miércoles, 29 de julio de 2020

The Norman Conquest and the Subjection of English

The Norman Conquest and the Subjection of English, 1066-1200.


If the Norman Conquest hadn’t succeeded in 1066, English language would have probably followed the same course as the other Germanic languages: retaining more inflections, preserving its own vocabulary, following the same word formation and incorporating words from other languages less freely. Particularly, it would have lacked all the French words that today make English what it seems, almost as much a Romance as a Germanic language.
This is the reason why it must be explained the origin of Normandy. Normandy is a district in the northern coast of France directly across from England. In 912 the right of the Northmen to occupy this part of France was recognized and Rollo was recognised as the first king of Normandy.
Thanks to the adaptability of the Scandinavian to the ideas and customs of those among whom they came to live, the Normans soon absorbed the most important elements of French civilization. In the military aspect, they added French tactics to their own impetuous courage, and they soon had one of the best armies, in Europe. They took important features of Frankish law, including the idea of the jury, making one of the best legal systems at that time. They accepted Christianity and began the construction of the famous Norman cathedrals that are still marvels to the modern architect. But most important of all, they soon gave up their own language and learned French.
For some years before the Norman Conquest, the relations between England and Normandy were close. In 1002 Æthelred had married a Norman wife and, when driven into exile by the Danes, took refuge with his brother-in-law, the duke of Normandy, and this is why his son Edward was brought up in France. After all this, when in 1042 the Danish line died out and Edward was restored to the throne, he brought with him some of his Norman friends, enriched them, and gave them important places in the government. A strong French atmosphere pervaded the English court. In January 1066, Edward died childless and left England without a successor and finally, Harold was elected king.
His election was challenged by William, the duke of Normandy, he was a second cousin to the late king. Although this relationship did not give him any right of inheritance to the English throne, he had the expectation of becoming Edward’s successor, because Edward had assured him that he should succeed him, and only by force could William hope to obtain the crown.
In September he landed on the south coast of England, with a formidable force. His landing was unopposed. Harold was occupied in the north of England meeting an invasion by the king of Norway.  It was just after his victory that William lands. The news was expected, but the English were not fully prepared for it. Moreover, William’s departure had been delayed, and with the coming of the harvest season many of those whom Harold had assembled a few months before, in anticipation of an attack, had been sent home. He drew up his forces on a broad hill at Senlac and awaited William’s attack. Thanks to Harold’s advantageous position and their great defence they were still resisting in the afternoon. Due to the fact William could not drive them off, he determined to try to lure them off and ordered a feigned retreat. The English fell into the trap and the French won at night. Although William had won the battle of Hastings and eliminated his rival, he had not yet attained the English crown. It was only after he had burnt and pillaged the southeast of England that the citizens of London decided that further resistance would be useless. William was crowned king of England the same year.
William’s possession was a matter of conquest. He introduced a new nobility, giving important positions to William’s Norman followers and persecuting traitors (there was severity with revolts). Norman upper class was gradually introduced into all important positions in the church. The English abbots were replaced more slowly. The lower class came into England with William’s army. Many of them doubtless remained in the island and they increased their number throughout the rest of the eleventh century and the whole of the next. William also built castles and a considerable number of merchants and craftsmen arrived.
Whatever the actual number of Normans settled in England, it is clear that the members of the new ruling class were sufficiently predominant to continue to use their own language, they knew no English and making no effort to do so as a matter of policy. For 200 years, French remained the language of upper classes in England, and this was creating a social distinction, between upper and lower classes.
The most important factor in the continued use of French by the English upper class was the close connection between England and the continent: the kings of England were likewise dukes of Normandy. To the end of his life, William felt more closely attached to his dukedom than to England. And it is not surprising that the attention of the English was focused upon affairs in France.  For instance, except for Henry I, no English king until Edward IV sought a wife in England. This is why it was easy to see how continentally minded English royalty was and how natural a thing would seem the continued use of French at the English court.
There is no reason to think that the preference that the governing class in England showed for French was anything more than a natural result of circumstances, the newcomers weren’t hostile to the English language. It is true that English was now an uncultivated tongue, but there is evidence of mutual respect and peaceful cooperation. It was only that the attitude of the king and the upper classes toward the English language was of simply indifference. They did not cultivate English, because their activities in England did not necessitate it and their constant concern with continental affairs made French for them more useful.
Literature played a more important part in the lives of the leisure class. And a considerable part of French literature was being produced in England from the beginning of the 12th century. William’s daughter, for example, was a patron of poets, and his son Henry I was at least married successively to two queens who supported poets. The court was the centre of much literary activity.
In the years following the Norman Conquest, the defeat and the political and social hardships were gradually forgotten. People accepted the new order a fact and adjusted themselves to it... The fusion of Normans and English was rapid, but not more rapid than national interest and the intercourse of everyday life would normally bring about.

