1
00:00:09,360 --> 00:00:11,360
Speaker 1: Hello, and welcome to Save for Predictive. iHeart Radio.

2
00:00:11,400 --> 00:00:14,480
Speaker 2: I'm Anniris and I'm Lauren Vogelbaum. And today we have

3
00:00:14,560 --> 00:00:17,959
Speaker 2: a classic episode for you. That is our very first

4
00:00:18,680 --> 00:00:22,360
Speaker 2: reading of a kind of fairy tale and discussion of such,

5
00:00:22,800 --> 00:00:27,479
Speaker 2: which was a Goblin Market, a poem by Christina Rossetti.

6
00:00:28,280 --> 00:00:31,320
Speaker 1: Yeah, it was so fun. We love doing these so much.

7
00:00:31,440 --> 00:00:35,880
Speaker 1: Oh yeah, we were really lucky to get to work

8
00:00:35,920 --> 00:00:38,880
Speaker 1: with our friends Robert Lamb and Joe McCormick from Stuff

9
00:00:38,880 --> 00:00:42,840
Speaker 1: to Blow Your Mind. It was just such a It's

10
00:00:42,920 --> 00:00:45,000
Speaker 1: just we're all nerds, so when we get to do

11
00:00:45,040 --> 00:00:47,840
Speaker 1: stuff like this, it's so fun.

12
00:00:48,479 --> 00:00:53,040
Speaker 2: Yeah, and like a nerds about dramatic readings, we're just like,

13
00:00:53,120 --> 00:00:56,360
Speaker 2: oh yeah, we're all absolute hams. So just put us

14
00:00:56,400 --> 00:00:58,000
Speaker 2: in front of a microphone and let us get weird

15
00:00:58,040 --> 00:01:01,640
Speaker 2: with it. But b we're we're all nerds about like

16
00:01:01,760 --> 00:01:06,440
Speaker 2: literature and fantasy and all of these kind of tropes.

17
00:01:06,440 --> 00:01:09,240
Speaker 2: We have a really good discussion at the end about

18
00:01:09,240 --> 00:01:13,000
Speaker 2: this poem and there's some really beautiful music in there

19
00:01:13,120 --> 00:01:17,119
Speaker 2: that Dylan Fagan I believe wrote and performed for us.

20
00:01:18,959 --> 00:01:22,160
Speaker 1: Oh so talented, but what everyone we work with so talented?

21
00:01:23,400 --> 00:01:25,480
Speaker 1: But yeah, it also has really fun horror elements, so

22
00:01:25,560 --> 00:01:28,880
Speaker 1: you know, we love hmmm, we love that stuff too.

23
00:01:29,600 --> 00:01:32,560
Speaker 2: And I forget every time with this poem exactly how weird.

24
00:01:32,560 --> 00:01:36,639
Speaker 1: It gets very very weird.

25
00:01:38,680 --> 00:01:42,479
Speaker 2: So so yes, you know, it's the end of the year,

26
00:01:42,640 --> 00:01:45,480
Speaker 2: we wanted to sort of close out with something that

27
00:01:45,520 --> 00:01:49,080
Speaker 2: wouldn't be too too much work for everyone here on

28
00:01:49,120 --> 00:01:52,320
Speaker 2: the Savor team. And also that yeah, just just you know,

29
00:01:52,360 --> 00:01:53,920
Speaker 2: sit back and let us read your story.

30
00:01:54,960 --> 00:01:59,360
Speaker 1: Yes, yes, m well with that, I guess we'll let

31
00:02:00,080 --> 00:02:15,680
Speaker 1: the former crew all of us take it away. Hello,

32
00:02:15,800 --> 00:02:17,880
Speaker 1: and welcome to food Stuff. I'm Annie Reeth.

33
00:02:17,800 --> 00:02:19,120
Speaker 2: And I'm Lare and vocal bam.

34
00:02:19,400 --> 00:02:22,960
Speaker 1: And this is a very special episode of food Stuff.

35
00:02:23,280 --> 00:02:25,600
Speaker 2: Aren't all episodes of food Stuff special?

36
00:02:26,200 --> 00:02:27,360
Speaker 1: Oh you're like my mom.

37
00:02:29,120 --> 00:02:32,640
Speaker 2: No, it is though, because because today we're we're gonna

38
00:02:32,639 --> 00:02:34,639
Speaker 2: we're gonna tell you a story. We're going to read

39
00:02:34,680 --> 00:02:37,040
Speaker 2: you a story dramatically. I mean we always do that,

40
00:02:37,480 --> 00:02:37,839
Speaker 2: we do.

41
00:02:38,680 --> 00:02:43,440
Speaker 1: Uh, we're off to a bad start, now we're okay.

42
00:02:43,480 --> 00:02:46,440
Speaker 1: So we had this idea to do kind of a

43
00:02:46,480 --> 00:02:50,720
Speaker 1: mini series or a recurring segment. Sure, but we wanted

44
00:02:50,760 --> 00:02:54,800
Speaker 1: to tell some food Stuff fairy tales. We wanted to

45
00:02:54,840 --> 00:02:59,720
Speaker 1: read them in a hopefully enjoyable, semi dramatic fashion and

46
00:02:59,760 --> 00:03:01,560
Speaker 1: then discuss Yeah.

