Goblin Market and Other Poems
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Christina Rossetti
Christina Rossetti was born in 1830 in London. She was the youngest child in a creative Italian family, which included her famous brother Dante Gabriel Rossetti. Their father, a poet and political exile from Italy, fell ill when Rossetti was a teenager and the family suffered financial difficulty. Rossetti started writing at a young age and her poems were often influenced by her religious faith. She published various poems in literary magazines, but it was Goblin Market & Other Poems, published in 1862 to great acclaim, that established her position as a prominent poet. She became ill towards the end of her life, first from Graves’ disease and then from cancer, but she continued to write until her death in 1894.
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Reviews for Goblin Market and Other Poems
121 ratings8 reviews
- Rating: 4 out of 5 stars4/5Christina was the youngest of the glamorous and talented Rossetti siblings, three-quarter-Italian and brought up in England in the intellectual afterglow of the Byron circle. Apart from being one of the most distinguished women poets of her time (her only real competitor on this side of the Atlantic being Elizabeth Barrett Browning), she's also remembered as the model for many of her big brother's paintings, especially as the Virgin Mary. And, like her brother and the other Pre-Raphaelites, she was heavily involved with the Oxford Movement, a religious revival that aimed to restore some lost medieval piety and glamour to Anglicanism, but ended up sending some of its most prominent followers into the arms of Rome. Partly for religious reasons, Christina never married, although she had at least three offers. Goblin Market and other poems was Christina's first properly-published collection. The title-poem — her best-known piece after "In the bleak midwinter" — is an odd kind of fairy-tale ballad about two sisters who get involved with a bunch of dodgy supernatural fruit-and-veg salesmen, naive on the surface, but full of all kinds of troubling sexual and religious undercurrents when you start to look at it closely — perfect exam-syllabus material, especially since it's written with so much verve and assurance that it's always great fun to re-read. And the girls come out on top in the end, which helps!The rest of the collection is a bit mixed, but there's a lot of good stuff there. Short lyric poems where the poet imagines herself abandoned by her lover, rejecting a suitor, widowed, marrying in the presence of a former lover's ghost, lamenting the transience of life and the seasons, etc. Possibly there is a little more focus on death than we might be entirely comfortable with as modern readers: there is a remarkable number of poems in which the speaker of the poem turns out to be talking to us from beyond the grave. Not surprising to learn that Christina had some struggles with depression during her life. But some of these poems are among the strongest in the collection, like the sonnets "After Death" and "Dead before death". Or "Sweet Death" in the religious section at the end. And just occasionally there's a wry touch of humour, as in "No, thank you, John", a woman's exasperated complaint to a tedious suitor straight out of a three-volume novel, who thinks he just has to go on proposing to her for her to realise that she loves him. Another notable long poem is "The convent threshold", which seems to be a kind of pendant to her brother's "Blessed Damozel" — the speaker of the poem is a woman who has been involved in a relationship that has gone wrong in some unspecified but spectacular way involving lots of blood. She has repented and is entering a convent, but on the doorstep she pauses to urge her lover to do the same, so that they can be reunited in Paradise later. You sinned with me a pleasant sin:Repent with me, for I repent.Woe's me the lore I must unlearn!Woe's me that easy way we went,So rugged when I would return!It's fun to re-read these poems after a gap without much exposure to Victorian poetry: sometimes what Rossetti has to say about religious and female experience might seem a little trite and obvious in hindsight, but that probably wasn't the case at the time, and it's clear that she meant every word of it. What remains striking above all is the confidence and strength with which she fits her deceptively simple language into a precision-aligned poetic structure.
- Rating: 4 out of 5 stars4/5The title poem is so overwhelmingly sensuous that it belies the restraint theme. I interpret it as closer to an addiction->withdrawal tale where Laura gets the high and Lizzie the withdrawal. As for the rest, there, right in the middle of flowery death, wasNo, Thank You, John(excerpt)"Let Bygones be bygones:Don't call me false, who owed not to be true:I'd rather answer "No" to fifty JohnsThan answer "Yes" to you."There was another moment or two, but nothing so memorable in the -when I'm gone- and -life is vanity, true living is in heaven- verses that follow.
- Rating: 4 out of 5 stars4/5Not a regular poetry reader, but found this lying around the house and checked it out. A lot of fun, great gothic imagery and sadness.
- Rating: 4 out of 5 stars4/5Perhaps an ideal children's story — scary, but comes out right in the end. A bit moralistic, but certainly works on a child's imagination.
