Exaploration of Enclosure in "The Lady of Shalott", "Ulysses", and "The Palace of Art"

Introduction

The theme of enclosure or entrapment permeates Alfred, Lord Tennyson's poetry, offering a lens through which we can examine the complexities of human existence. This essay delves into the notion of enclosure in Tennyson's "The Lady of Shalott" and explores its manifestations in other poems such as "Ulysses" and "The Palace of Art." Through critical analysis, we investigate the tacit acceptance of these states by the subjects and the subsequent fragmentation of the self, ultimately leading to either entrapment or liberation.

Enclosure in "The Lady of Shalott"

In "The Lady of Shalott," the eponymous heroine finds herself confined to a tower on a river-island, compelled to weave images she sees in a mirror. Her entrapment is both literal and physical, as she cannot leave her tower due to an unexplained mystical force. Surprisingly, the Lady appears content with her situation, deriving pleasure from her work:

"But in her web she still delights

To weave her mirror's magic sights."

However, a dichotomous relationship emerges between the Lady and the outside world. Shalott and the tower symbolize immobility, while the world on the riverbanks constantly evolves. This contrast extends to the color palette, with the Lady's monochrome surroundings juxtaposed with the vibrant hues of the real world. Her entrapment forces her to engage with life through a proxy, as her creations become her interpretation of reality.

Interestingly, the Lady's acceptance of her predicament appears to be tacit, driven by an inner desire to achieve perfection within her limitations. This notion is exemplified by her uncertainty regarding the curse that binds her, as she "heard a whisper say." Her imprisonment is a form of self-imposed slavery to her art and creation, which she actively participates in.

In the third part of the poem, the Lady rejects her imprisonment upon seeing Sir Lancelot on the riverbank. Lancelot's image, like the Lady's mirror, is dazzling and reflects light, in stark contrast to the shadows presented by her static mirror. Lancelot becomes the catalyst for her discontent, leading to her eventual escape.

Liberation and the Dichotomy of Shadows and Light

The journey from enclosure to liberation in "The Lady of Shalott" is characterized by a dichotomy between shadows and light. The Lady's initial acceptance of her predicament is marked by her commitment to weaving the "magic sights" presented by her mirror. Yet, it becomes clear that these sights are mere shadows of the real world, devoid of personal experience or genuine connection.

Lancelot, as a symbol of the external world, shatters this illusion. His presence is described in radiant terms:

"All in the blue unclouded weather

Thick-jeweled shone the saddle leather,

The helmet and the helmet-feather

Burned like one burning flame together."

Here, Lancelot is not a shadow but a vivid manifestation of reality, challenging the Lady's complacency.

It is crucial to note that Lancelot's impact is not solely auditory but predominantly visual. The Lady's mirror, static and limited in its ability to capture the richness of life, can only offer shadows. In contrast, Lancelot's armor, like a mobile mirror, reflects the world's light. When he "flashed into the crystal mirror," the Lady's world changes irreversibly. The mirror, previously her source of solace, becomes a symbol of her enclosure.

The Lady's flight from Shalott marks her transition to liberation, albeit a bittersweet one. Physically, she never touches the riverbank but remains in the boat. Her attire also undergoes a transformation from monochrome purity to vibrant reds and crimsons. This shift demonstrates a maturation of freedom, where she accepts it on her own terms.

Notably, the Lady takes the time to write her name on the boat—a deliberate affirmation and validation of her identity. She no longer relies on the mirror or the shadows it produces but embraces the world outside, even if it leads to her eventual demise.

Ulysses: The Enclosure of Returning Home

In "Ulysses," Tennyson explores a different form of enclosure—Ulysses' longing for the freedom of travel and adventure. Paradoxically, Ulysses laments the "freedom" to remain at home and rule his land, yearning for the excitement and diversity of a life filled with travel and warfare. His identity is marked by a disconnect between the static life at home and the dynamic experiences he once enjoyed.

Ulysses' complaint reflects his understanding that his identity has fragmented, rendering him a king whose people do not know him. He consciously chooses to hand over his rule to Telemachus, acknowledging that his true self lies in adventure and exploration. The polarity of his experiences, both great and sorrowful, adds depth to his lamentation.

The Palace of Art: Isolation and Fragmentation

"The Palace of Art" portrays a solitary maiden living in a splendid palace, indulging in various experiences. Similar to "The Lady of Shalott," this maiden complies with her solitude and embraces her duty of perfecting the artistic soul. Her acceptance of isolation suggests an intrinsic belief in the necessity of her seclusion.

However, the poem hints at an unexplained shift in the maiden's disposition, leading to her downfall after three years of contentment. Unlike "The Lady of Shalott," her entrapment results from a lack of personal experience and human connection.

The maiden's fate in "The Palace of Art" serves as a cautionary tale of the perils of isolation and detachment from the human experience. While she initially thrives in her artistic seclusion, the absence of genuine human connection ultimately leads to her tragic demise. Her narrative underscores the importance of balance between personal solitude and social engagement.

Conclusion

Alfred, Lord Tennyson's poems, including "The Lady of Shalott," "Ulysses," and "The Palace of Art," delve into the themes of enclosure and liberation. Subjects in these poems often accept their states of entrapment with a sense of tacit compliance. Over time, this acceptance may give way to a fragmentation of the self, prompting deliberate actions aimed at altering their fates.

In "The Lady of Shalott," the Lady's contentment shifts upon seeing Sir Lancelot, while "Ulysses" portrays a king yearning for his former adventurous life. "The Palace of Art" explores a maiden's isolation, which eventually leads to her downfall. These poems offer profound insights into the human condition, highlighting the complexities of self-acceptance and the desire for personal liberation.

As we contemplate the themes of enclosure and liberation in Tennyson's poetry, we are reminded of the enduring human quest for authenticity and self-discovery. Whether through the shadows and light of the Lady's mirror, the yearning of Ulysses for adventure, or the isolation of the maiden in her palace, Tennyson's works resonate with readers, inviting us to ponder our own journeys towards self-realization and freedom.

Works Cited

1. Alfred, Lord Tennyson, ‘The Lady of Shalott’ in The Norton Anthology English Literature, ed. by Stephen Greenblatt and M. H. Abrams (New York: W. W. Norton & Company, 2006) l. 64-65.
2. Alfred, Lord Tennyson, The Palace of Art, (London : Edward Moxon, 1853) l. 89 – 90.
3. Alfred, Lord Tennyson, ‘Ulysses’ in The Norton Anthology English Literature, ed. by Stephen Greenblatt and M. H. Abrams (New York: W. W. Norton & Company, 2006).
4. Clyde de L. Ryals, ‘Poems of 1832’ in Theme and Symbol in Tennyson’s Poems to 1850 (Philadelphia: University of Pennsylvania Press 1964) p. 74
5. Lionel Stevenson, ‘The “High-born Maiden” Symbol in Tennyson’ in Critical Essays on the Poems of Tennyson ed by. John Killham (London: Routledge and Kegan Paul 1960) p. 133.