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Imagery and Metaphor

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Title: Imagery and Metaphor


1
Understanding Poetry
  • Imagery and Metaphor

2
Understanding Poetry
  • Poetry is a misunderstood art form because it
    requires time, thought, and energy on the part of
    the reader to understand. Most Americans are too
    busy to spend an afternoon reading the same poem
    over and over again, to find the underlying
    metaphor, evaluate the images, and study the
    symbols to reveal the poems theme. Most
    Americans would rather turn on the television.

3
Understanding Poetry
  • Dana Gioia states in his May 1991 Atlantic
    Monthly article that American poetry now belongs
    to a subculture. No longer part of the mainstream
    of artistic and intellectual life, it has become
    the specialized occupation of a relatively small
    and isolated group.
  • Poetry hasnt really been popular with the
    American people, otherwise Congress would not
    feel the need to appoint a Poet Laureate since
    1937 to promote the reading of poetry.
  • Who is the Poet Laureate for the United States?

4
The Poet Laureate
  • The Poet Laureate Consultant in Poetry to the
    Library of Congress serves as the nation's
    official lightning rod for the poetic impulse of
    Americans. During his or her term, the Poet
    Laureate seeks to raise the
  • national consciousness to a
  • greater appreciation of the
  • reading and writing of poetry.
  • Our current Poet Laureate is
  • Charles Simic.

5
Understanding Poetry
  • Why is poetry important?
  • According to former Poet Laureate Billy
    Collins, Poems can inspire and make us think
    about what it means to be a member of the human
    race. Poetry expresses feeling and reminds us
    that we all share the same emotional problems and
    joys. Poetry is deeply rooted in our culture and
    if youve ever taken the road less traveled or
    asked for whom the bell tolls youve quoted
    poetry.

6
Understanding Poetry
  • Poetry is more complex than fiction because it
    employs devices not normally found in fiction.
    These devices are necessary for poetry because
    where fiction is used to communicate thoughts and
    events, poetry is primarily used to express
    feeling. Fiction makes its readers think, and
    poetry makes its readers feel. Some of these
    elements include
  • Diction Imagery
  • Speaker Sound

7
Understanding Poetry
  • Poetry is similar to fiction in that both may
    utilize plot, symbolism, imagery, and setting
    however, poetry differs in that it is much more
    concentrated. Each line of a poem must be
    unpacked before it can be fully understood. When
    deconstructing a poem, the reader must keep
    several things in mind.
  • An understanding of the poets society
  • The type of poem
  • The Metaphors and Allusions used

8
Understanding Poetry
  • Diction is the language chosen for its poetic
    quality. Since poetry is so compact, word choice
    becomes vital to understand the poems meaning.
    Connotations associated with words may work to
    imply the poems meaning.
  • Also the sounds of the words themselves may also
    aid in revealing the poems meaning.
    Onomatopoeia a word which sounds like what it
    represents may evoke images or feelings. Meter,
    or the sound pattern the poem makes also helps to
    reveal the poems meaning.

9
Understanding Poetry
  • A poems speaker is not necessarily the poet,
    but often a character created by the poet.
    Understanding the point of view the poem is
    written from is vital to understanding the poem.
  • An image is the pictures created in the mind of
    the reader by the poets words. Imagery works
    together with sound and diction to evoke the
    feelings the poet desires in the reader.

10
Understanding Poetry
  • The form in which the poem is written often
    yields clues as to the poems meaning or theme.
  • Sonnets are often used to express love. An
    elegy often expresses grief or loss, and a
    narrative poem often tells a story.

11
Types of Poems
  • Lyric  A kind of poetry, generally short,
    characterized by a musical use of language. Lyric
    poetry often involves the expression of intense
    personal emotion. The elegy, the ode, and the
    sonnet are forms of the lyric poem.
  • Sonnet A lyric poem of fourteen lines, often
    about love, that follows one of several strict
    conventional patterns of rhyme.
  • Free verse  Verse without regular meter or rhyme.

12
Types of Poems
  • epic  A long narrative poem written in elevated
    style, in which heroes of great historical or
    legendary importance perform valorous deeds. The
    setting is vast in scope, covering great nations,
    the world, or the universe, and the action is
    important to the history of a nation or people.
    The Iliad, the Odyssey, and the Aeneid are some
    great epics from world literature, and two great
    epics in English are Beowulf and Paradise Lost.

