Cited: Rossetti, Christina. Goblin Market. Illustrated by Laurence Housman. 1893. New York: Dover, 1983.
Cited: Rossetti, Christina. Goblin Market. Illustrated by Laurence Housman. 1893. New York: Dover, 1983.
It’s said that when feeling alone, one should turn to a group of people for support. However, the sad reality is that often, when surrounded by people we don’t share the same views with, we feel even more secluded. This theme is present in both “The Cherry Orchard” by Antonin Chekov and “St. Lucy’s School for Girls Raised by Wolves” by Karen Russell. In the works, main characters Madame Ranevsky and wolf-girl Mirabella are forced to adapt to a change they don’t want to undergo. Madame Ranevsky, who lived her life on a cherry orchard, is being asked to sell her home and to move on to a new life, one more urban and less extravagant. Mirabella, the youngest of the wolf girls, is sent to a reformatory girl’s…
St. Lucy’s Home for girls Raised by Wolves, Karen Russell’s collection of fantastical short stories take all that is mundane and fractures it into a fantastical world with humor, dramatic tone, or cultural/religious undertones. Russell whirls a reader into her stories with her capability to encase a reader in the story with her repetition of one’s senses. Constantly brining in the senses of a reader brought in the smells of a surrounding from the protagonist or in this case the narrator. In St. Lucy’s Home for girls Raised by Wolves, our narrator, Claudette, speaks from the mind of a half human half wolf in transition. Of the pack’s reaction to the nuns, how Sister Josephine “tasted like sweat and freckles” (226) after Claudette bit her ankle, which she “smelled easy to kill” (226); how the mousy social worker was “nervous smelling” (226), eventually Claudette herself “smelled like a purebred girl, easy to kill” (242). When the sisters were reunited with the brothers they no longer smelt as of family they knew but of “pomade and cold, sterile sweat” (241). Russell creates such realistic imagery in a non-realistic world. Not just with scents but with a sense of touch sensory. How the girls went “knuckling along” (224) the floors when they first arrived; even when speaking, their ineptitude to force their tongues to “curl around our false new names” (229) creates such realistic imagery you sense your tongue running across your own teeth.…
This excerpt from a book chapter, written by well-known feminist scholars Sandra Gilbert and Susan Gubar, examines the meaning of the poem Goblin Market in terms of female sexuality and economic exchange. Their book The madwoman in the attic: The woman writer and the nineteenth-century literary imagination explores female writers in the 19th century and the implications of their work on the feminist movement. Gilbert and Gubar are known for their work concerning feminist literature, with Madwoman in the Attic being one of their most popular collaborative works.…
Mansfield, projecting her middle-class upbringing, delineates the story of a privileged family receiving a doll house, its arrival tainted somewhat by the chemical odour it emits and the repetition of “smell of paint” foreshadowing its toxicity and the alienation it shall cause. The children show the doll house to all but the Kelveys, who are exile because of their lowly socio-economic status. Their desolation is elucidated through the aggregation of the various occupations of the townspeople, allowing the author to juxtapose the “judge’s children” to the “store-keeper’s children”, thereby establishing their position at the foot of the social ladder. While such exclusion is evident in “Feliks Skrzynecki” as the poet’s father is mocked by a clerk, the basis of the exclusion varies. While Skrzynecki is because of his cultural background, the Kelveys’ isolation stems from their financial and subsequent social shortcomings. Ultimately, the Kelveys embrace their position of being perennial outsiders and their acceptance of their identity intensifies the bond between them, as is depicted through the hyperbole, “went through life holding each other”. The Doll’s House thus opens our eyes to the difficulty of belonging when at a severe economic disadvantage, an issue mirrored in the…
