1 00:00:09,039 --> 00:00:11,719 Speaker 1: Hello, and welcome to food Stuff. I'm Annie Reese and 2 00:00:11,760 --> 00:00:15,960 Speaker 1: I'm Lauren And this is a very special episode of 3 00:00:16,000 --> 00:00:20,480 Speaker 1: food Stuff. Aren't all episodes of food Stuff special? You're 4 00:00:20,520 --> 00:00:24,959 Speaker 1: like my mom. No, it is, though, because because today 5 00:00:25,120 --> 00:00:27,880 Speaker 1: we're we're gonna we're gonna tell you a story. We're 6 00:00:27,880 --> 00:00:30,440 Speaker 1: gonna read you a story dramatically. I mean we always 7 00:00:30,520 --> 00:00:35,440 Speaker 1: do that, we do. Uh, we're off to a bad start, 8 00:00:35,920 --> 00:00:38,440 Speaker 1: now we're okay. So we had this idea to do 9 00:00:39,760 --> 00:00:43,600 Speaker 1: kind of a mini series or a recurring segment. Sure, 10 00:00:43,840 --> 00:00:47,880 Speaker 1: but we wanted to tell some food stuff fairy tales. 11 00:00:48,040 --> 00:00:51,600 Speaker 1: We wanted to read them in a hopefully enjoyable, semi 12 00:00:51,720 --> 00:00:56,440 Speaker 1: dramatic fashion and then discuss Yeah. Yeah, because one of 13 00:00:56,480 --> 00:01:00,200 Speaker 1: the really pervasive elements of fairy tales and fantasy story 14 00:01:00,240 --> 00:01:03,880 Speaker 1: is food. Um, you know, from like the those lavish 15 00:01:03,880 --> 00:01:06,800 Speaker 1: descriptions of feasts and like George R. Martin's A Song 16 00:01:06,840 --> 00:01:10,039 Speaker 1: of Ice and Fire, two specific foods that are used 17 00:01:10,080 --> 00:01:15,120 Speaker 1: symbolically in fables, um, like like aesops hypothetically sour grapes, yeah, um, 18 00:01:15,160 --> 00:01:17,959 Speaker 1: to the to the hunger that's often portrayed in fairy tales, 19 00:01:18,000 --> 00:01:21,399 Speaker 1: like in hauntl and Gretel, so we wanted to discuss 20 00:01:21,440 --> 00:01:23,800 Speaker 1: that a bit. And yeah, also do for you a 21 00:01:23,880 --> 00:01:27,240 Speaker 1: dramatic reading of one such tale. We are going to 22 00:01:27,440 --> 00:01:29,720 Speaker 1: come back and do more if you guys dig it, 23 00:01:29,760 --> 00:01:31,280 Speaker 1: and I think that you will. I hope that you will, 24 00:01:31,640 --> 00:01:35,400 Speaker 1: But just today we're not. There's so many fairy tales 25 00:01:35,440 --> 00:01:39,560 Speaker 1: that involve people, usually women or children, getting eaten, chopped up, 26 00:01:39,600 --> 00:01:42,240 Speaker 1: eaten and cooked. Yeah, there's a lot of those. Yeah, yeah, 27 00:01:42,280 --> 00:01:44,760 Speaker 1: we're going to save those for like a Halloween situation, 28 00:01:44,880 --> 00:01:48,960 Speaker 1: we think, yeah, I think so. So Yeah, cannibalism separate issue. 29 00:01:49,640 --> 00:01:51,560 Speaker 1: And yes, we've heard all of your requests for an 30 00:01:51,560 --> 00:01:55,640 Speaker 1: episode about cannibalism we have for people that are like 31 00:01:55,680 --> 00:01:59,080 Speaker 1: what we have a surprising number of requests for an 32 00:01:59,080 --> 00:02:04,120 Speaker 1: episode about can so noted? And I like, just thinking 33 00:02:04,160 --> 00:02:07,120 Speaker 1: about this, I realized how many things I wouldn't even 34 00:02:07,200 --> 00:02:11,040 Speaker 1: necessarily think of right away, like snow White as the 35 00:02:11,040 --> 00:02:15,040 Speaker 1: Poisonous Apple, where you've got Alice in Wonderland with all 36 00:02:15,280 --> 00:02:18,640 Speaker 1: kinds of things happening there. Oh yeah, and like like 37 00:02:18,680 --> 00:02:21,240 Speaker 1: holy heck, will I ever get in on readings and 38 00:02:21,280 --> 00:02:24,160 Speaker 1: Alice's adventures in Wonderland and or through the Looking Glass 39 00:02:24,240 --> 00:02:29,360 Speaker 1: because like that is age is terrific and be in 40 00:02:29,400 --> 00:02:32,160 Speaker 1: the public domain. Yes, that's okay. So that is one 41 00:02:32,200 --> 00:02:34,720 Speaker 1: thing that we are limited by has to be in 42 00:02:34,720 --> 00:02:36,880 Speaker 1: the public domain. Then translation has to be in the 43 00:02:36,880 --> 00:02:41,120 Speaker 1: public domain. Yes. And actually our first reading selection is 44 00:02:41,280 --> 00:02:45,919 Speaker 1: by an author who was later influenced by Lewis Carroll 45 00:02:45,960 --> 00:02:50,360 Speaker 1: and Alice's Adventures. Yes. To kick off this new periodic 46 00:02:50,480 --> 00:02:53,080 Speaker 1: food stuff series, we wanted to read for you and 47 00:02:53,120 --> 00:02:57,800 Speaker 1: talk about the poem Goblin Market by Christina Georgina Rosetti. 48 00:02:58,200 --> 00:03:02,799 Speaker 1: M hmmm. It's a three thousand oddward poem composed around 49 00:03:02,840 --> 00:03:05,800 Speaker 1: eighteen sixty one and published by McMillan in eighteen sixty 50 00:03:05,800 --> 00:03:10,480 Speaker 1: two in Rossetti's first commercially published book of poetry. Rosetti 51 00:03:10,680 --> 00:03:13,880 Speaker 1: is considered one of the premier woman poets of her time, 52 00:03:13,960 --> 00:03:16,720 Speaker 1: like right behind Elizabeth Barrett Browning. She said to have 53 00:03:16,760 --> 00:03:20,359 Speaker 1: been like a very proprietus particular and religious woman. Um 54 00:03:20,360 --> 00:03:22,400 Speaker 1: there was a child, she had a reputation for having 55 00:03:22,440 --> 00:03:26,280 Speaker 1: a really stormy temper. She was affiliated with an Anglo 56 00:03:26,360 --> 00:03:30,360 Speaker 1: Catholic church in England and volunteered extensively for the St. 57 00:03:30,360 --> 00:03:36,880 Speaker 1: Mary Magdalen Penitentiary, a organization that worked with fallen women. Yeah, 58 00:03:37,000 --> 00:03:39,000 Speaker 1: that might be a recurring theme and what we're about 59 00:03:39,040 --> 00:03:43,240 Speaker 1: to read. Indeed, she later refused to get on board 60 00:03:43,240 --> 00:03:46,600 Speaker 1: with women's suffrage, saying that she believed that quote the 61 00:03:46,680 --> 00:03:50,119 Speaker 1: highest functions are not in this world open to both sexes. 62 00:03:50,840 --> 00:03:53,160 Speaker 1: But she also said that like, really, if the movement 63 00:03:53,160 --> 00:03:55,400 Speaker 1: wanted to get in and change things, that have to 64 00:03:55,440 --> 00:03:59,240 Speaker 1: go ahead and get female representatives in parliament. So interesting 65 00:03:59,280 --> 00:04:01,720 Speaker 1: perspective there, like, don't give us the vote, just get 66 00:04:01,760 --> 00:04:06,160 Speaker 1: us straight into parliament. Um. She was critical of slavery 67 00:04:06,160 --> 00:04:09,000 Speaker 1: and imperialism, and petitioned to raise the age of consent. 68 00:04:09,480 --> 00:04:11,760 Speaker 1: She never married, but did remain close to her family, 69 00:04:11,840 --> 00:04:15,240 Speaker 1: and particularly her artist and writer brother Dante Gabriel, who 70 00:04:15,240 --> 00:04:19,719 Speaker 1: supported her financially and professionally. She dealt with various bouts 71 00:04:19,720 --> 00:04:23,640 Speaker 1: of severe illness all her life, and depression that historians 72 00:04:23,680 --> 00:04:26,120 Speaker 1: can't really agree on whether it was the result or 73 00:04:26,200 --> 00:04:30,520 Speaker 1: at times the cause of those illnesses. She was writing 74 00:04:30,600 --> 00:04:33,480 Speaker 1: in a time that the pre Raphaelite artistic movement was 75 00:04:33,560 --> 00:04:37,320 Speaker 1: really flourishing, but she didn't overly associate herself with it. 76 00:04:38,080 --> 00:04:40,320 Speaker 1: But her work does bear a lot of the same 77 00:04:40,360 --> 00:04:42,960 Speaker 1: influences and hallmarks of it like all of this sort 78 00:04:43,000 --> 00:04:48,480 Speaker 1: of medieval mythology reimagined through these very Victorian sensibilities about 79 00:04:48,480 --> 00:04:53,320 Speaker 1: like good and evil, purity, sin, what gender is love, sex, 80 00:04:53,400 --> 00:04:57,840 Speaker 1: you know, the pursuit of earthly pleasures. And we picked 81 00:04:57,880 --> 00:05:00,360 Speaker 1: Goblin Market for a first reading because it's about food 82 00:05:00,800 --> 00:05:05,440 Speaker 1: and temptation and indulgence and it's just real weird and 83 00:05:05,520 --> 00:05:10,840 Speaker 1: real pretty. Yeah. Um. We recruited Robert Lamb and Joe 84 00:05:10,920 --> 00:05:13,920 Speaker 1: McCormick are colleagues over at Stuff to blow your mind, yes, 85 00:05:14,040 --> 00:05:16,320 Speaker 1: to help us read this, And there was definitely moments 86 00:05:16,360 --> 00:05:17,760 Speaker 1: when we were reading it we were all looking at 87 00:05:17,800 --> 00:05:20,960 Speaker 1: each other like WHOA. I think I started blushing a 88 00:05:20,960 --> 00:05:25,760 Speaker 1: few times I was like, oh my goodness. Um. The 89 00:05:25,800 --> 00:05:28,640 Speaker 1: poem was actually rejected like soundly by the first art 90 00:05:28,680 --> 00:05:32,520 Speaker 1: credit who read it, one John Ruskin. He he he praised 91 00:05:32,560 --> 00:05:36,080 Speaker 1: its beauty and power, but said that it was unpublishably 92 00:05:36,680 --> 00:05:41,920 Speaker 1: full of quaintness and offenses. He also criticized the irregular 93 00:05:42,000 --> 00:05:45,039 Speaker 1: meter that that is now basically celebrated for and said 94 00:05:45,760 --> 00:05:49,479 Speaker 1: she should exercise herself in the severest commonplace of meter 95 