- Rating: 5 out of 5 stars5/5I often find that when I write reviews I waffle on far too much. All I can say about this book is that I find myself wanting more. I want to drink in more of Christinas' poetry and find out more about her, her life and history. I was introduced to her through my love of her brothers' art. Dantes' art and Christina's poetry seem so compatible. The Goblin Market is such a wonderful tale of desire, wanting, haunting and love. So much more than the initial thoughts (at the time) of it being a children's poem. Her other works in this book are so beautiful I cannot describe them in my words. These lack the poetic beauty Rossetti conjures. There is so much sadness, love and, yes, hope in these verses. I love poetry but, up until now, have never found one that I could say 'Yes, this is IT'. But, reading this, I feel in Christina Rossetti, I have indeed found 'it'. I only wish I could conjure up so much emotion and feeling through my use of words as she
- Rating: 4 out of 5 stars4/5When I was a teenager I loved Christina Rossetti poems. Shortly after we moved back to California in the early 90’s I picked up this book but never got around to reading it. I stumbled across it a few days ago and decided this would be a good time to get it off my TBR pile. This is a Dover edition of the first book Rossetti published. I decided to save Goblin Market until last because it is quite long and I wanted to get back into her style before I tackled it. It was a wise decision. I’ve been reading a lot of 20th century poetry and at first it was a little difficult to get back into the rhythm of 19th century poetry-which, when I was a teenage I “specialized’ in! But once I got into the flow I once again became immersed in Rossetti’s world. Her poems are haunting and often sad. The introduction quotes Virginia Woolf as saying “Death, oblivion, and rest lap around your songs with their dark wave.” Her two main themes are sensual love and religious devotion. In her life she eventually renounced the first for the second. I now realize why I loved her so much back then. At sixteen I wanted to become a nun—and I wasn’t even Catholic. Even after all these years, I enjoyed these poems. Most were ones I either hadn’t ever read or have forgotten but I also encountered some “old friends.” I plan to look for more of her poems to see how she matured as a poet. My favorite poem of hers wasn’t in this book.
- Rating: 5 out of 5 stars5/5Beautiful poetry. The imagery is so vivid you can almost taste the fruit.
- Rating: 5 out of 5 stars5/5Lush, lovely poetry.
Book preview
Goblin Market and Other Poems - Christina Rossetti
GOBLIN MARKET
AND OTHER POEMS
By CHRISTINA ROSSETTI
Goblin Market and Other Poems
By Christina Rossetti
Print ISBN 13: 978-1-4209-7574-1
eBook ISBN 13: 978-1-4209-7741-7
This edition copyright © 2021. Digireads.com Publishing.
All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law.
Cover Image: a detail of an illustration for Goblin Market
, by Frank Adams, from Children’s stories from the Poets by M. D. Belgrave and H. Hart, published by Raphael Tuck & Sons Ltd, London, circa 1920 / Bridgeman Images.
Please visit www.digireads.com
CONTENTS
FROM GOBLIN MARKET, AND OTHER POEMS (1862)
GOBLIN MARKET
DREAM LAND
AT HOME
A TRIAD
WINTER RAIN
COUSIN KATE
SPRING
A BIRTHDAY
REMEMBER
AFTER DEATH
AN END
MY DREAM
SONG
THE HOUR AND THE GHOST
A SUMMER WISH
AN APPLE GATHERING
SONG
MAUDE CLARE
ECHO
WINTER: MY SECRET
ANOTHER SPRING
A PEAL OF BELLS
FATA MORGANA
‘NO, THANK YOU, JOHN’
MAY
A PAUSE OF THOUGHT
TWILIGHT CALM
MIRAGE
SONG
SISTER MAUDE
THE FIRST SPRING DAY
THE CONVENT THRESHOLD
UP-HILL
‘A BRUISED REED SHALL HE NOT BREAK’
A BETTER RESURRECTION
THE THREE ENEMIES
THE ONE CERTAINTY
SWEET DEATH
THE WORLD
A TESTIMONY
SLEEP AT SEA
FROM HOUSE TO HOME
FROM THE PRINCE’S PROGRESS, AND OTHER POEMS (1866)
JESSIE CAMERON
SPRING QUIET
A PORTRAIT
DREAM-LOVE
TWICE
SONGS IN A CORNFIELD
THE QUEEN OF HEARTS
ONE DAY
A BIRD’S-EYE VIEW
ON THE WING (A DREAM)
BEAUTY IS VAIN
WHAT WOULD I GIVE?
THE BOURNE
SUMMER
THE GHOST’S PETITION
MEMORY
A ROYAL PRINCESS
SHALL I FORGET?
