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The poem contains several enigmas, such as the identity of the speaker, the knight-at-arms, and the faery lady. Its premise itself is strange and draws attention to itself. Is the speaker just a passerby who has glimpsed the knight? Why is the speaker himself visiting a desolate landscape? Why is it important to describe the knight as a knight-at-arms? If the poem is read as an allegory, the speaker and the knight-at-arms can be seen as symbols that provide insights into these questions. In a symbolic reading, the speaker may not just be a random stranger but the alter-ego of the knight. Since the reader only sees the knight through the speaker’s eyes, the speaker may well be describing himself through a poetic framing device. The speaker—a stand-in now for the poet himself—is using the knight as a symbol for his own torments and creative journey.
The knight-at-arms represents the beleaguered creative and human spirit. He is in full armor because he is prepared to undertake a grand quest or a heroic journey. This journey could be the journey of life, or the poet’s delving into imagination. However, on this journey the knight encounters death and illness, or the excesses of the imagination, all personified in the lady. The knight lives so long in the world of the imagination that it is impossible to return whole to the real world. Chasing the beauty of poetry and imagination consume him. He is also described as a knight-at-arms because in medieval iconography a knight is associated with purity, chastity, and valor. Here, the knight violates all these codes by succumbing to the lady’s seduction and his fear of death. He is led astray, away from his quest. The sight of the lone, aimless armored knight without his company and context is incongruous, meant to emphasize his alienation. If the knight is symbolic of the individual, creative soul or the poet, he is now cut off from his creative context, drained of imaginative power, and isolated.
The lady, whom the knight encounters in “the meads” (Line 13) or the meadows, is described through a caesura (a deliberate pause in the middle of a sentence): “Full beautiful—a faery’s child” (Line 14). From the onset, she is associated with the otherworldly and the supernatural. Even her description as a faery is indirect; she is called “faery’s child” (Line 14), instead of a faery. This adds another layer of mystery to the lady. It is suggested she is half a faery, but then, what is the other half? Why is she described in this peculiar manner? The descriptor “Full beautiful” (Line 14) is odd as well, as if the word full has to be repeated to capture her essence. The knight’s inability to adequately describe the lady symbolizes his awe and wonder at seeing her. The lady herself symbolizes not just the supernatural, but also the imagination. Because the imagination is so vast and superlative, it cannot be described in human terms. It should also be noted that the poem’s symbolism reflects its Romantic context. In the Romantic tradition, the imagination, the supernatural, and nature overlap, representing a journey into the wild and the pure.
In her positive aspect, the lady represents the wildness, nurture, and beauty of nature and the imagination or the fancy. She nurtures the creative soul, feeding it wild honey and manna dew, she sings to it, and lulls it, almost like a maternal figure. The knight-at-arms is happy till he can control the lady or the imagination, till he can garland her and make love to her and place her on his steed. However, as the knight delves deeper into the imagination, the imaginary world begins to grow stronger. This is evident with the lady’s growing dominance. It is she who feeds him and takes him to her elfin grot. The knight/poet begins to let imagination control him, rather than the other way around. The lady’s offer of fruit takes on a sinister aspect, because in faerie lore, mortals are not supposed to eat faerie fruit at all. Eating faerie fruit disorients the mind. This elaborate symbolism represents the poet’s anxiety about delving too long in the world of fancy (a recurrent motif in Keats’s poetry). The knight lives in that world so long and deep, he loses reality and is now stuck in a limbo.
Alternatively, the lady symbolizes fate and death. All her victims are pale, the hallmark of those suffering from consumption. She is cruel because she offers humans the brief gift of life and possibility (the knight’s time in the mead and woods), only to snatch it all away. In this reading, the lady represents the poet’s fear of his impeding illness. Keats had already lost his mother and brother to tuberculosis and witnessed up close the ravages of the disease. Through the allegory of the poem, he was expressing the very real fear that his own life, his poetic career, and his romance with Fanny Brawne would be cruelly cut short by death.
Floral imagery occurs throughout the poem and symbolizes purity, sweetness, sex, and seduction, as well as the impermanence of life. The speaker notes the knight has “a lily on thy brow” (Line 9) and “on thy cheeks a fading rose” (Line 11), which are metaphors for his pallor and the red spots in his cheeks. Thus, the knight is associated with flowers, which signify nature’s bloom as well as its decay. The lily and the rose are both flowers significant in western cultural tradition and Biblical imagery, the lily symbolizing purity and the rose, love (it is the flower of Aphrodite, the Greek goddess of beauty and love). Additionally, the rose is also used as a symbol of Christ’s blood in Christian iconography and is associated with the Virgin Mary. These specific flowers on the knight’s person establish him as a figure marked by love, spiritual growth, and purity. Yet, the lily is moist not with freshness but “anguish” and “fever-dew” (Line 10), and the rose is faded. The flowers have bloomed and are now in decay, symbolizing the end of the knight’s springtime of love and growth. Here, Keats develops further the idea that flowers symbolize a beauty that is perfect but temporary. The flower’s fading is surer than its blossoming; death must follow life. Therefore, the lily and the rose encapsulate the knight’s brief and ill-fated idyll with the lady.
Flowers represent sexual passion in the poem as well, as shown when the knight garlands the lady with floral bracelets. The ritual can be read as a euphemism for lovemaking, flowers now suggesting the blooming of desire between the knight and the lady. However, desire itself is associated with death and danger, since the knight in tradition is supposed to be chaste. His love for the lady goes beyond platonic and is therefore corrupted. Given the poem’s ending, the garlanding of the lady takes on an ominous association. By succumbing to the lady’s seduction, the knight meets the fate of a flower: blossoming temporarily and then wasting away.
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