| The Lady of Shalott, 1833 | The Lady of Shalott, 1842 | Commentaires, traduction en italique s'il y a lieu pour
la version de 1833.
Commentaires et traduction : Licorne. 800x600 : cliquez ici |
| Part the First | Part I | |
| 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. The yellowleavèd waterlily, The greensheathèd daffodilly, Tremble in the water chilly, Round about Shalott. |
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 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. |
La première partie de cette strophe n'a subi que
des modifications mineures.
La deuxième partie, en revanche, a été completement réécrite, probablement pour introduire un peu de vie dans le poème. |
| Willows whiten, aspens shiver,
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 Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott. |
Willows whiten, aspens quiver,
Little breezes dusk and shiver Thro' the wave that runs for ever By the island in the river Flowing down to Camelot. Four gray walls, and four gray towers, Overlook a space for flowers, And the silent isle imbowers The Lady of Shalott. |
Toute référence au soleil a disparu dans
la version de 1842, et le "flot qui qui a toujours coulé" devient
"la vague qui court à jamais", changeant ainsi la "tradition" en
"destin".
La version de 1842 compense ici, en introduisant bien plus de mélancolie, le peu de vie qu'elle a rajouté à la strophe précédente. |
| Underneath the bearded barley,
The reaper, reaping late and early, 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 Listening whispers, "'tis the fairy 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'd Skimming 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? |
Cette strophe (1842), dans sa première partie, assure
la transition entre le décor de Shalott et la présentation
de la Dame. La version de 1833 passe directement du silence qui règne
sur l'ile au chant de la Dame.
La deuxième partie (1842) marque trés fortement la solitude de la Dame. Cette strophe et la suivante ont vu leurs positions inversées entre 1833 et 1842! |
| The little isle is all inrailed
With a rose-fence, and overtrailed With roses: by the marge unhailed The shallop flitteth silkensailed, Skimming down to Camelot. A pearlgarland winds her head: She leaneth on a velvet bed, Fully royally apparellèd, 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." |
La version de 1833 est descriptive, tant pour l'ile (première
partie) que pour la Dame (seconde partie).
Les deux derniers vers de la première partie ont été remaniés pour servir de base à la première partie de la strophe précédente (1842), et le reste a disparu, remplacé par une révision de la troisième strophe de la version de 1833. Cette révision a eu pour effet de rendre la Dame encore plus mélancolique : ce n'est plus son chant qui est joyeux, c'est seulement son écho! |
| Part the Second | Part II | |
| 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, To look down to Camelot. She knows not what the curse may be; Therefore she weaveth steadily, Therefore no other care hath she, 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. |
En 1833, elle a conscience de sa malédiction, tandis
qu'en 1842, "on" la lui a annoncé. En 1833, la malédiction
s'active si elle cesse de tisser pour regarder Camelot, tandis qu'en 1842,
c'est le simple fait de regarder Camelot qui l'active, la tapisserie devenant
un passe-temps.
En 1833, son ignorance des conséquences de la malédiction gouverne ses actions, tandis qu'en 1842, elle ne s'en soucie pas, les conditions étant plus souples, ce qui lui permet de garder l'esprit libre pour tisser... |
| 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. And, as the mazy web she whirls, She sees the surly village-churls, And the red cloaks of market-girls, Pass onward from Shalott. |
And moving thro' 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. |
En 1833, le miroir n'est qu'un accessoire, lui permettant,
presque par hasard, de contempler Camelot. En 1842, il devient un élément
capital.
A noter aussi, la version de 1842 introduit ici les "ombres" du miroir. |
| Sometimes a troop of damsels glad,
An abbot on an ambling pad, Sometimes a curly shepherd lad, Or longhaired page, in crimson clad, Goes by to towered Camelot. And sometimes thro' the mirror blue, The knights come riding, two and two. She hath no loyal knight and true, 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 thro' the mirror blue The knights come riding two and two: She hath no loyal knight and true, The Lady of Shalott. |
Quelques révisions mineures -en apparence : le changement de ponctuation du septième vers rend plus présente la solitude de la Dame. |
| But in her web she still delights
To weave the mirror's magic sights: 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: "I am half-sick of shadows," said The Lady of Shalott. |
But in her web she still delights
To weave the mirror's magic sights, For often thro' 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. |
Même remarque pour la ponctuation du septième
vers. C'est ici que les "ombres" de la sixième strophe prennent
toute leur importance.
Pourquoi est-ce que la procession funéraire qui, en 1833, venait de Camelot, y va en 1842? Si vous le savez, écrivez-moi... |
| Part the Third | Part III | |
| A bowshot from her bower-eaves.
He rode between the barleysheaves: The sun came dazzling thro' the leaves, 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, Beside remote 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 redcross knight for ever kneel'd To a lady in his shield, That sparkled on the yellow field, 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, As he rode down from Camelot. And, from his blazoned baldric slung, A mighty silver bugle hung, And, as he rode, his armour rung, Beside remote 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 armour rung, Beside remote Shalott. |
La galaxie a gagné une majuscule entre 1833 et 1842... S'il s'agit bien d'un nom propre, et si vous savez à quelle galaxie Tennyson fait allusion, écrivez-moi... |
| 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. As often thro' the purple night, Below the starry clusters bright, Some bearded meteor, trailing light, Moves over green 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, trailing light, Moves over still Shalott. |
"la verte Shalott" devient "la calme Shalott", ce qui accentue encore le caractère immuable de la scène, que seul trouble le passage des comètes. |
| His broad clear brow in sunlight glowed.
