The Lady of Shalott - Research Paper Example

Literary Analysis: “The Lady of Shalott” “The Lady of Shalott” is a much appraised poem because it is simple and mysterious in many different ways. The need for analyzing the poem rose from the artistic work of the poet, Tennyson himself who was criticized for not being able to leave a mark on the previous and latter poets who had a high stature. This will be discussed in detail along with an exhaustive debate on how and why the lady gives herself away to the world when she is happy weaving in her own world high up I the tower that is surrounded by the town of Camelot. The Lady is alone but engrossed in her own world of painting the town of Camelot through the view in the mirror . She cannot see directly at the town because there is a curse which will befall her for the reason for which is unknown. However her actions which bring ruin to her life identify her frustration that she starts to feel the more she paints the outside world and the lives of others. It awakens a strange blend of desire and fear of death before experiencing what she sketches. She is an epitome of the Pre-Raphaelite artists who experience more or less the same about their lives. Literary Analysis: “The Lady of Shalott” Introduction: One of the most fascinating poems of Tennyson is “The Lady of Shalott”. Tennyson is a poet of the early nineteenth century. The poem is about the rise and fall of emotions of the Lady of Shalott. When Tennyson wrote the first version of the poem in 1832 at the age of twenty-three he was not well equipped with knowledge. Yet it seems that only an extraordinarily critical eye can figure out the beauty of artistry in Tennyson’s poem “The Lady of Shalott”. The poem was slightly revised by Tennyson nearly ten years after publishing it for the first time in 1832 when he resumed writing as he recovered from the loss of his close friend. The poem received grand critical acclaim not because Tennyson was soon to become Poet Laureate but because he used certain elements in the poem which made it worth appreciating and enjoying both in the literary circle and by the public. Tennyson narrates a story in the poem in a fashion similar to Lady of Shalott who weaves the scene of Camelot through the image she envisions in the mirror. He weaves the story as a “lighthearted romantic tale” which eventually turns into the “inexplicable longing and unavoidable death” due to the mention of a curse that changes the fate of the Lady of Shalott (Kruger 39). It is naturally very painful for the readers to see the isolated Lady who is cursed for reasons not known to the readers. The poem takes a sudden twist when she starts resenting her isolation as there is no other way to break the curse except to get involved in it. She cannot control her emotions at the sight of Sir Lancelot and looks outside the window which is forbidden to do so. She eventually suffers the consequences of death and recognition by the entire town Camelot. Several critics have neglected one of the most eminent scenes in the poem which Tennyson highlights in the first two sections; the portrayal of the Lady’s artistic ability gives the readers an insight into the bona fide charisma that resides within the Lady which gives her fairy like existence, something that the literary criticism seems to overlook. “The Lady of Shalott” is written in ballad form. Hence the Lady and the knight Sir Lancelot are elevated to a stature which is larger than life. The poem itself has been source of inspiration for countless artists especially the Pre-Raphaelite painters who produced nearly seven pictured in direct stimulation with “the Lady” herself. This reflects Tennyson “highly aesthetic expression” in relation to these artists. “The Lady of Shalott” is a poem which intensely imagines a figure of a woman who is powerless with regard to her strength of looking beyond the range of her window until she cannot resist herself from looking directly down at Lancelot (Klitgard & Lund 30). This calls for an un-Victorian humor in the years which follow the publication. However, seeing this through Tennyson’s visualization one is compelled to believe that he is giving his audience the taste of a certain period in history where several damsels like the Lady end up having such fate as hers. She brings misfortune on herself but pleased with her own instincts she remains lost in her own world of songs and beauty. “But in her web she still delights To weave the mirror's magic sights, For often through 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.” (Tennyson 1964) The Lady, as the title suggests, is the central character of the poem and all the objects, living or otherwise are a source of inspiration for the Lady who continues to weave the nature in seclusion. The loneliness and isolation is masterfully sketched by the poet’s choice of diction. “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;…” (Tennyson 1964) One wonders if the interaction with the outside world is a necessity or a “peaceful retirement” is