47
00:03:01,720 --> 00:03:04,959
Speaker 2: Yeah, because one of the really pervasive elements of fairy

48
00:03:04,960 --> 00:03:09,120
Speaker 2: tales and fantasy stories is food. You know, from like

49
00:03:09,160 --> 00:03:12,200
Speaker 2: the those lavish descriptions of feasts and like George R.

50
00:03:12,240 --> 00:03:15,840
Speaker 2: Martin's Song of Ice and Fire, to specific foods that

51
00:03:15,880 --> 00:03:21,400
Speaker 2: are used symbolically in fables like aesops hypothetically sour grapes. Yeah,

52
00:03:21,480 --> 00:03:24,400
Speaker 2: to the hunger that's often portrayed in fairy tales, like

53
00:03:24,440 --> 00:03:27,800
Speaker 2: in Hansel and Gretel. So we wanted to discuss that

54
00:03:27,840 --> 00:03:30,600
Speaker 2: a bit, and yeah, also do for you a dramatic

55
00:03:30,639 --> 00:03:31,880
Speaker 2: reading of one such tale.

56
00:03:32,040 --> 00:03:34,480
Speaker 1: Mm hm. We are going to come back and do

57
00:03:34,600 --> 00:03:36,600
Speaker 1: more if you guys dig it, and I think that

58
00:03:36,640 --> 00:03:39,200
Speaker 1: you will. I hope that you will, but just today

59
00:03:39,520 --> 00:03:43,480
Speaker 1: we're not. There are so many fairy tales that involve people,

60
00:03:43,600 --> 00:03:47,119
Speaker 1: usually women, are children getting eaten, shopped up, eaten and cooked. Yeah,

61
00:03:47,120 --> 00:03:47,920
Speaker 1: there's a lot of those.

62
00:03:48,120 --> 00:03:51,440
Speaker 2: Yeah, Yeah, we're gonna save those for like a Halloween situation.

63
00:03:51,160 --> 00:03:52,800
Speaker 1: We think, yeah, I think so.

64
00:03:52,800 --> 00:03:56,920
Speaker 2: So. Yeah, cannibalism separate issue. And yes, we've heard all

65
00:03:56,920 --> 00:03:59,560
Speaker 2: of your requests for an episode about cannibalism.

66
00:03:59,160 --> 00:04:02,840
Speaker 1: We have for people that are like what, we have

67
00:04:02,880 --> 00:04:06,840
Speaker 1: a surprising number of requests for an episode about cannibalism,

68
00:04:07,920 --> 00:04:11,480
Speaker 1: so noted, And I like, just thinking about this, I

69
00:04:11,520 --> 00:04:15,080
Speaker 1: realized how many things I wouldn't even necessarily think of

70
00:04:15,280 --> 00:04:18,800
Speaker 1: right away, like snow white as the Poisonous Apple, where

71
00:04:18,800 --> 00:04:22,599
Speaker 1: you've got Alice in Wonderland with all kinds of things

72
00:04:22,640 --> 00:04:23,480
Speaker 1: happening there.

73
00:04:23,640 --> 00:04:26,360
Speaker 2: Oh yeah, and like, holy heck, will I ever get

74
00:04:26,400 --> 00:04:29,479
Speaker 2: in on reading some Alice's Adventures in Wonderland and or

75
00:04:29,520 --> 00:04:33,920
Speaker 2: through the Looking Glass because like that is a just

76
00:04:34,000 --> 00:04:36,599
Speaker 2: terrific and be in the public domain.

77
00:04:36,920 --> 00:04:38,880
Speaker 1: Yes, that's okay, So that is one thing that we

78
00:04:38,920 --> 00:04:41,800
Speaker 1: are limited by has to be in the public domain.

79
00:04:41,880 --> 00:04:44,560
Speaker 1: Then translation has to be in the public domain. Yes.

80
00:04:45,200 --> 00:04:48,400
Speaker 2: And actually our first reading selection is by an author

81
00:04:48,600 --> 00:04:53,880
Speaker 2: who was later influenced by Lewis Carroll and Alice's Adventures.

82
00:04:54,240 --> 00:04:54,480
Speaker 3: Yes.

83
00:04:54,920 --> 00:04:58,000
Speaker 2: To kick off this new periodic food stuff series, we

84
00:04:58,080 --> 00:05:01,240
Speaker 2: wanted to read for you and talk about poem Goblin

85
00:05:01,320 --> 00:05:05,040
Speaker 2: Market by Christina Georgina Rosetti m M.

86
00:05:06,040 --> 00:05:09,800
Speaker 1: It's a three thousand Oddward poem composed around eighteen sixty

87
00:05:09,800 --> 00:05:12,680
Speaker 1: one and published by Macmillan in eighteen sixty two in

88
00:05:12,760 --> 00:05:15,680
Speaker 1: Rosetti's first commercially published book of poetry.

89
00:05:16,360 --> 00:05:19,640
Speaker 2: Rosetti is considered one of the premier woman poets of

90
00:05:19,680 --> 00:05:22,839
Speaker 2: her time, like right behind Elizabeth Barrett Browning. She said

91
00:05:22,839 --> 00:05:26,320
Speaker 2: to have been like a very proprietus, particular and religious woman.

