A torrid lesbian love story. A scathing commentary on the commercialization of sex. A terrible struggle between physical temptation and spiritual good. A child's nursery rhyme. "Goblin Market" contains a wealth of interpretations, some of which blend harmoniously together, others remain diametrically opposed. It symbolizes the complex nature of its creator. With each reading, he challenges readers to actively analyze, discuss, and re-engage. In light of many of his other poems and his biography, yet another voice emerges to guide the interpretation of this intricate work. Christina Rossetti's narrative poem "Goblin Market" establishes itself as an early feminist text in its condemnation of Victorian women's roles and empowering a female heroine. Rossetti denounces her contemporaries for their characteristic vulnerability and submission to the will of men through her depiction of Laura's temptation and fall. Rather than simply condemn the status quo, she provides her audience with a believable and inspiring heroine in Lizzie. However, the truly revolutionary and feminist quality of this poem lies in Rossetti's affirmation of Lizzie as a feminine Christ figure. In her contrast between the helpless Laura and the self-sufficient Lizzie, Rossetti introduces her Victorian audience to the inevitable changing roles of women. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The Victim In the Victorian era, women took on the burden of calmly and gratefully satisfying their husbands' every need and whim. Instead of maintaining their identity, women became objects and possessions of men. In his poem "In an Artist's Studio", Rossetti subtly addresses the injustice of this relationship through the description of an objectified woman in an artist's painting. Instead of portraying her “as she is,” the artist simply paints her “as she fulfills her dreams,” without the sufferings of life that make her human (14). When he represents her simply as a perfect “saint” or “angel,” he refuses to acknowledge the “pallor of expectation” and the darkness of sorrow in the eyes of a real woman (7, 12). Rather than allowing Victorian women to add the victim role to be objected to, Rossetti condemns these women for their inability to assert themselves through her characterization of Laura in "Goblin Market." Despite her initial warnings to "not look at the goblin men" and "not buy their fruit," Laura finds herself weak-willed and unable to resist their calls (42, 43). “Curious Laura chose to linger” among the goblin men, thus ignoring her instincts and succumbing to their will (69). Persuasive and assertive in their temptations, they easily crumble his "last restraint" and watch as he "sucks, sucks, and sucks more" (86, 134). Rossetti further chastises women for their weak constitutions in his depiction of Laura's helplessness. After realizing the futility of her search for the goblin market, Laura "[grinds] her teeth in rejected desire" and becomes "stone cold" instead of actively seeking a way to extract herself from these depths of despair (267 , 253). . Through her ironic portrayal of an objectified woman in a painting along with the denunciation of Laura's weakness and helplessness, Rossetti criticizes the passivity and inferior status of Victorian women in an attempt to promote recognition of the need for change. Calling for immediate and revolutionary changes in gender roles, Rossetti offers Victorian women practical and effective meansto gain power. Rather than succumb to the easy solution of a marriage of convenience, the speaker of "No Thanks, John" steadfastly rejects convention in favor of his personal needs. Even though many other women "would pity" the suitor if he asked them to, this woman refuses to "do that task" because she "never loved him" from the beginning.the beginning (9-10, 12, 5 ). Despite his incessant pleas, she claims that she "would rather answer 'No' to fifty Johns" than succumb to weariness and "answer 'Yes' to [him]" (19, 3, 20). Furthermore, the speaker adopts the dominant role when he instructs his immature suitor to "overcome quibbles" and use his "common sense" (29-30, 16). In addition to her vignette of this speaker creating power for herself, Rossetti also encourages women to challenge the status quo by portraying Lizzie as the heroine in "Goblin Market." Beyond her simple characteristics of purity and kindness, Lizzie's true heroism comes from her active pursuit of danger and her determination to overcome it. Witnessing Laura's anguish, Lizzie fully understands the risks of venturing into the world of goblins and the forbidden fruit. Despite his desire to "buy some fruit to comfort [Laura]," he remembers another girl driven to death by her fall into temptation and fears "that he is paying too dearly" (310, 311). Then Lizzie's vacillations cease when "diminishing Laura seems to knock at Death's door," thus prompting the heroine to act (320-321). To save Laura, Lizzie begins to actively "listen and look" for danger (328). Although she always remains alert to risk, she steadfastly demands "lots and lots" of the fruits and refuses to give in to the goblins' temptation to eat in their presence (365). In both of these poems, Rossetti depicts women asserting their strength and integrity by holding fast to their principles in the face of temptation. The Christ Figure In her most revolutionary and controversial tactic, Rossetti strengthens the feminist voice of this piece through her depiction of a female Christ figure. According to his biography, Rossetti embodied many contrasts and polarities as part of his "complex nature" (1611). Deeply devout in her religious beliefs, Rossetti "renounced...any pleasure or relationship which did not conform to her strict Anglo-Catholic principles" (1611). However, her life was woven with a thread of defiance of convention in favor of personal integrity: she "regarded her choice of single life as an act of artistic self-preservation" despite Victorian society promoting marriage and procreation as a civic and religious act. duty (1611). His ability to reconcile his rigorous faith with his challenges to convention indicates that he would similarly be capable of playing with controversial aspects of his faith while maintaining deference to its core principles. In his affirmation of Lizzie as a Christ figure in "Goblin Market," Rossetti simultaneously elevates the status of women and empowers them simply by challenging the importance of Christ's gender. Because "tender Lizzie could not bear to observe her sister's irascible care" and not "share" the burden and conflict, she parallels Christ's role as sacrificial lamb (299-300, 301). He volunteers himself to evil with the intent of saving his fallen sister. Just as Christ suffered on the cross to redeem sinners, Lizzie endures the attacks, taunts, and claws of the goblins in her attempt to save Laura (429, 401). Despite their taunts and cruelty, “Lizzie [utter] not a word” (430). After agony and despair, Christ rises from the dead for the salvation of sinners and to inspire his own."