On burnished hooves his warhorse trode. From underneath his helmet flowed His coalblack curls, as on he rode, As he rode down from Camelot. From the bank, and from the river, He flashed into the crystal mirror, "Tirra lirra, tirra lirra," Sang Sir Launcelot. |
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 flash'd into the crystal mirror, "Tirra lirra," by the river Sang Sir Lancelot. |
Le huitième vers a été corrigé
pour les besoins de la rime, sans rien changer au sens de cette strophe.
Toutefois, je m'interroge sur le sens de "Tirra lirra"... Merci d'éclairer ma lanterne si vous en savez plus que moi. |
| She left the web: she left the loom:
She made three paces thro' the room: 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, "The curse is come upon me," cried The Lady of Shalott. |
She left the web, she left the loom,
She made three paces thro' 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. |
Tennyson a ici changé la fleur "de plante aquatique" en fleur de "lys d'eau" pour renforcer la symbolique liant la Dame à son miroir -la Dame au lys ne peut vivre, même un seul instant, si elle ne voit pas le monde à travers son miroir, de même, le lys d'eau ne peut vivre sans son miroir d'eau calme. |
| Part the Fourth | Part IV | |
| In the stormy eastwind straining
The pale-yellow woods were waning, The broad stream in his banks complaining, 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, 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 round about the prow she wrote The Lady of Shalott. |
La deuxième partie de cette strophe a été réécrite, n'en gardant que les éléments essentiels. Dommage, je préfére la première version, que je trouve plus douce et plus imagée. |
| 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,) Her wide eyes fixed on Camelot, Though the squally eastwind keenly Blew, with folded arms serenely By the water stood the queenly Lady of Shalott. |
Elle mit une fine couronne de perles blanches
Ses vêtements, blancs comme neige, Amples, volaient, (dévoilant sa silhouette, Refermés par un diamant à l'éclat aveuglant,) Ses yeux écarquillés fixés sur Camelot, Dans les rafales de vent d'est qui aprement* Soufflait, les bras croisés, sereine, Prés de l'eau se tenait la royale Dame de Shalott. Cette strophe a été purement et simplement effacée de la version de 1842, probablement pour conserver le rythme du poème (part I et II : 4 strophes, III et IV : 6 strophes). * : En Irlande, "keen" est une mélopée funèbre, donc "keenly" pourrait avoir le sens de "funestement", qui serait peut-être plus approprié ici, mais, sans certitude quant aux intentions de Tennyson, je m'abstiens. |
|
| 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. 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. |
And down the river's dim expanse--
Like some bold seër 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. |
La version de 1842 est bien moins tragique que celle de 1833, probablement à cause de la suppression de la strophe précédente, qui ne permet plus de conserver une transition harmonieuse. |
| As when to sailors while they roam,
By creeks and outfalls far from home, Rising and dropping with the foam, From dying swans wild warblings come, Blown shoreward; so to Camelot Still as the boathead wound along The willowy hills and fields among, They heard her chanting her deathsong, 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. |
Cette strophe a été réécrite en supprimant toute notion de violence ou de mort, ce qui fait d'autant plus ressortir le calme et la résignation. |
| A longdrawn carol, mournful, holy,
She chanted loudly, chanted lowly, 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, Singing in her song she died, The Lady of Shalott. |
Heard a carol, mournful, holy,
Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darken'd 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. |
Ici, toute chose qui puisse diminuer la beauté de
la Dame a disparu lors de l'écriture de 1842. Cette strophe n'en
est pas plus douce pour autant (cf. vers 3 et 4).
Les vers 1 et 2 ont été retouchés pour rendre la versification plus homogène. |
| Under tower and balcony,
By gardenwall and gallery, A pale, pale corpse she floated by, Deadcold, between the houses high, Dead into towered Camelot. Knight and burgher, lord and dame, To the plankèd wharfage came: Below the stern they read her name, "The Lady of Shalott." |
Under tower and balcony,
By garden-wall and gallery, A gleaming shape she floated by, A corpse between the houses high, Silent into Camelot. Out upon the wharfs they came, Knight and burgher, lord and dame, And round the prow they read her name, The Lady of Shalott. |
Le quatrième vers n'est pas le même dans la chanson! Vérifiez... Loreena est allée jusqu'au bout de l'intention de Tennyson, qui était d'adoucir cette strophe, en ne présentant pas la Dame comme un "cadavre" mais comme étant d'une "pâleur mortelle", ce qui est tout de même différent. |
| 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, 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." |
Who is this? and what is here?
And in the lighted palace near Died the sound of royal cheer; And they cross'd 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." |
Ils se signèrent, bénirent leurs étoiles,
Chevalier, ménestrel, abbé, écuyer et invité. Le parchemin sur sa poitrine Les intrigue plus que tout, les esprits fins de Camelot. "La toile est tissée curieusement Le charme brisé sur le champ, Approche sans crainte -- c'est moi, La Dame de Shalott." La version de 1842 fait disparaitre bien des témoins -en fait, en 1833, tout Camelot se rend auprés de la Dame, toutes classes sociales confondues, tandis qu'en 1842, seule l'assemblée des chevaliers se déplace. Et, tandis que la version de 1833 rend compte poétiquement de l'hommage de Lancelot (le charme est brisé -Lancelot prête enfin attention à la beauté de la Dame de Shalott), celle de 1842 "enfonce le clou" assez brutalement. |