00:05:49,960 --> 00:05:56,560 Speaker 1: until she can write as the public like the Severest commonplace. Yeah, 96 00:05:57,040 --> 00:06:01,080 Speaker 1: that's a burn right there. It's super is also thanks 97 00:06:01,120 --> 00:06:03,720 Speaker 1: to listener Caroline for recommending she sent this to us 98 00:06:03,720 --> 00:06:08,640 Speaker 1: forever go yeah, it's it's great and um yeah, Joe, 99 00:06:08,680 --> 00:06:13,320 Speaker 1: Joe McCormick and Robert Lamb are great. And I guess 100 00:06:13,360 --> 00:06:15,240 Speaker 1: we're gonna take a quick break for a word from 101 00:06:15,240 --> 00:06:17,360 Speaker 1: our sponsor, and then when you get back, we're going 102 00:06:17,400 --> 00:06:30,839 Speaker 1: to get into it and we're back. Thank you sponsor, 103 00:06:31,200 --> 00:06:35,000 Speaker 1: And without further ado, we present to you Goblin Market 104 00:06:35,080 --> 00:06:42,919 Speaker 1: by Christina Rosetti. Morning and evening maids heard the goblins cry, 105 00:06:43,640 --> 00:06:47,839 Speaker 1: come by our orchard. Fruits come by, Come by, apples 106 00:06:47,880 --> 00:06:54,520 Speaker 1: and quinces, lemons and oranges, plump, unpecked cherries, melons and raspberries, 107 00:06:55,120 --> 00:07:01,839 Speaker 1: bloom down cheeked peaches, sword headed mulberries. Why old freeborn cranberries, 108 00:07:02,000 --> 00:07:09,040 Speaker 1: crab apples, dewberries, pineapples, blackberries, apricot, strawberries, all ripe together 109 00:07:09,520 --> 00:07:14,560 Speaker 1: in summer weather. Mourns that pass by, fair eaves that fly, 110 00:07:15,320 --> 00:07:20,560 Speaker 1: come by, Come by our grapes fresh from the vine, pomegranates, 111 00:07:20,680 --> 00:07:26,160 Speaker 1: full and fine, dates and sharp bullaces, rare pears and 112 00:07:26,280 --> 00:07:32,240 Speaker 1: green gages, damsons and bilberries. Taste them in try currants 113 00:07:32,520 --> 00:07:38,160 Speaker 1: and gooseberries, bright fire like barberries, figs to fill your mouth, 114 00:07:38,560 --> 00:07:43,240 Speaker 1: Citrons from the south, sweet to tongue and sound to eye. 115 00:07:43,480 --> 00:07:48,640 Speaker 1: Come by, come by evening, by evening among the brook 116 00:07:48,760 --> 00:07:53,240 Speaker 1: side rushes. Laura bowed her head to hear. Lizzie veiled 117 00:07:53,240 --> 00:07:57,320 Speaker 1: her blushes, crouching close together in the cooling weather, with 118 00:07:57,480 --> 00:08:02,160 Speaker 1: clasping arms and cautioning lips, with tingling cheeks and fingertips 119 00:08:02,360 --> 00:08:06,040 Speaker 1: like close, Laura said, pricking up her golden head. We 120 00:08:06,120 --> 00:08:08,280 Speaker 1: must not look at goblin men. We must not buy 121 00:08:08,320 --> 00:08:11,520 Speaker 1: their fruits. Who knows upon what soil they fed? They're hungry, 122 00:08:11,560 --> 00:08:17,320 Speaker 1: thirsty roots. Come by, called the goblins, hobbling down the glen, Oh, 123 00:08:17,560 --> 00:08:20,760 Speaker 1: cried Lizzie. Laura, Laura, you should not peep at the 124 00:08:20,760 --> 00:08:24,800 Speaker 1: goblin men. Lizzie covered up her eyes, covered close lest 125 00:08:24,840 --> 00:08:28,920 Speaker 1: they should look. Laura reared her glossy head and whispered, 126 00:08:29,000 --> 00:08:32,720 Speaker 1: like the restless brook Look, Lizzie, look, Lizzie down the glen. 127 00:08:32,760 --> 00:08:35,920 Speaker 1: Tramp little men. One holds a basket, one bears a plate, 128 00:08:36,320 --> 00:08:39,120 Speaker 1: one lugs a golden dish of many pounds weight. How 129 00:08:39,160 --> 00:08:42,120 Speaker 1: fair the vine must grow? Whose grapes are so luscious? 130 00:08:42,120 --> 00:08:45,800 Speaker 1: How warm the wind must blow through those fruit bushes. No, 131 00:08:46,080 --> 00:08:50,160 Speaker 1: said Lizzie, No, no, no, Their offers should not charm us, 132 00:08:50,200 --> 00:08:53,840 Speaker 1: Their evil gifts would harm us. She thrust a dimpled 133 00:08:53,920 --> 00:08:58,240 Speaker 1: finger in each ear, shut eyes, and ran curious. Laura 134 00:08:58,320 --> 00:09:02,520 Speaker 1: chose to linger, wondering at each merchantman. One had a 135 00:09:02,600 --> 00:09:06,800 Speaker 1: cat's face, one whisked a tail, one tramped at a 136 00:09:06,880 --> 00:09:11,960 Speaker 1: rat's pace. One crawled like a snail, one like a wombat, prowled, 137 00:09:11,960 --> 00:09:16,760 Speaker 1: obtuse and furry, one like a radal, tumbled hurry, scurry. 138 00:09:16,880 --> 00:09:20,440 Speaker 1: She heard a voice like voice of doves cooing. Alltogether 139 00:09:20,840 --> 00:09:24,520 Speaker 1: they sounded kind and full of loves in the pleasant weather. 140 00:09:25,600 --> 00:09:28,840 Speaker 1: Laura stretched her gleaming neck like a rush imbedded swan, 141 00:09:29,320 --> 00:09:32,920 Speaker 1: like a lily, from the back like a moonlit poplar branch, 142 00:09:33,280 --> 00:09:36,479 Speaker 1: like a vessel at the launch when its last restraint 143 00:09:36,559 --> 00:09:40,520 Speaker 1: is gone. Backwards up the mossy glen turned and trooped 144 00:09:40,600 --> 00:09:45,000 Speaker 1: the goblin men with their shrill repeated cry, come by, 145 00:09:45,000 --> 00:09:48,880 Speaker 1: come by. When they reached where Laura was, they stood 146 00:09:48,880 --> 00:09:52,760 Speaker 1: stock still upon the moss, leering at each other, brother 147 00:09:52,880 --> 00:09:57,120 Speaker 1: with queer brother, signaling each other brother with sly brother. 148 00:09:57,640 --> 00:10:01,400 Speaker 1: One set his basket down. One heard his plate. One 149 00:10:01,480 --> 00:10:05,800 Speaker 1: began to weave a crown of tendrils, leaves, and rough nuts. 150 00:10:05,840 --> 00:10:10,480 Speaker 1: Brown men sell not such in any town. One heaved 151 00:10:10,520 --> 00:10:13,520 Speaker 1: the golden weight of dish and fruit to offer her. 152 00:10:14,000 --> 00:10:18,800 Speaker 1: Come by. Come by was still their cry. Laura stared, 153 00:10:18,880 --> 00:10:22,320 Speaker 1: but did not stir. Longed, but had no money. The 154 00:10:22,360 --> 00:10:26,160 Speaker 1: whisk tailed merchant bade her taste in tones as smooth 155 00:10:26,200 --> 00:10:30,199 Speaker 1: as honey. The cat faced purred, the rat faced spoke 156 00:10:30,240 --> 00:10:33,680 Speaker 1: a word of welcome, and the snail paste even was heard. 157 00:10:34,200 --> 00:10:38,320 Speaker 1: One parrot voiced, and jolly cried pretty goblin still for 158 00:10:38,600 --> 00:10:42,840 Speaker 1: pretty polly. One whistled like a bird, but sweet tooth. 159 00:10:42,920 --> 00:10:45,760 Speaker 1: Laura spoke, in haste, good folk, I have no coin 160 00:10:45,880 --> 00:10:48,560 Speaker 1: to take or to purloin. I have no copper in 161 00:10:48,600 --> 00:10:51,120 Speaker 1: my purse. I have no silver either, and all my 162 00:10:51,200 --> 00:10:53,480 Speaker 1: gold is on the furs that shakes in windy weather 163 00:10:53,600 --> 00:10:57,600 Speaker 1: above the rusty heather. You have much gold on your head, 164 00:10:57,840 --> 00:11:02,600 Speaker 1: they answered, altogether by us with a golden curl. She 165 00:11:02,800 --> 00:11:07,360 Speaker 1: clipped a precious golden lock. She dropped a tear more 166 00:11:07,480 --> 00:11:11,960 Speaker 1: rare than pearl, then sucked their fruit globes fair or red, 167 00:11:12,520 --> 00:11:16,840 Speaker 1: sweeter than honey, from the rock, stronger than man, rejoicing 168 00:11:16,880 --> 00:11:21,480 Speaker 1: wine clearer than water flowed that juice. She never tasted 169 00:11:21,520 --> 00:11:24,800 Speaker 1: such before, How should it cloy with length of use? 170 00:11:25,360 --> 00:11:28,760 Speaker 1: She sucked and sucked and sucked. The more fruits which 171 00:11:28,800 --> 00:11:32,679 Speaker 1: the unknown orchard bore. She sucked until her lips were sore, 172 00:11:33,040 --> 00:11:36,800 Speaker 1: then flung the emptied rinds away, but gathered up one 173 00:11:36,880 --> 00:11:40,080 Speaker 1: colonel stone and knew not was it night or day. 174 00:11:40,520 --> 00:11:48,079 Speaker 1: As she turned home alone, Lizzie met her at the gate, 175 00:11:48,440 --> 00:11:52,560 Speaker 1: full of wise upbraidings. Dear, you should not stay so late. 176 00:11:52,760 --> 00:11:55,640 Speaker 1: Twilight is not good for maidens. Should not loiter in 177 00:11:55,720 --> 00:11:58,720 Speaker 1: the glen in the haunts of goblin men. Do you 178 00:11:58,800 --> 00:12:01,520 Speaker 1: not remember, Jeanie, how she met them in the moonlight, 179 00:12:01,840 --> 00:12:05,000 Speaker 1: took their gifts, both choice and many, ate their fruits, 180 00:12:05,000 --> 00:12:08,720 Speaker 1: and wore their flowers, plucked from bowers where summer ripens 181 00:12:08,800 --> 00:12:12,440 Speaker 1: at all hours, but ever in the noonlight, she pined 182 00:12:12,480 --> 00:12:16,320 Speaker 1: and pined away soft them. By night and day found 183 00:12:16,320 --> 00:12:19,440 Speaker 1: them no more, but dwindled and grew gray, then fell 184 00:12:19,480 --> 00:12:21,920 Speaker 1: with the first snow. While to this day no grass 185 00:12:21,960 --> 00:12:25,480 Speaker 1: will grow where she lies low. I planted daisies there 186 00:12:25,520 --> 00:12:29,120 Speaker 1: a year ago that never blow you should not loiter. 187 00:12:29,320 --> 00:12:33,440 Speaker 1: So nay hush, said Laura. Nay hush, my sister, I 188 00:12:33,640 --> 00:12:36,079 Speaker 1: ate and ate my filled, yet my mouth waters still. 