...On the remote island of Shalott, embowered by four gray walls, lies a legendary castle, where the Lady of Shalott spends her days weaving a magic web. People pass the island all the time, but have never set eyes on the fair lady, occasionally, her mystical songs will drift to the people working in the nearby islands. She is encumbered with a curse that forbids her from looking outside, thus she views the world only through the shadows in her magic mirror. The lady represents the artist, above ordinary life, practicing her art and observing the world below but never mixing with it directly. Once she is drawn back to real life, her art is destroyed, and she dies. In The Lady of Shalott, Lord Alfred Tennyson uses visual imagery, contrasting sound devices, and...
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...How does Tennyson tell the story in Part 4 of ‘The Lady Of Shalott?’ Tennyson’s narrative verse ‘The Lady of Shalott’, tells the story of a lady who is trapped by a curse, causing her never to be able to look beyond the four grey walls in which she is confined, therefore separating her from the outside world. Part three of the poem describes the world from the Lady’s point of view whereas the final part four is the climax to the poem, which deals with the Lady as she appears to the outside world. The ‘Lady of Shalott’ was set in the gothic period and comes from medieval romance. Tennyson’s lyric includes references to the Arthurian legend; Shalott and Camelot. In both versions, in part four the character dies due to their love for Sir Lancelot and floats down the river in a barge, to be wondered about by the people in Camelot. Tennyson draws ideas through the use of rhyme and draws attention to this use of rhyme by making most of the lines in part four end-stopped. This strong emphasis on rhymes helps to give not only part four but the whole poem the feeling of an ancient tale, since news was carried from town to town by word of mouth, rhyming aided memorization. The lines in this section of the poem are written in iambic tetrameter. This rhythm follows closely the up-and-down pattern of English speech, making the structure hardly noticeable. The rhyming scheme allows the narrative to knit tightly together and this suits narrative verse. The tight repetitive rhyme scheme in...
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...The Lady of Shalott The Lady of Shalott is cursed to stay in her tower, weaving the sights she sees in her mirror. The appearance of Lancelot prompts her to turn and look directly upon the world. She leaves the tower and, as she floats down to Camelot in a boat, dies. What does Tennyson make you feel about the Lady in his poem The Lady of Shalott? Support your ideas with details from the poem. What does Tennyson make you feel about Lancelot in The Lady of Shalott ? Refer to details in the poem in your answer. How far does Tennyson make you feel sympathy for the lady in The Lady of Shalott ? Support your answer with details from the poem. In what ways does Tennyson capture your interest in his poem, The Lady of Shalott? Support your answer with details from the poem. How does Tennyson make The Lady of Shalott such a memorable poem for you? Support your answer with details from the poem. How does Tennyson’s writing make the story so intriguing for you in either The Lady of Shalott or Mariana? Support your ideas with details from your chosen poem. How does Tennyson make the setting so vivid in The Lady of Shalott ? Support your answer with details from Tennyson’s writing. 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...
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...There is a deep connection between Tennyson’s poem ‘The Lady of Shalott’ and the Jessica Anderson's novel “Tirra Lirra by the river. Anderson uses the lady of shallot as a constant reference throughout the novel relating to nora and memories of her past. The deliberate parallels established between tirra lirra by the river and the lady of shalott enhance our understanding of her life experiences. Although nora isn't physically trapped in a tower like the lady of shalott, she to spends the majority of her life suspended in a state of becoming, always waiting to escape. Both women are trapped by the expectations that society has placed upon them, belittled by those around them and forced to conform. The metaphorical towers in which they are trapped mean that they are alienated from the rest of society and leave them searching for lancelot, the ideal man, which ultimately leads to their destruction. This is evident for the lady of shalott when she expresses her desire to be a part of reality, “I'm half sick of shadows”. The images of shadows represents a weakened or diluted sense of what reality actually is. The idealised lancelot leads the lady to leave the confinements of her tower, into the outside world which in turn precipitates her death. Nora longs for a Sir lancelot who will provide deliverance from the loneliness that seems to dominate her life. Her romantic aspirations and desperate need to escape have made her vulnerable. It is because of this that nora believes that...
