The Annotated Edition
Goblin Market by Christina Rossetti
Two sisters, Laura and Lizzie, stumble upon goblin merchants offering enchanting magical fruit.
- Core theme
- Redemption
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Morning and evening / Maids heard the goblins cry:
Editor's note
The poem starts with the goblins' fruit-cry, a mesmerizing list of every fruit you can think of — many are exotic and out of season, hinting that something strange is being offered. The overwhelming abundance and the rhythmic chant of "Come buy, come buy" function like a sales pitch meant to dazzle the senses before any rational thoughts can kick in.
Evening by evening / Among the brookside rushes,
Editor's note
We find Laura and Lizzie crouching together by the brook. Lizzie, being cautious, covers her eyes, while Laura, filled with curiosity, continues to look. Laura's question — "Who knows upon what soil they fed / Their hungry thirsty roots?" — reveals that she senses danger but is still intrigued. The goblin men are depicted with animal traits (a cat's face, a rat's pace, a snail's crawl), highlighting their inhuman nature.
Laura stretched her gleaming neck / Like a rush-imbedded swan,
Editor's note
This single-stanza image captures the moment Laura dedicates herself to the goblins. The similes—swan, lily, moonlit poplar, a ship breaking free of its last restraint—are all beautiful yet imply a transition from safety into open water. "Its last restraint is gone" serves as the pivot of the entire poem: Laura is letting go.
Backwards up the mossy glen / Turned and trooped the goblin men,
Editor's note
The goblins close in on Laura, and when she confesses that she has no money, they agree to take a lock of her golden hair instead. She eats voraciously — "sucked and sucked and sucked the more" — until the rinds are all gone. She keeps one kernel-stone, a detail that will be important later. Completely absorbed in the moment, she loses all sense of time, a clear sign of enchantment.
Lizzie met her at the gate / Full of wise upbraidings:
Editor's note
Lizzie warns Laura about Jeanie, a girl who consumed goblin fruit, longed for more that was always out of reach, and passed away young — no grass grows on her grave. Laura brushes off the warning and vows to buy more fruit the following night, already yearning for it. The sisters drift into a tender sleep together, depicted through a series of paired images (pigeons, blossoms, snowflakes) that highlight their bond before the situation takes a turn for the worse.
Early in the morning / When the first cock crowed his warning,
Editor's note
The morning after, Laura goes through the domestic routine but seems distant — "one content, one sick in part; / One warbling for the mere bright day's delight, / One longing for the night." The difference between Lizzie's completeness and Laura's empty yearning is highlighted through their everyday household tasks.
At length slow evening came: / They went with pitchers to the reedy brook;
Editor's note
Laura returns to the glen at dusk, unable to hear the goblins' cry — Lizzie can hear it, but Laura is completely unaware. This is the poem's harshest twist: the fruit has made her deaf to the one thing she longs for. She grows cold "as stone" and makes her way home, weeping in the dark once Lizzie drifts off to sleep.
Day after day, night after night, / Laura kept watch in vain
Editor's note
Laura's decline is framed as a struggle with addiction and a wasting disease. Her hair turns grey, she loses her appetite and neglects household tasks, and her attempts to grow the kernel-stone she saved yield no results. She imagines fruit like a desert traveler dreams of water. The poem clearly indicates she is moving towards the same fate as Jeanie.
Tender Lizzie could not bear / To watch her sister's cankerous care
Editor's note
Lizzie makes a decision. She thinks of Jeanie, considers the risk, and then stops hesitating — she places a silver penny in her purse and heads to the glen. The poem portrays this as a bold, intentional choice rather than a rash one. She is fully aware of her actions, unlike Laura.
Laughed every goblin / When they spied her peeping:
Editor's note
The goblins charge at Lizzie, full of noise and energy, trying to entice her with fruit. When she declines to sit and eat with them, they turn aggressive. They attack her—clawing, kicking, stamping, and forcing fruit against her closed lips—but she keeps her mouth shut and doesn't swallow a single drop. The similes here (like a lily in a flood, a rock battered by tides, a beacon in a stormy sea) portray her as something steadfast and luminous under attack.
In a smart, ache, tingle, / Lizzie went her way;
Editor's note
The goblins, worn out by Lizzie's defiance, toss her penny back and disappear. Lizzie hurries home, feeling bruised yet secretly amused, motivated by love instead of fear. Her invitation to Laura — "Hug me, kiss me, suck my juices" — carries a provocative tone: the cure is offered through the same physical closeness that spread the initial poison.
Laura started from her chair, / Flung her arms up in the air,
Editor's note
When Laura kisses Lizzie and tastes the goblin juice on her skin, it burns like wormwood instead of being sweet — the same fruit that used to be irresistible now tastes bitter and violent. Laura convulses, collapses, and appears to die. Rossetti piles up images of destruction (earthquake, lightning, uprooted tree) before the question "Is it death or is it life?" lingers in the air.
Life out of death. / That night long Lizzie watched by her,
Editor's note
Laura wakes at dawn feeling renewed: her grey hair is gone, her breath is fresh, and her eyes are bright. The morning scene — new buds, cup-like lilies, early reapers — presents her recovery as a sort of rebirth. The cure meant facing the worst of the poison instead of dodging it.
Days, weeks, months, years / Afterwards, when both were wives
Editor's note
The poem concludes years later with both sisters now as mothers, with Laura sharing the story with her children as a cautionary tale. The final lines — "there is no friend like a sister" — serve as the poem's clear moral, but the preceding 500 lines have already conveyed this message much more convincingly through the characters' actions than any moral could.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The goblin fruit
- The fruit represents temptation in its most alluring form—something that promises complete satisfaction but instead leads to addiction and decay. Rossetti's readers would likely have recognized the reference to Eve and the forbidden fruit, but the poem also closely parallels the experience of addiction: the initial taste is euphoric, the ensuing craving is unquenchable, and the struggle to obtain more is a kind of death in itself.
- The golden hair / lock
- Laura pays for the fruit with a lock of her golden hair — a part of herself, her youth, her identity. In Victorian poetry, hair often symbolizes feminine vitality and sexual allure. As Laura's hair later turns grey and thin during her decline, the poem reveals the toll of that transaction, visibly marked on her body.
- The kernel-stone
- Laura saves a single stone from the goblin fruit, dreaming of growing more. It never sprouts — it receives no sunlight, no moisture, nothing at all. The lifeless kernel stands as a reminder of false hope and the futility of attempting to replicate a wild experience through conventional means. You can't tame what the goblins offer.
- Lizzie's silver penny
- Where Laura had nothing to offer and paid with a piece of herself, Lizzie comes with real money — a silver penny — and demands a fair trade. The goblins reject the idea of fairness because they only understand exploitation. The penny jingling in Lizzie's purse on her way home is the sound of her integrity remaining intact.
- Jeanie's grave
- Jeanie is the poem's ghost—a girl who consumed goblin fruit before Laura and succumbed to her desire. Nothing grows on her grave, and the daisies Lizzie planted remain lifeless, indicating that the goblins' corruption taints the very soil. Jeanie represents the fate awaiting Laura and the motivation behind Lizzie's actions.
- Dawn and morning
- The goblins are active at dusk and in the shadows of the glen; every moment of safety, healing, and moral clarity in the poem takes place at dawn or in the morning light. Laura's recovery begins with the first birds singing and new lily buds blossoming along the stream. Morning isn't just a time of day here — it symbolizes life pushing back against enchantment.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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