13
Types of Poems
  • ode  A kind of poem devoted to the praise of a
    person, animal, or thing. An ode is usually
    written in an elevated style and often expresses
    deep feeling. An example is Ode on a Grecian
    Urn, by John Keats.
  • elegy  (EL-uh-jee) A form of poetry that mourns
    the loss of someone who has died or something
    that has deteriorated. A notable example is the
    Elegy Written in a Country Churchyard, by
    Thomas Gray. (Compare eulogy.)   

14
Types of Poems
  • Narrative Poetry- A narrative poem tells a
    story. The poet takes on a role similar to that
    of a narrator in a work of fiction. The oldest
    stories were recorded in poetry and recited by
    bards who used the rhythms of the verse to help
    them memorize their lines.
  • Villanelle- a fixed nineteen-line form,
    originally French, employing only two rhymes and
    repeating two of the lines according to a set
    pattern. An example is Dylan Thomas Do Not Go
    Gentle into That Good Night

15
Literary Allusions
  • Literature and poetry often make use of
    allusions.  An allusion is a reference to some
    well know character, story, author, or setting in
    some previous writing.  Some very common
    references might be to mythology, Shakespeare,
    and the Bible, to name just a few.  Allusions are
    used in everyday common speech. 

16
Literary Allusions
  • Doubting Thomas one of the twelve apostles
    who would not believe Jesus was resurrected from
    the dead until he actually saw the wounds on
    Jesus hands.  Today, anyone who doubts or
    questions things that others believe might be
    called a doubting Thomas.
  • Catch-22 from Joseph Hellers book of the
    same title.  The main character tried to get out
    of combat by claiming insanity.  Doctors advised
    him that anyone who wanted to avoid combat was
    sane, and if he really was crazy, he wouldnt be
    sane enough to apply for a discharge.  Today, a
    no-win situation could be called a Catch-22.

17
Literary Allusions
  • Feet of Clay from the book of Daniel in the
    Old Testament.  King Nebuchadnezzar dreamt of a
    being with a gold head, sliver arms, brass belly,
    iron legs, and feet of clay.  In Daniels
    interpretation of the Kings dream, he saw the
    feet as a weakness and predicted the fall of the
    empire.  The expression now refers to an
    otherwise strong and admirable person as having
    some weakness or flaw in his character.
  • Don Juan in Gabriel Tellezs El Burlador
    de Seville, the main character, Don Juan, engages
    in many passing love affairs.  Today, we refer to
    a man who is a playboy as a Don Juan.

18
Literary Allusions
  • Platonic Love in Symposium, Plato speaks of
    love based on purely intellectual and spiritual
    closeness rather than sexual attraction.  Today
    we use this term to describe that kind of
    relationship between a man and a woman.
  • Peyton Place Grace Metaliouss novel Peyton
    Place was about the immoral and evil goings on
    beneath the respectable appearance of a
    community.  Today we use the term to describe any
    situation where one might doubt the appearance of
    respectability.
  • Silent Spring in her book of the same name,
    Rachel Carson wrote about the destruction of our
    environment because of the use of herbicides and
    pesticides.  She predicts a time when we will no
    longer hear the sounds of birds and other
    creatures that will be destroyed as a result. 
    Today, the words silent spring refer to any
    ecological disaster.

19
Poetic Terms
  • Stanza A group of lines of verse, usually set
    off from other groups by a space. The stanzas of
    a poem often have the same internal pattern of
    rhymes.
  • Symbol  An object or name that stands for
    something else, especially a material thing that
    stands for something that is not material. The
    bald eagle is a symbol of the United States of
    America. The cross is a symbol of Christianity,
    and the Star of David is a symbol of Judaism.  

20
Poetic Terms
  • Verse  A kind of language made intentionally
    different from ordinary speech or prose. It
    usually employs devices such as meter and rhyme,
    though not always. Free verse, for example, has
    neither meter nor rhyme. Verse is usually
    considered a broader category than poetry, with
    the latter being reserved to mean verse that is
    serious and genuinely artistic.  