preferred over the “active involvement” in the world (Bloom 20). Tennyson portrays the Lady in isolation quite at peace. Although she has heard that “a curse is on her if she stay/ to look down to Camelot” she is least bothered by anything because she has kept herself busy looking out to Camelot through the mirror of her (Wright 290). Weaving could be a metaphor for imagination. She might just be envisaging the outside world in exaggerated feat. However if this theory is true then Lancelot appeared in her imagination and she could not help but look out the window to verify his existence. In either of the cases her loneliness had taken over her emotions and she became victim of the curse which had befallen her. Surprisingly the Lady speaks for the first time in a complaining tone. Referring to the images in the mirror she claims that she is “half sick of shadows” especially when Sir Lancelot gives a grand appearance clad in armor and in a complete Arthurian figure. Besides the “metaphoric landscape along the river” the “knight and burgher, lord and dame” have considerable impact on the Lady. The traces of Arthurian legend can be seen in “the magical kingdom of Camelot, Lancelot’s bejeweled armor and the barge that ferries the dying Lady…” Even the well guarded room in the tower is indicative of the fact that the poem belongs to a legendary era although Tennyson has denied the source of his inspiration (Bloom 20). “Four grey walls, and four grey towers, Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott.” (Tennyson 1964) The Lady is known by the inhabitants of Camelot who are curious about her existence despite the fact that she is only known through her voice. This calls for an in-depth analyses of the contrast the poet displays between the Lady and the reapers who listen to her songs after a long tiring day. This means that the land of Shalott is a safe place for artists who are associated with the artistic isolation and retirement from life. ““…And by the moon the reaper weary, Piling sheaves in uplands airy, Listening, whispers, " 'Tis the fairy The Lady of Shalott."…’” (Tennyson 1964) The peaceful isolation which is painted thus far is shattered the moment the Lady approaches the window viewing everything she has been weaving, unswervingly. The curse finally befalls her leaving her in shock. Her impulsive moves which follow give way to a change of fate in the artist who is no longer viewing the world through the mirror but is in direct contact with it. “…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;…” (Tennyson 1964) As the Lady becomes conscious of the curse with the cracking of the mirror it dawns upon her that she has little desire to live since it is signed with a death sentence she cannot overlook. Her snowy white gown is now flying in the air as she decides to leave Camelot with “glassy countenance” letting herself in the boat writing her name “around about the prow” which “bore her far away”. The element of romance in the ballad is still a mystery for many analysts who believe that the readers are left ungratified with the conclusion of the poem. Although Sir Lancelot is the only knight of The Round Table who rhymes with Camelot and Shalott, he seems to be a disruptive figure. As the Lady lets herself die in the boat “The leaves upon her falling light --/Thro' the noises of the night…The willowy hills and fields among,/They heard her singing her last song…” she continues to sing until her blood is frozen slowly and she turns “to tower’d Camelot” silently floating across the river as a shadowy pale figure. As the knights, burghers, lords and dames come “out upon the wharfs” and read her name wondering who and what it was they saw, they all “crossed themselves for fear” except Lancelot who speaks in honor of the Lady claiming "She has a lovely face;/God in his mercy lend her grace,/The Lady of Shalott." (Tennyson 1964). The poem ends with sorrow and an end to the pre-Victorian image of an artist who chooses to remain in seclusion without getting sick. The death of the artist who envisions the world twice removed from reality is Platonic concept. The artist is rather viewing the world through a looking glass as though the world has very little to offer to him although the beauty of nature is such that one can fall for it the instance he sees it with naked eyes. Tennyson portrays that the Lady is both cursed and blessed because death is inevitable and one cannot escape it either in seclusion or otherwise (Hilton 1970). The themes which cover the poem are countless and can be explored in detail as one revisits the poem over and over again. Deprivation is one of the themes which is highlighted in the poem with sophistication. The main character in the poem is unaware of the curse which has befallen her and thus she accepts it as her fate continuing to weave endlessly without getting tired. This deprivation is at first taken to be ineffective in the Lady’s life but as she starts to realize how much more she is missing out on in the panorama of nature