189 00:12:36,559 --> 00:12:39,480 Speaker 1: Tomorrow night I will buy more and kissed her have 190 00:12:39,640 --> 00:12:42,480 Speaker 1: done with sorrow. I'll bring you plums tomorrow, fresh on 191 00:12:42,520 --> 00:12:45,840 Speaker 1: their mother twigs. Cherry's worth getting. You cannot think what 192 00:12:46,040 --> 00:12:48,960 Speaker 1: figs my teeth have met in? What melon's icy cold, 193 00:12:49,080 --> 00:12:51,160 Speaker 1: piled on a dish of gold too huge for me 194 00:12:51,240 --> 00:12:54,760 Speaker 1: to hold? What peaches with a velvet nap pellucid grapes 195 00:12:54,840 --> 00:12:58,240 Speaker 1: without one seed? Odorous? Indeed, must be the mead whereon 196 00:12:58,280 --> 00:13:01,240 Speaker 1: they grow and pure, the way they drink, with lilies 197 00:13:01,240 --> 00:13:05,040 Speaker 1: at the brink, and sugar sweet their sap, golden head 198 00:13:05,080 --> 00:13:08,880 Speaker 1: by golden head, like two pigeons in one nest, folded 199 00:13:08,920 --> 00:13:11,960 Speaker 1: in each other's wings. They lay down in their curtained bed, 200 00:13:12,400 --> 00:13:15,880 Speaker 1: like two blossoms on one stem, like two flakes of 201 00:13:15,960 --> 00:13:20,000 Speaker 1: new fallen snow, like two wands of ivory tipped with gold. 202 00:13:20,080 --> 00:13:24,040 Speaker 1: For awful kings. Moon and stars gazed in at them, 203 00:13:24,360 --> 00:13:28,360 Speaker 1: wind sang to them lullaby, lumbering owls forbore to fly 204 00:13:29,080 --> 00:13:31,840 Speaker 1: not a bat flapped to and fro around their rest 205 00:13:32,240 --> 00:13:35,280 Speaker 1: cheek to cheek and breast to breast, locked together in 206 00:13:35,360 --> 00:13:38,520 Speaker 1: one nest. Early in the morning, when the first cock 207 00:13:38,600 --> 00:13:42,720 Speaker 1: crowed his warning, neat like bees, as sweet and busy. 208 00:13:43,080 --> 00:13:47,600 Speaker 1: Laura rose with Lizzie, fetched in honey, milked the cows, 209 00:13:47,720 --> 00:13:51,040 Speaker 1: aired and set to rights. The house needed cakes of 210 00:13:51,120 --> 00:13:55,640 Speaker 1: whitest sweet cakes for dainty mouths to eat. Next, turned butter, 211 00:13:55,800 --> 00:13:59,920 Speaker 1: whipped up cream, fed their poultry, sat and sewed, talk 212 00:14:00,080 --> 00:14:04,040 Speaker 1: as modest maidens should. Lizzie with an open heart, Laura 213 00:14:04,320 --> 00:14:08,800 Speaker 1: in an absent dream, one content, one sick in part one, 214 00:14:08,880 --> 00:14:12,720 Speaker 1: warbling for the mere, bright day's delight, one longing for 215 00:14:12,760 --> 00:14:16,960 Speaker 1: the night. At length, slow evening came. They went with 216 00:14:17,040 --> 00:14:20,920 Speaker 1: pictures to the reedy brook, Lizzie most placid in her look, 217 00:14:21,320 --> 00:14:25,320 Speaker 1: Laura most like a leaping flame. They drew the gurgling 218 00:14:25,360 --> 00:14:30,200 Speaker 1: water from its deep. Lizzie plucked purple and rich golden flags, then, 219 00:14:30,240 --> 00:14:36,720 Speaker 1: turning homewards, said, the sunset flushes those furthest loftiest crags come, Laura, 220 00:14:36,840 --> 00:14:40,800 Speaker 1: not another maiden lags, no wilful squirrel wags. The beasts 221 00:14:40,800 --> 00:14:44,320 Speaker 1: and birds are fast asleep. But Laura loitered still among 222 00:14:44,400 --> 00:14:47,480 Speaker 1: the rushes and said the bank was steep, and said 223 00:14:47,640 --> 00:14:51,000 Speaker 1: the hour was early. Still the do not fallen, the 224 00:14:51,000 --> 00:14:54,960 Speaker 1: wind not chill. Listening ever, but not catching the customary 225 00:14:55,040 --> 00:14:59,440 Speaker 1: cry come by, Come by, with its iterated jingle of 226 00:14:59,480 --> 00:15:03,560 Speaker 1: sugar aided words. Not for all her watching, once discerning 227 00:15:03,600 --> 00:15:09,000 Speaker 1: even one goblin racing, whisking, tumbling, hobbling, Let alone the 228 00:15:09,040 --> 00:15:12,480 Speaker 1: herds that used to tramp along the glen in groups 229 00:15:12,600 --> 00:15:18,680 Speaker 1: or single of brisk fruit merchantmen, till Lizzie urged, Oh, Laura, come, 230 00:15:19,240 --> 00:15:21,240 Speaker 1: I hear the fruit call, but I dare not look. 231 00:15:21,720 --> 00:15:24,640 Speaker 1: You should not loiter longer at this brook. Come with 232 00:15:24,680 --> 00:15:27,920 Speaker 1: me home. The stars rise, the moon bends her arc. 233 00:15:28,440 --> 00:15:31,600 Speaker 1: Each glow worm winks her spark. Let us get home 234 00:15:31,640 --> 00:15:35,160 Speaker 1: before the night grows dark, for clouds may gather. Though 235 00:15:35,160 --> 00:15:38,320 Speaker 1: this is summer weather. Put out the lights and drenches through. 236 00:15:38,920 --> 00:15:40,800 Speaker 1: Then if we lost our way, what should we do? 237 00:15:41,760 --> 00:15:44,880 Speaker 1: Laura turned cold as stone to find her sister heard 238 00:15:44,920 --> 00:15:49,000 Speaker 1: that cry alone, that goblin cry, come by our fruits 239 00:15:49,040 --> 00:15:53,000 Speaker 1: come by? Must she then buy no more such dainty fruit? 240 00:15:53,480 --> 00:15:56,920 Speaker 1: Must she no more such suck as pasture? Find gone 241 00:15:56,960 --> 00:16:00,880 Speaker 1: deaf and blind? Her tree of life drew from the root. 242 00:16:01,480 --> 00:16:04,520 Speaker 1: She said, not one word in her heart's sore ache, 243 00:16:04,800 --> 00:16:09,240 Speaker 1: but peering through the dimness, not discerning, trudged home, her 244 00:16:09,280 --> 00:16:12,960 Speaker 1: picture dripping all the way. So crept to bed and 245 00:16:13,040 --> 00:16:16,520 Speaker 1: lay silent till Lizzie slept. Then sat up in a 246 00:16:16,560 --> 00:16:20,280 Speaker 1: passionate yearning and gnashed her teeth for balked desire, and 247 00:16:20,360 --> 00:16:24,200 Speaker 1: wept as if her heart would break. Day after day, 248 00:16:24,440 --> 00:16:27,840 Speaker 1: night after night, Laura kept watch in vain and sullen 249 00:16:27,960 --> 00:16:32,600 Speaker 1: silence of exceeding pain. She never caught again the goblin cry, 250 00:16:32,680 --> 00:16:36,640 Speaker 1: come by, come by. She never spied the goblin men 251 00:16:36,800 --> 00:16:40,080 Speaker 1: hawking their fruits along the glen. But when the noon 252 00:16:40,200 --> 00:16:44,920 Speaker 1: waxed bright, her hair grew thin and gray. She dwindled 253 00:16:45,080 --> 00:16:48,160 Speaker 1: as the fair full moon doth turn to swift decay 254 00:16:48,240 --> 00:16:53,080 Speaker 1: and burn her fire away. One day, remembering her Colonel Stone, 255 00:16:53,480 --> 00:16:55,960 Speaker 1: she set it by a wall that faced the south, 256 00:16:56,440 --> 00:17:00,120 Speaker 1: doed it with tears, hoped for a route, watched for 257 00:17:00,200 --> 00:17:03,800 Speaker 1: a waxing shoot, but there came none. It never saw 258 00:17:03,840 --> 00:17:07,880 Speaker 1: the sun, it never felt the trickling moisture run. While 259 00:17:07,960 --> 00:17:11,680 Speaker 1: with sunk eyes and faded mouth, she dreamed of melons 260 00:17:11,720 --> 00:17:15,760 Speaker 1: as a traveler sees false waves in desert drowse with 261 00:17:15,920 --> 00:17:20,320 Speaker 1: shade of leaf crowned trees, and burns the thirstier in 262 00:17:20,400 --> 00:17:24,600 Speaker 1: the sandful breeze. She no more swept the house, tended 263 00:17:24,640 --> 00:17:28,439 Speaker 1: the fowls or cows, fetched honey, needed cakes of wheat, 264 00:17:28,960 --> 00:17:32,439 Speaker 1: brought water from the brook, but sat down listless in 265 00:17:32,480 --> 00:17:36,240 Speaker 1: the chimney nook and would not eat. Tender Lizzie could 266 00:17:36,240 --> 00:17:39,679 Speaker 1: not bear to watch her sister's cankerous care, yet not 267 00:17:39,880 --> 00:17:44,320 Speaker 1: to share. She night and morning caught the goblins cry, 268 00:17:44,359 --> 00:17:48,920 Speaker 1: come by our orchard, fruits, come by, come by beside 269 00:17:48,960 --> 00:17:51,840 Speaker 1: the brook. Along the glen, she heard the tramp of 270 00:17:51,840 --> 00:17:55,560 Speaker 1: the goblin men, the voice and stir. Poor Laura could 271 00:17:55,600 --> 00:17:59,359 Speaker 1: not hear. Longed to buy fruit to comfort her, but 272 00:17:59,520 --> 00:18:02,720 Speaker 1: feared to pay too dear. She thought of Genie in 273 00:18:02,760 --> 00:18:05,760 Speaker 1: her grave, who should have been a bride, but who 274 00:18:05,800 --> 00:18:09,040 Speaker 1: for Joy's bride's hope, to have fell sick and died 275 00:18:09,160 --> 00:18:12,760 Speaker 1: in her gay prime in earliest winter time, with the 276 00:18:12,840 --> 00:18:17,320 Speaker 1: first glazing rhyme, with the first snowfall of crisp winter time, 277 00:18:18,359 --> 00:18:22,399 Speaker 1: till Laura dwindling seemed knocking at death's door. Then Lizzie 278 00:18:22,400 --> 00:18:25,439 Speaker 1: wade no more better and worse, but put a silver 279 00:18:25,520 --> 00:18:29,000 Speaker 1: penny in her purse. Kissed Laura crossed the heath with 280 00:18:29,119 --> 00:18:33,199 Speaker 1: clumps of furs at twilight, halted by the brook, and 281 00:18:33,280 --> 00:18:35,760 Speaker 1: for the first time in her life, began to listen 282 00:18:35,960 --> 00:18:40,400 Speaker 1: and look. Laughed. Every goblin when they spied her, peeping, 283 00:18:40,720 --> 00:18:47,600 Speaker 1: came towards her, hobbling, flying, running, leaping, puffing and blowing, chuckling, clapping, crowing, 284 00:18:48,000 --> 00:18:53,320 Speaker 1: clucking and gobbling, mopping and mowing, full of airs and graces, pulling, 285 00:18:53,359 --> 00:18:58,760 Speaker 1: wrye faces, demure grimaces, cat like and ratlike, ratal and 286 00:18:58,880 --> 00:19:03,760 Speaker 1: wombat like snail paste in a hurry, parrot voiced and whistler, 287 00:19:04,240 --> 00:19:09,600 Speaker 1: helter skelter, hurry, scurry, chattering like magpies, fluttering like pigeons, 288 00:19:09,920 --> 00:19:14,000 Speaker 1: gliding like fishes. Hugged her and kissed her, squeezed her 289 00:19:14,040 --> 00:19:18,040 Speaker 1: and caressed her, stretched up their dishes, penniers and plates. 