The Reestablishment t of English, 1200-1500.
As long as England held its continental territory and its nobility united to the continent, there were still reasons to keep French as the language of the governing classes. Nevertheless, in the year 1200 things changed because England lost part of its territory, and there was a revival of the English language, moving gradually French into a lower position.
Apart from this reason, several events in the 13th century promoted a more negative vision of the French language. The first one was that the French invasion of Normandy in 1204 mad the English nobility and king lose economic interests with the continent. Furthermore, in the same year, a decree by the French king offered the possibility to choose between keeping their possessions either in England or in France. Thus, the nobles that kept their possessions in England were English and the ones that kept their possessions in France were French, causing at the same time a loss of interest of the French language.
The second reason was that England experienced a period of French emigration to France during the decades of the 1230s and 1240s (in the reigns of King John and Richard III), who was not well received by France. And this emigration produced ironically in England, a national feeling against the French people that remained in the country and to their language as well.
In the 13th century, French was only used for social customs, business and administrative conventions, whilst English substituted French as the language of upper classes. The French language was even treated as a foreign language (for the beginning of the 15th century, every child of England spoke as his or her mother tongue)
In the 14th century, even the more conservative institutions, as universities or churches, gave support to English. Other institutions, such as the court, despite the fact that they still read and wrote in French, they spoke in English, thanks to the Parliament that in October 1362, established English as the language of the court: for plead, defend, judge…
In addition to this, the Hundred Years War (1337-1453) also contributed to the view of French as the language of the enemy. The Black Death was also an important event that influenced in the use of the English language, due to the fact that it killed a big part of the lower class, and they were more economically important due to their rise of wages.
In the 15th century, the ability to speak French was exceptional and not many cultivated people knew it, and this was gradually reflected in the writing. By the middle of the century, all letters and records of towns were written in English, even in the Parliament they started to write in English. 
In the literary aspect, religious books of the 12th and 13th century were commonly found and in the following centuries, literature topics turn to more secular ones, as for instance, romances. One of the most important authors who wrote in English in the 14th century was Chaucer with his “Canterbury Tales”, Langland and Wycliffe. 

ENGLISH LAW
The reason why French became the spoken language of English law is difficult to answer. The date when the first literary texts of law were written in French is known and how earlier law treatises in Latin were translated into the same language as well. But it is quite difficult to determine when French became the tongue used regularly in English courts. Traditionally, it has been thought that the use of French in England for all purposes was a direct result of the Norman Conquest, and that it became the ordinary language of upper classes, so it was considered that Englishmen spoke French in courts because they spoke it everywhere else. As far as it is known, no attempt has ever tried to explain why the people as a whole adopted English as the national tongue and the lawyers alone continued using French. Only a few writers changed this opinion traditionally based on a very slight historical basis and that lacked the support of any direct evidence from any first class source. It is, in fact, the contrary, the French language did not drive out English just after the conquest as a generally used tongue in courts, until long after the conquest. Perhaps not until the time of Edward I, the period at which it began to affect English legal literature.


References
Woodbine, George E. “The Language of English Law.” Speculum, vol. 18, no. 4, 1943, pp. 395–436, www.jstor.org/stable/2853661?seq=1#metadata_info_tab_contents, 10.2307/2853661. Accessed 24 Apr. 2019.
Baugh, A. C., & Cable, T. (1993). A history of the English language. Routledge.

jueves, 9 de julio de 2020

Robin Hood and James Bond

1º y 2ºBACH

Robin Hood and James Bond 007 🔫
Do we still have in our real world any character like them? Tell me about someone who may be similar either to Robin Hood or James Bond.