she starts getting sick. Tennyson does not make her question her existence as to why this curse has befallen on her alone. Neither does he explain why she was denied the pleasures of real life. This calls for an open-ended analysis of her situation as well as her behavior. She is completely satisfied with her place in the tower until she is compelled to view outside the mirror down at Sir Lancelot whose description and appearance is irresistible. This is a typical image of damsel in distress and gives the readers an overview of the era to which the Lady belongs. The theme of art and artifice is yet another aspect which opens the doors to a multi-facetted analysis of the poem. The Lady’s perception of the outside world through the mirror is an indication that reality can be seen in two dimensions. The reflection of the scenes of Camelot are colored and painted by Lady’s artistic ability (Henderson 65). Her subjective approach towards reality is that life has an element of depth in it although it is flat. She paints this imaginatively with colorful threads giving a unique meaning to her life. The harsh reality however, cracks the mirror and destroys her art giving her space to directly connect herself with it. “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 armor rung Beside remote Shalott.” (Tennyson 1964) Although infatuation is a very crude term to be used in the case of the Lady, several critics believe that she died of a broken heart since she was instantly infatuated with Sir Lancelot who compels her to look out the window in the first place. The traditional tale of Elaine of Astolat is a story of rejection and pain. Tennyson however brought a variation in the character of the Lady of Shalott Elaine does indeed suffer from rejection. The Lady of Shalott, however, is a variation on that character, which different in several ways. Tennyson does not let the Lady meet Lancelot and the knight is only shown to expresses his interest when he sees her dead in the boat. The physical appeal of Lancelot is also introduced to the readers way before the Lady sees him. He is said to have a broad and clear brow. His saddle is decked with jewels and his shield exposes a picture of a knight who is kneeling to a lady. The Lady is drawn to the knight not because of his physical appearance but because he has a beautiful voice (Poulson 179). It is this distraction which brings the curse upon her and diverts her from her work in which her mind was occupied. This also suggests that artwork is not an easy thing to do and in that sense, Tennyson is also paying homage to all the great artists he has known. The curse does not kill the Lady immediately. Instead it lets her feel liberated. This is another theme of the poem. Surprisingly and curiously the Lady is not distracted by Lancelot anymore. She goes straight to the river and lets it take her wherever it goes. The exposure to the world is more important in this section because as she climbs on the boat she engraves her name on it indicating that she would want the world to know who she was. Her final action is therefore broader than the reader can imagine (Killham 60). The Arthurian legend goes that there was a lady known as Elaine of Astolat that Sir Thomas Malory incarnated in his 1485 book titled “Le Morte d’Arthur” which spoke about Arthur and his knights who were famous all over Europe for their chivalric appearance. Lancelot, however appeared in the late twelfth century in becomes a part of the Round Table on his eighteenth birthday proving to be the most valiant knight. The relationship between Arthur and Lancelot gets complicated because he ends up having an affair with Arthur’s wife causing animosity amongst the people causing destruction in the court of Camelot (Bloom 23). Although Tennyson is closely connected to the Victorian era, the work reflects traces of Romanticism. According to the critic John D. Jump, Tennyson’s language has given an urgent access to the medieval world which became a source of inspiration and a dream come true for the nineteenth century artists (Jump 97). In terms of discourse analysis “the magic web of the tower was like the real itself without the fracture which for humans indicates the impossible experience of the being (Sein) including its non-differentiateness where inside and outside fall in one, an analogue to the topology of a Moebius string. Paradoxically the only discontinuity within the real is the subject, is the Lady’s weaving itself not consciously but as an absent mark which defers itself in a lasting discontinuous weaving dream.” (Dennhardt 56) Tennyson deprives the Lady of any intimacy. “The Lady of Shalott” describes a “woman who cannot come into sexuality or language except by dying. The weaver signifies the departure from the “tribe of Romantic heroines mainly because “her role as a weaver derives from ancient Greek and Teutonic mythology.” Her death resonates the meaning of art and its functionality in the world. Tennyson’s Romantic aesthetic ideals associate artwork with femininity (Kruger 28). According to Harold Bloom, the division of the poem into numbered parts and the further sub-division of the stanzas in a discrete manner makes it appear like an object of art. The Lady as she is sketched in the poet’s tapestry has given everything away to be in contact with someone or something else. Thus it “clearly narrates the world’s failure to requite the desires of the self…this failure also bespeaks of an inner failure to identify the world accurately and embrace its otherness.” The curse however is an intensely apt one. The river in which she mysteriously dies becomes a “dim expanse” whose “glassy countenance” is the Lady herself (Bloom 22). The ballad form contrasts with the elements of romance in the poem. The action of the poem is such that they do not seem to relate. “Part of the reading would be concerned with locating romance elements and to define when the poem strays from the romance mould and of course offer a possible interpretation of these instances.” (Klitgard & Lund 35). Harrison regards the poem as a “sweet fantasy” but not to be placed next to the rest of the masterpieces of Tennyson. He feels that the poem is short of “Tennysonian perfection” and the phrases and rhymes used here are not mature enough. He calls the use of adjectives as childish and “jejune” especially in verses such as “She floated by,/ - between the houses high”. Each of the four parts of the poem ends in direct speech. The lyrical ballad is one of the early maiden poems which deal with “the dilemma of the embowered female.” (Harrison 43) There seems to be no repetition in the poem as it flows rapidly like a story narrated to the villagers or tribesmen. (Lewis 76). By way of writing this poem Tennyson allows himself and the readers to escape from the image-bound landscape. Hence the poem is a means to rescue the artist from the dream world that the inhabitants of not just Camelot but the entire world create for themselves. Kruger explores Kristeva’s work which offers a lens to study the “unfolding narratives” of “the Lady of Shalott” in areas of art and poetry. Artists portray the painting of the Lady in two dimensions. Kristeva suggests that there is no basic discontinuity between the production of arts and the life of an individual is being painted by the artists in multiple ways. (Kruger 56). A conclusive argument of Tennyson’s choice of the subject in the poem can be drawn through a close study of the Lady’s involvement in the society he tries to depict. Is there a possibility that Tennyson considers the nature of the artist as feminine as opposed to the masculine world that destroys the poetic sensibility and artistic ability from growing any further. To look back the analysis made thus far, certain themes which dominate the poem include deprivation of the Lady from the outside world which she does not feel until she glances at Sir Lancelot through the mirror. Another theme is that of infatuation, failure to achieve her desire causing her to die exposed to the outside world. Parallel to the theme of infatuation is the theme of liberation which allows her to finally see the world without any intervention of a secondary object. These themes give rise to several questions with regard to the poet who has introduced the legendary Arthurian era which is still famous all over Europe. Tennyson, however, failed to bring his charismatic writing style and use of diction in the poem which causes several critics to make strong remarks about this poem (Hobson 74). “…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 flashed into the crystal mirror, "Tirra lirra," by the river Sang Sir Lancelot…” (Tennyson 1964) There are several instances in the poem where the poet indicates the Lady’s satisfaction in weaving a web of colors by looking at the life outside through the mirror. She seems however slightly bothered by the presence of the funeral’s proceedings and even weddings which arise a sense of emotions in her leaving her sick in isolation (Knoepflmacher & Tennyson 334). As the poem moves on, readers are desperately wanting to know what the curse really is which is stopping her from going out in the world. Is it the curse of the Romantic era or the alluring of the ages to come? There is no news of the origins of the curse but an appearance of a handsome knight instead, who brings the Lady to the point of ecstasy which she cannot deny. The song he sings while he travels in Camelot enchants the Lady who eventually breaks away from the shackles of loneliness and floats to the river where she dies (Hilton 72). There is only one instance that shows that she is restless and that is when she views the crowd’s unusual movements such as the death of someone. She probably fears that she would die without looking at the real world through naked eyes. The use of language by the Lady reveals both her frustration and fear. Looking at the poem from the point of view of the crowd who call her a fairy, it seems that they all are envious of her lifestyle. Who on earth in that era would do