170:, there is much in the poem that seems overtly sexual, such as when Lizzie, going to buy fruit from the goblins, considers her dead friend Jeanie, "Who should have been a bride; / But who for joys brides hope to have / Fell sick and died", and lines like, "She sucked their fruit globes fair or red"; and "Lizzie uttered not a word;/ Would not open lip from lip/ Lest they should cram a mouthful in;/ But laughed in heart to feel the drip/ Of juice that syruped all her face,/ And lodged in dimples of her chin,/ And streaked her neck which quaked like curd."
1327:
76:
326:
1339:
22:
1315:
215:, the fruit represents Victorian women's exclusion from the world of art. Other scholars – most notably Herbert Tucker – view the poem as a critique on the rise of advertising in pre-capitalist England, with the goblins utilising clever marketing tactics to seduce Laura. J. Hartman, among others, has pointed out the parallels between Laura's experience and the experience of
122:, Lizzie goes down to the brook and is greeted warmly by the goblins, who invite her to dine. But when the merchants realise that she has no intent to eat the fruit, and only intends to pay in silver, they attack, trying to feed her their fruits by force. Lizzie is drenched with the juice and pulp, but consumes none of it.
49:. It tells the story of Laura and Lizzie who are tempted with fruit by goblin merchants. In a letter to her publisher, Rossetti claimed that the poem, which is interpreted frequently as having features of remarkably sexual imagery, was not meant for children. However, in public Rossetti often stated that it
605:" (first aired 14 June 2008, episode no. 196): Dee Dee, a graduate assistant accompanying a professor, quotes the same lines, suggesting that the alien who has possessed a passenger on their shuttle cruiser is like a goblin (a dangerous and mysterious entity). The Doctor explains the literary reference.
103:
frenzy. Once finished, she returns home in an ecstatic trance, carrying one of the seeds. At home, Laura tells her sister of the delights she indulged in, but Lizzie is "full of wise upbraidings," reminding Laura of Jeanie, another girl who partook of the goblin fruits, and then died at the beginning
669:
by Tori
Bovalino tells of a Goblin Market in York and family of witches who care for its human victims until one witch sister, May, is seduced into the market by a Goblin woman and she and her sister must flee to Boston. A generation later, a cousin is abducted into the horror of the market, and May
195:
Other critics focus not on gender but on the
Victorian consciousness of a capitalist critique of the growing Victorian economic market, whether in relation to sisters' Lizzie and Laura's interaction with the market as gendered beings, the agricultural market, or in the rapid increase in advertising
95:
Although the sisters seem to be quite young, they live by themselves in a house, and draw water every evening from a stream. As the poem begins, the sisters hear the calls of the goblin merchants selling their fantastic fruits in the twilight. On this evening, Laura, intrigued by their strangeness,
485:
in 1954, the first female composer to produce a setting. It is sung by two soprano soloists (solo 1 Laura, solo 2 Lizzie) and female three-part chorus, accompanied by string orchestra or piano. Her careful adaptation anticipated feminist literary interpretations of the poem that emerged in the
96:
lingers at the stream after her sister goes home. (Rossetti hints that the "goblin men" resemble animals with faces like wombats or cats, and with tails.) Longing for the goblin fruits but having no money, the impulsive Laura offers to pay a lock of her hair and "a tear more rare than pearl."
191:
Some critics believe that some feminist interpretations of the work ignore the anti-semitic aspect of the poem. The critic
Cynthia Scheinberg believes the Goblins to be "Hebraic", anti-semitic and anti-Judaic characters that the tested Christian sisters Laura and Lizzie must face in order to
107:
The next day, as Laura and Lizzie go about their housework, Laura dreamily longs for the coming meeting with the goblins. That evening, however, as she listens at the stream, Laura discovers to her horror that, although her sister still hears the goblins' chants and cries, she cannot.
