The Lady of Shalott

"The Lady of Shalott" is a Victorian ballad by the English poet Alfred, Lord Tennyson . Like his other early poems – "Sir Lancelot and Queen Guinevere" and "Galahad" –... the poem recasts Arthurian subject matter loosely based on medieval sources. Tennyson wrote two versions of the poem, one published in 1833, of twenty stanzas, the other in 1842 of nineteen stanzas. It was loosely based on the Arthurian legend of Elaine of Astolat, as recounted in a thirteenth-century Italian novella titled Donna di Scalotta , with the earlier version being closer to the source material than the later. Tennyson focused on the Lady's "isolation in the tower and her decision to participate in the living world, two subjects not even mentioned in Donna di Scalotta." The first four stanzas describe a pastoral setting. The Lady of Shalott lives in an island castle in a river which flows to Camelot, but little is known about her by the local farmers. Stanzas five to eight describe the lady's life. She suffers from a mysterious curse, and must continually weave images on her loom without ever looking directly out at the world.
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Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was... at its peak in the approximate period from 1800 to 1840. Partly a reaction to the Industrial Revolution, it was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education and the natural sciences. Its effect on politics was considerable, and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant. The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories.
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