The Lady Of Shalott Analysis

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The volume of 1832, which began with The Lady of Shalott and contained " Eleanore," " Margaret," " The Miller 's Daughter," " The Palace of Art," " The May Queen," " Fatima," The Lotos-Eaters, and " A Dream of Fair Women," was published in his twenty-second year. Scholars such as Simpson, Alaya, Grob and Stage argue how Tennyson, in some of his poems, exposes his view on the purpose of art placing an isolated artist-figure in a story-line. “The Lady of Shalott”, “The Palace of Art”, “The Lotos-Eaters” portray “socially alienated and hostile figures” in disagreement with the moral principles of society (Elaine the Unfair 343). The Lady of Shalott is one of Tennyson’s most famous works which M. Alaya characterizes it as the ultimate “expression of the unresolved dialectic assumed to be characteristic of the early Tennyson, artistic detachment vs. social responsibility” (274). The poem is a depiction of an isolated, artist-like figure locked up in a tower, which dramatizes the struggle between protecting the one’s creative abilities from outsiders and the desire to be in contact with society at the same time. Correspondingly, Tennyson version of “The Lotos-Eaters”, based on a famous passage from The Odyssey, comments and plays on the “fable of the artist who becomes enamored of poesy and loses all sense of responsibility to the world of men” (Grob 120). These “art poems”, as they are called by some scholars, do not characterize artists in the strict sense of the word defined
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