What do you know about Robin Hood? 








Here is a listening exercise from 6 Minute English (BBC Learning English) to discover this character, but if you want to have further details about him and the city of Nottingham watch the video Module 9 / 8b from the programme of That's English!


Here's another interesting listening exercise about James Bond 007 

viernes, 26 de junio de 2020

My bucket list

4ºESO

Ladies and gentlemen, these are the tasks for today:
1st Watch this video about the UNREAL or IMPOSSIBLE CONDITIONALS in English >>>

Learn English with Benjamin [engVid]



In case you need some revision about how to use conditional sentences, you can watch the video Conditional Sentences in English with Emma in mmmEnglish!


2nd There is a listening exercise for you to do: What's on your 'bucket list'?   (6 Minute English, BBC Learning English)

But… Do you know what a ‘bucket list’ is?  Here are some ideas to do one >>> Click here!

Have you ever thought of doing one?


Do you think it is worthwile?


3rd Try to make your own bucket list and answer these questions.
By the way, have you ever seen the film The Bucket List (2007)?
Here is the trailer from the film…


Comparatives and superlatives

1ºESO

Today’s task will be related to the use of comparatives and superlatives.

1st Watch these videos about comparatives and superlatives:
-         Video from BBC Learning English to know more about >>> comparatives and superlatives (6 Minute Grammar).

-         Video from FlyWay English about Comparative and Superlative Adjectives | ENGLISH GRAMMAR VIDEOS.




2nd Try to do these exercises using comparatives and superlatives:
COMPARATIVES - SUPERLATIVES

jueves, 26 de abril de 2018

Realism in the High Victorian period and the intense psychological character studies from the perspectives of George Eliot and Charles Dickens.

Realism in the High Victorian period and the intense psychological character studies from the perspectives of George Eliot and Charles Dickens. 

The aim of this essay is going to focus on Realism in the High Victorian period and to explain why realist artists were especially known for their psychological character studies. First, the essay will start by introducing the Victorian period. Secondly, it will analyse how Realism influenced English literature. Finally, it will discuss the psychology of the characters from the perspectives of George Eliot and Charles Dickens. In the case of Dickens, it will especially focus on the psychology of the main characters using the book of Martin Chuzzlewit (1844) and Bleak House (1853) and in the case of Eliot, it will pay attention to women’s characterisation using the book of Middlemarch (1871).
The Victorian period represents the reign of Queen Victoria of Great Britain (1837-1901), some experts anticipate the beginning of the period, characterised by important changes in cultural sensitivities and political concerns, to the enactment of the Reform Act of 1832. It is a period where many changes are produced: from rural villages with couch-and-four (a carriage pulled by four horses and driven by one driver) that circulate on their roads, to large and modern cities with complex railway systems intertwined with each other. This period is also characterised by the overcrowded houses, where larger families live. In other words, significant changes brought challenging problems and multiple ambiguities difficult to solve. (Whitla, 2014).
From the cultural point of view, Victorianism extends from late Romanticism to the Edwardian era of the twentieth century. Moreover, this period is not only found in England but also in Scotland, Wales and Ireland and later in the century, it extends to India and other parts of the British Empire. The term Victorian was applied to art as a set of styles and fashions represented in the architecture, writing, and way of speaking proper of the period. Although it was not recognized after years later, the year of the Great Exhibition in 1851 (where the inventions of the Industrial Revolution were taking place to show the progress of the growing human industry and its unlimited imagination through machinery, manufactured products, and sculptures), was the apex of the Victorian era. In this exhibition, British people celebrated the success of the national institutions, the wealth of commerce in the British Empire, the progress that steam power was having in their industry, and the success of international trade (Whitla, 2014).
Once presented the Victorian period, I will analyse Realism as a literary movement. Mullan states that realism is often thought to be a tendency of Victorian fiction, and its first use in literature certainly was to express ‘the loyal representation of the real world’. In an essay on the artist and critic John Ruskin (1819-1900) George Eliot claimed that realism was the doctrine where truth and beauty can be found by doing a humble analysis of nature. Moreover, she believed that it couldn’t be substituted by the imagination of uncertain feelings, that is to say, Naturalism, the other literary movement of this period. Eliot specially insisted on the modesty that this realism must have, she wanted to focus her attention on the ‘ordinary’. In her first novel Adam Bede (1859), she wanted to prove the truthfulness she was aiming, to the quality. To do this, she describes many Dutch paintings that ‘high-minded people’ ignored. She found sympathy in those faithful paintings of a monotonous home activity and she tried to transmit this feeling in her novel.
By using this type of comparisons and descriptions faithful to reality, she gave a special value to the accurate presentation of appearances. However, she thought that characterisation was more than a simple description, it was the key to realism. In 1856, she criticized Charles Dickens in a famous article for being considered the most representative of this style of society’s descriptions. But unable to pass from the humorous and superficial to the emotional and tragic without being as transcendent as he was before in his artistic truthfulness, George Eliot said that Dickens did a ‘frequently false psychology’, and it was more evident when he described lower class people, such as poor children, artisans or melodramatic boatmen. For her, Dickens was not a realist. Henry James, a later American author between literary realism and literary modernism, will later describe him as ‘the greatest of superficial novelists’ (Mullan, 2014).
Moreover, Dicken’s truth to reality troubled seriously the critics of his day as it has troubled readers since he wrote his novels. Dickens himself sometimes asserted the reality of his fiction, as for instance, in the third edition of Oliver Twist (1841), where he had to respond to critics saying that he presented criminals and prostitutes as the faithful reality. In this book, in particular, criminals are badly treated and represented, but nevertheless, prostitutes, like Nancy, have a sympathetic representation. Another good example of this appears in Bleak House (1852-3) when Dickens turned to the body of Jo, a crossing poor sweeper, to address wealthy people of his own society.

