The Dictation of Genre: Respective Failures and Successes of Communication in Tennyson’s "The Lady of Shalott" and Carter’s "The Bloody Chamber"

Both Alfred Lord Tennyson’s “The Lady of Shalott” and Angela Carter’s “The Bloody Chamber” center around women artists, making them rich subjects for comparison. In Tennyson’s poem, the relationship between reality and art is fraught with a breakdown of communication, as illustrated by the Lady’s reliance on her mirror. In contrast, Carter’s narrative presents a more direct connection between reality and art, embodied in the blind piano tuner who ultimately saves the narrator. This contrast in the relationship between art and reality—ranging from communication breakdown to effective communication—reflects the differing perspectives of Victorian and Postmodernist writers on language and expression.

Communication Breakdown in "The Lady of Shalott"

In Tennyson’s “The Lady of Shalott,” the protagonist is acutely aware of her curse, which forbids her from looking directly at Camelot. Although she understands that she is cursed, she is uncertain about the specifics of that curse. Consequently, she observes the world outside her window through a mirror, which distorts reality and prevents her from experiencing life fully. This reliance on a mediated source leads to a significant breakdown in communication between the Lady and the reality surrounding her.

The Lady’s art, represented by the webs she weaves, is merely a reflection of the “shadows” she perceives (48). Her work does not encapsulate the true essence of the events and people she sees; instead, it produces fabrications devoid of authenticity. This pseudo-reality frustrates the Lady, who laments, “I am half-sick of shadows” (71), yearning for genuine engagement with the world beyond her tower.

As a quintessential Victorian figure, the Lady’s isolation epitomizes the constraints placed on women of her time. Her artwork, necessitating communication breakdown, mirrors the limitations of Victorian art, which often reflects unattainable ideals. The Lady’s woven webs signify her labor, yet they fail to capture the entirety of her artistic expression. The mirror, serving as the medium between reality and art, embodies this communication failure, illustrating the Victorian artist's dilemma: the audience's interpretation is essential for the artwork to gain meaning. In this context, one might ask, “If a tree falls in the woods and no one hears it, does it make a sound?” In the Lady’s case, the answer would be “No,” as her art remains unheard and unappreciated.

The Role of Audience in Artistic Expression

The relationship between the Lady of Shalott and her artwork raises questions about the role of the audience in the creative process. The Lady’s sole audience is herself, leading to an insular cycle where her art lacks interpretive engagement. This dynamic results in a failure of her artwork to mediate the communication breakdown inherent in artistic creation. Once she defies the constraints of her curse, she is met with the tragic consequences of mortality, culminating in her death.

When the Lady glimpses Lancelot through her mirror and chooses to look out the window, she disrupts the cycle of her art. In doing so, she casts aside her loom and the webs she has created: “out flew the web and floated wide; / the mirror cracked from side to side” (114-115). By abandoning the constraints of her curse, the Lady liberates her art, allowing it to transcend mere representation. The breaking of the mirror signifies the collapse of the mediation that previously defined her artistic expression. Only upon her death does her artwork become subject to interpretation, enabling it to achieve its potential as true art.

Success of Communication in "The Bloody Chamber"

In stark contrast, Angela Carter’s “The Bloody Chamber” presents a more successful interaction between reality and art. The narrator, a talented pianist, communicates her emotions and intentions effectively to her future lover, a blind piano tuner. This relationship challenges the notion that the piano tuner’s disability would hinder communication; rather, it becomes a conduit for profound connection.

Upon moving into her new home, the narrator struggles with her piano, which she perceives as “only a little out of tune” (16). Unlike the Lady of Shalott, who is confined by her curse, the narrator actively shapes her reality to suit her art. By hiring a piano tuner, she establishes a direct line of communication that ultimately leads to a romantic connection. The blind piano tuner, Jean-Yves, becomes enamored with both the narrator’s art and her as an individual. Their relationship exemplifies a successful communication transfer, where the narrator’s music resonates clearly with Jean-Yves.

Table of Communication Dynamics

Contrasting Fates of the Protagonists

The fates of the two protagonists starkly contrast due to the nature of their artistic communication. The Lady of Shalott, trapped in a cycle of disrupted communication, ultimately perishes as she approaches the man she loves. Conversely, the narrator of “The Bloody Chamber” survives her encounters with danger, thanks to the effective communication facilitated by her art. Jean-Yves’s love for her music becomes a lifeline, allowing them to forge a deep emotional bond.

In conclusion, the evolution from communication breakdown to success serves to illustrate the shifting perceptions of art from Victorian to Postmodernist contexts. Tennyson’s “The Lady of Shalott” embodies the necessity of communication breakdown in Victorian art, while Carter’s “The Bloody Chamber” showcases the immediacy and clarity of communication in Postmodern literature. Through these contrasting narratives, we gain insight into the changing dynamics of artistic expression and the role of the audience in shaping meaning.

References:
1. Tennyson, Alfred Lord. “The Lady of Shalott.”
2. Carter, Angela. “The Bloody Chamber.”