1342:
468:, in 1880. This was the only nineteenth century musical setting of the poem, as Rossetti granted Aguilar an exclusive. It was lightly adapted (with the author's approval) to remove sexual and erotic connotations, making it more suitable for school performances.
104:
of winter after a long and pathetic decline. Strangely, no grass grows over Jeanie's grave. Laura dismisses her sister's worries, and plans to return the next night to get more fruits for herself and Lizzie. The sisters go to sleep in their shared bed.
500:
set the poem in 1995 for narrator and chamber ensemble, without alterations or abridgement, and with each syllable precisely notated. It is "probably the most detailed and sustained interpretation of the poem's irregular meter to date". It has been
234:, per line. The lines below show the varied stress patterns, as well as an interior rhyme (grey/decay) picked up by the end-rhyme with "away". The initial line quoted here, "bright", rhymes with "night" a full seven lines earlier.
309:
132:
By morning, however, Laura is fully restored to health. The last stanza attests that both Laura and Lizzie live to tell their children of the evils of the goblins' fruits, and the power of a bond between sisters.
219:. Another interpretation has observed an image of Jesus Christ in Lizzie when she says: "Eat me, drink me, love me." This is imagery used to identify Christ's sacrifice in communion services.
115:, Laura sickens and pines for it. As winter approaches, she withers and ages unnaturally, too weak to do her chores. One day she remembers the saved seed and plants it, but nothing grows.
147:
article that "while the sheer lusciousness of the goblins' 'sugar-baited words' undercuts the moral , the strange contradictions of the story itself repel any easy allegorical readings."
645:
173:
The poem's attitude toward this temptation seems ambiguous, since the happy ending offers the possibility of redemption for Laura, while typical
Victorian portrayals of the "
200:
was released in April 1859, most
Victorians weren't able to purchase fresh fruit, a historical note of importance when reading the poem for Victorian agriculture and tone.
125:
Lizzie escapes and runs home, but when the dying Laura eats the pulp and juice from her body, the taste repulses rather than satisfies her, and she undergoes a terrifying
1098:
652:
Poirot: Cat Among the
Pigeons (TV Episode 2008) Eileen Rich is seen reading the poem to her students and later in the episode Poirot comments on her reading of the poem.
348:
933:
692:
662:
draws on themes from the poem. The female protagonists both recite the poem in a poetry competition, and later see it as a representation of their relationship.
442:
226:, often using couplets or ABAB rhymes, but also repeating some rhymes many times in succession, or allowing long gaps between a word and its partner. The
575:—“'We must not look at goblin men, / We must not buy their fruits: / Who knows upon what soil they fed / Their hungry thirsty roots?'”—as a clue to the
1353:
636:
803:
471:
Italian composer
Vittorio Ricci (1859–1925) was the first to come up with a setting once Aguilar's exclusive rights had expired. The cantata
1072:
118:
Months pass, and Lizzie realises that Laura is wasting to death. Lizzie resolves to buy some of the goblin fruit for Laura. Carrying a
534:
broadcast a reading of the poem interwoven with testimony from sisters whose lives had been caught up in the cycle of addiction.
1106:
723:
996:
978:
1399:
1331:
742:
930:
211:
reads the poem as a criticism of
Victorian marriage markets and conveys "the need for an alternative social order". For
813:
752:
700:
527:, incorporating various aerial and adagio circus arts. The production toured in Canada in 2016 and New Zealand in 2019.
1230:
880:
53:
intended for children, and went on to write many children's poems. When it appeared in her first volume of poetry,
204:
1016:
1319:
587:
269:
55:
830:
489:
A 70-minute stage musical version of the poem adapted by Peggy Harmon and Polly Pen was performed at the
1404:
329:
154:
and homosexual politics. Some critics suggest the poem is about feminine sexuality and its relation to
60:
513:
475:
was published in 1901 with an
English libretto adapted by M.C. Gillington, and a German translation.