21
Poetic Terms
  • meter  The highly organized rhythm characteristic
    of verse. The pattern of stressed and unstressed
    syllables in a line.
  • Rhyme Words that rhyme have the same ending vowel
    and consonant sounds--might rhymes with flight
    and delight, and begin rhymes with within.
    There's also such a thing as half-rhyme, where
    words almost rhyme heard and hoard are
    half-rhymes. Sonnets use end rhyme, which means,
    logically enough, that the rhymes come at the end
    of the line. The ending words can be masculine
    (ending in a stressed syllable delight) or
    feminine (ending in an unstressed syllable
    delighted).

22
Poetic Terms
  • iambic pentameter  (eye-AM-bik pen-TAM-uh-tuhr)
    The most common meter in English verse. It
    consists of a line ten syllables long that is
    accented on every second beat.
  • The "iambic" part means that the rhythm goes
    from an unstressed syllable to a stressed one, as
    happens in words like divine, caress, bizarre,
    and delight. It sounds sort of like a heartbeat
    daDUM, daDUM, daDUM.
  • "Oh, gentle Faustus, leave this damnèd art,"
    Christopher Marlowe, Doctor Faustus, 5.1.37. This
    quotation comes from a play written, at least
    somewhat, in blank verse, unrhymed iambic
    pentameter.

23
Poetic Terms
  • metaphor  The comparison of one thing to another
    without the use of like or as A man is but a
    weak reed The road was a ribbon of moonlight.
    Metaphors are common in literature and expansive
    speech.
  • simile  (SIM-uh-lee) A common figure of speech
    that explicitly compares two things usually
    considered different. Most similes are introduced
    by like or as The realization hit me like a
    bucket of cold water.   Some similes, such as
    sleeping like a log, have become clichés.

24
Universal Metaphors
  • General Terms- up is good, down is bad, heat is
    interesting or sexy, cold in dull or frigid,
    significant is big, unimportant is small, left is
    liberal, right is conservative. Dark is evil.
    Light is good. Red is sexy.
  • What does the phrase
  • Pennant Races Heat Up Mean?

25
Universal Metaphors
  • Arguments are Buildings- what is the foundation
    of your theory? The theory needs more support.
    The argument is built on shaky ground. The
    argument collapsed.
  • Life is a Gambling Game- Ill take my chances.
    Ive got an ace up my sleeve. Play your cards
    any way you want to. Hes bluffing. The
    president is playing it close to his vest.
    Thats the luck of the draw. You bet.

26
Universal Metaphors
  • Ideas are people- Einstein gave birth to the
    theory of relativity. He is the father of modern
    science. Whose brainchild was that? That idea
    died off during the middle ages.
  • Love is magic- She cast a spell over me. The
    magic is gone. She is bewitching. I was charmed.

27
Universal Metaphors
  • Ideas are Plants- His ideas have finally come to
    fruition. That idea died on the vine. Thats a
    budding theory which will soon come to full
    flower.
  • Ideas are Food- That left a bad taste in my
    mouth. This paper has only raw facts and half
    baked ideas. I cant swallow that concept. Let
    me stew on it for a while. I have to spoon feed
    you information.

28
Universal Metaphors
  • Love is an Electromagnetic force- I could feel
    the electricity between us. There were sparks
    between them. His whole life revolves around
    her.
  • Love is Madness- Im crazy about her. She
    drives me out of my mind. He constantly raves
    about her. Hes mad about her.

29
Universal Metaphors
  • Love is War- He is known for his rapid conquests.
    She fought for him, but the mistress won out. He
    fled from her advances, but she pursued him and
    is slowly gaining ground. He overpowered her.
    She was besieged by suitors.

30
Universal Metaphors
  • Love is a Patient- This is a sick relationship.
    They have a strong, healthy marriage. Were
    hoping to get back on our feet.
  • Emotional Effect is Physical Contact-
  • The death hit him hard. The idea bowled him
    over. Shes a knockout. I was struck by his
    sincerity. He blew me away.
  • He made his mark on the world.

31
Poetic Terms
  • Metonymy- The substitution of the name of an
    object closely associated with a word for the
    word itself. For example she is just a pretty
    face, or we dont hire long-hairs. In both
    examples one part of an individual to represent
    the whole. An article of clothing or other
    object can also be substituted for the person or
    institution. As in I wont wear the black boots
    of oppression.