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...Nina Guidry Survey of the Arts II 15 April 2015 Waterhouse and The Lady John William Waterhouse was a Romantic painter whose style harked back to the Pre- Raphaelite Brotherhood (PRB) of the mid-nineteenth century. He encompassed elements from the Impressionist art movement of the late nineteenth century to create hauntingly beautiful images in oils on canvas. Three such creations manifested from Alfred, Lord Tennyson’s The Lady of Shalott. This poem, written in four parts, is based on Arthurian legend of an innocent young woman confined in a tower by a curse. She lived on an island overlooking Camelot. Her curse is such that she could not look directly upon Camelot. She viewed the outside world through a mirror in her quarters. Waterhouse painted the three oils in reverse chronology to the poem. In this essay, his composition, balance, use of light, color, movement and symbolism will be discussed. The Lady of Shalott (1888) references Part IV of the poem where she escapes the island by boat only to pay for the brevity of her freedom with her life. She and the boat are the main focus of this painting. Her porcelain skin, flowing red hair, virginal white gown draw eyes to her before slowly drifting over the boat. This scene is balanced by the view of hills through a break in the wooded background. The folds in the fabric of her gown, swallows in flight, and the play of light on the water create a sense of movement. Something was happening...
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...Tennyson and Browning’s Tragic Ladies “The curse is come upon me,” the Lady of Shalott says in Alfred, Lord Tennyson’s poem, “The Lady of Shallot” (Tennyson, 26-27). Tennyson, along with his contemporary, Robert Browning, were Victorian poets whose work romanticized the distant past. Their works “Porphyria’s Lover” and “The Lady of Shalott,” feature female subjects who seem cursed with sudden, tragic deaths. Although their writing styles and subject matter were different, the poems “The Lady of Shallot” and “Porphyria’s Lover” tell us that these poets were concerned with the treatment of women and used the tragic endings to their lives in these poems to challenge the idea that the past was an era of romance and happiness. For example, in “The...
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...contemporary imperfect.” In the light of this statement, explore the ways in which Malory, Tennyson and Monty Python present chivalry. Chivalry is the preconceived moral code by which medieval knights would behave. As the 18th century critic Richard Hurd acknowledges, chivalric knights would demonstrate ‘their romantic ideas of justice; their passion for adventures; their eagerness to run succour of the distressed and the pride they took in redressing wrongs and removing grievances’. Throughout the works of Sir Thomas Malory, Alfred Lord Tennyson and Monty Python, this definition of chivalry remains constant, although with a particular focus on the tropes of physical prowess, superhuman endurance in combat and dutiful respect of ladies. However, as Leigh Hunt remarked of Tennyson’s Idylls of the King, the poem ‘treats the modes and feelings of one generation in the style of another’. I would argue that, in fact, this applies directly to all three writers. Malory presents the reader with an earthy, realistic, yet anachronistic representation to demonstrate the worth of such ideals in a country wrought with decline and chaos during the Wars of the Roses. Tennyson idealizes this knightly conduct: this glamorization of chivalry functions as a model which, for Tennyson, reflects the applauded propriety of Prince Albert and other Victorian gentry. Monty Python, in tune with the 1960/70s synonymous with the radical and subversive, deride the chivalric values which to them seem...
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...The Nature of Poetry: Genres and Subgenres Introduction, Out of Chaos Order and Pattern formed by Rhyme: Order and Pattern formed by Rhythm: Major Types • Epic • Narrative • Lyrical The student should also recall that many of these terms can be found in Prof. Rearick's literary glossary at this link. Introduction, Out of Chaos Poetry is as old as the human heart. Long before there were libraries, before people were writing down lines, before there were even cities, commerce or any manifestation of what we think of as culture, there was poetry. More than one critic has noted that literary works are, in some way, an attempt by writers to take the unacceptable chaos of human life and bring order into it. An overt reference to this is Wilde's famous observation given through the voice of Miss Prism, describing her own three volume novel: "The good ended happily, and the bad unhappily. That is what fiction means." (The Importance of Being Earnest, Act II, Emphasis Mine). To Wilde fiction tried to take the chaotic quality of the unfairness of life and turn it right. Perhaps Poetry is pleasant to human ears because it attempts to the most random of things, human speech, and tries to bring it into some sort of order and pattern. Order and Pattern formed by Rhyme: Most students think that poetry is made when words are brought together which have the same kind of sound at the end of them, but this is only one type of the many kinds of rhyme. Old English poetry, for example...