290 00:19:18,520 --> 00:19:22,959 Speaker 1: Look at our apples rusted and done, bob and our cherries. 291 00:19:23,200 --> 00:19:28,040 Speaker 1: Bite at our peaches, citrons and dates, grapes for the asking, 292 00:19:28,560 --> 00:19:32,720 Speaker 1: pears red with basking out in the sun, Plums on 293 00:19:32,760 --> 00:19:38,480 Speaker 1: their twigs, plucked them and suck them pomegranates, figs. Good folk, 294 00:19:38,760 --> 00:19:42,840 Speaker 1: said Lizzie, mindful of genie, give me much, and many 295 00:19:43,000 --> 00:19:46,680 Speaker 1: held out her apron tossed them her penny. Nay, take 296 00:19:46,720 --> 00:19:50,560 Speaker 1: a seat with us, honor, and eat with us, they answered, grinning. 297 00:19:50,720 --> 00:19:55,000 Speaker 1: Our feast is but beginning night. Yet is early, warm 298 00:19:55,080 --> 00:19:59,880 Speaker 1: and dew pearly, wakeful and starry. Such fruits as these, 299 00:20:00,040 --> 00:20:04,399 Speaker 1: no man can carry. Half their bloom would fly, half 300 00:20:04,480 --> 00:20:09,080 Speaker 1: their dew would dry, half their flavor would pass by. 301 00:20:09,280 --> 00:20:13,000 Speaker 1: Sit down and feast with us, Be welcome, guest with us. 302 00:20:13,400 --> 00:20:17,320 Speaker 1: Cheer you, and rest with us. Thank you, said Lizzie. 303 00:20:17,520 --> 00:20:20,639 Speaker 1: But one waits at home alone for me, So, without 304 00:20:20,680 --> 00:20:23,800 Speaker 1: further parleying, if you will not sell me any of 305 00:20:23,800 --> 00:20:26,240 Speaker 1: your fruits so much in money, give me back my 306 00:20:26,320 --> 00:20:30,159 Speaker 1: silver penny I tossed you for a fee. They began 307 00:20:30,240 --> 00:20:35,280 Speaker 1: to scratch their pates, no longer wagging, purring, but visibly demurring, 308 00:20:35,880 --> 00:20:40,800 Speaker 1: grunting and snarling. One called her proud cross grained uncivil. 309 00:20:41,119 --> 00:20:45,840 Speaker 1: Their tones waxed aloud, Their looks were evil. Lashing their tails, 310 00:20:45,880 --> 00:20:50,120 Speaker 1: they trod and hustled her, elbowed and jostled her, clawed 311 00:20:50,160 --> 00:20:55,359 Speaker 1: with their nails, barking, mewing, hissing, mocking, tore her gown 312 00:20:55,440 --> 00:20:59,199 Speaker 1: and soiled her stocking, twitched her hair out by the roots, 313 00:20:59,520 --> 00:21:03,280 Speaker 1: stamped upon her tender feet, held her hands and squeezed 314 00:21:03,320 --> 00:21:07,560 Speaker 1: their fruits against her mouth to make her eat White 315 00:21:07,600 --> 00:21:10,680 Speaker 1: and golden. Lizzie stood like a lily in a flood, 316 00:21:10,760 --> 00:21:15,000 Speaker 1: like a rock of blue veined stone, lashed by tides, obstreperously, 317 00:21:15,480 --> 00:21:19,040 Speaker 1: like a beacon left alone in a hoary, roaring sea, 318 00:21:19,520 --> 00:21:24,160 Speaker 1: sending up a golden fire, like a fruit crowned orange tree, 319 00:21:24,160 --> 00:21:28,280 Speaker 1: white with blossoms, honey, sweet, sore, beset by wasp and 320 00:21:28,400 --> 00:21:32,720 Speaker 1: be like a royal virgin town, topped with gilded dome, 321 00:21:32,800 --> 00:21:37,160 Speaker 1: inspire close, beleaguered by a fleet mad to tug her 322 00:21:37,200 --> 00:21:41,720 Speaker 1: standard down. One may lead a horse to water, twenty 323 00:21:41,880 --> 00:21:45,360 Speaker 1: cannot make him drink. Though the goblins cuffed and caught her, 324 00:21:45,640 --> 00:21:49,280 Speaker 1: coaxed and fought her, bullied and besought her, scratched her, 325 00:21:49,560 --> 00:21:53,000 Speaker 1: pinched her black z inc, kicked and knocked her, mauled 326 00:21:53,080 --> 00:21:56,199 Speaker 1: and mocked her, Lizzie uttered not a word, would not 327 00:21:56,359 --> 00:21:59,679 Speaker 1: open lip from lip lest they should cram a mouthful in, 328 00:22:00,200 --> 00:22:02,879 Speaker 1: but laughed in heart to feel the drip of juice 329 00:22:02,960 --> 00:22:06,520 Speaker 1: that syruped all her face and lodged in dimples of 330 00:22:06,560 --> 00:22:10,439 Speaker 1: her chin and streaked her neck, which quaked like curd. 331 00:22:10,480 --> 00:22:14,040 Speaker 1: At last, the evil people, worn out by her resistance, 332 00:22:14,320 --> 00:22:18,120 Speaker 1: flung back her penny kicked their fruit along whichever road 333 00:22:18,200 --> 00:22:22,040 Speaker 1: they took, not leaving root or stone or shoote. Some 334 00:22:22,160 --> 00:22:25,679 Speaker 1: writhed into the ground, some dived into the brook with 335 00:22:25,920 --> 00:22:29,760 Speaker 1: ring and ripple. Some scudded on the gale without a sound. 336 00:22:30,119 --> 00:22:34,800 Speaker 1: Some vanished in the distance in a smart ache tingle. 337 00:22:35,240 --> 00:22:38,560 Speaker 1: Lizzie went her way, knew not was it night or day, 338 00:22:38,760 --> 00:22:42,680 Speaker 1: sprang up the bank, tore through the furs, threaded cops 339 00:22:42,720 --> 00:22:46,159 Speaker 1: and dingle, and heard her penny jingle bouncing in her purse. 340 00:22:46,680 --> 00:22:49,920 Speaker 1: Its bounce was music to her ear. She ran and ran, 341 00:22:50,080 --> 00:22:53,119 Speaker 1: as if she feared some goblin man dogged her with 342 00:22:53,280 --> 00:22:57,120 Speaker 1: gibe or curse or something worse. But not one goblin 343 00:22:57,200 --> 00:23:00,879 Speaker 1: scurried after, nor was she pricked by fear. The kind 344 00:23:00,960 --> 00:23:04,600 Speaker 1: heart made her windy paste that urged her home, quite 345 00:23:04,600 --> 00:23:08,719 Speaker 1: out of breath, with haste and inward laughter, she cried, 346 00:23:09,200 --> 00:23:12,440 Speaker 1: Laura up the garden, did you miss me? Come and 347 00:23:12,560 --> 00:23:15,520 Speaker 1: kiss me, Never mind my bruises, hug me, kiss me, 348 00:23:15,640 --> 00:23:19,640 Speaker 1: suck my juices squeezed from goblin fruits for you. Goblin 349 00:23:19,680 --> 00:23:23,919 Speaker 1: pulp and goblin. Do eat me, drink me, love me, Laura, 350 00:23:24,320 --> 00:23:26,840 Speaker 1: make much of me for your sake, I have braved 351 00:23:26,880 --> 00:23:30,760 Speaker 1: the glen and had to do with goblin merchantmen. Laura 352 00:23:30,840 --> 00:23:33,680 Speaker 1: started from her chair, flung her arms up in the air, 353 00:23:34,000 --> 00:23:37,480 Speaker 1: clutched her hair. Lizzie, Lizzie, have you tasted for my sake? 354 00:23:37,520 --> 00:23:40,320 Speaker 1: The fruit forbidden? Must your light like mine be hidden, 355 00:23:40,600 --> 00:23:43,680 Speaker 1: your young life like mine be wasted, undone in mine, 356 00:23:43,800 --> 00:23:47,879 Speaker 1: undoing and ruined in my ruin? Thirsty, cankered, goblin ridden, 357 00:23:48,520 --> 00:23:51,520 Speaker 1: she clung about her sister, kissed and kissed, and kissed 358 00:23:51,520 --> 00:23:55,520 Speaker 1: her tears once again refreshed her shrunken eyes, dropping like 359 00:23:55,720 --> 00:24:00,840 Speaker 1: rain after long sultry drought. Shaking with anguish, fear and pain, 360 00:24:01,200 --> 00:24:04,200 Speaker 1: she kissed and kissed her with a hungry mouth. Her 361 00:24:04,240 --> 00:24:08,280 Speaker 1: lips began to scorch. That juice was wormwood to her tongue. 