The pose of Rutland's Lady seems to mimic that of Waterhouse's The Lady of Shalott, as she steps forward in the same hunched position.The image of the blooming water-lily, the first bit of life the Lady directly gazes upon out her window, may represent the Lady herself, interacting with the natural world for the first time. Even in death, the Lady has no agency. By removing all visual links to its literary source, Warry created a generalized image whose connection to the poem remains only in its title. Marianna reluctance to expectations of the typical Victorian woman were to remain uphold her domestic duties lie in the fact that she has no pure and virginal and keep her place according to the husband to come to her farmhouse at the end of a day. By remaining faithful to Tennyson's staging of the scene, Siddal in fact betrays the poem in another way -- her Lady seems quietly calm, rather than appropriately frenzied and passionate. Tennyson's sparse descriptions of the Lady allowed artists a great deal of freedom in illustrating the poem, yet these artists often did not remain faithful to what little details were given them. The vibrancy of the outside world contrasts with the Lady's prison of "gray" walls and towers, asserting her isolation from the activity of life. She must accept her restrained position Even though the title of the poem alludes to the fact that it will without any rebellion. Conclusion Tennyson's "The Lady of Shalott" inspired and intrigued many Pre-Raphaelite artists because of its tragic subject matter and treatment of the conflicted role of the artist. She saw the water-lily bloom, She saw the helmet and the plume, She looked down to Camelot. The figures' poses assert Lancelot's position of power, as he stands firmly, in contrast to the Lady's position as a mere object, lying in her boat. These drastic alterations reveal Warry's goal of presenting the Lady not as a powerful, tragic figure, but as a respectable upper-class Victorian woman. Her hair is modestly pinned up, and she even wears a hat with a long veil. Artists such as Hunt, Waterhouse, Rossetti, and Meteyard emphasized the tragic aspects of the Lady's love and her place as an object of desire, while artists such as Siddal and Warry focused more on the Lady's position in relation to her surroundings and status.
Tennyson's sparse descriptions of the Lady allowed artists a great deal of freedom in illustrating the poem, yet these artists often did not remain faithful to what little details were given them.
Sexuality for a woman was not only during that time.
Ruskin stated in a letter to Tennyson regarding the illustrations of the Moxon Tennyson, "Many of the plates are very noble things, though not, it seems to me, illustrations of your poems. New York: Longman, Adding to the irony of the scene, the Lady has in fact finally joined Lancelot's physical world, as he stands before her body, but she nevertheless cannot share her love with him.
The Lady may be sensual and beautiful, but Rutland empowers her by allowing her to stare back at those who stare at her. Warry's version does concentrate on the Lady herself, but it does not present her sensually.
The mirror in this illustration also figures prominently, large and in the center of the picture, framed by empty black space that highlights its significance even more.