1414:
831:"Women's Poetry and Religion in Victorian England: Jewish Identity and Christian Culture (review)"
1409:
1359:
1175:
457:
613:
509:
64:
30:
1379:
1247:
1076:
673:
Goblin Market is the title of a podcast series of short stories about the strange and macabre.
602:
523:
New
Zealand circus company The Dust Palace adapted the story into a performance piece titled
230:
is also irregular, typically (though not always) keeping three or four stresses, in varying
1143:
744:
The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination
621:-like society of people who barter and trade magical artifices and oppose the power hungry
340:
297:
278:
1060:
950:
595:
when she is in hospital, arguably insinuating her awareness of Jeanette's being a lesbian.
8:
1358:
Creative Commons Attribution-NonCommercial-NoDerivatives audiobook accompanying text of
908:
858:
784:
655:
622:
608:
582:
264:
155:
143:
46:
1373:
1226:
1024:
912:
900:
862:
850:
809:
748:
1272:
Adams, Lauren (September–October 2009). "Sarah Rees Brennan: The Demon's Lexicon".
892:
842:
497:
490:
371:
301:
181:
42:
141:
The poem has inspired disparate interpretations. James Antoniou wrote in his 2020
1225:. Newcastle upon Tyne, England: Cambridge Scholars Publishing. pp. 108–118.
937:
426:
411:
163:
112:
564:
517:
375:
356:
231:
227:
216:
212:
1169:
1393:
1028:
904:
854:
461:
386:
344:
282:
208:
1128:
951:
The Acculturation of Jews and Their Participation in English Musical Culture
568:
516:
in 2005. The adaptation and libretto was by Kath Burlinson and the score by
88:
tells the adventures of two close sisters, Laura and Lizzie, with the river
558:
394:
336:
223:
174:
159:
119:
896:
846:
805:
The Broadview Anthology of British Literature Volume 5: The Victorian Era
548:
531:
430:
390:
150:
Critics in the late 1970s viewed the poem as an expression of Rossetti's
100:
788:
561:
wrote a mystery novel called "The Goblin Market" which quotes the poem.
552:
478:
167:
21:
1196:
1368:
630:
576:
352:
318:
75:
1348:
178:
151:
126:
1326:
325:
406:
1314:
422:
367:
314:
293:
274:
89:
626:
618:
177:" ended in the fallen woman's death. Rossetti volunteered at
1073:"Goblin Market (2005) | British Youth Music Theatre"
808:(Second ed.). Canada: Broadview Press. p. 517.
1369:
Goblin Market, The Prince's Progress, and Other Poems
1223:
Inhabited by Stories: Critical Essays on Tales Retold
1144:"1930s music inspired by Rossetti's "Goblin Market""
925:
This material, which is quoted from Harrison's book
192:
transition into wholesome and complete young women.
41:(composed in April 1859 and published in 1862) is a
1171:
Joe Haymes and his orchestra - Goblin Market - 1934
25:Illustration for the cover of Christina Rossetti's
464:, collaborated with Rossetti on a choral cantata,
547:was the title of a swing instrumental written by
99:Laura gorges on the delicious fruit in a sort of
1391:
310:Goblin Market, Prince's Progress and Other Poems
771:Mermin, Dorothy (1983). "Heroic Sisterhood in
643:as a source of inspiration for her 2018 novel
965:Heather Bozant Witcher, Amy Kahrmann Huseby.
538:
246:She dwindled, as the fair full moon doth turn
1099:"The Dust Palace's The Goblin Market circus"
885:SEL: Studies in English Literature 1500–1900
740:
281:, 1862. (Binding, frontis and title page by
881:"The Spiritual Economy of "Goblin Market""
828:
1220:
741:Gilbert, Sandra M.; Gubar, Susan (2000).
184:for fallen women shortly after composing
59:, it was illustrated by her brother, the
16:1859 narrative poem by Christina Rossetti
1245:
1129:"BBC Radio Drama - Goblin Market (2020)"
766:
764:
721:
158:. In addition to its clear allusions to
74:
20:
801:
410:September 1973: 115-119. (Illustrator:
1392:
1167:
1014:
878:
829:Galchinsky, Michael (1 January 2003).
