroys itself and dies with the Lady. In the end, this destruction places the reader closer to Tennyson's dilemma, and together poet and reader stare at the name more aware than ever of their inability to reach the non-representational and of their bondage to mortal limits.</abstract><cop>Morgantown, WA</cop><pub>West Virginia University</pub><tpages>10</tpages></addata></record> |
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| ispartof | Victorian poetry, 1985-12, Vol.23 (4), p.369-378 |
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| source | Periodicals Index Online; Jstor Complete Legacy; Alma/SFX Local Collection |
| subjects | 19th century Anonymous writers. Authors Boats English speaking literatures French speaking and English speaking literatures Great Britain. Ireland History and sciences of litterature History of literature Imagist poetry Names Poetic movements Poetry Processions Stanzas Victorians Visual fixation Visual perception |
| title | The Quest for the "Nameless" in Tennyson's "The Lady of Shalott" |
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