92
00:05:26,640 --> 00:05:28,720
Speaker 2: There was a child. She had a reputation for having

93
00:05:28,760 --> 00:05:32,599
Speaker 2: a really stormy temper. She was affiliated with an Anglo

94
00:05:32,640 --> 00:05:36,560
Speaker 2: Catholic church in England and volunteered extensively for the Saint

95
00:05:36,640 --> 00:05:41,480
Speaker 2: Mary Magdalene Penitentiary, a organization that worked with fallen women.

96
00:05:42,960 --> 00:05:45,040
Speaker 1: Yeah, that might be a recurring theme in what we're

97
00:05:45,040 --> 00:05:45,640
Speaker 1: about to read.

98
00:05:45,839 --> 00:05:50,520
Speaker 2: Indeed, she later refused to get on board with women's suffrage,

99
00:05:50,800 --> 00:05:54,159
Speaker 2: saying that she believed that quote the highest functions are

100
00:05:54,160 --> 00:05:57,760
Speaker 2: not in this world open to both sexes. But she

101
00:05:57,839 --> 00:06:00,040
Speaker 2: also said that, like, really, if the movement wanted to

102
00:06:00,080 --> 00:06:02,159
Speaker 2: get in and change things, that have to go ahead

103
00:06:02,160 --> 00:06:06,520
Speaker 2: and get female representatives in parliament. So interesting perspective there, Like,

104
00:06:06,640 --> 00:06:09,040
Speaker 2: don't give us the vote, just get us straight into parliament.

105
00:06:09,320 --> 00:06:10,680
Speaker 1: Yeah.

106
00:06:10,880 --> 00:06:14,159
Speaker 2: She was critical of slavery and imperialism and petitioned to

107
00:06:14,279 --> 00:06:16,840
Speaker 2: raise the age of consent. She never married, but did

108
00:06:16,880 --> 00:06:19,800
Speaker 2: remain close to her family, and particularly her artist and

109
00:06:19,800 --> 00:06:23,800
Speaker 2: writer brother Dante Gabriel, who supported her financially and professionally.

110
00:06:24,320 --> 00:06:27,919
Speaker 2: She dealt with various bouts of severe illness all her life,

111
00:06:27,960 --> 00:06:31,160
Speaker 2: and depression that historians can't really agree on whether it

112
00:06:31,200 --> 00:06:35,240
Speaker 2: was the result or at times the cause of those illnesses.

113
00:06:36,120 --> 00:06:38,720
Speaker 2: She was writing in a time that the pre Raphaelite

114
00:06:38,800 --> 00:06:42,880
Speaker 2: artistic movement was really flourishing, but she didn't overly associate

115
00:06:42,920 --> 00:06:46,200
Speaker 2: herself with it. But her work does bear a lot

116
00:06:46,200 --> 00:06:48,719
Speaker 2: of the same influences and hallmarks of it, like all

117
00:06:48,760 --> 00:06:52,920
Speaker 2: of this sort of medieval mythology reimagined through these very

118
00:06:53,000 --> 00:06:57,480
Speaker 2: Victorian sensibilities about like good and evil, purity, sin, what

119
00:06:57,720 --> 00:07:03,000
Speaker 2: gender is, love, sex, the pursuit of earthly pleasures. And

120
00:07:03,760 --> 00:07:06,000
Speaker 2: we picked Goblin Market for our first reading because it's

121
00:07:06,040 --> 00:07:10,880
Speaker 2: about food and temptation and indulgence and it's just real,

122
00:07:10,920 --> 00:07:12,360
Speaker 2: weird and real pretty.

123
00:07:12,680 --> 00:07:18,320
Speaker 1: Yeah. We recruited Robert Lamb and Joe McCormick, our colleagues

124
00:07:18,360 --> 00:07:20,680
Speaker 1: over at Stuff to blow your mind, Yes, to help

125
00:07:20,760 --> 00:07:22,920
Speaker 1: us read this, And there was definitely moments when we

126
00:07:22,920 --> 00:07:24,680
Speaker 1: were reading it we were all looking at each other like.

127
00:07:25,120 --> 00:07:28,040
Speaker 2: WHOA I think I started blushing a few times. I

128
00:07:28,160 --> 00:07:33,440
Speaker 2: was like, oh my goodness. The poem was actually rejected

129
00:07:33,520 --> 00:07:35,800
Speaker 2: like soundly by the first art critic who read it,

130
00:07:35,840 --> 00:07:40,400
Speaker 2: one John Ruskin. He praised its beauty and power, but

131
00:07:40,480 --> 00:07:45,160
Speaker 2: said that it was unpublishably full of quaintness and offenses.

132
00:07:46,320 --> 00:07:49,679
Speaker 2: He also criticized the irregular meter that is now basically

133
00:07:49,720 --> 00:07:53,800
Speaker 2: celebrated for and said she should exercise herself in the

134
00:07:53,840 --> 00:07:58,320
Speaker 2: Severest commonplace of meter until she can write as the public.

135
00:07:58,160 --> 00:08:04,320
Speaker 1: Like the Severest commonplace. Yeah, that's a burn right there.

136
00:08:04,880 --> 00:08:09,160
Speaker 1: It's super is also thanks to listener Caroline for recommending

137
00:08:09,280 --> 00:08:12,360
Speaker 1: she sent this to us forever ago. Yeah, ah, it's

138
00:08:12,600 --> 00:08:17,520
Speaker 1: it's great. And yeah, Joe, Joe McCormick and Robert Lamb

139
00:08:17,600 --> 00:08:20,720
Speaker 1: are great. And I guess we're gonna take a quick

140
00:08:20,760 --> 00:08:22,520
Speaker 1: break for a word from our sponsor and then we're

141
00:08:22,520 --> 00:08:24,480
Speaker 1: gonna get back. We're going to get into it.