Dead, your Majesty. Dead, my lords and gentlemen. Dead, right reverends, and wrong reverends of every order. Dead, men and women, born with heavenly compassion in your hearts. And dying thus around us every day (Dickens, 1853, p. 892).

Despite Eliot’s criticism and the added difficulty involved in analysing the descriptions of Dicken’s characters, T.C. Renzi asserts that the characters’ descriptions can be analysed. He says that the main characters are the most important in Dicken’s descriptions. Therefore, their psychological and physical makeup must contain some degree of depth, to make them more interesting. Moreover, since the main characters are the most influential during the story, their beginnings may contain prominent features that will later be clarified, developed, and exploited in succeeding situations. One of these examples can be seen in Martin Chuzzlewit when Dickens introduces the character of Mr. Pecksniff, a spurious architect.
Mr. Pecksniff was a moral man... Perhaps there never was a more moral man than Mr. Pecksniff.... [H]e had a Fortunatus's purse of good sentiments on his inside... [He] was like the girl in the fairy tale, except that if they were not actual diamonds that fell from his lips, they were the very brightest paste... He was a most exemplary man: fuller of virtuous precept than a copy-book. Some people likened him to a direction-post, which is always telling the way to a place, and never goes there... His very throat was moral. You saw a good deal of it. You looked over a very low fence of white cravat (whereof no man had ever beheld the tie, for he fastened it behind), and there it lay... serene and whiskerless before you (Dickens, 1867, p. 354).
In this quote, it can be seen that Dickens uses several literary devices to describe him and make the reader think in a particular perspective about the architect. One of them is the third-person narrator in order to use sarcasm, that is to say, Dickens uses the verbal irony that contrasts with what is meant to be. To ridicule Pecksniff 's hypocrisy: what it may sound like a compliment, such as ‘moral man’, ‘sleek’ or ‘oily’ actually implies that he is a phony person, a trait that presages his motivations in later actions (Renzi, 2010).
Besides irony, Dickens uses literary devices to describe his characters through implied comparisons to other authors’ characters. As for instance, when he describes Pecksniff as ‘fuller of virtuous precept than a copy-book’ in the quote, faintly alluding to Polonius in the book of Hamlet, who spoke with epithets without coherence. Furthermore, Dickens also makes a public display of what morality had to be while at the same time he is hiding his dark side from the others. The narrator finishes by embodying Pecksniff’s hypocrisy physically, in his way of dressing and in his appearance. After establishing this character’s basic personality, Dickens uses these central traits to recreate new situations in order to expose the psychological portrait of the character (Renzi, 2010). It is for these reasons that the complexity of the main characters’ descriptions had such importance in his works. For instance, he does not simply say that Pecksiff is a completely hypocritical snob, he tries to show the reader (thanks to his actions) how the character really is, showing at the same time one of his best skills.
Another type of characterisation that realists carried out was women’s characterisation. K. Hughes considers Eliot as one of the best representatives of this type of characterisation. Eliot’s attitude towards women’s rights, education and place in society, and how this attitude is expressed in the psychological portrays of the characters, were her most valuable features. One of these examples can be found in one of her books, Middlemarch. At the end of the story, the author tells us what will later happen to the heroine of the story, Dorothea Brooke. As a young woman at the beginning of the story, Dorothea compares herself to Spanish Saint Teresa of Avila, a 16th-century mystic and social reformer who wanted to make a better world. However, Dorothea was born three centuries later, in a highly materialistic century in which there was no coherent social faith or order that could teach her soul how to improve the world.
By consequence, Dorothea ends her life married and with the despair that nobody will remember her. Despite this fact, Eliot makes us see that she was such a wonderful person that readers do not have to feel disappointed at her for being condemned to a monotonous life. It is obvious that the heroine didn’t achieve the greatness and importance she wanted to have, but the day-to-day acts she performed, such as her kindness to people, had a profound effect within her domestic style of life. Therefore, the role she played as wife, mother, and friend, was, in some circumstances, her best and most valuable feature (Hughes, 2014).