770:
747:. Yale University Press. p. 570.
670:and her niece must return to save her.
1271:
1178:from the original on 12 December 2021
1141:
761:
879:Pionke, Albert D. (1 January 2012).
874:
872:
724:"The deceptive elegance of Rossetti"
693:"An introduction to 'Goblin Market'"
1197:"GCD :: Issue :: Dare #1"
1017:"STAGE: 'GOBLIN MARKET,' FROM POEM"
690:
414:) -- also includes nude photography
258:
13:
1291:"The Sisters of the Winter Wood".
929:, is copyrighted and can be found
14:
1426:
1307:
979:Mary Arseneau. 'Vittorio Ricci's
949:Lionel Gossman, M. Taylor Pyne. '
869:
136:
1337:
1325:
1313:
1142:Homzy, Andrew (14 August 2005).
1061:Signum Classics, SIGCD186 (2011)
324:
203:According to Antony Harrison of
1284:
1265:
1239:
1214:
1189:
1161:
1135:
1121:
1105:. 14 March 2019. Archived from
1091:
1065:
1054:
1049:Defining Pre-Raphaelite Poetics
1042:
1015:Gussow, Mel (25 October 1985).
1008:
990:
972:
967:Defining Pre-Raphaelite Poetics
959:
722:Antoniou, James (4 July 2020).
205:North Carolina State University
943:
919:
822:
795:
734:
715:
684:
646:The Sisters of the Winter Wood
588:Oranges Are Not The Only Fruit
450:
240:But when the noon waxed bright
1:
997:Mary Arseneau. 'Ruth Gipps's
927:Christina Rossetti in Context
677:
270:Goblin Market and Other Poems
80:White and golden Lizzie stood
56:Goblin Market and Other Poems
27:Goblin Market and Other Poems
1400:Poetry by Christina Rossetti
1248:"The Poetry of 'Doctor Who'"
555:orchestra, recorded in 1934.
243:Her hair grew thin and grey;
7:
1347:public domain audiobook at
1221:Davenport, LaDelle (2012).
1003:Christina Rossetti in Music
985:Christina Rossetti in Music
665:The 2022 Young Adult novel
222:The poem uses an irregular
10:
1431:
691:Roe, Dinah (15 May 2014).
539:Popular culture references
512:at George Square Theatre,
504:A 75-minute chamber opera
460:, brother of the novelist
349:R. & R. Clark, Limited
111:Unable to buy more of the
61:Pre-Raphaelite Brotherhood
1246:McAlpine, Fraser (2014).
617:features the Market as a
514:Edinburgh Fringe Festival
493:in New York City in 1985.
567:in the 1990s version of
249:To swift decay, and burn
1299:(29): 47. 16 July 2018.
802:Roberts, Tammy (2011).
591:: Elsie reads Jeanette
458:Emanuel Abraham Aguilar
188:in the spring of 1859.
70:
29:(1862), by her brother
1274:The Horn Book Magazine
660:When We Lost Our Heads
510:Youth Music Theatre UK
429:, 1980. (Illustrator:
393:, 1970. (Illustrator:
374:, 1933. (Illustrator:
355:, 1933. (Illustrator:
300:, 1893. (Illustrator:
156:Victorian social mores
82:
65:Dante Gabriel Rossetti
33:
31:Dante Gabriel Rossetti
1380:Christina Rossetti's
897:10.1353/sel.2012.0037
847:10.1353/vic.2003.0122
633:to the earthly plane.
481:composed the cantata
456:The English composer
78:
24:
1386:on the Victorian Web
1322:at Wikimedia Commons
1148:www.victorianweb.org
667:Not Good for Maidens
436:Christina Rossetti.
417:Christina Rossetti.
400:Christina Rossetti.
381:Christina Rossetti.
362:Christina Rossetti.
