Alfred Tennyson



Literatur: Tennyson
Literatur: Ballade


                The Lady of Shalott


5               PART THE FIRST.

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 manytowered Camelot.
10   The yellowleavèd waterlily,
The greensheathèd daffodilly,
Tremble in the water chilly,
                 Round about Shalott.
[9] Willows whiten, aspens shiver,
15   The sunbeam-showers break and quiver
In the stream that runneth ever
By the island in the river,
                 Flowing down to Camelot.
Four gray walls and four gray towers
20   Overlook a space of flowers,
And the silent isle imbowers
                 The Lady of Shalott.
Underneath the bearded barley,
The reaper, reaping late and early,
25   Hears her ever chanting cheerly,
Like an angel, singing clearly,
                 O'er the stream of Camelot.
Piling the sheaves in furrows airy,
Beneath the moon, the reaper weary
30   Listening whispers, "'tis the fairy
                 Lady of Shalott."
[10] The little isle is all inrailed
With a rose-fence, and overtrailed
With roses: by the marge unhailed
35   The shallop flitteth silkensailed,
                 Skimming down to Camelot.
A pearlgarland winds her head:
She leaneth on a velvet bed,
Fully royally apparellèd,
40                    The Lady of Shalott.
            PART THE SECOND.

No time hath she to sport and play:
A charmèd web she weaves alway.
A curse is on her, if she stay
Her weaving, either night or day,
45                    To look down to Camelot.
[11] She knows not what the curse may be;
Therefore she weaveth steadily,
Therefore no other care hath she,
                 The Lady of Shalott.
She lives with little joy or fear.
Over the water, running near,
The sheepbell tinkles in her ear.
Before her hangs a mirror clear,
                 Reflecting towered Camelot.
55   And, as the mazy web she whirls,
She sees the surly village-churls,
And the red cloaks of market-girls,
                 Pass onward from Shalott.
Sometimes a troop of damsels glad,
60   An abbot on an ambling pad,
Sometimes a curly shepherd lad,
Or longhaired page, in crimson clad,
                 Goes by to towered Camelot.
[12] And sometimes thro' the mirror blue,
65   The knights come riding, two and two.
She hath no loyal knight and true,
                 The Lady of Shalott.
But in her web she still delights
To weave the mirror's magic sights:
70   For often thro' the silent nights
A funeral, with plumes and lights
                 And music, came from Camelot.
Or, when the moon was overhead,
Came two young lovers, lately wed:
75   "I am half-sick of shadows," said
                 The Lady of Shalott.
            PART THE THIRD.

[13] A bowshot from her bower-eaves.
He rode between the barleysheaves:
The sun came dazzling thro' the leaves,
80   And flamed upon the brazen greaves
                 Of bold Sir Launcelot.
A redcross knight for ever kneeled
To a lady in his shield,
That sparkled on the yellow field,
85                    Beside remote Shalott.
The gemmy bridle glittered free,
Like to some branch of stars we see
Hung in the golden galaxy.
The bridle-bells rang merrily,
90                    As he rode down from Camelot.
[14] And, from his blazoned baldric slung,
A mighty silver bugle hung,
And, as he rode, his armour rung,
                 Beside remote Shalott.
All in the blue unclouded weather,
Thickjewelled shone the saddle-leather.
The helmet, and the helmet-feather
Burned like one burning flame together,
                 As he rode down from Camelot.
100   As often thro' the purple night,
Below the starry clusters bright,
Some bearded meteor, trailing light,
                 Moves over green Shalott.
His broad clear brow in sunlight glowed.
105   On burnished hooves his warhorse trode.
From underneath his helmet flowed
His coalblack curls, as on he rode,
                 As he rode down from Camelot.
[15] From the bank, and from the river,
110   He flashed into the crystal mirror,
"Tirra lirra, tirra lirra,"
                 Sang Sir Launcelot.
She left the web: she left the loom:
She made three paces thro' the room:
115   She saw the waterflower bloom:
She saw the helmet and the plume:
                 She looked down to Camelot.
Out flew the web, and floated wide,
The mirror cracked from side to side,
120   "The curse is come upon me," cried
                 The Lady of Shalott.
            PART THE FOURTH.

