Goblin Market (composed in April 1859 and published in 1862) is a narrative poem by Christina Rossetti. It tells the story of sisters Laura and Lizzie, who are tempted with fruit by goblin merchants. [1] In a letter to her publisher, Rossetti claimed that the poem, which is interpreted frequently as having features of remarkably sexual imagery, was not meant for children. However, in public Rossetti often stated that it was intended for children, and went on to write many children's poems. When it appeared in her first volume of poetry, Goblin Market and Other Poems , it was illustrated by her brother, the Pre-Raphaelite Brotherhood artist Dante Gabriel Rossetti.
Goblin Market tells the adventures of two close sisters, Laura and Lizzie, with the river goblins.
Although the sisters seem to be quite young, they live by themselves in a house, and draw water every evening from a stream. As the poem begins, the sisters hear the calls of the goblin merchants selling their fantastic fruits in the twilight. On this evening, Laura, intrigued by their strangeness, lingers at the stream after her sister goes home. (Rossetti hints that the "goblin men" resemble animals with faces like wombats or cats, and with tails.) Longing for the goblin fruits but having no money, the impulsive Laura offers to pay a lock of her hair and "a tear more rare than pearl."
Laura gorges on the delicious fruit in a sort of bacchic frenzy. Once finished, she returns home in an ecstatic trance, carrying one of the seeds. At home, Laura tells her sister of the delights she indulged in, but Lizzie is "full of wise upbraidings," reminding Laura of Jeanie, another girl who partook of the goblin fruits, and then died at the beginning of winter after a long and pathetic decline. Strangely, no grass grows over Jeanie's grave. Laura dismisses her sister's worries, and plans to return the next night to get more fruits for herself and Lizzie. The sisters go to sleep in their shared bed.
The next day, as Laura and Lizzie go about their housework, Laura dreamily longs for the coming meeting with the goblins. That evening, however, as she listens at the stream, Laura discovers to her horror that, although her sister still hears the goblins' chants and cries, she cannot.
Unable to buy more of the forbidden fruit, Laura sickens and pines for it. As winter approaches, she withers and ages unnaturally, too weak to do her chores. One day she remembers the saved seed and plants it, but nothing grows.
Months pass, and Lizzie realises that Laura is wasting to death. Lizzie resolves to buy some of the goblin fruit for Laura. Carrying a silver penny, Lizzie goes down to the brook and is greeted warmly by the goblins, who invite her to dine. But when the merchants realise that she has no intent to eat the fruit, and only intends to pay in silver, they attack, trying to feed her their fruits by force. Lizzie is drenched with the juice and pulp, but consumes none of it.
Lizzie escapes and runs home, but when the dying Laura eats the pulp and juice from her body, the taste repulses rather than satisfies her, and she undergoes a terrifying paroxysm.
By morning, however, Laura is fully restored to health. The last stanza attests that both Laura and Lizzie live to tell their children of the evils of the goblins' fruits, and the power of a bond between sisters.
The poem has inspired disparate interpretations. James Antoniou wrote in his 2020 Canberra Times article that "while the sheer lusciousness of the goblins' 'sugar-baited words' undercuts the moral [of restraint and sisterly love], the strange contradictions of the story itself repel any easy allegorical readings." [2]
Critics in the late 1970s viewed the poem as an expression of Rossetti's feminist and homosexual politics. [3] Some critics suggest the poem is about feminine sexuality and its relation to Victorian social mores. In addition to its clear allusions to Adam and Eve, forbidden fruit, and temptation, there is much in the poem that seems overtly sexual, [4] such as when Lizzie, going to buy fruit from the goblins, considers her dead friend Jeanie, "Who should have been a bride; / But who for joys brides hope to have / Fell sick and died", and lines like, "She sucked their fruit globes fair or red"; and "Lizzie uttered not a word;/ Would not open lip from lip/ Lest they should cram a mouthful in;/ But laughed in heart to feel the drip/ Of juice that syruped all her face,/ And lodged in dimples of her chin,/ And streaked her neck which quaked like curd."