341:J. B. Lippincott Co.
330:Christina Rossetti.
307:Christina Rossetti.
288:Christina Rossetti.
1079:on 30 November 2018
983:Cantata (1901), at
697:The British Library
614:The Demon's Lexicon
443:Pathways to Fantasy
196:the "Market". When
1103:New Zealand Herald
1021:The New York Times
969:(2020), p. 169-173
936:2009-03-03 at the
609:Sarah Rees Brennan
583:Jeanette Winterson
496:American composer
265:Christina Rossetti
83:
47:Christina Rossetti
34:
1405:Fictional goblins
1374:Project Gutenberg
1330:Works related to
1318:Media related to
1293:Publishers Weekly
955:The Victorian Web
835:Victorian Studies
649:in the Afterword.
525:The Goblin Market
508:was presented by
1422:
1376:
1341:
1340:
1329:
1317:
1301:
1300:
1288:
1282:
1281:
1269:
1263:
1262:
1260:
1258:
1243:
1237:
1236:
1218:
1212:
1211:
1209:
1207:
1193:
1187:
1186:
1185:
1183:
1165:
1159:
1158:
1156:
1154:
1139:
1133:
1132:
1125:
1119:
1118:
1116:
1114:
1109:on 13 March 2019
1095:
1089:
1088:
1086:
1084:
1075:. Archived from
1069:
1063:
1058:
1052:
1046:
1040:
1039:
1037:
1035:
1012:
1006:
994:
988:
976:
970:
963:
957:
947:
941:
923:
917:
916:
876:
867:
866:
826:
820:
819:
799:
793:
792:
777:Victorian Poetry
768:
759:
758:
738:
732:
731:
719:
713:
712:
710:
708:
699:. Archived from
688:
498:Aaron Jay Kernis
491:Vineyard Theater
473:Der Gnomen Markt
446:July 1984: 9-18.
372:George G. Harrap
328:
302:Laurence Housman
259:Notable editions
1430:
1429:
1425:
1424:
1423:
1421:
1420:
1419:
1415:Narrative poems
1390:
1389:
1366:
1338:
1310:
1305:
1304:
1290:
1289:
1285:
1270:
1266:
1256:
1254:
1244:
1240:
1233:
1219:
1215:
1205:
1203:
1195:
1194:
1190:
1181:
1179:
1166:
1162:
1152:
1150:
1140:
1136:
1127:
1126:
1122:
1112:
1110:
1097:
1096:
1092:
1082:
1080:
1071:
1070:
1066:
1059:
1055:
1047:
1043:
1033:
1031:
1013:
1009:
995:
991:
977:
973:
964:
960:
948:
944:
938:Wayback Machine
924:
920:
877:
870:
827:
823:
816:
800:
796:
769:
762:
755:
739:
735:
720:
716:
706:
704:
689:
685:
680:
656:Heather O'Neill
639:identifies the
541:
453:
427:Victor Gollancz
412:Kinuko Y. Craft
261:
164:forbidden fruit
139:
113:forbidden fruit
73:
17:
12:
11:
5:
1428:
1418:
1417:
1412:
1410:Fantasy poetry
1407:
1402:
1388:
1387:
1377:
1364:
1362:
1351:
1335:
1323:
1309:
1308:External links
1306:
1303:
1302:
1283:
1264:
1238:
1231:
1213:
1201:www.comics.org
1188:
1160:
1134:
1120:
1090:
1064:
1053:
1041:
1007:
989:
971:
958:
942:
918:
891:(4): 897–915.
868:
841:(3): 551–553.
821:
815:978-1554810734
814:
794:
783:(2): 107–118.
760:
754:978-0300084580
753:
733:
728:Canberra Times
714:
703:on 25 May 2017
682:
681:
679:
676:
675:
674:
671:
663:
658:'s 2022 novel
653:
650:
634:
611:'s 2009 novel
606:
596:
585:'s 1985 novel
580:
579:'s intentions.