nothing except weave at home. The reapers who had a considerably tough life must be genuinely thinking of her as a fairy who sings and weaves all day long (Killham 1960). Hence her death probably came to them as a shock rather than pleasure. All the knights who feared the corpse’s presence in the river were not used to such kind of death. Death came to them from fighting with sword. The Lady’s sword was her tapestry which tore away as the curse came upon her. Nothing could be done to undo her action. Hence the ballad is full of sorrow and gloominess as opposed to the beautiful nature surrounding Camelot. The feeling what she would never be a part of the “colorful life that she is weaving into her web” brings a turning point to the poem (Lewis 70). The poem is not perfect as many critics claim but the juxtaposition of the “intensely memorable myth” shines through the cracked mirror as the desire to face the world collides with the impulse towards death (Bloom 22). Among several paintings to illustrate Tennyson’s poem William Holman Hunt’s painting seems to best elaborate the features especially the Lady herself. However it is said that it angered Tennyson who heard Hunt say that it was too “unlike the poem”. Tennyson found it most appealing and apt; “The Lady of Shalott standing inside the a round frame loom, supported a foot or so off the floor. The tapestry itself gives the effect of a giant spider’s web with its circular mass bisected in triangles from the centre.” Hunt’s painting portrays the Lady to be entangled in threads. Such is the observation of the artist who tries hard to bring words in synch with the colors on the tapestry (Kruger 53). No matter what the critics and analysts say about the distinction in Tennyson’s choice of words in this poem as compared to the others, one thing remains true to this day and that is the poet’s artistic ability to sketch a paint in words for the artists to draw on the tapestry. “The Lady of Shalott” is an extraordinary poem with powerful underlying themes which an ordinary reader cannot detect without reading closely. He would however enjoy the rhyming and lyrivcal sounds of the ballad which everyone may enjoy irrespective of the complexities in the poem. “…Who is this? And what is here? And in the lighted palace near Died the sound of royal cheer; And they crossed themselves for fear, All the Knights at Camelot;…” (Tennyson 1964) The question reflects the kind of knights who lived in Camelot. “The world of Shalott, the gray world, intrudes into the joyous active world of Camelot for a moment and grips it with its stillness.” (Bloom 21) They were fearful and yet concerned by the presence of the floating boat carrying the dead body of the Lady whose songs were a means of survival for all those who passed through the tower and became a part of her tapestry. The musing of Lancelot gives rise to several other questions concerning his attachment with the Lady but this is beyond the text of the poem. The legend has it that the knight was extremely intrepid and courageous and did not even fear the leaders of the knight Arthur whose reference has been given earlier in the analysis. Here Lancelot alone “feels pity for her and her beauty and prays not for himself but for her” making the conclusion even more powerful in the simple choice of diction. (Bloom 23). The instance she dies she becomes a legend for the reapers who considered her a fairy. The rhetorical question remains even while she is alive: “…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?...” (Tennyson 1964) Hence there is a triumph replaced in the final stanza when people eventually attempt to link the “fairy Lady” with the dead body in the boat. She remains a mystery for the outside world but surprisingly the poet reveals her to her audience even before she is revealed to the crowd who only get to see her dead body. The poem revolves around Tennyson’s unresolved dilemma that of artistic dedication as opposed to social responsibilities (Alaya 273). The art in which the Lady is so engrossed is about feelings of loneliness and keenness in observation of the real world outside the window. With the analysis provided above one can conclude that the lady had a strong conviction to stay within the boundaries of the tower for as long as she was not feeling sorry about her situation. The recognition of the curse by the Lady is very significant because it is then that she loses all her hopes which she has been utilizing to paint the town of Camelot that she sees through her lonely perception. There is no way out for her except for letting the curse fall upon herself the reason for which remains unknown to the readers. One can perceive from the way Tennyson portrays the Lady that she is an epitome of artistry for the future painters to come. Works Cited Alaya, Flavia M. "Tennyson's "the Lady of Shalott": the Triumph of Art." Victorian Poetry. 