142
00:08:35,600 --> 00:08:38,839
Speaker 2: And we're back. Thank you sponsor, And without further ado,

143
00:08:38,960 --> 00:08:42,440
Speaker 2: we present to you Goblin Market by Christina Rossetti.

144
00:08:46,240 --> 00:08:49,559
Speaker 4: Morning and evening maids heard the goblins cry.

145
00:08:49,920 --> 00:08:54,160
Speaker 5: Come buy our orchard. Fruits, come by, come by, apples

146
00:08:54,200 --> 00:08:59,719
Speaker 5: and quinces, lemons and oranges. Plump, unpecked cherries, melons and

147
00:08:59,760 --> 00:09:06,480
Speaker 5: red rasberries, bloom down cheeked peaches, swart headed moulberries, wild

148
00:09:06,600 --> 00:09:14,480
Speaker 5: freeborn cranberries, crab apples, dewberries, pineapples, blackberries, apricot strawberries, all

149
00:09:14,600 --> 00:09:19,640
Speaker 5: ripe together in summer weather. Morns that pass by, fair

150
00:09:19,840 --> 00:09:24,800
Speaker 5: eaves that fly come by. Come by, our grapes fresh

151
00:09:24,880 --> 00:09:30,920
Speaker 5: from the vine, pomegranates, full and fine, dates and sharp bullaces,

152
00:09:31,440 --> 00:09:36,720
Speaker 5: rare pears and green gages, damsons and billberries. Taste them

153
00:09:36,760 --> 00:09:43,400
Speaker 5: in try crants and gooseberries, bright fire like barberries, figs

154
00:09:43,440 --> 00:09:47,640
Speaker 5: to fill your mouth. Citrons from the south, sweet to

155
00:09:47,640 --> 00:09:51,560
Speaker 5: tongue and sound to aye, come by, come by.

156
00:09:52,960 --> 00:09:57,240
Speaker 4: Evening by evening among the brook side rushes, Laura bowed

157
00:09:57,240 --> 00:10:01,760
Speaker 4: her head to hear Lizzie veiled her blush, crouching close

158
00:10:01,840 --> 00:10:05,959
Speaker 4: together in the cooling weather with clasping arms and cautioning lips,

159
00:10:06,280 --> 00:10:11,000
Speaker 4: with tingling cheeks and fingertips. Lie close, Laura said, pricking

160
00:10:11,080 --> 00:10:12,080
Speaker 4: up her golden head.

161
00:10:12,280 --> 00:10:14,320
Speaker 2: We must not look at goblin men. We must not

162
00:10:14,400 --> 00:10:17,160
Speaker 2: buy their fruits. Who knows upon what soil they fed?

163
00:10:17,200 --> 00:10:20,560
Speaker 2: They're hungry, thirsty roots come by, called.

164
00:10:20,360 --> 00:10:24,720
Speaker 4: The goblins hobbling down the glen, Oh, cried Lizzie.

165
00:10:25,040 --> 00:10:27,679
Speaker 1: Laura, Laura, you should not peep at the goblin men.

166
00:10:28,360 --> 00:10:31,800
Speaker 4: Lizzie covered up her eyes, covered close lest they should look.

167
00:10:32,320 --> 00:10:36,480
Speaker 4: Laura reared her glossy head and whispered, like the restless brook.

168
00:10:36,880 --> 00:10:39,840
Speaker 2: Look, Lizzie, Look, Lizzie down the glen tramp little men.

169
00:10:40,160 --> 00:10:43,160
Speaker 2: One hauls a basket, one bears a plate, one lugs

170
00:10:43,160 --> 00:10:45,760
Speaker 2: a golden dish of many pounds weight. How fair the

171
00:10:45,840 --> 00:10:48,920
Speaker 2: vine must grow, Whose grapes are so luscious? How warm

172
00:10:48,960 --> 00:10:51,040
Speaker 2: the wind must blow through those fruit bushes.

173
00:10:51,880 --> 00:10:55,760
Speaker 1: No, said Lizzie, No, no, no, their offers should not

174
00:10:55,800 --> 00:10:58,719
Speaker 1: sharmas their evil gifts would Harmas.

175
00:10:58,720 --> 00:11:02,680
Speaker 4: She thrust a dimple finger in each ear, shut eyes

176
00:11:02,720 --> 00:11:07,520
Speaker 4: and ran curious, Laura chose to linger, wondering at each merchantman.

177
00:11:08,200 --> 00:11:12,320
Speaker 4: One had a cat's face, one whisked a tail, one

178
00:11:12,440 --> 00:11:15,920
Speaker 4: tramped at a rat's pace. One crawled like a snail,

179
00:11:16,440 --> 00:11:20,320
Speaker 4: one like a wombat, prowled obtuse and furry, one like

180
00:11:20,360 --> 00:11:24,360
Speaker 4: a ratal, tumbled hurry, scurry. She heard a voice like

181
00:11:24,559 --> 00:11:28,840
Speaker 4: voice of doves cooing. Altogether, they sounded kind and full

182
00:11:28,840 --> 00:11:33,280
Speaker 4: of loves in the pleasant weather. Laura stretched her gleaming

183
00:11:33,360 --> 00:11:36,680
Speaker 4: neck like a rush imbedded swan, like a lily, from

184
00:11:36,720 --> 00:11:40,320
Speaker 4: the beck, like a moonlit poplar branch, like a vessel

185
00:11:40,440 --> 00:11:44,640
Speaker 4: at the launch, when its last restraint is gone. Backwards

186
00:11:44,679 --> 00:11:47,679
Speaker 4: up the mossy glen turned and trooped the goblin men

187
00:11:48,040 --> 00:11:50,319
Speaker 4: with their shrill repeated cry.

