Romanticism and desire continue as conceptual currents in The Sound. Here the object of desire is no longer merely inferred, as in the ship drawings and paintings, but present and depicted. As she lies languidly, eyes closed on the sand and listening to a sound in the distance, we as viewers are free to gaze. The pirate protagonist, sprawled in the sand, becomes both object of desire and of emulation, as the line between wanting and wanting to be like blurs.