362 00:24:08,600 --> 00:24:12,840 Speaker 1: She loathed the feast, writhing as one possessed. She leaped 363 00:24:12,880 --> 00:24:16,200 Speaker 1: and sung, rent all her robe and wrung her hands 364 00:24:16,240 --> 00:24:20,560 Speaker 1: in lamentable haste, and beat her breast. Her lock streamed 365 00:24:20,600 --> 00:24:23,640 Speaker 1: like the torch borne by a racer at full speed, 366 00:24:24,119 --> 00:24:26,639 Speaker 1: or like the mane of horses in their flight, or 367 00:24:26,680 --> 00:24:29,879 Speaker 1: like an eagle when she stems the light straight towards 368 00:24:29,920 --> 00:24:33,359 Speaker 1: the sun, or like a caged thing freed, or like 369 00:24:33,400 --> 00:24:37,840 Speaker 1: a flying flag when armies run swift fire spread through 370 00:24:37,840 --> 00:24:41,760 Speaker 1: her veins, knocked at her heart, met the fire smoldering there, 371 00:24:41,800 --> 00:24:45,760 Speaker 1: and overbore its lesser flame. She gorged on bitterness without 372 00:24:45,840 --> 00:24:49,200 Speaker 1: a name. Ah fool to choose such part of soul, 373 00:24:49,280 --> 00:24:53,439 Speaker 1: consuming care since failed in the mortal strife, like the 374 00:24:53,480 --> 00:24:56,960 Speaker 1: watch tower of a town which an earthquake shatters down, 375 00:24:57,359 --> 00:25:00,920 Speaker 1: like a lightning stricken mast, like a wind uprooted tree 376 00:25:01,080 --> 00:25:05,080 Speaker 1: spun about, like a foam topped water spout cast down 377 00:25:05,160 --> 00:25:08,919 Speaker 1: headlong in the sea. She fell at last, pleasure past 378 00:25:09,080 --> 00:25:12,640 Speaker 1: and anguished past. Is it death? Or is it life? 379 00:25:13,080 --> 00:25:16,440 Speaker 1: Life out of death? That night long Lizzie watched by her, 380 00:25:16,760 --> 00:25:21,280 Speaker 1: counted her pulses flagging, stir felt for her breath, held 381 00:25:21,320 --> 00:25:24,600 Speaker 1: water to her lips, and cooled her face with tears 382 00:25:24,640 --> 00:25:28,000 Speaker 1: and fanning leaves. But when the first birds chirped about 383 00:25:28,000 --> 00:25:31,560 Speaker 1: their eaves, and early reapers plodded to the place of 384 00:25:31,680 --> 00:25:35,600 Speaker 1: golden sheaves and dew wet grass bowed in the morning 385 00:25:35,600 --> 00:25:39,160 Speaker 1: winds so brisk to pass, and new buds with new 386 00:25:39,240 --> 00:25:42,639 Speaker 1: day opened of cup like lilies on the stream. Laura 387 00:25:42,680 --> 00:25:46,600 Speaker 1: awoke as from a dream, laughed in the innocent old way, 388 00:25:46,880 --> 00:25:50,919 Speaker 1: hugged Lizzie, but not twice or thrice. Her gleaming locks 389 00:25:51,000 --> 00:25:54,320 Speaker 1: showed not one thread of gray. Her breath was sweet 390 00:25:54,359 --> 00:25:59,280 Speaker 1: as may, and light danced in her eyes. Days, weeks, months, 391 00:25:59,480 --> 00:26:03,040 Speaker 1: years afterwards, when both were wives, with children of their own, 392 00:26:03,400 --> 00:26:06,960 Speaker 1: their mother hearts beset with fears, their lives bound up 393 00:26:06,960 --> 00:26:10,239 Speaker 1: in tender lives, Laura would call the little ones and 394 00:26:10,280 --> 00:26:14,000 Speaker 1: tell them of her early prime, those pleasant days long gone, 395 00:26:14,119 --> 00:26:17,760 Speaker 1: of not returning time. Would talk about the haunted glen, 396 00:26:18,040 --> 00:26:21,840 Speaker 1: the wicked, quaint fruit merchantmen, their fruits like honey to 397 00:26:21,920 --> 00:26:25,399 Speaker 1: the throat, but poison in the blood. Men sell not 398 00:26:25,560 --> 00:26:28,720 Speaker 1: such in any town. Would tell them how her sister 399 00:26:28,800 --> 00:26:31,880 Speaker 1: stood in deadly peril to do her good and win 400 00:26:31,960 --> 00:26:35,960 Speaker 1: the fiery antidote. Then, joining hands to little hands, would 401 00:26:35,960 --> 00:26:39,040 Speaker 1: bid them cling together, for there is no friend like 402 00:26:39,119 --> 00:26:41,960 Speaker 1: a sister in calm or stormy weather. To cheer one 403 00:26:42,000 --> 00:26:45,040 Speaker 1: on the tedious way, to fetch one if one goes astray, 404 00:26:45,080 --> 00:26:48,240 Speaker 1: to lift one, if one totters down to strengthen whilst 405 00:26:48,240 --> 00:27:05,600 Speaker 1: one stands. We hope you enjoyed that reading listeners as 406 00:27:05,640 --> 00:27:08,439 Speaker 1: much as we enjoyed doing it. Um, we do have 407 00:27:08,560 --> 00:27:10,879 Speaker 1: some discussion. We kind of sort of got to talking 408 00:27:10,920 --> 00:27:13,320 Speaker 1: about this after we I said, I was going to 409 00:27:13,359 --> 00:27:16,000 Speaker 1: say re enacted, but we did not do that. We 410 00:27:16,200 --> 00:27:20,760 Speaker 1: just read it with voices. That's what we did. There's 411 00:27:20,800 --> 00:27:25,720 Speaker 1: no reenacting involved, no goodness, So I guess it was 412 00:27:25,760 --> 00:27:29,600 Speaker 1: a fantasy. So so you can't reenact something that never 413 00:27:29,600 --> 00:27:35,080 Speaker 1: happened in the first place. Yes, anyway, we had some thoughts, yes, 414 00:27:35,280 --> 00:27:37,720 Speaker 1: and we are going to take a quick break for 415 00:27:37,800 --> 00:27:39,520 Speaker 1: word from our sponsor and then me right back with 416 00:27:39,560 --> 00:27:54,960 Speaker 1: those and we're back. Thank you sponsor. Now back to 417 00:27:55,080 --> 00:27:58,560 Speaker 1: past Annie, Lauren, Robert and Joe and our thoughts about 418 00:27:58,560 --> 00:28:04,320 Speaker 1: the Goblin market. I get the feeling that the goblins 419 00:28:04,400 --> 00:28:12,400 Speaker 1: represent men that mate might have something. I think, Yeah, 420 00:28:12,680 --> 00:28:15,480 Speaker 1: it's a very it seems to offer like like you 421 00:28:15,480 --> 00:28:17,400 Speaker 1: don't need to go down to the goblins. What about 422 00:28:17,440 --> 00:28:21,719 Speaker 1: sisterly love? Right? Yeah, what about your family love? Come on, 423 00:28:22,080 --> 00:28:25,280 Speaker 1: what about saving yourself and getting married? That's clearly the 424 00:28:25,280 --> 00:28:28,520 Speaker 1: best thing to do. Don't eat that goblin fruit, no 425 00:28:28,560 --> 00:28:32,359 Speaker 1: matter how tempting, it is right. Yeah, they'll call to 426 00:28:32,400 --> 00:28:36,960 Speaker 1: you at night. Yes, yes, yes, yes, I think I've 427 00:28:37,000 --> 00:28:39,479 Speaker 1: seen it. Reminds me of a lot of horror movies 428 00:28:39,560 --> 00:28:44,160 Speaker 1: where women will fall in love with a monster. Who 429 00:28:44,200 --> 00:28:49,600 Speaker 1: always found that an interesting trope. Yeah, so I have 430 00:28:49,640 --> 00:28:55,320 Speaker 1: a question, is Lizzie supposed to be Jesus? See that's 431 00:28:55,360 --> 00:28:58,680 Speaker 1: a great question because I h the author, Christina was 432 00:28:58,720 --> 00:29:02,240 Speaker 1: any main taints that there was no Christian allegory in it. 433 00:29:02,480 --> 00:29:05,920 Speaker 1: But it is like a physical self sacrifice. Yeah, she 434 00:29:06,000 --> 00:29:09,680 Speaker 1: like sacrifices her body and she she comes back and 435 00:29:09,680 --> 00:29:12,240 Speaker 1: then she says like eat of me, drink of me, 436 00:29:12,320 --> 00:29:15,280 Speaker 1: and love me or something, make much of me. Yeah. 437 00:29:15,320 --> 00:29:19,000 Speaker 1: Like I even read that, I caught myself like doing it. 438 00:29:19,040 --> 00:29:21,000 Speaker 1: How I would a prayer that you would stay in 439 00:29:21,080 --> 00:29:22,760 Speaker 1: church over and over again, like when I was a kid, 440 00:29:23,240 --> 00:29:26,520 Speaker 1: picked up that tone subconscious. I didn't even think about it, 441 00:29:26,960 --> 00:29:29,400 Speaker 1: So it had that for me. I was picking up 442 00:29:29,400 --> 00:29:31,880 Speaker 1: on that. Yeah, the idea of being that somebody has 443 00:29:31,920 --> 00:29:34,360 Speaker 1: to fall to the Goblin's like somebody has to buy 444 00:29:34,400 --> 00:29:36,920 Speaker 1: the goblin food because ultimately somebody has to support the 445 00:29:36,920 --> 00:29:41,760 Speaker 1: goblin economy. Yeah, this is the driving force. But also 446 00:29:41,920 --> 00:29:45,800 Speaker 1: Lizzie is presented as a sinless sacrifice, like she is 447 00:29:45,960 --> 00:29:50,040 Speaker 1: morally pure, she doesn't have like the Pyrean interests and 448 00:29:50,080 --> 00:29:52,880 Speaker 1: that that Laura does. Yeah, the first time that she 449 00:29:52,960 --> 00:29:56,560 Speaker 1: falls down into sin um. First of all, she remains pure. 450 00:29:56,600 --> 00:29:59,160 Speaker 1: She doesn't actually eat on purpose any of the fruit, 451 00:29:59,200 --> 00:30:01,160 Speaker 1: and second ball, she only does it in order to 452 00:30:01,160 --> 00:30:05,440 Speaker 1: save her sister. Yeah, sort of like coming down and 453 00:30:05,600 --> 00:30:07,840 Speaker 1: into a sinful world. I don't know, maybe I'm reading 454 00:30:07,880 --> 00:30:11,200 Speaker 1: too much. Yeah, So so Rosetti says she didn't mean 455 00:30:11,240 --> 00:30:13,960 Speaker 1: any of that. Yeah, well, I mean I can actually believe. 456 00:30:14,000 --> 00:30:15,680 Speaker 1: I can see it could be one of those things. 457 00:30:15,720 --> 00:30:18,920 Speaker 1: So you live in Victorian culture. Maybe even if this 458 00:30:19,040 --> 00:30:22,080 Speaker 1: is not, you didn't mean it as an allegory for 459 00:30:22,280 --> 00:30:25,840 Speaker 1: the New Testament or anything. Still, like you're steeped in 460 00:30:25,960 --> 00:30:28,600 Speaker 1: Christian religious themes and so like, if you want to 461 00:30:28,600 --> 00:30:31,800 Speaker 1: write a story, it's just a story about self sacrifice 462 00:30:31,840 --> 00:30:35,520 Speaker 1: and love. Your main reference point is the existing archetype 463 00:30:35,520 --> 00:30:38,440 Speaker 1: of the Christian story. Absolutely, and she was a very 464 00:30:38,480 --> 00:30:41,480 Speaker 1: religious woman. Um, she was very active in her church. 465 00:30:41,560 --> 00:30:45,640 Speaker 1: She uh a couple of times turned down marriages because 466 00:30:46,400 --> 00:30:50,520 Speaker 1: the Christian human dude in question wasn't the right type 467 00:30:50,600 --> 00:30:55,480 Speaker 1: of Christian Okay, like like can't can't truck with those Catholics. Oh, 468 00:30:55,560 --> 00:31:00,960 Speaker 1: I see sort of thing. Um, she had, she had opinions. 469 00:31:00,040 --> 00:31:04,480 Speaker 1: She's a lady who had a lot of opinions. Well, 470 00:31:04,480 --> 00:31:07,480 Speaker 1: this is a poem. I can detect opinions in between 471 00:31:07,520 --> 00:31:12,360 Speaker 1: the lines in it. Um, But man, it is it's funny. 