32
Cathedral of Truth
  • I stand in front of my cathedral of truth
  • surrounded by a Hooverville of impropriety.
  • I beckon an occasional passerby to enter,
  • only to be spurned casually.
  • Instead she chooses to build on the sands of
    illusion
  • with blocks of lust and the cement of alcohol.
  • But the winds of change blow both hot and cold,
  • toppling her walls and burying her foundation.
  • I offer my foyer, with its warm hearth waiting,
  • to be told that my castle is too unbecoming for a
    lady.
  • "Truth is rarely beautiful," I reply,
  • "but its wonders please more than just eyes."
  • Before I can open the grand halls of trust,
  • once again the lady is struck with lust.
  • Into the arms of another incubus the maiden
    flies,
  • off to build yet another house of lies.

33
Cathedral of Truth
  • The basic metaphor in this poem is relationships
    are buildings. I elaborated the metaphor by
    comparing a grand cathedral to a cardboard shack.
    The models which I had in mind were Westminster
    Abbey and the tar paper shacks of the early
    1930's. The choice of models represents how I
    feel about relationships. The former is a
    building which has withstood the tests of time,
    it is solid and sacred. Its walls and vaulted
    ceiling protect its occupants from the cold
    biting English weather. The latter is a
    temporary construction built from refuse and
    garbage. It offers little in the way of
    protection or warmth.

34
Cathedral of Truth
  • The choice of the word "Hooverville" was not
    accidental. There are many terms that I could
    have used such as, shanty town, honky tonk,
    ghetto, slum, skid row, and warren. I chose the
    word Hooverville because it implies poverty
    through poor leadership. The unkept promise of a
    chicken in every pot and two cars in every
    garage. Strangely enough the advertising man who
    wrote that slogan was reduced to begging to
    support his family during the depression (Conlin
    719). I chose that word to hopefully map an
    image of unkept promises and despair onto the
    concept of relationships.

35
Cathedral of Truth
  • The next two lines deal with the aesthetic stage
    of life. Soren Kierkegaard defined life in three
    stages, aesthetic, ethical, and the religious.
    In the aesthetic stage of life individuals are
    only interested in sensory stimulation. They
    also have no real identity, instead they are
    driven by a group consciousness (Paul et al.
    179-82). The poet stands in front of his
    cathedral like a barker stands in front of a
    carnival attraction. Hoping to attract a
    passerby, but the other sights and sounds
    overwhelm his cries for attention.

36
Cathedral of Truth
  • The next two lines deal directly with the
    relationships are buildings metaphor. I extended
    the metaphor by determining both where she
    chooses to build and the materials used. Sand is
    a poor substance to build upon. Sand does not
    have a uniform compactness and will shift and
    settle for years after a foundation has been
    laid. The metaphor "sands of illusion" will
    hopefully map the idea of a shifting foundation
    on to the concept of belief in the unreal or the
    unsound. The ideas behind the materials with she
    builds are also important. Both lust and alcohol
    are temporary sensory stimulations. When the
    stimulus is removed, the mental rationalizations
    which justify romantic actions crumble to dust.
    I chose these materials because anything built on
    such a fleeting substance will not endure.

37
Cathedral of Truth
  • The next two lines deal with the time as a
    changer metaphor. The metaphor "winds of change"
    is clearly a cliche, but I extended it by adding
    "blow both hot and cold." Through the use of
    this extension, I have changed the meaning of the
    cliché. I've added the "hot is interesting" and
    possibly the "hot is sexy" and of course its
    opposite "cold is uninviting" or "cold is frigid"
    metaphors. These compositions change the entire
    meaning of the time as a changer metaphor by
    implying what kind of change is blowing in the
    wind. In physics when something goes from hot to
    cold the substance undergoes stress. If the
    temperature change is great enough the substance
    will crack and break. Thus when the walls of
    lust and alcohol are exposed to the extreme cold,
    they collapse.

38
Cathedral of Truth
  • The next line the poet offers a slower longer
    lasting warmth of the hearth. Once again the
    poet is rejected because he fails to offer the
    sensory stimulation required to captivate her.
    In the two lines that follow the poet attempts to
    question the maiden's choice. The poet implies
    that there is more to life than sensory
    stimulation.
  • In the last line of the poem the maiden leaves
    the poet to enter an empty relationship. The
    poet leaves the reader with the idea that the
    maiden will travel from one empty relationship to
    another endlessly.

39
Cathedral of Truth
  • Before the poet can make his case, the maiden is
    beguiled by an incubus. Again the use of this
    term was not an accident. An incubus is a male
    demon who preys upon women and leads them astray.
    The only power that a demon has is illusion.
    Thus creating an image of a maiden being
    willingly lead to Hell with promises of splendor
    and riches, not unlike the story of Dr. Faustus.