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...Tennyson (Ulysses and Crossing the Bar) Presented by: Fatima Tawfiq ********************************************************** Tennyson Biography Alfred, Lord Tennyson, is one of the most famous poets in English literature. Many of his poems are standard of 19th-century literature and are critical and popular favorites. The body of critical work on him is immense, and although some of his work is seen as too sentimental today, his intellectual contributions to poetry and metaphysics are undeniable. Alfred Tennyson was born on August 5, 1809 in Somersby, Lincolnshire, where his father George was a clergyman. Young Alfred began writing poetry at a very early age, and published his first work "Poems by Two Brothers" at the tender age of sixteen. In that same year of 1827 Tennyson entered Cambridge University, where he befriended Thackery and produced his second collection, "Poems, Chiefly Lyrical". He also met Emily Selwood, to whom he became engaged in 1839. The Selwood family objected to the engagement, partly because of Tennyson's lack of money, and partly because his brother Charles was unhappily married to Emily's sister Louisa. Tennyson poured his energy into writing, and his "Poems" of 1842 made him extremely popular. He let his doctors convince him to give up writing for a time because of his poor health, but the respite was temporary. In 1847 "The Princess" was another success, and two years later Tennyson married Emily in a secret ceremony. When William Wordsworth...
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...B.A. (HONOURS) ENGLISH (Three Year Full Time Programme) COURSE CONTENTS (Effective from the Academic Year 2011-2012 onwards) DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 0 Course: B.A. (Hons.) English Semester I Paper 1: English Literature 4(i) Paper 2: Twentieth Century Indian Writing(i) Paper 3: Concurrent – Qualifying Language Paper 4: English Literature 4(ii) Semester II Paper 5: Twentieth Century Indian Writing(ii) Paper 6: English Literature 1(i) Paper 7: Concurrent – Credit Language Paper 8: English Literature 1(ii) Semester III Paper 9: English Literature 2(i) Paper 10: Option A: Nineteenth Century European Realism(i) Option B: Classical Literature (i) Option C: Forms of Popular Fiction (i) Paper 11: Concurrent – Interdisciplinary Semester IV Semester V Paper 12: English Literature 2(ii) Paper 13: English Literature 3(i) Paper 14: Option A: Nineteenth Century European Realism(ii) Option B: Classical Literature (ii) Option C: Forms of Popular Fiction (ii) Paper 15: Concurrent – Discipline Centered I Paper 16: English Literature 3(ii) Paper 17: English Literature 5(i) Paper 18: Contemporary Literature(i) Paper 19: Option A: Anglo-American Writing from 1930(i) Option B: Literary Theory (i) Option C: Women’s Writing of the Nineteenth and Twentieth Centuries (i) Option D: Modern European Drama (i) Paper 20: English Literature 5(ii) Semester VI Paper 21: Contemporary Literature(ii) Paper 22: Option A: Anglo-American Writing from 1930(ii) Option B:...
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...King Arthur From Wikipedia, the free encyclopedia For other uses, see King Arthur (disambiguation). Statue of King Arthur, Hofkirche, Innsbruck, designed by Albrecht Dürer and cast by Peter Vischer the Elder, 1520s[1] King Arthur is a legendary British leader who, according to medieval histories and romances, led the defence of Britain against the Saxon invaders in the early 6th century. The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians.[2] The sparse historical background of Arthur is gleaned from various histories, including those of Gildas, Nennius and the Annales Cambriae. Arthur's name also occurs in early poetic sources such as Y Gododdin.[3] The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain).[4] However, some Welsh and Breton tales and poems relating the story of Arthur date earlier than this work; these are usually termed "pre-Galfridian" texts (from the Latin form of Geoffrey, Galfridus). In these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies, or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn.[5] How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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