472 00:31:12,480 --> 00:31:16,320 Speaker 1: How so, so would you say that the tone of 473 00:31:16,320 --> 00:31:21,160 Speaker 1: this poem is moralistic? Oh? Yeah, yeah, I mean personally, 474 00:31:21,200 --> 00:31:25,200 Speaker 1: I can't help but find like a strong more moralistic 475 00:31:25,360 --> 00:31:27,640 Speaker 1: bent in it. So you know, that's interesting because my 476 00:31:27,720 --> 00:31:31,560 Speaker 1: favor a very literal interpretation of the poem that goblins 477 00:31:31,560 --> 00:31:35,880 Speaker 1: were literally selling fruit to ladies in Victorian times. Well 478 00:31:36,200 --> 00:31:39,160 Speaker 1: you could, well, yeah, I mean, of course they were, right, Yeah, 479 00:31:39,400 --> 00:31:41,760 Speaker 1: of course. Also it's interesting that you bring up the 480 00:31:41,800 --> 00:31:45,120 Speaker 1: goblin economy because there has been some criticism about the 481 00:31:45,120 --> 00:31:50,120 Speaker 1: poem that talks about the the way that Laura is 482 00:31:50,200 --> 00:31:53,640 Speaker 1: made into herself part of that economy, like the way 483 00:31:53,640 --> 00:31:55,640 Speaker 1: that she pays for it is with a literal part 484 00:31:55,680 --> 00:31:58,960 Speaker 1: of the area and a tear and oh and tear 485 00:31:59,040 --> 00:32:03,360 Speaker 1: drops he pays for with her body and with her suffering. Wait, 486 00:32:03,360 --> 00:32:05,920 Speaker 1: did the goblins even ask for the tears. They didn't 487 00:32:05,920 --> 00:32:08,440 Speaker 1: ask her for anything, just for the hair that that 488 00:32:08,480 --> 00:32:11,920 Speaker 1: was only okay, but that was after so I don't 489 00:32:11,920 --> 00:32:13,560 Speaker 1: have any money and they said, well, your your hair 490 00:32:13,640 --> 00:32:19,080 Speaker 1: is pretty golden. So they're like, poifect just what we 491 00:32:19,160 --> 00:32:24,000 Speaker 1: wanted to hear. See, we're in the wig business here 492 00:32:24,000 --> 00:32:27,040 Speaker 1: here at the Goblin market. Let's see the upper class 493 00:32:27,040 --> 00:32:29,680 Speaker 1: of Goblin society. They're more into change links. That's where 494 00:32:29,680 --> 00:32:32,520 Speaker 1: the real money is. But that somebody's going to sell 495 00:32:32,520 --> 00:32:35,080 Speaker 1: the fruit. Yeah, if you don't have any babies on hand, 496 00:32:35,200 --> 00:32:37,920 Speaker 1: then it's absolutely okay. Well, I mean what I was 497 00:32:37,920 --> 00:32:40,120 Speaker 1: gonna say was I think it's funny if you consider 498 00:32:40,240 --> 00:32:43,480 Speaker 1: this poem moralistic. I get moralistic vibes from it as well. 499 00:32:43,520 --> 00:32:45,800 Speaker 1: It seems like it's kind of like wagging a finger 500 00:32:45,960 --> 00:32:50,200 Speaker 1: at at I don't know, shameful, sinful curiosity, and like 501 00:32:50,240 --> 00:32:52,840 Speaker 1: get like indulgence. Yeah, like tell telling you to be good. 502 00:32:52,880 --> 00:32:54,560 Speaker 1: But at the same time, I feel like the poem 503 00:32:54,640 --> 00:32:57,920 Speaker 1: is just kind of an orgy of words. It's like 504 00:32:57,920 --> 00:33:01,440 Speaker 1: like she really gets into the nasty part, like the sensuality. Yeah, 505 00:33:01,560 --> 00:33:04,160 Speaker 1: it's the way the way that those fruits are described 506 00:33:04,200 --> 00:33:10,280 Speaker 1: as absolutely it's embarrassing. Yeah. I sort of realized after 507 00:33:10,520 --> 00:33:12,560 Speaker 1: after y'all agreed to do this, I was like, oh man, 508 00:33:12,640 --> 00:33:15,440 Speaker 1: I just asked my coworkers to do this. This is 509 00:33:15,520 --> 00:33:18,960 Speaker 1: potentially inappropriate. I have to say. I really so. I 510 00:33:19,320 --> 00:33:21,680 Speaker 1: really loved reading the Goblin lines because there's kind of 511 00:33:21,720 --> 00:33:25,280 Speaker 1: a I read a lot of Dr. Seuss these days, 512 00:33:25,360 --> 00:33:28,400 Speaker 1: and so there's kind of like a Susian element to it. 513 00:33:28,480 --> 00:33:30,680 Speaker 1: But then so much of the narration, I feel like 514 00:33:30,680 --> 00:33:32,760 Speaker 1: you could have dropped a beat behind it, like it. 515 00:33:32,760 --> 00:33:38,760 Speaker 1: It has some really tight rhymes. It really did squeeze 516 00:33:38,760 --> 00:33:41,880 Speaker 1: from Goblin Fruits for you, Goblin juice, and Goblin do Yeah. 517 00:33:41,960 --> 00:33:43,240 Speaker 1: I think that was one of the parts where I 518 00:33:43,280 --> 00:33:45,000 Speaker 1: was like, I was thinking, you know, yeah, you need 519 00:33:45,040 --> 00:33:46,640 Speaker 1: to drop something in there. Maybe they can do that 520 00:33:46,680 --> 00:33:49,560 Speaker 1: in post I don't know. Yeah, oh man, yeah, Dylan 521 00:33:49,600 --> 00:33:51,520 Speaker 1: feel free to be free to play around with it 522 00:33:51,760 --> 00:33:55,280 Speaker 1: turn into a club hit. Yeah. Yeah, and then I 523 00:33:55,320 --> 00:33:57,719 Speaker 1: don't know, like right up until because they both sisters 524 00:33:57,760 --> 00:34:00,640 Speaker 1: get married at the end, but right up until then. Um. 525 00:34:00,680 --> 00:34:04,040 Speaker 1: It's the type of close physical relationship that I think 526 00:34:04,200 --> 00:34:07,560 Speaker 1: is is rebranded these days as being sexual, but at 527 00:34:07,560 --> 00:34:11,640 Speaker 1: the time among women and also among um some some men, 528 00:34:11,760 --> 00:34:15,279 Speaker 1: especially younger men, it was allowable to have those kind 529 00:34:15,280 --> 00:34:18,160 Speaker 1: of close physical relationships with another person of the same sex, 530 00:34:18,440 --> 00:34:23,360 Speaker 1: and even considered preferable to having a close physical relationship 531 00:34:23,480 --> 00:34:27,120 Speaker 1: or sexual relationship with someone of the opposite sex or gender. Right, 532 00:34:28,160 --> 00:34:31,239 Speaker 1: But that being said, like in today's parlance, like that 533 00:34:31,320 --> 00:34:36,239 Speaker 1: reads is just heck a lesbian. Yes it does. But 534 00:34:36,320 --> 00:34:38,719 Speaker 1: I mean, knowing a little bit about literature at the time, 535 00:34:38,760 --> 00:34:40,719 Speaker 1: I can see this. This is like straight up that 536 00:34:40,719 --> 00:34:44,160 Speaker 1: that kind of sisterly love kind of total Yeah. Yeah, 537 00:34:44,200 --> 00:34:47,719 Speaker 1: they're they're literally here and innocent and it's just affectionate 538 00:34:47,880 --> 00:34:50,719 Speaker 1: and that's fine. Although yeah, like I don't know, like 539 00:34:50,760 --> 00:34:54,919 Speaker 1: it's it's so interesting to me that the bad thing 540 00:34:55,640 --> 00:34:59,640 Speaker 1: that Laura does is engage in this sensuality, in this 541 00:35:00,239 --> 00:35:07,200 Speaker 1: like hedonistic indulgence, but the way that she's saved is 542 00:35:07,239 --> 00:35:14,279 Speaker 1: by literally physically kissing her sister's face. Her sin is 543 00:35:14,320 --> 00:35:19,160 Speaker 1: with fruit and her savior is with literal physical contact 544 00:35:19,160 --> 00:35:23,360 Speaker 1: of another human person. M Victorians, y'all, I don't like, 545 00:35:23,400 --> 00:35:25,160 Speaker 1: I like, I don't know what that means, but I'm 546 00:35:25,200 --> 00:35:30,760 Speaker 1: just like, who that's some kind of repression. Yeah, well, yeah, 547 00:35:31,120 --> 00:35:34,239 Speaker 1: I was saying earlier there's this trope where I feel 548 00:35:34,280 --> 00:35:36,800 Speaker 1: like a lot of a lot of female characters that 549 00:35:36,840 --> 00:35:38,759 Speaker 1: we see even today, when they fall in love, it's 550 00:35:38,760 --> 00:35:41,600 Speaker 1: with some kind of monstrous creature. Like I always think 551 00:35:41,640 --> 00:35:44,920 Speaker 1: of Twilight, and I think it, Hey, I think it 552 00:35:44,960 --> 00:35:50,000 Speaker 1: represents like female fear of sexuality having like a being 553 00:35:50,080 --> 00:35:53,960 Speaker 1: able to explore that. So it becomes this vampire or 554 00:35:54,040 --> 00:35:57,400 Speaker 1: this werewolf that you're in love. But it's very dangerous 555 00:35:58,000 --> 00:35:59,960 Speaker 1: and it's almost not your fault because you're kind of 556 00:36:00,080 --> 00:36:02,600 Speaker 1: seduced by it. Like eating the garden. Oh, which is 557 00:36:02,640 --> 00:36:05,759 Speaker 1: another good religious allegorim it's totally in there. Oh yeah, 558 00:36:05,840 --> 00:36:09,520 Speaker 1: eating the fruit. Yeah, the fruit is literally a sinful temptation. 