Goblin Market

Laura and Lizzie as Doubles

Christina Rossetti’s “Goblin Market” features two sisters tempted by goblin men selling fruit. Rossetti aligns the two sisters, Laura and and Lizzie, to be doubles of one another. When the sisters are introduced to the readers, Rossetti writes, “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” (34-39).

First, Laura and Lizzie’s name alliteration creates similarity between them, as well as their physical positioning, since they were “close together.” Their body parts become impossible to distinguish from one another as there are “clasping arms” and “cautioning lips,” with no indication of whose arms or whose lips are being described. They seem to form one body, but then go on to behave differently. Laura is tempted by the goblin men and eats their fruits while Lizzie runs home. Yet, even after their different paths, Rossetti writes “Golden head by golden head, / Like two pigeons in one nest / Folded in each other’s wings, / They lay down in their curtained bed: / Like two blossoms on one stem, / Like two flakes of new-fall’n snow” (184-189). There is no difference between their physical appearance here and once again, their body parts become confused and mixed, because “golden head by golden head” doesn’t distinguish between the golden heads. Then, the sisters are both described as “pigeons,” “blossoms,” and “snow.” In each of these similes, the sisters are described as the same object, just two of them. So there are two golden heads, two pigeons, two blossoms, two snowflakes, etc.. Therefore, the sisters are doubles for each other, even through their difference in action and personality. Afterall, they are “two blossoms on one stem.” The base of their being is the same, as they are from “one stem,” but they manifest their selves differently, as there are “two blossoms.”

A Freudian Reading of Laura and Lizzie’s Doubling

Laura and Lizzie are doubles so that the id and the superego can be represented as two parts of one whole. Laura is the id and Lizzie is the superego. When watching the goblin men, Laura says, “‘Look, Lizzie, look, Lizzie, / Down the glen tramp little men.’ /… / ‘No,’ said Lizzie: ‘No, no, no; / Their offers should not charm us, / Their evil gifts would harm us'” (54-55 … 64-66). Laura is therefore intrigued and tempted by the goblin men and attempts to share that temptation with Lizzie. Laura’s temptation is made clear to the reader through the alliteration of “l” words, paired with repetition of words, as the line becomes hypnotic. However, Lizzie refuses the temptation quite strongly, as she repeats the word “no” three times. She then goes on to rhyme “charm” with “harm,” which associates the two words. The goblin men are charming so they are also harming, and the harm comes from the charm. Lizzie is attempting to regulate Laura’s desires just as Laura is attempting to tempt Lizzie. In this way, Laura is the id, as she is full of unregulated desires, and Lizzie is the superego, as she attempts to stop Laura’s desire. Lizzie also is the one who protects society more, as Laura stops doing her household chores, but Lizzie continues them everyday.

Implications for Gothic Literature

Laura and Lizzie being doubles for each other, and being the id and superego, showcase how even early on, monstrosity was not always an external force. Of course, the goblin men are the monsters of the story. But, the true horror of the story is how Laura was seduced by them, and Laura’s exerience with them. Laura’s choice of the goblin men over her sister is an example of how monstrosity is human, and the danger could happen to anyone. I am not trying to imply that Laura is a monster, only that her own actions are part of the problem within the story. And therefore, making a bad choice is part of the monstrosity within the story. Of course, making a bad choice is a universal fear, but definitely resonates with contemporary readers. Female sexuality was a demonized force, so the thought that a women could make a choice that would be influenced by her sexuality was a real fear. Laura’s choice to meet with the goblin men has strong sexual implications, so her bad decision was due to her own inablity to control her sexual desires. Therefore, monstrosity is presented as both an external force in the goblin men, but also, as an internal human force.

The two women as doubles for each other can also be seen in other gothic literature, such as Sheridan La Fanu’s “Carmilla” and Samuel Taylor Coleridge’s “Christabel.” In both of these, there is are two women closely aligned, even sharing a bed in some scenes like Lizzie and Laura. Also, in both “Carmilla” and “Christabel,” there is one woman who is a sexual threat to the other woman, with sexuality being the main weapon. In other words, female sexuality is an aspect of monstrosity in Le Fanu’s work and Coleridge’s work. Coleridge published “Christabel” before “Goblin Market,” and “Carmilla” was published just after. So, “Goblin Market” was not a informant on the doubling women and demonizing female sexuality, but it does provide a useful example that can be used to help understand other works of gothic literature.