188
00:11:50,280 --> 00:11:52,679
Speaker 3: Come by, come by.

189
00:11:52,840 --> 00:11:55,960
Speaker 4: When they reached where Laura was, they stood stock still

190
00:11:56,080 --> 00:11:59,960
Speaker 4: upon the moss, leering at each other, brother with queer brother,

191
00:12:00,520 --> 00:12:04,600
Speaker 4: signaling each other brother with sly brother. One set his

192
00:12:04,760 --> 00:12:08,640
Speaker 4: basket down, one reared his plate. One began to weave

193
00:12:08,679 --> 00:12:13,360
Speaker 4: a crown of tendrils, leaves, and rough nuts. Brown men

194
00:12:13,480 --> 00:12:17,360
Speaker 4: sell not such in any town. One heaved the golden

195
00:12:17,400 --> 00:12:19,839
Speaker 4: weight of dish and fruit to offer her.

196
00:12:20,280 --> 00:12:22,679
Speaker 3: Come by. Come by was.

197
00:12:22,640 --> 00:12:27,280
Speaker 4: Still their cry. Laura stared, but did not stir. Longed,

198
00:12:27,320 --> 00:12:30,319
Speaker 4: but had no money. The whisk tailed merchant bade her

199
00:12:30,360 --> 00:12:34,880
Speaker 4: taste in tones as smooth as honey. The cat faced purred,

200
00:12:35,280 --> 00:12:38,120
Speaker 4: the rat faced spoke a word of welcome, and the

201
00:12:38,200 --> 00:12:42,960
Speaker 4: snail paste even was heard. One parrot voiced and jolly cried.

202
00:12:42,840 --> 00:12:45,720
Speaker 5: Pretty goblin still for pretty Polly.

203
00:12:46,040 --> 00:12:50,199
Speaker 4: One whistled like a bird, but sweet tooth. Laura spoke in.

204
00:12:50,160 --> 00:12:52,760
Speaker 2: Haste, good folk, I have no coin to take or

205
00:12:52,840 --> 00:12:55,600
Speaker 2: too purloin. I have no copper in my purse. I

206
00:12:55,640 --> 00:12:58,000
Speaker 2: have no silver either, and all my gold is on

207
00:12:58,080 --> 00:13:00,959
Speaker 2: the furs that shakes in windy weather of the rusty heather.

208
00:13:01,720 --> 00:13:05,359
Speaker 4: You have much gold upon your head, they answered altogether.

209
00:13:05,760 --> 00:13:08,000
Speaker 5: By fromise with a golden curl.

210
00:13:08,800 --> 00:13:13,160
Speaker 4: She clipped a precious golden lock. She dropped a tear

211
00:13:13,480 --> 00:13:17,640
Speaker 4: more rare than pearl, then sucked their fruit, globes fair

212
00:13:17,840 --> 00:13:23,120
Speaker 4: or red, sweeter than honey from the rock, stronger than man, rejoicing,

213
00:13:23,200 --> 00:13:27,760
Speaker 4: wine clearer than water flowed that juice. She never tasted

214
00:13:27,800 --> 00:13:31,080
Speaker 4: such before, How should it kloy? With length of use?

215
00:13:31,640 --> 00:13:35,040
Speaker 4: She sucked and sucked, and sucked. The more fruits which

216
00:13:35,080 --> 00:13:39,000
Speaker 4: the unknown orchard bore. She sucked until her lips were sore,

217
00:13:39,360 --> 00:13:43,080
Speaker 4: then flung the emptied rines away, but gathered up one

218
00:13:43,200 --> 00:13:46,360
Speaker 4: kernel stone and knew not was it night or day.

219
00:13:46,800 --> 00:13:54,040
Speaker 4: As she turned home alone, Lizzie met her at the

220
00:13:54,080 --> 00:13:56,400
Speaker 4: gate full of wise upbraidings.

221
00:13:57,080 --> 00:13:59,720
Speaker 1: Dear, you should not stay so late. Twilight is not

222
00:13:59,760 --> 00:14:02,720
Speaker 1: good for maidens. Should not loiter in the glen in

223
00:14:02,840 --> 00:14:06,160
Speaker 1: the haunts of goblin men. Do you not remember Jeanie,

224
00:14:06,360 --> 00:14:09,000
Speaker 1: how she met them in the moonlight, took their gifts,

225
00:14:09,000 --> 00:14:12,480
Speaker 1: both choice and many, ate their fruits, and wore their flowers,

226
00:14:12,880 --> 00:14:17,000
Speaker 1: plucked from bowers where summer ripens at all hours, but

227
00:14:17,120 --> 00:14:20,440
Speaker 1: ever in the noonlight she pined and pined away, sought

228
00:14:20,440 --> 00:14:23,320
Speaker 1: them by night and day, found them no more, but

229
00:14:23,440 --> 00:14:26,680
Speaker 1: dwindled and grew gray, then fell with the first snow,

230
00:14:26,920 --> 00:14:29,400
Speaker 1: While to this day no grass will grow where she

231
00:14:29,520 --> 00:14:33,200
Speaker 1: lies low. I planted daisies there a year ago, that

232
00:14:33,320 --> 00:14:35,440
Speaker 1: never clow. You should not loiter.