559 00:36:09,960 --> 00:36:11,440 Speaker 1: But but I mean, then again, we have we have 560 00:36:11,600 --> 00:36:15,160 Speaker 1: versions of both the succubus and incubus and various cultures, 561 00:36:15,600 --> 00:36:19,360 Speaker 1: you know, essentially the same idea. There's the monstrous mascine 562 00:36:19,440 --> 00:36:22,640 Speaker 1: or the mat monstrous feminine that you have very little 563 00:36:22,640 --> 00:36:29,440 Speaker 1: power to overcome. Yeah. That being said, I guess the 564 00:36:29,560 --> 00:36:32,719 Speaker 1: goblins themselves don't sound very sexy, you know, but their 565 00:36:32,760 --> 00:36:38,320 Speaker 1: fruit is very sexy. Then again, it's also very quite 566 00:36:38,440 --> 00:36:42,640 Speaker 1: literally fruity. It's like it reads like like maybe Rossetti 567 00:36:42,800 --> 00:36:45,719 Speaker 1: was really hungry when she was writing this. She just 568 00:36:45,760 --> 00:36:48,719 Speaker 1: gets into the fruit. I mean, there's that sexual implication, 569 00:36:48,760 --> 00:36:52,440 Speaker 1: but there's also just totally like fruit. It's like, my god, 570 00:36:52,480 --> 00:36:55,719 Speaker 1: that would taste good. It's a little bit pastoral. She 571 00:36:55,719 --> 00:36:58,160 Speaker 1: she was writing, she didn't herself associate with the pre 572 00:36:58,280 --> 00:37:03,520 Speaker 1: Raphaelite movement um, but she was definitely associated with it, 573 00:37:04,080 --> 00:37:07,880 Speaker 1: and like her brother was into it, and you can 574 00:37:07,880 --> 00:37:09,840 Speaker 1: see a lot of the same influences I think in 575 00:37:09,920 --> 00:37:12,399 Speaker 1: her work. That's sort of like like worship of the 576 00:37:12,480 --> 00:37:16,680 Speaker 1: pastoral um and and even like a kind of Halican 577 00:37:17,120 --> 00:37:20,360 Speaker 1: version of what nature is and what nature has to 578 00:37:20,400 --> 00:37:24,160 Speaker 1: present you, and uh, in those kind of medieval concepts 579 00:37:24,200 --> 00:37:27,360 Speaker 1: of what it is to be a good person. A 580 00:37:27,400 --> 00:37:29,520 Speaker 1: good person isn't living in the city. A good person 581 00:37:29,640 --> 00:37:31,520 Speaker 1: is out in the country and doing these things and 582 00:37:31,560 --> 00:37:34,360 Speaker 1: milking the cows and taking care of the poultry, and 583 00:37:35,120 --> 00:37:38,400 Speaker 1: but somehow not being tempted by somehow not being tempted 584 00:37:38,400 --> 00:37:42,000 Speaker 1: by the best. Whether the goblins are peddling like natural 585 00:37:42,160 --> 00:37:45,560 Speaker 1: pleasures here or at least I mean, then maybe they're 586 00:37:45,600 --> 00:37:48,160 Speaker 1: not represented as such in the poem. But I mean, 587 00:37:48,200 --> 00:37:51,279 Speaker 1: if we're to actually say what our fruit you know, 588 00:37:51,400 --> 00:37:54,520 Speaker 1: fruit are the splendors of the natural world, right, no 589 00:37:54,560 --> 00:37:57,960 Speaker 1: matter what other kind of symbolic power they end up 590 00:37:58,000 --> 00:38:00,440 Speaker 1: taking on them. But actually they're not, aren't they are 591 00:38:00,480 --> 00:38:05,239 Speaker 1: they because the products, especially the oranges. I mean, you 592 00:38:05,280 --> 00:38:07,360 Speaker 1: go pick wild fruit most of the time, it's not 593 00:38:07,480 --> 00:38:11,359 Speaker 1: very good there you go. Yeah, yeah, this is this 594 00:38:11,440 --> 00:38:17,440 Speaker 1: is a warning against contemporary agribusiness. Well, okay, so, but 595 00:38:17,640 --> 00:38:21,160 Speaker 1: some of the fruits are paddling here I think are 596 00:38:21,160 --> 00:38:23,279 Speaker 1: more natural than me others. I mean, those are one 597 00:38:23,280 --> 00:38:26,120 Speaker 1: are those green gauges. Those are named after a dude. 598 00:38:26,160 --> 00:38:28,239 Speaker 1: I just looked it up on Wikipedia. There's some guy 599 00:38:28,320 --> 00:38:33,239 Speaker 1: named Gauge. Some guy named Gauge out there, got a 600 00:38:33,280 --> 00:38:36,360 Speaker 1: whole fruit named after him. Heck Engauge. I wanted to 601 00:38:36,400 --> 00:38:39,399 Speaker 1: say also that I just, on a purely technical level, 602 00:38:39,440 --> 00:38:41,520 Speaker 1: I thought, this is a really good poem. This is 603 00:38:41,560 --> 00:38:45,080 Speaker 1: like really pleasurable to read. Line behind it's got that. 604 00:38:45,719 --> 00:38:48,920 Speaker 1: I really like the the irregular rhyme scheme and the 605 00:38:49,000 --> 00:38:52,880 Speaker 1: varying line link. That kind of reminds me of stuff 606 00:38:52,960 --> 00:38:54,680 Speaker 1: like you would see in the Love Song of Jailfred 607 00:38:54,680 --> 00:38:58,040 Speaker 1: Prufrock Later, you know, where like Elliott uses the irregular 608 00:38:58,120 --> 00:39:00,960 Speaker 1: rhyme scheme and varying line link. But then sometimes it 609 00:39:01,000 --> 00:39:03,680 Speaker 1: gets very regular all of a sudden, And then when 610 00:39:03,680 --> 00:39:06,040 Speaker 1: it does, that's sort of like it like yanks you 611 00:39:06,080 --> 00:39:10,439 Speaker 1: into the poem even deeper. It's yeah, it's good, it's 612 00:39:10,440 --> 00:39:12,640 Speaker 1: really beautiful. Now here's a question. Do you think the 613 00:39:12,640 --> 00:39:15,680 Speaker 1: goblins have a version of this poem that is warning 614 00:39:16,120 --> 00:39:21,160 Speaker 1: impressionable young goblins not to sell fruit to Lizzie's No. No, 615 00:39:21,239 --> 00:39:23,120 Speaker 1: I think it would say like, yeah, look, they did 616 00:39:23,160 --> 00:39:25,600 Speaker 1: a good job with Laura, but they really screwed up 617 00:39:25,600 --> 00:39:27,759 Speaker 1: with Lizzie. So here's the kind of Lizzie you need 618 00:39:27,800 --> 00:39:32,880 Speaker 1: to watch out for. Yeah, what about Genie? The tragedy 619 00:39:32,920 --> 00:39:35,560 Speaker 1: of Genie. No, they did good with Genie. Ye, Genie 620 00:39:35,640 --> 00:39:41,640 Speaker 1: Genie and alone. I mean that's kind of that's the 621 00:39:41,680 --> 00:39:45,719 Speaker 1: worst in this time for a lady. Yes, he's like 622 00:39:45,800 --> 00:39:48,480 Speaker 1: dead women cautionary tales. It's just like, don't be like 623 00:39:48,560 --> 00:39:51,440 Speaker 1: all dead Genie. No one wants to be like all 624 00:39:51,520 --> 00:39:54,360 Speaker 1: dead Genie. Yeah, but no, no, I like this idea 625 00:39:54,360 --> 00:39:58,279 Speaker 1: of the goblins being like, oh man, watch out for 626 00:39:58,280 --> 00:40:00,759 Speaker 1: those tight lipped ones. Yeah. Then I guess you could 627 00:40:00,760 --> 00:40:05,319 Speaker 1: say it's probably just goblin propaganda. And goblins. I mean, 628 00:40:05,320 --> 00:40:07,280 Speaker 1: that's ultimately one of the things that I think speaks 629 00:40:07,280 --> 00:40:11,680 Speaker 1: well to uh readers of this poem or listeners to 630 00:40:11,719 --> 00:40:14,080 Speaker 1: this poem, is that they are, without a doubt there 631 00:40:14,120 --> 00:40:18,040 Speaker 1: are some goblin men in the world pedlin their fruit. 632 00:40:19,040 --> 00:40:22,280 Speaker 1: Mm hmm. Yeah. I do think it's interesting how often 633 00:40:22,360 --> 00:40:31,400 Speaker 1: food is used to represent indulgence or like temptation. I 634 00:40:31,560 --> 00:40:35,520 Speaker 1: just especially, I guess because of things like the story 635 00:40:35,560 --> 00:40:38,400 Speaker 1: of even the Garden of Eden, like the apple is 636 00:40:38,480 --> 00:40:42,480 Speaker 1: always popping up and and things I'm reading is liked 637 00:40:44,000 --> 00:40:47,279 Speaker 1: to partake in. Um. Yeah, the role of food and 638 00:40:47,320 --> 00:40:50,319 Speaker 1: fairy tales is pretty fascinating. The fun fact, you know 639 00:40:50,400 --> 00:40:52,880 Speaker 1: that the Bible never says it's an apple, that's right, 640 00:40:53,080 --> 00:40:54,880 Speaker 1: never says what kind of fruit it is, And so 641 00:40:55,000 --> 00:40:57,680 Speaker 1: there are all these arguments of religious scholars throughout the 642 00:40:57,719 --> 00:41:00,360 Speaker 1: ages about what the fruit was. I think my favorite 643 00:41:00,360 --> 00:41:02,400 Speaker 1: I've ever heard was that somebody said it was a lemon. 644 00:41:06,560 --> 00:41:09,480 Speaker 1: Don't eat that incredibly tempting lemon. I know, you just 645 00:41:09,520 --> 00:41:13,640 Speaker 1: want to eat it raw, the whole thing. Another fun fact, 646 00:41:13,719 --> 00:41:15,720 Speaker 1: you know, the Bible never says it was the devil. 647 00:41:15,960 --> 00:41:18,880 Speaker 1: It just says it's a snake. Yeah, just a snake. 648 00:41:19,040 --> 00:41:21,440 Speaker 1: Just a snake says here's a fruit. It doesn't say 649 00:41:21,480 --> 00:41:24,520 Speaker 1: what the fruit is. Doesn't say the snakes a devil. Yeah, 650 00:41:25,239 --> 00:41:27,120 Speaker 1: we've talked a lot on the show about like people 651 00:41:27,160 --> 00:41:29,080 Speaker 1: thought it was a banana. They think it's a fig, 652 00:41:29,160 --> 00:41:31,960 Speaker 1: they thought it was. It's come up several most of 653 00:41:32,000 --> 00:41:34,080 Speaker 1: the fruits a pomegranate, most of the fruits that we've 654 00:41:34,080 --> 00:41:36,640 Speaker 1: talked about. At some point someone was like, probably that's 655 00:41:36,640 --> 00:41:39,680 Speaker 1: what the Bible was talking about. It was a green Gauge. 