Alternate Reality of the Lady of Shalott

Tanzim Aziz
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Abstract

The Lady of Shalott is considered to be one of Alfred Lord Tennyson’s masterpieces. The poem conversely demonstrates art and life, the aesthetic and the political, are fully interwoven: the involvement in the social world which is symbolically the destination of the Lady in the poem. The Lady who is the emblem of such an artwork can be ascribed qualities, for instance, self-containment, objectified otherness, removal from the fluidity of life, and participation in a higher order of existence, for which it is autonomy. Kermode points out that “the Romantic artwork often identifies itself with an emblematic image of autonomy and femininity”, inextricably interlinked. Her mirror shows her only “Shadows of the world”. The Lady’s web flies “Out” and floats “wide” when she “turns round” with “that desire of making an impression upon another mind”, when she seeks to address Lancelot. The mirror reconnects the Lady’s art to the real world beyond her window. Though the artist is unable to see it during the process of production, her artistic web, once out in a wider space than the tower and freed from the loom, is a true representation of outward things, the actions, and events of Camelot. This paper examines that the traditional referentiality of Tennyson’s ‘The Lady of Shalott’ can be better understood by supplementing the poet’s medieval sources, of little more than tangential relevance to the poem, with Homeric influences. The poem is similar to a fairytale, however, I have given an alternate reality of the Lady of Shallot in my version of a fairytale, where the characters remain the same but the fairytale takes a happy ending rather than a tragic death. My version is different from Tennyson’s since I believe the lady deserves to be jovial. Sir Lancelot was unaware of her fascination and feelings for him, as she could hardly express her feelings due to her imprisonment. She is so taken by him that she stops her work and looks at Camelot, though she risks the mysterious curse. The mirror breaks and her web magically floats out of the window on its own. She realizes that she is cursed.
莎洛特夫人的另类现实
沙洛特夫人》被认为是阿尔弗雷德-丁尼生的代表作之一。这首诗反过来展示了艺术与生活、审美与政治的充分交织:对社会世界的介入,象征着诗中女士的归宿。作为这种艺术作品象征的 "夫人 "可以被赋予各种特质,例如,自我封闭性、客体化的他者、脱离生活的流动性以及参与更高的生存秩序,而这些特质就是自主性。克莫德指出,"浪漫主义艺术作品往往将自己与自主性和女性气质的象征性形象相联系",两者密不可分。她的镜子向她展示的只是 "世界的影子"。当她 "转过身来","渴望给另一个人的心灵留下印象 "时,当她试图与兰斯洛特交谈时,她的网 "飞了出去","飘得很远"。镜子将夫人的艺术与窗外的现实世界重新联系在一起。虽然艺术家在创作过程中无法看到它,但她的艺术之网一旦进入比塔楼更广阔的空间并从织布机中解放出来,就会真实地再现卡美洛的外在事物、行动和事件。本文探讨了丁尼生的《夏洛特夫人》的传统指涉性,通过补充诗人的中世纪资料来源(这些资料来源与诗歌的关系不大)和荷马史诗的影响,可以更好地理解这首诗。这首诗类似于一个童话故事,然而,我在我的童话故事版本中赋予了沙洛特夫人另一种现实,其中的人物保持不变,但童话故事的结局是幸福的,而不是悲惨的死亡。我的版本不同于丁尼生的版本,因为我认为这位女士应该是快乐的。兰斯洛特爵士并不知道她对他的迷恋和感情,因为她被囚禁在狱中,难以表达自己的感情。她被他深深吸引,停下手中的工作,看着卡米洛特,尽管她冒着被神秘诅咒的危险。镜子破碎了,她的网神奇地自行飘出窗外。她意识到自己受到了诅咒。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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