233
00:14:35,560 --> 00:14:38,040
Speaker 4: So nay hush, said Laura.

234
00:14:38,240 --> 00:14:40,920
Speaker 2: Nay hush, my sister, I ate and ate my filled,

235
00:14:41,000 --> 00:14:44,200
Speaker 2: Yet my mouth waters still. Tomorrow night I will buy.

236
00:14:44,040 --> 00:14:45,360
Speaker 4: More and kissed her.

237
00:14:45,720 --> 00:14:48,680
Speaker 2: Have done with sorrow. I'll bring you plums tomorrow, fresh

238
00:14:48,680 --> 00:14:52,000
Speaker 2: on their mother twigs. Cherry's worth getting. You cannot think

239
00:14:52,080 --> 00:14:55,280
Speaker 2: what figs my teeth of medon, What melons icy cold

240
00:14:55,360 --> 00:14:57,480
Speaker 2: piled on? A dish of gold too huge for me

241
00:14:57,560 --> 00:15:01,080
Speaker 2: to hold, What peaches with a velvet nap pellucid grapes

242
00:15:01,120 --> 00:15:04,560
Speaker 2: without one seed? Odorous? Indeed, must be the mead whereon

243
00:15:04,560 --> 00:15:07,520
Speaker 2: they grow, and pure the wave they drink with lilies

244
00:15:07,560 --> 00:15:09,480
Speaker 2: at the brink, and sugars sweet.

245
00:15:09,200 --> 00:15:13,440
Speaker 4: Their sap, golden head by golden head, Like two pigeons

246
00:15:13,520 --> 00:15:16,840
Speaker 4: in one nest, folded in each other's wings. They lay

247
00:15:16,920 --> 00:15:20,800
Speaker 4: down in their curtained bed, like two blossoms on one stem,

248
00:15:21,200 --> 00:15:24,480
Speaker 4: like two flakes of new fallen snow, like two wands

249
00:15:24,480 --> 00:15:28,640
Speaker 4: of ivory tipped with gold. For awful kings, moon and

250
00:15:28,720 --> 00:15:32,280
Speaker 4: stars gazed in at them. Wind sang to them lullaby

251
00:15:32,720 --> 00:15:36,720
Speaker 4: lumbering owls forbore to fly not a bat flapped to

252
00:15:36,760 --> 00:15:39,840
Speaker 4: and fro round their rest, cheek to cheek, and breast

253
00:15:39,920 --> 00:15:43,800
Speaker 4: to breast, locked together in one nest early in the morning,

254
00:15:43,880 --> 00:15:47,400
Speaker 4: when the first cock crowed his warning, neat like bees

255
00:15:47,840 --> 00:15:52,960
Speaker 4: as sweet and busy, Laura rose with Lizzie, fetched in honey, milked,

256
00:15:53,000 --> 00:15:56,680
Speaker 4: the cows, aired and set to rights. The house kneaded

257
00:15:56,760 --> 00:16:01,120
Speaker 4: cakes of white as sweet cakes for dainty mouths to eat. Next,

258
00:16:01,240 --> 00:16:05,600
Speaker 4: churned butter, whipped up cream fed their poultry, sat and sewed,

259
00:16:06,040 --> 00:16:09,640
Speaker 4: talked as modest maidens should Lizzie with an open heart.

260
00:16:10,000 --> 00:16:14,120
Speaker 4: Laura in an absent dream one content one sick in

261
00:16:14,200 --> 00:16:18,240
Speaker 4: part one, warbling for the mere bright day's delight, one

262
00:16:18,320 --> 00:16:22,800
Speaker 4: longing for the night at length, slow evening came. They

263
00:16:22,840 --> 00:16:26,560
Speaker 4: went with pitchers to the reedy brook, Lizzie most placid

264
00:16:26,600 --> 00:16:30,560
Speaker 4: in her look, Laura most like a leaping flame. They

265
00:16:30,680 --> 00:16:34,520
Speaker 4: drew the gurgling water from its deep. Lizzie plucked purple

266
00:16:34,560 --> 00:16:38,119
Speaker 4: and rich golden flags, then, turning homewards, said.

267
00:16:38,440 --> 00:16:43,200
Speaker 1: The sunset flushes those furthest loftiest crags. Come, Laura, not

268
00:16:43,280 --> 00:16:47,160
Speaker 1: another maiden lags, No wilful squirrel wags. The beasts and

269
00:16:47,200 --> 00:16:48,400
Speaker 1: birds are fast asleep.

270
00:16:49,080 --> 00:16:52,200
Speaker 4: But Laura loitered still among the rushes, and said the

271
00:16:52,200 --> 00:16:55,360
Speaker 4: bank was steep, and said the hour was early, still,

272
00:16:55,760 --> 00:16:59,280
Speaker 4: the dew not fallen, the wind not chill. Listening ever,

273
00:16:59,400 --> 00:17:01,840
Speaker 4: but not catching the customary.