8.4 (1970): 273-289. Print. This article talks about the art as a knack of an individual who portrays the outside world as if he has seen it. Alaya speaks through the Victorian age describing the traits belonging to the age with reference to the poem. Bloom, Harold. Alfred Lord Tennyson. New York: Chelsea House, 1985. Print The author lays stress on reading the poem “The Lady of Shalott” in multiple ways. He praises Tennyson for his artistic approach to the lady and her surroundings. The description of Camelot according to the author is in contrast with the death of the lady towards the end. Dennhardt, Robert. Tennysons "the Lady of Shalott" and Her Nameless Desire for the Veiled Unveiling. Mu?nchen: GRIN Verlag GmbH, 2007. Print The author gives a unique analysis of Tennyson’s poem stating the importance of the veiled unveiling of the lady. She remains unknown till the end of the poem but allows herself die out in the open for people to see and talk. There is an air tragedy prevailing through the latter half of the poem Harrison, Frederic. Tennyson: A New Estimate. The North American Review , Vol. 176, No. 559. 1903, pp. 856-867. Print The author of this book illustrates the significance of the artistry of the lady with reference to the artists who admire her image sketched by Tennyson and painted her on the canvas for him to admire and appreciate. Harrison tactfully deals with the new revelation to the artists as they see the Lady through their age. Their strokes are as unique as Tennyson’s words on the page. Henderson, Philip. Tennyson, Poet and Prophet. London and Henley: Routledge & Kegan Paul Ltd. 1978. Print. Here the author gives an analysis of the poem laying much stress on the poet and his work of art compared with the Prophet like traits which elevate him in the eyes of the public and the audience. There is absolutism involved in the way the author asserts his view about the poet and his work. Hilton, Timothy. The Pre-Raphaelites. London: Thames and Hudson Ltd. 1970. Print. The author here discusses the connection of the time in which Tennyson wrote and its impact on the poem such as the influence of the Pre-Raphaelites as artists. These artists were more sensitive but willing to come out of their secure shells to explore and imitate the perception of the world. Hobson, Anthony. J W Waterhouse. London: Phaidon Press Limited. 1989. Print. The author illustrates the curse and the sadness befalling the lady who cheerfully paints the life of Camelot through the mirror. The cracking of the mirror is very significant according to the author as that is the only means of bonding for the Lady to the rest of the own. Jump, John D. Tennyson, The Critical Heritage. U.K: Routledge & Kegan Paul Limited/U.S: Barnes & Noble. 1967. Print. This collection of criticism by the author is vast and elaborates on different approaches to the reading of the poem under discussion. Tennyson is yet again praised for his artistry however criticized for not producing as well as his previous masterpieces. Killham, John. Critical Essays on the Poetry of Tennyson. London: Routledge & Kegan Paul Ltd, 1960. Print. In the essays compiled by the author one can observe the criticism directed towards the poet who paints the lady with words which make her mysterious and leave the audience mesmerized by her weaving. However the objection is raised as to why Tennyson chose to let her die of the curse. Klitgard, Ebbe; Lund, Nanna, The Lady of Shalott, Poem, Painting, Song. British Studies, 2005. Print The poem is viewed by these authors as not just the work of a poet but also the artist and a musician who make it colorful and rich. The richness is depicted through the minute details and description of the town of Camelot as well as the Lady. Kruger, Kathryn S. Weaving the Word: The Metaphorics of Weaving and Female Textual Production. Selinsgrove [Pa.: Susquehanna University Press, 2001. Print. The author is stressing on the words on page which are metaphorical and carefully woven by the poet to address a certain audience who admires art and poetry. The author believes that there are several traits which make the poem a feminine text such as the theme of loneliness and the idea of the curse befalling the Lady. Lewis, Natalie. Tennyson's Poetry As Inspiration for Pre-Raphaelite Art. Mu?nchen: GRIN Verlag GmbH, 2007. Print The author is keen to make a connection of Tennyson’s poem with the Pre-Raphaelite art which is greatly influenced by the poem. Many authors are of the same opinion but this author has elevated the status of the Pre-Raphaelites being influenced by the Victorian art in general. Tennyson, Alfred T. Poems. New York: Crowell, 1964. Print. The poem has been taken from this book. Wright, Jane. "A Reflection on Fiction and Art in "the Lady of Shalott"." Victorian Poetry. 41.2 (2003): 287-290. Print. The author gives an extensive view of the lady in the mirror and portrays the role of fiction as though the trays were smaller. Wright has reflected on the poem with a sense of appraisal to the work of the artist knowing that Tennyson has addressed fiction in his poem but he has done so through a clear lens of reality. Bottom of Form Read More