[16] In the stormy eastwind straining
The pale-yellow woods were waning,
The broad stream in his banks complaining,
125   Heavily the low sky raining
                 Over towered Camelot:
Outside the isle a shallow boat
Beneath a willow lay afloat,
Below the carven stern she wrote,
130                    THE LADY OF SHALOTT.
A cloudwhite crown of pearl she dight.
All raimented in snowy white
That loosely flew, (her zone in sight,
Clasped with one blinding diamond bright,)
135                    Her wide eyes fixed on Camelot,
[17] Though the squally eastwind keenly
Blew, with folded arms serenely
By the water stood the queenly
                 Lady of Shalott.
With a steady, stony glance –
Like some bold seer in a trance,
Beholding all his own mischance,
Mute, with a glassy countenance –
                 She looked down to Camelot.
145   It was the closing of the day,
She loosed the chain, and down she lay,
The broad stream bore her far away,
                 The Lady of Shalott.
As when to sailors while they roam,
150   By creeks and outfalls far from home,
Rising and dropping with the foam,
From dying swans wild warblings come,
                 Blown shoreward; so to Camelot
[18] Still as the boathead wound along
155   The willowy hills and fields among,
They heard her chanting her deathsong,
                 The Lady of Shalott.
A longdrawn carol, mournful, holy,
She chanted loudly, chanted lowly,
160   Till her eyes were darkened wholly,
And her smooth face sharpened slowly
                 Turned to towered Camelot:
For ere she reached upon the tide
The first house by the waterside,
165   Singing in her song she died,
                 The Lady of Shalott.
Under tower and balcony,
By gardenwall and gallery,
A pale, pale corpse she floated by,
170   Deadcold, between the houses high,
                 Dead into towered Camelot.
[19] Knight and burgher, lord and dame,
To the plankèd wharfage came:
Below the stern they read her name,
175                    "The Lady of Shalott."
They crossed themselves, their stars they blest,
Knight, minstrel, abbot, squire and guest.
There lay a parchment on her breast,
That puzzled more than all the rest,
180                    The wellfed wits at Camelot.
"The web was woven curiously
The charm is broken utterly,
Draw near and fear not – this is I,
                 The Lady of Shalott.





Erstdruck und Druckvorlage

Alfred Tennyson: Poems.
London: Edward Moxon 1833, S. 8-19.




Veränderte Fassung


Kmmentierte und kritische Ausgaben




Literatur: Tennyson

Brandmeyer, Rudolf: Poetologische Lyrik. In: Handbuch Lyrik. Theorie, Analyse, Geschichte. Hrsg. von Dieter Lamping. 2. Aufl. Stuttgart 2016, S. 164-168.

Gymnich, Marion / Müller-Zettelmann, Eva: Metalyrik: Gattungsspezifische Besonderheiten, Formenspektrum und zentrale Funktionen. In: Metaisierung in Literatur und anderen Medien. Theoretische Grundlagen – Historische Perspektiven – Metagattungen – Funktionen. Hrsg. von Janine Hauthal u.a. Berlin u.a. 2007 (= spectrum Literaturwissenschaft / spectrum Literature, 12), S. 65-91.

Harrison, Antony H.: Arthurian Poetry and Medievalism. In: A Companion to Victorian Poetry. Hrsg. von Richard Cronin u.a. Malden, MA 2002, S. 246-261.

Howey, Ann F.: Afterlives of the Lady of Shalott and Elaine of Astolat. Cham 2020.

Joseph, Gerhard: Victorian Weaving: The Alienation of Work into Text in "The Lady of Shallot". In: Tennyson. Hrsg. von Rebecca Stott. London 1996, S. 24-32.

Kruger, Kathryn S.: Weaving the Word. The Metaphorics of Weaving and Female Textual Production. Selinsgrove 2001.

Luczynska-Holdys, Malgorzata: The Written and the Visual. Representations of Women in English Nineteenth-Century Poetry and Art. Göttingen 2021.

Mazzeno, Laurence W.: Alfred Tennyson: The Critical Legacy. Rochester, NY u.a. 2004.

Ormond, Leonee (Hrsg.): The Reception of Alfred Tennyson in Europe. London 2017.

Psomiades, Kathy A.: "The Lady of Shalott" and the critical fortunes of Victorian Poetry. In: The Cambridge Companion to Victorian Poetry. Hrsg. von Joseph Bristow. Cambridge 2000, S. 25-45.

Wright, Jane: A Reflection on Fiction and Art in "The Lady of Shalott". In: Victorian Poetry 41.2 (2003), S. 287-290.



Literatur: Ballade

Bartl, Andrea u.a. (Hrsg.): Die Ballade. Neue Perspektiven auf eine traditionsreiche Gattung. Würzburg 2017.

Berner, Hannah: Inszenierte Volkstümlichkeit in Balladen von 1800 bis 1850. Heidelberg 2020.

Buffard-Moret, Brigitte / Demaules, Mireille (Hrsg.): La Ballade, histoire et avatars d'une forme poétique. Paris 2020.

Bushell, Sally (Hrsg.): The Cambridge Companion to 'Lyrical Ballads'. Cambridge 2020.

Cohen, Michael C. (Hrsg.): The Ballad. A Special Issue on Historical Poetics and Genre. In: Nineteenth-Century Literature 71.2 (2016), S. 147-255.

Daub, Adrian: What the Ballad Knows. The Ballad Genre, Memory Culture, and German Nationalism. New York 2022.

Henville, Letitia (Hrsg.): Ballads [Special Issue]. In: Victorian Poetry 54 (2016), S. 411-524.

Labarthe, Judith u.a. (Hrsg.): La ballade (XVIIIe - XXe siècle). Littérature savante, littérature populaire et musique. Nantes 2008.

Laufhütte, Hartmut: Die deutsche Kunstballade.. Grundlegung einer Gattungsgeschichte. Heidelberg 1979.

Newman, Steve: Ballad Collection, Lyric, and the Canon. The Call of the Popular from the Restoration to the New Criticism Philadelphia 2007.

Schwarz-Scherer, Marianne: Lyrisches Erzählen. Eine Gattungsgeschichte der DDR-Ballade. Berlin 2021.



Lyriktheorie » R. Brandmeyer