274
00:17:01,360 --> 00:17:03,760
Speaker 3: Cry, come by, come by.

275
00:17:03,960 --> 00:17:07,760
Speaker 4: With its iterated jingle of sugar baited words. Not for

276
00:17:07,880 --> 00:17:14,160
Speaker 4: all her watching, once discerning even one goblin racing, whisking, tumbling, hobbling,

277
00:17:14,600 --> 00:17:17,480
Speaker 4: Let alone the herds that used to tramp along the

278
00:17:17,520 --> 00:17:21,560
Speaker 4: glen in groups or single of brisk fruit merchant men,

279
00:17:22,600 --> 00:17:23,520
Speaker 4: till Lizzie.

280
00:17:23,359 --> 00:17:26,600
Speaker 1: Urged, Oh, Laura, come, I hear the fruit call, but

281
00:17:26,640 --> 00:17:29,400
Speaker 1: I dare not look. You should not loiter longer at

282
00:17:29,440 --> 00:17:33,159
Speaker 1: this brook. Come with me home. The stars rise, the

283
00:17:33,160 --> 00:17:36,399
Speaker 1: moon bends her arc. Each glow worm winks her spark.

284
00:17:37,200 --> 00:17:39,679
Speaker 1: Let us get home before the night grows dark, for

285
00:17:39,800 --> 00:17:43,320
Speaker 1: clouds may gather, though this is summer weather. Put out

286
00:17:43,320 --> 00:17:46,199
Speaker 1: the lights and drenches through. Then if we lost our way,

287
00:17:46,280 --> 00:17:47,040
Speaker 1: what should we do?

288
00:17:48,040 --> 00:17:51,200
Speaker 4: Laura turned cold as stone to find her sister. Heard

289
00:17:51,200 --> 00:17:54,000
Speaker 4: that cry alone, that goblin cry.

290
00:17:53,880 --> 00:17:55,840
Speaker 5: Come by, I have fruits come by?

291
00:17:56,600 --> 00:18:00,000
Speaker 4: Must she then buy no more such dainty fruit? Must

292
00:18:00,119 --> 00:18:04,360
Speaker 4: she no more such suckus pasture? Find gone deaf and blind?

293
00:18:05,080 --> 00:18:08,320
Speaker 4: Her tree of life drooped from the root, She said,

294
00:18:08,400 --> 00:18:11,720
Speaker 4: not one word in her heart's sore ache, but peering

295
00:18:11,800 --> 00:18:16,480
Speaker 4: through the dimness, not discerning, trudged home, her pitcher dripping

296
00:18:16,520 --> 00:18:20,320
Speaker 4: all the way. So crept to bed and lay silent

297
00:18:20,400 --> 00:18:23,840
Speaker 4: till Lizzie slept. Then sat up in a passionate yearning

298
00:18:24,200 --> 00:18:27,600
Speaker 4: and gnashed her teeth for balked desire, and wept as

299
00:18:27,640 --> 00:18:31,520
Speaker 4: if her heart would break. Day after day, night after night,

300
00:18:31,840 --> 00:18:35,840
Speaker 4: Laura kept watch in vain, in sullen silence of exceeding pain.

301
00:18:36,400 --> 00:18:38,640
Speaker 4: She never caught again the goblin.

302
00:18:38,280 --> 00:18:40,919
Speaker 3: Cry, come by, come by.

303
00:18:41,119 --> 00:18:44,480
Speaker 4: She never spied the goblin men hawking their fruits along

304
00:18:44,520 --> 00:18:48,280
Speaker 4: the glen, but When the noon waxed bright, her hair

305
00:18:48,359 --> 00:18:52,280
Speaker 4: grew thin and gray. She dwindled as the fair full

306
00:18:52,320 --> 00:18:56,159
Speaker 4: moon doth turn to swift decay and burn her fire away.

307
00:18:56,920 --> 00:19:00,359
Speaker 4: One day, remembering her kernel stone, she s set it

308
00:19:00,400 --> 00:19:04,040
Speaker 4: by a wall that faced the south, dewed it with tears,

309
00:19:04,480 --> 00:19:08,040
Speaker 4: hoped for a root, watched for a waxing shoot, but

310
00:19:08,119 --> 00:19:11,400
Speaker 4: there came none. It never saw the sun, It never

311
00:19:11,480 --> 00:19:15,399
Speaker 4: felt the trickling moisture run. While with sunk eyes and

312
00:19:15,480 --> 00:19:19,240
Speaker 4: faded mouth, she dreamed of melons, as a traveler sees

313
00:19:19,400 --> 00:19:24,160
Speaker 4: false waves in desert, drouth with shade of leaf crowned trees,

314
00:19:24,640 --> 00:19:29,000
Speaker 4: and burns the thirstier in the sandful breeze. She no

315
00:19:29,080 --> 00:19:33,240
Speaker 4: more swept the house, tended the fowls or cows, fetched honey,

316
00:19:33,440 --> 00:19:37,280
Speaker 4: kneaded cakes of wheat, brought water from the brook, but

317
00:19:37,440 --> 00:19:40,320
Speaker 4: sat down listless in the chimney nook and would not

318
00:19:40,440 --> 00:19:44,240
Speaker 4: eat tender Lizzie could not bear to watch her sister's

319
00:19:44,320 --> 00:19:48,879
Speaker 4: cankerous care. Yet not to share, she night and morning

320
00:19:49,000 --> 00:19:50,560
Speaker 4: caught the goblin's cry.

