شرح قصيدة lady of shalott

عضو جديد

The Lady Of Shalott

"The Lady of Shalott" is a Victorian ballad by the English poet Alfred, Lord Tennyson (1809–1892). Like his other early poems – "Sir Lancelot and Queen Guinevere" and "Galahad" – the poem recasts Arthurian subject matter loosely based on medieval sources.

Overview

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 [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط], as recounted in a thirteenth-century Italian novella entitled Donna di Scalotta (No. lxxxii in the collection Cento Novelle Antiche), with the earlier version being closer to the source material than the later.^{[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]} 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."^{[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]}

Synopsis

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.

And by the moon the reaper weary,

Piling sheaves in uplands airy,

Listening, whispers, " 'Tis the fairy

Lady of Shalott."

Stanzas five to eight describe the lady's life. She has been cursed, and so she must constantly weave a magic web without looking directly out at the world. Instead, she looks into a mirror which reflects the busy road and the people of Camelot which pass by her island.

She knows not what the curse may be,

And so she weaveth steadily,

And little other care hath she,

The Lady of Shalott.

Stanzas nine to twelve describe "bold [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]" as he rides past, and is seen by the lady.

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.

The remaining seven stanzas describe the effect of seeing Lancelot on the lady; she stops weaving and looks out her window toward Camelot, bringing about the curse.

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.

She leaves her tower, finds a boat upon which she writes her name, and floats down the river to Camelot. She dies before arriving at the palace, and among the knights and ladies who see her is Lancelot and he thinks she is lovely.

"Who is this? And what is here?"

And in the lighted palace near

Died the sound of royal cheer;

And they crossed 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."
Themes

According to scholar Anne Zanzucchi, "n a more general sense, it is fair to say that the pre-Raphaelite fascination with Arthuriana is traceable to Tennyson's work".^{[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]} Tennyson's biographer Leonée Ormonde finds the Arthurian material is "introduced as a valid setting for the study of the artist and the dangers of personal isolation".
Some consider "The Lady of Shalott" to be representative of the [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] that faces [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط], [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط], and [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]: to create work about and celebrate the world, or to enjoy the world by simply living in it. Feminist critics see the poem as concerned with issues of women's sexuality and their place in the Victorian world. The fact that the poem works through such complex and polyvalent [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] indicates an important difference between Tennyson's work and his Arthurian source material. While Tennyson's sources tended to work through [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط], Tennyson himself did not.
Critics such as Hatfield have suggested that The Lady of Shalott is a representation of how Tennyson viewed society; the distance at which other people are in the lady's eyes is symbolic of the distance he feels from society. And the fact that she only sees them through a window pane is significant of the way in which Shalott and Tennyson see the world—in a filtered sense. This distance is therefore linked to the artistic licence Tennyson often wrote about.

Illustrations of the poem

The poem was particularly popular amongst artists of the [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] movement, who shared Tennyson's interest in Arthuriana; several of the Pre-Raphaelite Brotherhood made paintings based on episodes from the poem.

The 1857 [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] edition of Tennyson's works was illustrated by [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] and [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]. Hunt depicted the moment when the Lady turns to see Lancelot. Rossetti depicted Lancelot's contemplation of her 'lovely face'. Neither illustration pleased Tennyson, who took Hunt to task for depicting the Lady caught in the threads of her tapestry, something which is not described in the poem. Hunt explained that he wanted to sum up the whole poem in a single image, and that the entrapment by the threads suggested her "weird fate". The scene fascinated Hunt, who returned to the composition at points throughout his life, finally painting a large scale version shortly before his death. He required assistants, as he was too frail to complete it himself. This deeply conceived evocation of the Lady, ensnared within the perfect rounds of her woven reality, is an apt illustration of the [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط].

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] painted three episodes from the poem. In 1888, he painted the Lady setting out for Camelot in her boat; this work is now in the [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]. In 1894, Waterhouse painted the Lady at the climactic moment when she turns to look at Lancelot in the window; this work is now in the City Art Gallery in [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]. In 1915, Waterhouse painted [i]"I Am Half-Sick of Shadows," Said the Lady of Shalott, as she sits wistfully before her loom; this work is now in the [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط].

Because of the similarity in the stories, paintings of [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] tend to be very similar to paintings of the Lady of Shalott. The presence of a servant rowing the boat is one aspect that distinguishes them.

Weaving Mythology

The theme of [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] in mythology is ancient, and its lost mythic lore probably accompanied the early spread of this art. In traditional societies today, westward of Central Asia and the Iranian plateau, weaving is a mystery within woman's sphere. Where men have become the primary weavers in this part of the world, it is possible that they have usurped the archaic role:^{[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]} among the gods, only goddesses are weavers. [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] noted, however, the cultural difference between gender identities and weaving among Hellenes and Egyptians: among Egyptians it was the men who wove.^{[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]}
Weaving begins with [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]. Until the [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] was invented in the 14th century, all spinning was done with [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] and [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]. In English the "distaff side" indicates relatives through one's mother, and thereby denotes a woman's role in the household economy. In Scandinavia, the stars of [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] are known as Friggjar rockr, "Frigg’s distaff".
The spindle, essential to the weaving art, is recognizable as an emblem of security and settled times in a ruler's eighth-century BCE inscription at [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]:
"In those places which were formerly feared, where a man fears... to go on the road, in my days even women walked with spindles"
In the adjacent region of North [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط], historian [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] remarks [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] showing men holding cups as if feasting and women seated facing them and holding spindles.^{[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]}

عضو متألق

ميرسي كتير يا دودو وبالتوفيق ف المذيد يارب

عضو فعال

ميرسى يا دودو

عضو متألق

شكرااااااااااااااا اوى اوى اوى

عضو متألق

ميرسى يا دودو تعبينك معانا
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