The poem's attitude toward this temptation seems ambiguous, since the happy ending offers the possibility of redemption for Laura, while typical Victorian portrayals of the "fallen woman" ended in the fallen woman's death. Rossetti volunteered at Highgate Penitentiary for fallen women shortly after composing Goblin Market in the spring of 1859. [5]
Some critics believe that some feminist interpretations of the work ignore the anti-semitic aspect of the poem. The critic Cynthia Scheinberg believes the Goblins to be "Hebraic", anti-semitic and anti-Judaic characters that the tested Christian sisters Laura and Lizzie must face in order to transition into wholesome and complete young women. [6]
Other critics focus not on gender but on the Victorian consciousness of a capitalist critique of the growing Victorian economic market, whether in relation to sisters' Lizzie and Laura's interaction with the market as gendered beings, the agricultural market, or in the rapid increase in advertising the "Market". [7] When Goblin Market was released in April 1859, most Victorians weren't able to purchase fresh fruit, a historical note of importance when reading the poem for Victorian agriculture and tone. [7]
According to Antony Harrison of North Carolina State University, Jerome McGann reads the poem as a criticism of Victorian marriage markets and conveys "the need for an alternative social order". For Sandra Gilbert, the fruit represents Victorian women's exclusion from the world of art. [8] Other scholars – most notably Herbert Tucker – view the poem as a critique on the rise of advertising in pre-capitalist England, with the goblins utilising clever marketing tactics to seduce Laura. J. Hartman, among others, has pointed out the parallels between Laura's experience and the experience of drug addiction. Another interpretation has observed an image of Jesus Christ in Lizzie when she says: "Eat me, drink me, love me." [4] This is imagery used to identify Christ's sacrifice in communion services.
The poem uses an irregular rhyme scheme, often using couplets or ABAB rhymes, but also repeating some rhymes many times in succession, or allowing long gaps between a word and its partner. The metre is also irregular, typically (though not always) keeping three or four stresses, in varying feet, per line. The lines below show the varied stress patterns, as well as an interior rhyme (grey/decay) picked up by the end-rhyme with "away". The initial line quoted here, "bright", rhymes with "night" a full seven lines earlier.
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" partly modelled on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse.
Gabriel Charles Dante Rossetti, generally known as Dante Gabriel Rossetti, was an English poet, illustrator, painter, translator, and member of the Rossetti family. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais. Rossetti inspired the next generation of artists and writers, William Morris and Edward Burne-Jones in particular. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement.
Christina Georgina Rossetti was an English writer of romantic, devotional and children's poems, including "Goblin Market" and "Remember". She also wrote the words of two Christmas carols well known in Britain: "In the Bleak Midwinter", later set by Gustav Holst, Katherine Kennicott Davis, and Harold Darke, and "Love Came Down at Christmas", also set by Darke and other composers. She was a sister of the artist and poet Dante Gabriel Rossetti and features in several of his paintings.
Elizabeth Eleanor Siddall, better known as Elizabeth Siddal, was an English artist, art model, and poet. Siddal was perhaps the most significant of the female models who posed for the Pre-Raphaelite Brotherhood. Their ideas of female beauty were fundamentally influenced and personified by her. Walter Deverell and William Holman Hunt painted Siddal, and she was the model for John Everett Millais's famous painting Ophelia (1852). Early in her relationship with Dante Gabriel Rossetti, Siddal became his muse and exclusive model, and he portrayed her in almost all his early artwork depicting women.
"The Lady of Shalott" is a lyrical ballad by the 19th-century English poet Alfred Tennyson and one of his best-known works. Inspired by the 13th-century Italian short prose text Donna di Scalotta, the poem tells the tragic story of Elaine of Astolat, a young noblewoman stranded in a tower up the river from Camelot. Tennyson wrote two versions of the poem, one published in 1832, of 20 stanzas, the other in 1842, of 19 stanzas, and returned to the story in "Lancelot and Elaine". The vivid medieval romanticism and enigmatic symbolism of "The Lady of Shalott" inspired many painters, especially the Pre-Raphaelites and their followers, as well as other authors and artists.
