Differences between Tennyson's 1833 and 1842 Versions of Poem
The story told in Alfred, Lord Tennyson's poem "The Lady of Shalott" obviously lacks a key narrative element, making it, at least in theory, a flawed attempt at storytelling. Handled less skillfully, it might easily have been rejected by readers and literary critics as a weak attempt to use powerful language to make up for its storytelling deficiencies. The poem concerns a damsel who lives in a stone tower, threatened by a curse that she knows, somehow, will kill her if she looks out her window at the world that surrounds her. The curse is real; she does look, and she dies. The basic question that must go through the mind of anyone who reads this poem is how the curse came to be. Tennyson could not have failed to notice what an important aspect of the story he left out.
Assuming, then, that Tennyson left this crucial information out on purpose, it is very likely that he had that same purpose in mind while making changes to the poem between the first and second published versions, dated, respectively, 1833 and 1842. Neither version could have been written with the goal of writing a clear story, not with that glaring omission, and the revision does nothing to fill in the missing details. But adding up all of these oddities draws a line to Tennyson's true purpose. A comparison between the two versions shows more than just corrections or adjustments in the 1842 revision. The later version is even more mysterious than the original, which, unexpectedly, makes it more human.
The main reason that this poem is able to successfully present a magic spell without explaining why or how that spell occurred is its setting. The story takes place in Camelot, a mythical land that, if it ever actually existed, certainly was not the kingdom that the ancient stories present. Popular imagination has attached itself to the historical facts, adding stories about Merlin the sorcerer, the Lady of the Lake, and the magical Sword in the Stone, Excalibur, that could only be handled by a person who was good and wise. Because magic is, by its very definition, outside of the ordinary laws of nature, there is a tendency to accept it as unknowable and to leave issues of magic unexamined.
But it is wrong to assume that magic has no rules at all. Like the myths of ancient Greece and Rome, the medieval stories of the Knights of the Round Table used magic to pass judgements on morality. For example, Odysseus's ten-year journey home from the Trojan War was said to have been caused by his failing to properly offer a homage to the god Poseidon. Similarly, Lancelot, Camelot's bravest and most chivalrous knight, is not able to find the coveted Holy Grail because of his affair with Arthur's wife, Guinevere. Thus the honor of finding the Grail is passed to Lancelot's son. The major difference is that the Greek myths were based on religious customs, while the magic involved in the Arthurian legends affirmed Christian principles. Saying that the curse on the Lady of Shalott is "magical" does not remove the need for a cause, even if it helps to dampen readers' curiosity.
In both versions of this poem, Tennyson worked against natural human curiosity, tweaking it without satisfying it. Doing so tells readers that the details surrounding the curse are really not important to his message. In some ways, Tennyson's method anticipates Modernism which did not actually develop until the 1920s. The First World War (1914-1918) was so catastrophic that it changed many systems of thought, including literary theory. The Modernist poetry that resulted did more than just dictate poetic information to readers and invite them to appreciate the poet's verbal skill: it acknowledged that readers are aware that they are reading a poem that somebody wrote. "The Lady of Shalott" counts on its readers to be aware of its author's existence and to wonder about the thought process that led him to leave out critical information. The only sensible explanation that readers can arrive at is that he means to downplay the mystical aspect of this myth and to focus attention on the psychology of the character who is the poem's focus.
There are only a few differences between the version of the poem published in 1833 and Tennyson's 1842 revision, but, surprisingly, they serve to make the setting and the character even more obscure. Usually, poetry tries to render a vivid experience, and so an author's changes often serve to make the visual experience clearer, not hazier. Again, the assumption must be that...
(The entire section is 1842 words.)