In her essay, Welty remembers the importance of this store and how it shaped her family. The purpose of doing so is to describe the pure innocence of youth, in which a corner store can prove to be mesmorizing. Welty captures this youthful feeling as she describes the scene in which she “skipped [her] jumping rope up and down [the sidewalk], hopped it’s length through mazes of hopscotch, played jacks in its islands of shades, serpentined along it on [her] Princess bicycle, skated it backward and forward” (Welty par. 4). These seemingly playful and simple events are made complex and intricate with the use of words such as “serpentined” and “mazes”. By doing so, Welty is adding to the subject in which events of your childhood seem more interesting than as an adult. The tone of her essay is rather casual and playful. Welty captures her mental image of store when describing the “enchantment [that] is cast upon you by all those things you weren’t supposed to have need fore, it lures you close to wooden tops you’d outgrown, boy’s marbles and agates in little net pouches...” (Welty par. 8). This enchantment blinded Welty to what normally would be viewed as disguisting and dirty. For example, the tangible smells- “dill-pickle brine that had leaked through a paper sack in a fresh trail across the wooden floor” and “the smell of…
Christina Rossetti, a poet in nineteenth century England, wanted to make sure that women of the era go out and explore the world. That is why Christina choose two female protagonists to be the heroine and the hero of the poem. Maurice Sendak has infact revealed that his poem is also for adults. He was asked in an interview with Stephen Colbert, “ Does rumpus mean sex?” and he replied, “sure.” These stories can be taken for its literal value for children, but also can be analysed as meaningful…
Goblin men are likened to a “tramp” – the verb confirms a lack of grace, Rossetti conveys the ugliness that the goblins try to mask their ugliness with the mesmerising fruit, however their demonic demeanour springs out.…
As a young girl living in a place far from home, Antonia grows from an innocent young Bohemian into a rough American tomboy. When Jim first meets Antonia, she is still an angelic little girl with an optimistic feel of the world. Jim, at one point, recalls “what the conductor had said about her eyes. They were big and shiny, like the sun shining on brown pools in the wood” (Cather 17). She is always happy looks at things in the most positive way. After her father’s death, however, Antonia and her family are faced with a financial crisis, and Antonia is forced to work to fill the gap left by her father. With only a few months of manual labor, Antonia’s appearance completely changes. As Mrs. Burden states, “she was a tall, strong young girl, although her 15th birthday had just slipped by. She wore her father’s boots, his old fur cap, and her outgrown cotton dress switched about her calves, over the boot-top. She kept her sleeves rolled up all day, and her arms and throat was burned as brown as a sailor’s. Her neck came stronger out of her shoulders, like a bole of a tree out of the turf” (Cather 70). Without any prior knowledge, one would think that Mrs. Burden is describing a burly boy; but indeed, it was Antonia. Working on the…
Christina Rossetti’s poem “Goblin Market” published in 1862 depicts sisters, Lizzie and Laura, as goblin men walk past selling their fruits. In the context of this essay, an allegory is meant to be interpreted as an alternative, figurative understanding of the text that lies underneath the literal meaning of the text. Some critics believe “Goblin Market” to be an allegorical attack on the Victorian woman and the society of Rossetti’s time. In this context, the Victorian woman is to be understood as the ideal woman under the societal norms of 19th century England where women were shackled to the domestic sphere and required to remain “pure”, ignorant of all sexuality. However, an alternative allegorical interpretation exists where the poem is understood as a representation of the Judeo-Christian Eden…
The narrator expects to find “Eastern Enchantment” at Araby. These expectations arose from the feelings that the narrator experienced from the words of the “brown-clad figure” . Her words gave the narrator a sense of joy, which he then associated with the bazaar that the girl was talking about.…
Unlike most fairy tales, "Beauty and the Beast" has been a traditional tale where there are two paths to be developed in which Beauty faces challenges and the transformation that is sustained by Beast. Therefore, this shows how two opposing allegorical characters resolve their differences in joining wedlock. The version of "Beauty of the Beast" by Madame de Beaumont shows how Beauty 's happiness is found on her abstract quality of good features. In this version, Madame de Beaumont not only stresses the importance of obedience and self-denial but advocates the transformative power of love and the importance of valuing oneself over appearances. Madame de Beaumont not only shows that looks make a woman happy but character, virtue, and kindness…