Gaetano Fedele Polidori was an Italian writer, political and scholar living in Highgate. He was the son of Agostino Ansano Polidori (1714–1778), a physician and poet who lived and practised in his native Bientina, near Pisa, Tuscany.
William Michael Rossetti was an English writer and critic.
James Collinson was a Victorian painter who was a member of the Pre-Raphaelite Brotherhood from 1848 to 1850.
Arthur Hughes was an English painter and illustrator associated with the Pre-Raphaelite Brotherhood.
Goblin Market and Other Poems is English writer Christina Rossetti's first volume of poetry, published by Macmillan in 1862. It contains her famous poem "Goblin Market" and others such as "Up-hill", "The Convent Threshold", and "Maude Clare." It also includes the poem 'In the Round Tower at Jhansi, 8 June 1857', in which a British army officer takes his wife's life and his own so that they do not have to face death at the hands of the rebelling soldiers, commemorating the Jhokan Bagh massacre at Jhansi. Christina's brother, founding Pre-Raphaelite Brotherhood member Dante Gabriel Rossetti, designed the frontispiece and title page illustrations in the first edition, as well as the minimal blue binding. Christina was aware that her brother's "commercial savvy and artistic skill" helped make her first volume of poetry a success.
Maria Francesca Rossetti was an English author and nun. She was the sister of artist Dante Gabriel Rossetti and William Michael Rossetti, and of Christina Georgina Rossetti, who dedicated her 1862 poem Goblin Market to Maria.
Florence Susan Harrison (1877–1955) was an Australian illustrator of poetry and children's books in Art Nouveau and Pre-Raphaelite styles. Many of her books were published by Blackie and Son. She illustrated books by Pre-Raphaelite circle poets Christina Rossetti, William Morris and Sir Alfred Tennyson.
"The Blessed Damozel" is perhaps the best known poem by Dante Gabriel Rossetti, as well as the title of his painting illustrating the subject. The poem was first published in 1850 in the Pre-Raphaelite journal The Germ. Rossetti subsequently revised the poem twice and republished it in 1856, 1870 and 1873.
Desperate Romantics is a six-part television drama serial about the Pre-Raphaelite Brotherhood, first broadcast on BBC Two between 21 July and 25 August 2009.
Dante's Inferno: The Private Life of Dante Gabriel Rossetti, Poet and Painter (1967) is a feature-length 35 mm film directed by Ken Russell and first screened on the BBC on 22 December 1967 as part of Omnibus. It quickly became a staple in cinemas in retrospectives of Russell's work. Using nonlinear narrative technique, it tells of the relationship between the 19th-century artist and poet Dante Gabriel Rossetti and his model, Elizabeth Siddal.
Proserpine is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.
Lucy Madox Brown Rossetti was a British artist, author, and model associated with the Pre-Raphaelites. She was married to the writer and art critic William Michael Rossetti.
Fanny Eaton was a Jamaican-born artist's model and domestic worker. She is best known as a model for the Pre-Raphaelite Brotherhood and their circle in England between 1859 and 1867. Her public debut was in Simeon Solomon's painting The Mother of Moses, which was exhibited at the Royal Academy in 1860. She was also featured in works by Dante Gabriel Rossetti, John Everett Millais, Joanna Mary Boyce, Rebecca Solomon, and others.
Kate Faulkner (1841–1898), was an Arts and Crafts artist and designer.
Venus Verticordia (1864–1868) by Dante Gabriel Rossetti is a semi-nude depiction of the goddess Venus, portrayed as a young woman with a golden halo and flowing auburn hair, surrounded by pink flowers in a dark, lush green garden. Her left breast is visible, while the right is obscured by the golden apple she holds in her left hand. In her right hand she holds an arrow, the point directed towards her own heart, and on which rests a small yellow butterfly. Other similar butterflies ring the halo surrounding her head, and another sits on top of the apple she holds.