But the effect of her being on those around her was incalculably diffusive: for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs” (Eliot, 1997, p.785).

In sum, this essay discussed the different types of characters that realist writers realised in their works and showed the importance of psychological character studies. It also analysed two types of descriptions, in the case of Dickens, it has been the main characters’ descriptions and in the case of Eliot has been a women’s description. Last, but not least, this essay has exposed the differences between both writers, especially in the critic done by Eliot, where she accused Dickens of doing frequently false psychology.

References
Dickens, Charles, 2000. Bleak House. London: ElecBook.
Dickens, C. (1867). The life and adventures of Martin Chuzzlewit. Charles Dickens ed. Boston: Ticknor and Fields.
Eliot, George, & Carroll, D. 1997, Middlemarch, Oxford: Oxford University Press, eBook Collection (EBSCOhost), EBSCOhost, viewed 18 March 2018.
Hughes, Kathryn, 2014. The British Library.
Available at: https://www.bl.uk/romantics-and-victorians/articles/george-eliots-women
[Last access: 16 May 2018].
Mullan, John, 2014. Discovering Literature: Romantics and Victorians. [Enlínea]
Available at: 
https://www.bl.uk/romantics-and-victorians/articles/realism
[Last access: 15 March 2018].
Pierce, G. A., 2013. The Dickens Dictionary. Massachusets: Courier Corporation.
Renzi, T. C. (2010, January). What a 'character': Dickens was a master at creating memorable individuals and bringing them to life. Why not put some of his techniques to work in your own fiction? The Writer, 123(1), 26. Retrieved from http://link.galegroup.com/apps/doc/A213601179/LitRC?u=ed_itw&sid=LitRC&xid=a937d209

Shea, V, &Whitla, W (eds) 2014, Victorian Literature: An Anthology, John Wiley & Sons, Incorporated, Hoboken. Available from: ProQuest Ebook Central. [16 March 2018].

miércoles, 11 de abril de 2018

Close reading of Christina Rossetti’s poem ‘Goblin Market’ (1859-1862)

Close reading of Christina Rossetti’s poem ‘Goblin Market’ (1859-1862)