I was intrigued by how these stories that we now tell to children in simplified, cute versions were once incredibly violent and dark, and I wanted to use the style of the Gothic to revitalize these elements in a new rendition of the story. The presence of dark, creepy settings (instances of pathetic fallacy) in the “barren” castle and untamed wilds respectively are definite Gothic elements, as is the inclusion of supernatural beings to create a heightened sense of terror in the audience. One of the most prominent Gothic elements that I used throughout the story is the idea of the “uncanny”—that the princess’s appearance, thought to be beautiful in its individual elements, is considered “a stroke away from beautiful”; when these elements are placed together, the contrast between them is far too unsettling. The feeling of the uncanny caused by the princess is further augmented by the association of her physical features with death and decay, causing them to further recoil from her, rejecting her from society and casting her out into the “wilds.” This rejection of a monster due to its uncanny physical appearance and association with death is similar to Frankenstein, a paramount Gothic work. “Rumors” and “whispers” mentioned throughout the story are references to the effects of folklore and legends about supernatural creatures, and factor into both Dracula and The Legend of Sleepy Hollow. Additionally prevalent is the theme of maternal relationships and rejected creations. Much of the “Female Gothic” (Gothic novels written for any by women) related to the struggles of women’s condition in society and as mothers. The story emphasizes how the princess is limited by her condition as a woman, and is thought less of because she lacks the “femininity” and “softness” expected of her. It is for these reasons that she decides to prey on the men of the forest and…
Lydia Maria Child makes a strong point when she speaks of how men objectify women in literature and base women’s value on how much the women’s beauty appeals to men. The objectification of women that Child speaks out against is quite apparent within the selected paragraph from James Fenimore Cooper’s work The Pioneers. Within just the description of Elizabeth that Cooper narrates from the viewpoint of Remarkable Pettibone, a reader will note the issues that Child mentions.…
One of the main themes in the novel is that of hierarchy. This is demonstrated in the first chapter, through the violent and animalistic imagery of “electric cattle prods” carried by the Aunts “slung on thongs from their leather belt(s)”. This immediately hints to the reader that the women are being kept in the gymnasium by force. Another theme displayed in the first chapter is regime. The description in the chapter includes the women folding their “clothes neatly” which they lay “on the stools at the ends of the beds”. This strict routine has connotations of the army, because the army style would be able to relate to the strict routine. Another theme that has come to my attention whilst reading this chapter is the theme of violence. As we have already discovered, the theme of violence can be seen through the weapons the gauds and aunts carry, however, there is also the notion of sexual violence. The narrator appears distressed and desperate with this life, as if she will do anything to make it better for herself, as she says “we still had our bodies”. This suggest that she is willing to trade her body, perhaps through prostitution, to make her life better, which shows an element of sexual violence and desperation.…
Women in today’s time can read these stories and feel empowered by the change of how the world views them has become one or independence and strength. In “Goblin Market”, Laura becomes consumed of this fruit and it is only by pure love of her sister’s actions that she is able to set Laura free (Rossetti 524-542) This action by Lizzie can easily represent the actions of Christ dying for the sins of the world. Lizzie allowed her herself to be beaten, mocked and abused all for the sake of saving her sister (Rossetti 424-440). Jesus Christ allowed himself to be beaten, mocked and even killed just to save us from our sins. The main theme that can be seen in “The Chrysanthemums” by the use of the chrysanthemums in relation to Elisa. Elisa seems to be happy and be confident by the idea of how well her flowers are doing. It is easy to see how close Elisa is to the flowers. While her flowers may look beautiful and stand up strong, besides that they have no effect or use in society, much like Elisa sees herself in this era. A wife was at the house to cook, clean, care for the children and maybe do a little garden but besides this she had no authority in her marriage (“Women’s…