VANITY OF VANITIES
L. E. L.
LIFE AND DEATH
GROWN AND FLOWN
CHILD’S TALK IN APRIL
DESPISED AND REJECTED
THE LOWEST PLACE
FROM GOBLIN MARKET, THE PRINCE’S PROGRESS AND OTHER POEMS (1875)
CONSIDER
A SMILE AND A SIGH
PARADISE: IN A DREAM
FROM NEW POEMS, HITHERTO UNPUBLISHED OR UNCOLLECTED (1896)
REPINING
LAST NIGHT
SLEEPING AT LAST
From GOBLIN MARKET, AND OTHER POEMS (1862)
GOBLIN MARKET
Morning and evening
Maids heard the goblins cry:
‘Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpecked cherries,
Melons and raspberries,
Bloom-down-cheeked peaches,
Swart-headed mulberries,
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,
Apricots, strawberries;—
All ripe together
In summer weather,—
Morns that pass by,
Fair eves that fly;
Come buy, come buy:
Our grapes fresh from the vine,
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye;
Come buy, come buy.’
Evening by evening
Among the brookside rushes,
Laura bowed her head to hear,
Lizzie veiled her blushes:
Crouching close together
In the cooling weather,
With clasping arms and cautioning lips,
With tingling cheeks and finger tips.
‘Lie close,’ Laura said,
Pricking up her golden head:
‘We must not look at goblin men,
We must not buy their fruits:
Who knows upon what soil they fed
Their hungry thirsty roots?’
‘Come buy,’ call the goblins
Hobbling down the glen.
‘Oh,’ cried Lizzie, ‘Laura, Laura,
You should not peep at goblin men.’
Lizzie covered up her eyes,
Covered close lest they should look;
Laura reared her glossy head,
And whispered like the restless brook:
‘Look, Lizzie, look, Lizzie,
Down the glen tramp little men.
One hauls a basket,
One bears a plate,
One lugs a golden dish
Of many pounds weight.
How fair the vine must grow
Whose grapes are so luscious;
How warm the wind must blow
Through those fruit bushes.’
‘No,’ said Lizzie, ‘No, no, no;
Their offers should not charm us,
Their evil gifts would harm us.’
She thrust a dimpled finger
In each ear, shut eyes and ran:
Curious Laura chose to linger
Wondering at each merchant man.
One had a cat’s face,
One whisked a tail,
One tramped at a rat’s pace,
One crawled like a snail,
One like a wombat prowled obtuse and furry,
One like a ratel tumbled hurry skurry.
She heard a voice like voice of doves
Cooing all together:
They sounded kind and full of loves
In the pleasant weather.
Laura stretched her gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
When its last restraint is gone.
Backwards up the mossy glen
Turned and trooped the goblin men,
With their shrill repeated cry,
‘Come buy, come buy.’
When they reached where Laura was
They stood stock still upon the moss,
Leering at each other,
Brother with queer brother;
Signalling each other,
Brother with sly brother.
One set his basket down,
One reared his plate;
One began to weave a crown
Of tendrils, leaves, and rough nuts brown0
(Men sell not such in any town);
One heaved the golden weight
Of dish and fruit to offer her:
‘Come buy, come buy,’ was still their cry.
Laura stared but did not stir,
Longed but had no money:
The whisk-tailed merchant bade her taste
In tones as smooth as honey,
The cat-faced purr’d,
The rat-faced spoke a word
Of welcome, and the snail-paced even was heard;
One parrot-voiced and jolly
Cried ‘Pretty Goblin’ still for ‘Pretty Polly;’—
One whistled like a bird.
But sweet-tooth Laura spoke in haste:
‘Good folk, I have no coin;
To take were to purloin:
I have no copper in my purse,
I have no silver either,
And all my gold is on the furze
That shakes in windy weather
Above the rusty heather.’
‘You have much gold upon your head,’
They answered all together:
‘Buy from us with a golden curl.’
She clipped a precious golden lock,
She dropped a tear more rare than pearl,
Then sucked their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than man-rejoicing wine,
Clearer than water flowed that juice;
She never tasted such before,
How should it cloy with length of use?
She sucked and sucked and sucked the more
Fruits which that unknown orchard bore;
She sucked until her lips were sore;
Then flung the emptied rinds away
But gathered up one kernel stone,
And knew not was it night or day
As she turned home alone.
Lizzie met her at the gate
Full of wise upbraidings:
‘Dear, you should not stay so late,
Twilight is not good for maidens;
Should not loiter in the glen
In the haunts of goblin men.
Do you not remember Jeanie,
How she met them in the moonlight,
Took their gifts both choice and many,
Ate their fruits and wore their flowers
Plucked from bowers
Where summer ripens