565:Grant Morrison
562:
556:
540:
537:
536:
535:
530:In July 2020,
528:
521:
518:Conor Mitchell
502:
494:
487:
476:
469:
452:
449:
448:
447:
434:
415:
398:
379:
376:Arthur Rackham
360:
357:Arthur Rackham
322:
305:
286:
260:
257:
256:
255:
254:
253:
252:Her fire away.
250:
247:
244:
241:
217:drug addiction
213:Sandra Gilbert
144:Canberra Times
138:
137:Interpretation
135:
72:
69:
43:narrative poem
15:
9:
6:
4:
3:
2:
1427:
1416:
1413:
1411:
1408:
1406:
1403:
1401:
1398:
1397:
1395:
1385:
1384:: An Overview
1383:
1382:Goblin Market
1378:
1375:
1371:
1370:
1365:
1363:
1361:
1360:Goblin Market
1357:
1356:
1355:Goblin Market
1352:
1350:
1346:
1345:
1344:Goblin Market
1336:
1334:at Wikisource
1333:
1332:Goblin Market
1328:
1324:
1321:
1320:Goblin Market
1316:
1312:
1311:
1298:
1294:
1287:
1279:
1275:
1268:
1253:
1249:
1242:
1234:
1232:9781443841535
1228:
1224:
1217:
1202:
1198:
1192:
1177:
1173:
1172:
1164:
1149:
1145:
1138:
1130:
1124:
1108:
1104:
1100:
1094:
1078:
1074:
1068:
1062:
1057:
1050:
1045:
1030:
1026:
1022:
1018:
1011:
1005:
1004:
1000:
999:Goblin Market
993:
987:
986:
982:
981:Goblin Market
975:
968:
962:
956:
952:
946:
939:
935:
932:
928:
922:
914:
910:
906:
902:
898:
894:
890:
886:
882:
875:
873:
864:
860:
856:
852:
848:
844:
840:
836:
832:
825:
817:
811:
807:
806:
798:
790:
786:
782:
778:
774:
773:Goblin Market
767:
765:
756:
750:
746:
745:
737:
729:
725:
718:
702:
698:
694:
687:
683:
672:
668:
664:
661:
657:
654:
651:
648:
647:
642:
641:Goblin Market
638:
635:
632:
628:
624:
620:
616:
615:
610:
607:
604:
600:
597:
594:
593:Goblin Market
590:
589:
584:
581:
578:
574:
573:Goblin Market
570:
566:
563:
560:
557:
554:
550:
546:
545:Goblin Market
543:
542:
533:
529:
526:
522:
519:
515:
511:
507:
506:Goblin Market
503:
499:
495:
492:
488:
484:
483:Goblin Market
480:
477:
474:
470:
467:
466:Goblin Market
463:
462:Grace Aguilar
459:
455:
454:
445:
444:
439:
438:Goblin Market
435:
432:
428:
424:
420:
419:Goblin Market
416:
413:
409:
408:
403:
402:Goblin Market
399:
396:
392:
388:
384:
383:Goblin Market
380:
377:
373:
369:
365:
364:Goblin Market
361:
358:
354:
350:
346:
345:Great Britain
342:
338:
334:
333:
332:Goblin Market
327:
323:
320:
316:
312:
311:
306:
303:
299:
295:
291:
290:Goblin Market
287:
284:
283:D.G. Rossetti
280:
276:
272:
271:
266:
263:
262:
251:
248:
245:
242:
239:
238:
237:
236:
235:
233:
229:
225:
220:
218:
214:
210:
209:Jerome McGann
206:
201:
199:
198:Goblin Market
193:
189:
187:
186:Goblin Market
183:
180:
176:
171:
169:
165:
161:
157:
153:
148:
146:
145:
134:
130:
128:
123:
121:
116:
114:
109:
105:
102:
97:
93:
91:
87:
86:Goblin Market
81:
77:
68:
66:
62:
58:
57:
52:
48:
44:
40:
39:
38:Goblin Market
32:
