Charlotte is a medieval mythological story that symbolizes the tragic fate of women in the Victorian era. Tennyson's 1842 poem "Lady Charlotte" portrays the image of a "family angel", with story elements such as towers, mirrors, looms, and death and misfortune having symbolic significance. The story prototype "Elaine of Astorat" was reinterpreted by Tennyson and became a muse in the literary and artistic world. Pre Raphaelite painters recreated Tennyson's poetry, making "Charlotte the Girl" widely popular in the Victorian painting world.
Tennyson's "Lady Charlotte" depicts a female figure imprisoned in a tower, reflecting the specific ideological setting of female characters in the Victorian era of the 19th century. The image of Charlotte in the poem reflects the society's expectations of women's purity, selflessness, passivity, and obedience at that time, as well as the traditional notion that women were confined to the private space of the family. The poem emphasizes the strict division of gender roles and social domains in the Victorian era by comparing the active external world of Camelot with the imprisoned life of girls. The story of Charlotte portrays the predicament of women in a patriarchal society, as well as their struggles, failures, and destruction in trying to break free from this predicament. Through this poem, Tennyson not only explores the role and status of women in society, but also reflects the contradictory attitude of the Victorian era towards the issue of women's oppression.
The theme of female tragedy in Tennyson's "Charlotte" attracted Pre Raphaelite artists, who appreciated the art, sacrifice, female mythology, and spiritual love in poetry. Despite criticism of poetry, the Pre Raphaelite school was obsessed with its prophecies and mysteries, attempting to reproduce details in an almost scientific way through Victorian techniques. Milles' 'Ophelia' showcases a focus on detail, while Hunter's printmaking illustrations for 'Lady Charlotte' depict the essence of poetry. Hunter's obsession with poetry prompted him to create multiple works, including sketches from 1850 and wood carvings from 1857, as well as oil paintings from 1905. Hunter's paintings reinforce the isolation and confinement of women in the Victorian era, but at the same time, they also depict the moment when Charlotte was confined by the thin threads of tapestries, which is not described in poetry. There are differences in expression between Hunter's paintings and Tennyson's poetry. Hunter portrays Charlotte as a fallen Victorian woman, while Tennyson's girls maintain a "passive, gentle, and selfless" image. Hunter's artistic details convey the depravity of the girl, such as flowing long hair and disheveled hair, interpreted as symbols of feminine traits and sexual desire. Hunter's paintings are considered a misinterpretation and infringement of the ideological purity of the Tennyson girls. Although Tennyson did not approve of Hunter's illustrations, the Pre Raphaelite Brotherhood regarded Tennyson as one of their favorite poets, and his works had a huge aesthetic impact on the Brotherhood.
The female protagonist in "Charlotte" lives in an isolated world made up of magic mirrors, and her longing for the outside world and marriage inspires her to cross gender boundaries. Through this poem, Tennyson reflects the social and political context of women's issues in 19th century England, while reinforcing patriarchal norms and conveying a warning to Victorian women through the tragic fate of the female protagonist. Hunter's illustration contradicts Tennyson's viewpoint and depicts the female protagonist's efforts to break free from constraints, symbolizing a challenge to patriarchal ideology. Hunter's personal life experience, especially his attempt to redeem Anne Miller, influenced his interpretation of "Charlotte", and the portrayal of the female protagonist in his work subverted traditional female roles.
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