She cried “Laura,” up the garden,                                                            
“Did you miss me?                                  465
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices                                                               
Squeezed from goblin fruits for you,
Goblin pulp and goblin dew.                     470
Eat me, drink me, love me; Laura, make much of me:
For your sake I have braved the glen
And had to do with goblin merchant men.”
Laura started from her chair,                     475
Flung her arms up in the air, Clutched her hair:
“Lizzie, Lizzie, have you tasted For my sake the fruit forbidden?
Must your light like mine be hidden,           480
Your young life like mine be wasted,
Undone in mine undoing,
And ruined in my ruin,
Thirsty, cankered, goblin-ridden?” —
She clung about her sister,                        485       
Kissed and kissed and kissed her:
Tears once again
Refreshed her shrunken eyes,
Dropping like rain
After long sultry drouth;                           490
Shaking with aguish[1] fear, and pain,
She kissed and kissed her with a hungry mouth.
Her lips began to scorch,
That juice was wormwood to her tongue,
She loathed the feast:                                495
Writhing as one possessed she leaped and sung,
Rent all her robe, and wrung Her hands in lamentable haste, And beat her breast.
Her locks streamed like the torch              500
Borne by a racer at full speed,
Or like the mane of horses in their flight,
Or like an eagle when she stems the light
Straight toward the sun,
Or like a caged thing freed,                       505
Or like a flying flag when armies run.
Swift fire spread through her veins, knocked at her heart,
Met the fire smouldering there
And overbore its lesser flame;
She gorged on bitterness without a name:   510
Ah! fool, to choose such part Of soul-consuming care!
Sense failed in the mortal strife:
Like the watch-tower of a town
Which an earthquake shatters down,          515
Like a lightning-stricken mast,
Like a wind-uprooted tree
Spun about,
Like a foam-topped waterspout
Cast down headlong in the sea,                  520
She fell at last;
Pleasure past and anguish past, Is it death or is it life?
Life out of death.
That night long Lizzie watched by her,        525
Counted her pulse's flagging stir,
Felt for her breath,
Held water to her lips, and cooled her face With tears and fanning leaves:
But when the first birds chirped about their eaves,   530       
And early reapers plodded to the place
Of golden sheaves,
And dew-wet grass
Bowed in the morning winds so brisk to pass,
And new buds with new day                                535
Opened of cup-like lilies on the stream,
Laura awoke as from a dream,
Laughed in the innocent old way,
Hugged Lizzie but not[2] twice or thrice;
Her gleaming locks showed not one thread of grey,  540 
Her breath was sweet as May And light danced in her eyes.
Days, weeks, months, years
Afterwards, when both were wives
With children of their own;                                    545
Their mother-hearts beset with fears,
Their lives bound up in tender lives;
Laura would call the little ones
And tell them of her early prime,
Those pleasant days long gone                              550
Of not-returning time:
Would talk about the haunted glen,
The wicked, quaint[3] fruit-merchant men,
Their fruits like honey to the throat
But poison in the blood;                                        555
(Men sell not such in any town:)
Would tell them how her sister stood In deadly peril to do her good, And win the fiery antidote:
Then joining hands to little hands                           560
Would bid them cling together,
“For there is no friend like a sister
In calm or stormy weather;
To cheer one on the tedious way,
To fetch one if one goes astray,                            565
To lift one if one totters down,
To strengthen whilst one stands.”

                                                     [END OF PAPER]

            In this essay, I will discuss an extract of the poem ‘Goblin Market’ of Christina Rossetti. First, I will analyse the structure, genre, and theme of the poem and its relation to its historical moment. Secondly, I will do a close reading of the poem, analysing it stanza by stanza and taking into account the different rhetorical devices that appear in itself. Finally, I will give a general opinion of the poem.

    Goblin Market is a narrative poem composed in 1859 and published in 1862. It was written in the Victorian Age (1830-1901), a period of industrialization, where there was a class consciousness and where women began to be taught in other things apart from music or drawing. The main themes are numerous in this poem, one of them is women and femininity, because ‘Goblin Market’ is a woman’s world where there are no male characters and this is going to be very relevant in the development of the story. Another theme is the sexual one, which, despite being a poem dedicated for children according to the author, there is an erotic imagery, as for instance goblin’s fruits used as a metaphor for sex, and there is also a sensual language used between the two sisters. Fruits can also be seen as drugs, as one of the sisters (Laura) became addicted to them, so we can say that the theme of drugs is also presented in this poem. Finally, the last of the main themes I can mention is the theme of violence, presented in the part where Lizzie is attacked by the goblins or in eating the food if it is interpreted as the loss of virginity.