40
Cathedral of Truth
  • In writing this poem I tried to stay well within
    the boundaries of common experience. I hope that
    in some aspects I have moved beyond the
    conventional uses of metaphor to express my
    feelings concerning relationships.

41
The Death of the Ball Turret Gunner
  • From my mothers sleep I fell into the State,
  • And I hunched in its belly till my wet fur froze.
  • Six miles from earth, loosed from its dream of
    life,
  • I woke to black flak and the nightmare fighters.
  • When I died they washed me out of the turret with
    a hose.
  • Randall Farrell 1914-1965

42
My Mistress Eyes Are Nothing Like the Sun
  • MY mistress eyes are nothing like the sun 
  • Coral is far more red than her lips red 
  • If snow be white, why then her breasts are dun 
  • If hairs be wires, black wires grow on her head.
  •  I have seen roses damaskd, red and white, 
  • But no such roses see I in her cheeks 
  • And in some perfumes is there more delight 
  • Than in the breath that from my mistress reeks.
  •  I love to hear her speak, yet well I know 
  • That music hath a far more pleasing sound  
  • I grant I never saw a goddess go, 
  • My mistress, when she walks, treads on the
    ground   
  • And yet, by heaven, I think my love as rare   
  • As any she belied with false compare. 
  • William Shakespeare

43
Because I Could Not Stop for Death
  • Because I could not stop for death-
  • He kindly stopped for me-
  • The Carriage held but just Ourselves-
  • And Immortality.

44
Because I Could Not Stop for Death
  • We slowly drove- He knew no haste
  • And I had put away
  • My labor and my leisure too,
  • For His Civility-

45
Because I Could Not Stop for Death
  • We passed the School where Children strove
  • At Recess-in the Ring-
  • We passed the Fields of Gazing Grain-
  • We passed the Setting Sun-

46
Because I Could Not Stop for Death
  • Or rather-He passed Us-
  • The Dews drew quivering chill-
  • For only Gossamer my Gown-
  • My Tippet- only Tulle-

47
Because I Could Not Stop for Death
  • Gossamer- something light, delicate, or
    insubstantial
  • Tippet- a shoulder cape of fur or cloth often
    with hanging ends
  • Tulle- a sheer often stiffened silk, rayon, or
    nylon net used chiefly for veils or ballet
    costumes

48
Because I Could Not Stop for Death
  • We passed before a House that seemed
  • A Swelling of the Ground-
  • The Roof was scarcely visible-
  • The Cornice- in the Ground-

49
Because I Could Not Stop for Death
  • Cornice-the molded and projecting horizontal
    member that crowns an architectural composition

50
Because I Could Not Stop for Death
  • Since then-tis Centuries- and yet
  • Feels shorter than the Day
  • I first surmised the Horses Heads
  • Were toward Eternity-

51
The Lady of Shalott
52
The Lady of Shalott
  • On either side the river lie Long fields of
    barley and of rye, That clothe the wold and meet
    the sky And through the field the road run by
    To many-tower'd Camelot And up and down the
    people go, Gazing where the lilies blow Round
    an island there below, The island of Shalott.

53
The Lady of Shalott
  • Willows whiten, aspens quiver, Little breezes
    dusk and shiver Through the wave that runs for
    ever By the island in the river Flowing down to
    Camelot. Four grey walls, and four grey towers,
    Overlook a space of flowers, And the silent
    isle imbowers The Lady of Shalott.

54
The Lady of Shalott
  • By the margin, willow veil'd,Slide the heavy
    barges trail'd By slow horses and unhail'd The
    shallop flitteth silken-sail'dSkimming down to
    Camelot But who hath seen her wave her hand?
    Or at the casement seen her stand? Or is she
    known in all the land, The Lady of Shalott?

55
The Lady of Shalott
  • Only reapers, reaping early, In among the
    bearded barley Hear a song that echoes cheerly
    From the river winding clearly Down to tower'd
    Camelot And by the moon the reaper weary,
    Piling sheaves in uplands airy, Listening,
    whispers, " 'Tis the fairy The Lady of Shalott."