28:
23:
19:
1381:
1367:
1354:
1343:
1296:
1292:
1286:
1277:
1273:
1267:
1255:. Retrieved
1251:
1241:
1222:
1216:
1204:. Retrieved
1200:
1191:
1180:, retrieved
1170:
1168:Will Adams,
1163:
1151:. Retrieved
1147:
1137:
1123:
1111:. Retrieved
1107:the original
1102:
1093:
1081:. Retrieved
1077:the original
1067:
1056:
1048:
1044:
1032:. Retrieved
1020:
1010:
1002:
1001:(1954)', at
998:
992:
984:
980:
974:
966:
961:
954:
945:
926:
921:
888:
884:
838:
834:
824:
804:
797:
780:
776:
772:
743:
736:
727:
717:
705:. Retrieved
701:the original
696:
686:
666:
659:
644:
640:
637:Rena Rossner
612:
598:
592:
586:
572:
571:quotes from
559:Helen McCloy
544:
524:
505:
482:
472:
465:
441:
437:
418:
405:
401:
395:Ellen Raskin
382:
363:
337:Philadelphia
331:
308:
289:
268:
224:rhyme scheme
221:
202:
197:
194:
190:
185:
182:Penitentiary
175:fallen woman
172:
160:Adam and Eve
149:
142:
140:
131:
124:
120:silver penny
117:
110:
106:
98:
94:
85:
84:
79:
54:
50:
37:
36:
35:
26:
18:
1252:BBC America
1083:30 November
549:Spud Murphy
532:BBC Radio 4
451:Adaptations
431:Martin Ware
391:E.P. Dutton
343:Printed in
1394:Categories
1257:24 January
1206:25 January
1182:18 January
1153:18 January
678:References
629:they have
599:Doctor Who
553:Joe Haymes
479:Ruth Gipps
273:. 1st Ed.
168:temptation
1280:(5): 554.
1029:0362-4331
913:144751003
905:1522-9270
863:201755414
855:1527-2052
623:Magicians
501:recorded.
353:Edinburgh
319:Oxford UP
298:Macmillan
279:Macmillan
1349:LibriVox
1176:archived
1113:13 March
1051:, p. 173
934:Archived
789:40002024
625:and the
603:Midnight
569:Dan Dare
551:for the
387:New York
179:Highgate
152:feminist
127:paroxysm
407:Playboy
321:, 1913.
101:bacchic
90:goblins
63:artist
1229:
1034:22 May
1027:
953:', at
911:
903:
861:
853:
812:
787:
751:
707:4 July
631:evoked
627:Demons
486:1970s.
423:London
368:London
315:London
294:London
275:London
166:, and
909:S2CID
859:S2CID
785:JSTOR
619:Gypsy
577:Mekon
228:metre
1259:2019
1227:ISBN
1208:2019
1184:2019
1155:2019
1115:2019
1085:2018
1036:2021
1025:ISSN
931:here
901:ISSN
851:ISSN
810:ISBN
749:ISBN
709:2018
232:feet
71:Plot
1372:at
1297:265
893:doi
843:doi
775:".
347:by
51:was
45:by
1396::
1295:.
1278:85
1276:.
1250:.
1199:.
1174:,
1146:.
1101:.
1023:.
1019:.
907:.
899:.
889:52
887:.
883:.
871:^
857:.
849:.
839:45
837:.
833:.
781:21
779:.
763:^
726:.
695:.
440:.
425::
421:.
404:.
389::
385:.
370::
366:.
351:,
339::
335:.
317::
313:.
296::
292:.
285:).
277::
267:.
207:,
162:,
129:.
92:.
67:.
1261:.
1235:.
1210:.
1157:.
1131:.
1117:.
1087:.
1038:.
940:.
915:.
895::
865:.
845::
818:.
791:.
757:.
730:.
711:.
601:"
520:.
433:)
397:)
378:)
359:)
304:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