656 00:41:39,800 --> 00:41:42,960 Speaker 1: It was definitely, even though Gauge wasn't around yet. He's 657 00:41:43,040 --> 00:41:48,000 Speaker 1: just like a before his time. It's some kind of 658 00:41:48,040 --> 00:41:50,320 Speaker 1: time traveling going on there. No, No, it's Adam and 659 00:41:50,400 --> 00:41:55,080 Speaker 1: even Gauge in the gardens. Yeah, I'm drinking about cage now. 660 00:41:55,080 --> 00:41:56,640 Speaker 1: What I would love to see is to have some 661 00:41:56,719 --> 00:41:59,280 Speaker 1: sort of like a fruit gummy tie into this poem 662 00:42:00,160 --> 00:42:03,200 Speaker 1: like goblins, and each one you have one for eat 663 00:42:03,239 --> 00:42:06,160 Speaker 1: flavor for each of the fruits that are mentioned here. 664 00:42:06,680 --> 00:42:08,799 Speaker 1: I think we need to call Jellybelly. I think that's 665 00:42:08,960 --> 00:42:11,799 Speaker 1: Jelly Belly would be great at this. Get them on 666 00:42:11,800 --> 00:42:15,560 Speaker 1: the line, Yeah, shut their number, jelly Belly, if you're listening, 667 00:42:16,520 --> 00:42:19,120 Speaker 1: we're here and we've got ideas or have a Goblin 668 00:42:19,200 --> 00:42:23,920 Speaker 1: market fruit juice establishment. I did notice when I initially 669 00:42:24,040 --> 00:42:28,840 Speaker 1: looked up Goblin Market on my browser, I the number 670 00:42:28,840 --> 00:42:32,800 Speaker 1: one hit was up a restaurant in Florida so called 671 00:42:32,840 --> 00:42:38,280 Speaker 1: Goblin Market. Yea Goblin market, the g Yeah, they forced 672 00:42:38,320 --> 00:42:41,520 Speaker 1: food in your face. I think it's just sexy goblins. 673 00:42:42,080 --> 00:42:44,799 Speaker 1: Your stomp on you and cram fruit in your mouth. 674 00:42:45,880 --> 00:42:49,319 Speaker 1: Pinch black, that's what I want. Yeah, figs to fill 675 00:42:49,360 --> 00:42:54,520 Speaker 1: your mouth, Goblin pulp and Goblin juice. And you can 676 00:42:54,520 --> 00:42:58,759 Speaker 1: always find Rod and Joe on stuff to blow your 677 00:42:58,760 --> 00:43:03,759 Speaker 1: mind another House to Works podcast. Yeah, and occasionally we 678 00:43:03,800 --> 00:43:06,279 Speaker 1: talked about foods in Goblin as the Goblin's as well. 679 00:43:06,320 --> 00:43:11,560 Speaker 1: So yeah, yes, I'm getting that. I think everyone is good. Well, 680 00:43:11,640 --> 00:43:13,440 Speaker 1: thanks so much for inviting us on. We've had a 681 00:43:13,440 --> 00:43:25,759 Speaker 1: great time. Yeah, this is tremendous. Well that was fun. Yes, absolutely, 682 00:43:26,040 --> 00:43:28,640 Speaker 1: it was fun. Um, we would love to do it again, 683 00:43:28,840 --> 00:43:33,839 Speaker 1: especially for Halloween. But um, if if you listeners have suggestions, 684 00:43:33,880 --> 00:43:37,480 Speaker 1: particularly helpful if they're in the public domain. Oh yes, yes, 685 00:43:37,920 --> 00:43:40,120 Speaker 1: we're already kind of working on a second episode because 686 00:43:40,160 --> 00:43:41,880 Speaker 1: we we were collecting some and we were going to 687 00:43:41,960 --> 00:43:45,200 Speaker 1: include more than one in this episode, but this one 688 00:43:45,320 --> 00:43:48,520 Speaker 1: was already like pretty hefty enough. Yeah, it's so long 689 00:43:48,600 --> 00:43:50,719 Speaker 1: that we didn't want to. Yeah, we could have gone 690 00:43:50,760 --> 00:43:53,520 Speaker 1: on for another hour at least, but we figured that. 691 00:43:53,600 --> 00:43:56,879 Speaker 1: We figured we'd just concentrate on this one for today. Um. Yeah, 692 00:43:56,880 --> 00:43:59,919 Speaker 1: because there's so many like like Hans Christian Anderson story 693 00:44:00,280 --> 00:44:02,960 Speaker 1: that are great for that sort of thing. Yeah, so 694 00:44:03,280 --> 00:44:07,000 Speaker 1: please send in any suggestions you have for those. And 695 00:44:07,040 --> 00:44:12,399 Speaker 1: speaking of sending things in, it's time for listener man. 696 00:44:15,920 --> 00:44:20,720 Speaker 1: Oh all right, Yeah, I was thinking about Robert's goblin 697 00:44:20,800 --> 00:44:24,399 Speaker 1: voice and then I was like, I can't do that, 698 00:44:26,000 --> 00:44:29,600 Speaker 1: and that's the results kind of a whispery wind. It was. 699 00:44:29,680 --> 00:44:32,000 Speaker 1: It was it was either that or like a like 700 00:44:32,040 --> 00:44:36,439 Speaker 1: a calm surf, a calm surf coming up to coming 701 00:44:36,520 --> 00:44:41,960 Speaker 1: up to a beach. Yeah, one of those things. Okay, 702 00:44:42,520 --> 00:44:47,440 Speaker 1: So our first letter is from Carly. Carly wrote, I'm 703 00:44:47,480 --> 00:44:49,759 Speaker 1: catching up on my podcast and just listen to your 704 00:44:49,760 --> 00:44:52,880 Speaker 1: Willy Wonka episode. I have a story, although it doesn't 705 00:44:52,920 --> 00:44:55,480 Speaker 1: involve food other than the fact it was present in 706 00:44:55,520 --> 00:44:58,880 Speaker 1: the building at the time. I had been invited to 707 00:44:58,880 --> 00:45:01,120 Speaker 1: tag along at a house part of a local celebrity 708 00:45:01,200 --> 00:45:05,000 Speaker 1: in tourist trap USA. On the same weekend, at that 709 00:45:05,040 --> 00:45:08,360 Speaker 1: a local comic convention was having a Willy Wonka reunion 710 00:45:08,560 --> 00:45:12,279 Speaker 1: with various actors of the Gene Wilder film. Many of 711 00:45:12,280 --> 00:45:14,800 Speaker 1: the famous guests were also in attendance of this party. 712 00:45:14,840 --> 00:45:18,000 Speaker 1: Although I was somewhat clueless, the host was a huge 713 00:45:18,040 --> 00:45:22,319 Speaker 1: fan of many things and decorated his home extremely whimsically, 714 00:45:23,080 --> 00:45:26,600 Speaker 1: as evidenced by his bathroom. One of the guests and 715 00:45:26,640 --> 00:45:29,920 Speaker 1: attendants had been in upa lupa with a few prominent lines, 716 00:45:30,000 --> 00:45:35,439 Speaker 1: and when shown this bathroom exclaimed in a very British excent, oh, 717 00:45:35,600 --> 00:45:39,080 Speaker 1: a sentiment felt by all. When the light switch was 718 00:45:39,120 --> 00:45:41,720 Speaker 1: flipped on, the room filled with bubbles and the voice 719 00:45:41,760 --> 00:45:45,480 Speaker 1: of Mr Wilder singing pure imagination. The walls were covered 720 00:45:45,520 --> 00:45:49,120 Speaker 1: in a Wonka esque fruit motif wallpaper, and every every 721 00:45:49,160 --> 00:45:52,600 Speaker 1: fixture was adorned by brightly colored baubles and pom pomps. 722 00:45:53,040 --> 00:45:56,600 Speaker 1: There were Willy Wonka accessories everywhere. I can't even begin 723 00:45:56,680 --> 00:46:00,160 Speaker 1: to tell you what all was crammed into this previously normal, small, 724 00:46:00,239 --> 00:46:05,279 Speaker 1: three piece bathroom. It was wondrous. Wow, it sounds like 725 00:46:05,320 --> 00:46:09,000 Speaker 1: quite the party. It does. That sounds great. Need my 726 00:46:09,200 --> 00:46:14,359 Speaker 1: fantasy party game apparently, Yeah, I don't. I don't have 727 00:46:14,560 --> 00:46:17,520 Speaker 1: Gene Wilder singing in any rooms of my house, but 728 00:46:17,800 --> 00:46:21,640 Speaker 1: not automatically anyway, What are we even doing? I know 729 00:46:22,200 --> 00:46:24,279 Speaker 1: I'm rethinking a number of things, is what I'm doing. 730 00:46:25,760 --> 00:46:29,359 Speaker 1: John or Sergeant Mac wrote, Having lived in Virginia most 731 00:46:29,360 --> 00:46:32,160 Speaker 1: of my life and experiencing many hurricanes, I find that 732 00:46:32,200 --> 00:46:35,200 Speaker 1: peanut butter and jelly sandwiches are the unsung heroes of 733 00:46:35,239 --> 00:46:38,319 Speaker 1: emergency foods. Everyone has the makings in their home. They 734 00:46:38,320 --> 00:46:41,080 Speaker 1: can be bought almost anywhere, including gas stations. They are 735 00:46:41,120 --> 00:46:44,239 Speaker 1: filling and kind of nourishing. The ingredients are portable and 736 00:46:44,239 --> 00:46:47,800 Speaker 1: need no refrigeration nor water, and anyone can make them 737 00:46:47,840 --> 00:46:50,080 Speaker 1: when you're back at work after six days without power. 738 00:46:50,400 --> 00:46:53,960 Speaker 1: That is what the people are eating. All hail peanut butter, 739 00:46:55,000 --> 00:46:58,880 Speaker 1: All hail peanut butter, and hale all hell. If I 740 00:46:59,000 --> 00:47:01,800 Speaker 1: were to fall succumbed to a cult, I'm sure peanut 741 00:47:01,840 --> 00:47:04,440 Speaker 1: butter would be involved. Oh my goodness, it's certainly would. 742 00:47:05,680 --> 00:47:10,319 Speaker 1: Not that I'm planning that, But you know now that 743 00:47:10,360 --> 00:47:12,560 Speaker 1: you mention it, Yeah, it's a great plan. It's just 744 00:47:12,640 --> 00:47:17,799 Speaker 1: like a dummy made of peanut butter bars. I'm giving 745 00:47:17,840 --> 00:47:21,480 Speaker 1: you ideas. Why am I doing this? I don't know, geez, 746 00:47:21,560 --> 00:47:26,680 Speaker 1: I couldn't tell you all right, Well, thanks to both 747 00:47:26,719 --> 00:47:29,480 Speaker 1: of them for writing in. You two can write us. 748 00:47:29,520 --> 00:47:32,160 Speaker 1: Our email is food Stuff at how stuff works dot com. 749 00:47:32,239 --> 00:47:34,600 Speaker 1: We're also on social media. You can find us on 750 00:47:34,600 --> 00:47:37,960 Speaker 1: Facebook and Twitter at food Stuff h s W stands 751 00:47:37,960 --> 00:47:41,360 Speaker 1: for how stuff Works, or on Instagram at food Stuff. 752 00:47:41,719 --> 00:47:43,799 Speaker 1: We do hope to hear from you. Thank you as 753 00:47:43,840 --> 00:47:47,279 Speaker 1: always to our super producer Dylan kay Fagan who who 754 00:47:47,320 --> 00:47:50,360 Speaker 1: who extra super produced this episode all of that wonderful 755 00:47:51,040 --> 00:47:58,239 Speaker 1: uh thematic stuff, Yeah, yeah, noise stuff, audio stuff, emotions. 756 00:47:58,920 --> 00:48:02,280 Speaker 1: That's him, that was whom, that was him. Thank you Dylan, Um, 757 00:48:02,280 --> 00:48:04,120 Speaker 1: thanks to you for listening, and we hope that lots 758 00:48:04,160 --> 00:48:22,120 Speaker 1: more good things are coming your way. H