    Most of the poem is written in iambic tetrameter, but its rhyme is irregular, although there are innumerable couplets in the poem. The six stanzas we are going to analyse have an irregular amount of lines, being the first stanza shorter than the other ones. The narrator of this poem is, in general, an objective third-person narrator who is describing what the two sisters are doing, although in the extract, we see that there are some exceptions, as for instance, in lines 511 and 512, where the narrator breaks out with this and addresses to Laura directly, losing the objectivity.

The extract of the poem we are about to analyse belongs to the last part of the poem, I am going to collect the main ideas of each stanza in order to give my own opinion. On the one hand, the first stanza can be seen from a sexual point of view, in which fruits can have been used as a metaphor for sex. In the stanza, we see that Lizzie enters the house inviting Laura to lick up the goblin fruit juice off her. However, seeing the language used by Lizzie asking Laura to do it, we see that it’s pretty erotic ‘Hug me, kiss me, suck my juices’ (l.468) repeating nearly the same structure (parallelism) just a few lines later ‘Eat me, drink me, love me’ (l. 471). Lizzie was even wounded by the goblins, but with this figurative language, the meaning of being reunited changes for a great reason to be happy to a sexual one. If, on the other hand, we see this stanza as it were for children, the meaning changes and we only see the love between sisters, that is to say, Lizzie saving Laura from death, and the bravery of Lizzie for having fought against the goblins.

The second stanza of the extract is about how the reencounter is produced between both sisters and how Laura drinks the juice. As in the first stanza, we can see the second one from two points of view, in spite of the fact that the erotic one, in my view, prevails from the other. Laura is worried about Lizzie because she didn’t know if she had eaten ‘the fruit forbidden’ (l. 479) (religious reference from the story of Adam and Eve). Afterwards, there is a contrast that Laura makes comparing herself to Lizzie ‘Must your light like mine be hidden’ (l.480) and ‘Your young life like mine be wasted’ (l.481) transmitting pessimism about her situation. She continues emphasizing her bad situation and she doesn’t want to drag Lizzie down. Then we see how Laura returns to life thanks to the goblin’s juice. The word ‘kiss’ is repeated three times, making an emphasis in the sisterhood love, and we observe that Laura returns to life because she is able to cry again. In my opinion, now she is crying because of the relief of being alive, so it is a good aspect. In the final lines of the stanza I believe there is an element of greed and desire, especially it says ‘She kissed and kissed her with a hungry mouth’ (l.492), but at the same time she’s transmitting affection and gratitude to her sister that has saved her.