56
The Lady of Shalott
  • There she weaves by night and day A magic web
    with colours gay. She has heard a whisper say,
    A curse is on her if she stay To look down to
    Camelot. She knows not what the curse may be,
    And so she weaveth steadily, And little other
    care hath she, The Lady of Shalott.

57
The Lady of Shalott
  • And moving through a mirror clear That hangs
    before her all the year, Shadows of the world
    appear. There she sees the highway near Winding
    down to Camelot There the river eddy whirls,
    And there the surly village churls, And the red
    cloaks of market girls Pass onward from Shalott.

58
The Lady of Shalott
  • Sometimes a troop of damsels glad, An abbot on
    an ambling pad, Sometimes a curly shepherd lad,
    Or long-hair'd page in crimson clad Goes by to
    tower'd Camelot And sometimes through the
    mirror blue The knights come riding two and two.
    She hath no loyal Knight and true, The Lady of
    Shalott.

59
The Lady of Shalott
  • But in her web she still delights To weave the
    mirror's magic sights, For often through the
    silent nights A funeral, with plumes and lights
    And music, went to Camelot Or when the Moon
    was overhead, Came two young lovers lately wed.
    "I am half sick of shadows," said The Lady of
    Shalott.

60
The Lady of Shalott
  • A bow-shot from her bower-eaves, He rode
    between the barley sheaves, The sun came
    dazzling thro' the leaves, And flamed upon the
    brazen greaves Of bold Sir Lancelot. A
    red-cross knight for ever kneel'd To a lady in
    his shield, That sparkled on the yellow field,
    Beside remote Shalott.

61
The Lady of Shalott
  • The gemmy bridle glitter'd free, Like to some
    branch of stars we see Hung in the golden
    Galaxy. The bridle bells rang merrily As he
    rode down to Camelot And from his blazon'd
    baldric slung A mighty silver bugle hung, And
    as he rode his armor rung Beside remote Shalott.

62
The Lady of Shalott
  • 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. As often thro' the purple night, Below
    the starry clusters bright, Some bearded meteor,
    burning bright, Moves over still Shalott.

63
The Lady of Shalott
  • His broad clear brow in sunlight glow'd On
    burnish'd hooves his war-horse trode From
    underneath his helmet flow'd His coal-black
    curls as on he rode, As he rode down to Camelot.
    From the bank and from the river He flashed
    into the crystal mirror, "Tirra lirra," by the
    river Sang Sir Lancelot.

64
The Lady of Shalott
  • She left the web, she left the loom, She made
    three paces through the room, She saw the
    water-lily bloom, She saw the helmet and the
    plume, She look'd down to Camelot. 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.

65
The Lady of Shalott
  • In the stormy east-wind straining, The pale
    yellow woods were waning, The broad stream in
    his banks complaining. Heavily the low sky
    raining Over tower'd Camelot Down she came and
    found a boat Beneath a willow left afloat, And
    around about the prow she wrote The Lady of
    Shalott.

66
The Lady of Shalott
  • And down the river's dim expanse Like some bold
    seer in a trance, Seeing all his own mischance
    -- With a glassy countenance Did she look to
    Camelot. And at the closing of the day She
    loosed the chain, and down she lay The broad
    stream bore her far away, The Lady of Shalott.

67
The Lady of Shalott
  • Lying, robed in snowy white That loosely flew
    to left and right -- The leaves upon her falling
    light -- Thro' the noises of the night, She
    floated down to Camelot And as the boat-head
    wound along The willowy hills and fields among,
    They heard her singing her last song, The Lady
    of Shalott.

68
The Lady of Shalott
  • Heard a carol, mournful, holy, Chanted loudly,
    chanted lowly, Till her blood was frozen slowly,
    And her eyes were darkened wholly, Turn'd to
    tower'd Camelot. For ere she reach'd upon the
    tide The first house by the water-side, Singing
    in her song she died, The Lady of Shalott.

69
The Lady of Shalott
  • Under tower and balcony, By garden-wall and
    gallery, A gleaming shape she floated by,
    Dead-pale between the houses high, Silent into
    Camelot. Out upon the wharfs they came, Knight
    and Burgher, Lord and Dame, And around the prow
    they read her name, The Lady of Shalott.

70
The Lady of Shalott
  • 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."

71
The Lady of Shalott
  • Can you find the hidden theme inside Tennysons
    Lady of Shalott?

72
Understanding Poetry
  • The End
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