In the third stanza, we see that this juice doesn’t taste good and she acts as she is possessed when she drinks it, suffering because of it in burning her lips and it is ‘wormwood to her tongue’ (l.494). I’ve interpreted this passage of the stanza as some kind of cure or sacrilege done to a person possessed by an evil spirit that wants to take out all the evilness of his body. In the second part of the stanza, Laura is described with several similes, as for example in line 503 ‘Or like an eagle when she stems the light’, describing her liberation from the poison, from the evil spirits. She is compared to ‘a mane of horses’, ‘an eagle’, ‘a flag’ and even to the Olympic torch (in lines 500 and 501), all of them referring to her new freedom and liberation from the goblin’s poison. This new freedom of Laura made me think about all the social movements led by women in the Victorian era in order to have equal opportunities to work and to have similar salaries as men. For this reason, I consider that the author is referring to femininity and women’s liberation. Furthermore, the author can be also referring to the exclusion of women from the male-dominated artistic world during this era, like Christina Rossetti herself with her brothers as, despite the fact that they encouraged her writing, they did not allow her to become an official member of their artistic movement.
    Now the fourth stanza deals with Laura’s healing start to act with a ‘lesser flame’ (l.509). Nevertheless, the most important fact of this stanza is the narrator’s intrusion in the argument of the story, losing thereby, all the objectiveness of the narration. It seems to me that the narrator did this so as to do more emphasis on the fact that Laura made a bad decision. He talks in the first person and directly to Laura, creating at the same time a climax in the narration. Another point of view to see this part of the poem is the religious one, when God expels Eve from the Garden of Eden because she ate the forbidden fruit, in this case, the voice of the narrator would be God and Laura would be Eve. Further on, there are again several similes comparing her struggle to live to ‘watch-tower’ (l.514), a ‘mast’ (l.516) or a ‘wind-uprooted tree’ (l.517). All these things are fighting against natural forces, so personally, I think that the author is trying to emphasize the difficulty of this struggle against life because natural forces can be stopped. And suddenly, Laura loses her consciousness or ‘spun about’ (l.518) and she casts down. In the final lines of the stanza, the author makes more dramatism and suspense, we don’t know if she feels ‘pleasure’ or ‘anguish’ and with a final rhetorical question, ‘Is it death or is it life?’ we don’t even know if those were her last feelings. I believe that in this stanza Christina Rossetti wanted to make an atmosphere of suspense and it is the exact moment where the climax is produced. In relation to the style, I’ve realized that the lines becone shorter and shorter at the end of the stanza and this creates a more suspense effect.

    In the following stanza, the poet will answer the previous rhetorical question, answering ‘Life out of death’ (l.524), nonetheless in a confusing way, because if the meaning is that Laura came back to life, it can be seen as a miracle. On the contrary, if it is a figurative way, there is no miracle. Lizzie gives her water and she cries again and the atmosphere changes into a better one. Nature returns to the scene to play an important role and now it is dawning. There is an important aspect in this stanza and it’s the fact that Laura is becoming younger and returning to life, fresh as ‘lilies’ (l.536) and her hair is returning to be blonde (before it was grey). In my view, Laura is returning to life and as in the same poem it is said ‘Laura awoke as from a dream’ (l.537), in other words, as it was before, as if the whole story had been a nightmare from which she had finally woken up. All this happiness is now reflected in nature, in a spring atmosphere, ‘Her breath was sweet as May’ (l.541). If we consider as valid the religious background we mentioned before, we can see this as the resurrection of Laura and her return to a perfect life.

    In the last part of the poem, there is a flash forward ‘Days, weeks, months, years’ (l.543) and there is a contrast between past and present that I am going to explain. Firstly, we see that both sisters are now married with children, so femininity became again a main theme in the poem. In my opinion, this aspect is relevant, because men aren’t mentioned in the whole poem, but after all, we observe that there is a man’s influence in this woman’s world. We can interpret this fact as a good or bad aspect. On the one hand, if we see it in a pessimistic way, we can believe that the only man’s influence is related to marriage and their only function is to have children. On the other hand, we can see it as the fact that they also bring happiness to women, because together they are creating a family. Nonetheless, having in mind Rossetti’s personal life and how her brothers and father didn’t let her participate in the literary world at first, I would see this part of the poem in a pessimistic way. Then, Laura and Lizzie tell their children the story in a moral way, showing them how important the love between sisters is. Laura also talks about Lizzie’s heroism for having saved her. In line 556 the word ‘men’ is mentioned to say that they didn’t sell the fruit that goblins sell in any town, meaning that this fruit wasn’t normal, because as it is said in the poem, the fruit tasted like honey, but it was ‘poisoned in blood’ (l.555). Finally, the poem ends by repeating the story to the children and saying ‘there is no friend like a sister’, which is the moral of the story,

    To sum up, this extract of the poem can be criticised and analysed from several points of view. However, in my view, I wouldn’t consider it as a poem for children, because of all its erotic background: related to the fruit and the sisters action, in spite of the fact that there is a moral conclusion in the last stanza. I have also found quite interesting the fact that it was a woman’s world and having into account that it was written in the Victorian era, I have realised about the possible difficulties of writing it. Religion has also been another main theme in this final extract of the poem and we can consider it as an act of social redemption of Laura for having eaten the fruit, as Eve in the Garden of Eden.



[1]feverish
[2]notonly
[3]strange