321
00:19:50,640 --> 00:19:54,160
Speaker 5: Come by our orchard, fruits, come by, come by.

322
00:19:54,800 --> 00:19:58,000
Speaker 4: Beside the brook. Along the glen, she heard the tramp

323
00:19:58,040 --> 00:20:01,520
Speaker 4: of the goblin men the voice and stir. Poor Laura

324
00:20:01,600 --> 00:20:05,280
Speaker 4: could not hear. Longed to buy fruit to comfort her,

325
00:20:05,560 --> 00:20:08,880
Speaker 4: but feared to pay too dear. She thought of Genie

326
00:20:08,960 --> 00:20:11,720
Speaker 4: in her grave, who should have been a bride, but

327
00:20:11,840 --> 00:20:14,879
Speaker 4: who for Joy's brides hoped to have fell sick and

328
00:20:15,000 --> 00:20:18,800
Speaker 4: died in her gay prime in earliest winter time, with

329
00:20:18,920 --> 00:20:23,640
Speaker 4: the first glazing rhyme, with the first snowfall of crisp wintertime,

330
00:20:24,640 --> 00:20:28,720
Speaker 4: till Laura dwindling seemed knocking at death's door. Then Lizzie

331
00:20:28,720 --> 00:20:31,720
Speaker 4: weighed no more better and worse, but put a silver

332
00:20:31,800 --> 00:20:35,280
Speaker 4: penny in her purse. Kissed, Laura crossed the heath with

333
00:20:35,400 --> 00:20:39,439
Speaker 4: clumps of furs at twilight, halted by the brook, and

334
00:20:39,560 --> 00:20:42,080
Speaker 4: for the first time in her life, began to listen

335
00:20:42,280 --> 00:20:46,680
Speaker 4: and look. Laughed. Every goblin when they spied her, peeping,

336
00:20:47,040 --> 00:20:53,960
Speaker 4: came towards her, hobbling, flying, running, leaping, puffing and blowing, chuckling, clapping, crowing,

337
00:20:54,280 --> 00:20:59,600
Speaker 4: clucking and gobbling, mopping and mowing, full of airs and graces, pulling,

338
00:20:59,680 --> 00:21:05,760
Speaker 4: rye faces, demure grimaces, catlike and ratlike, ratal and wombat

339
00:21:05,960 --> 00:21:12,520
Speaker 4: like snail paced in a hurry. Parrot voiced and whistler, helter, skelter, hurry, scurry,

340
00:21:12,960 --> 00:21:18,320
Speaker 4: chattering like magpies, fluttering like pigeons, gliding like fishes. Hugged

341
00:21:18,359 --> 00:21:21,920
Speaker 4: her and kissed her, squeezed her and caressed her, stretched

342
00:21:22,000 --> 00:21:24,360
Speaker 4: up their dishes, penniers and plates.

343
00:21:24,840 --> 00:21:29,280
Speaker 5: Look at our apples, russet and done. Bob at our cherries,

344
00:21:29,520 --> 00:21:34,359
Speaker 5: Bite at our peaches, citrons and dates, grapes for the asking.

345
00:21:34,880 --> 00:21:39,000
Speaker 5: Pears red with basking out in the sun, Plums on

346
00:21:39,080 --> 00:21:43,600
Speaker 5: their twigs, plucked them and suck them, pomegranates, figs.

347
00:21:44,200 --> 00:21:48,080
Speaker 4: Good folk, said Lizzie, mindful of Genie, give me much,

348
00:21:48,119 --> 00:21:51,800
Speaker 4: and many held out her apron tossed them her penny.

349
00:21:52,359 --> 00:21:55,800
Speaker 5: Nay, take a seat with us, honor, and eat with us.

350
00:21:55,760 --> 00:21:56,840
Speaker 4: They answered, grinning.

351
00:21:57,040 --> 00:22:01,280
Speaker 5: Our feast is but beginning night. Yet is early, warm

352
00:22:01,359 --> 00:22:06,120
Speaker 5: and dew pearly, wakeful and starry. Such fruits as these,

353
00:22:06,320 --> 00:22:10,720
Speaker 5: no man can carry. Half their bloom would fly, half

354
00:22:10,760 --> 00:22:14,760
Speaker 5: their dew would dry, half their flavor would pass by.

355
00:22:15,560 --> 00:22:19,280
Speaker 5: Sit down and feast with us, Be welcome, guest with us,

356
00:22:19,720 --> 00:22:21,639
Speaker 5: Cheer you, and rest with us.

357
00:22:21,920 --> 00:22:23,680
Speaker 4: Thank you, said Lizzie.

358
00:22:23,840 --> 00:22:26,919
Speaker 1: But one waits at home alone for me. So without

359
00:22:26,960 --> 00:22:30,080
Speaker 1: further parleying if you will not sell me any of

360
00:22:30,119 --> 00:22:32,560
Speaker 1: your fruits, though much and many give me back my

361
00:22:32,640 --> 00:22:35,800
Speaker 1: silver penny I tossed you for a fee.

362
00:22:35,960 --> 00:22:39,960
Speaker 4: They began to scratch their pates, no longer wagging, purring,

363
00:22:40,240 --> 00:22:44,800
Speaker 4: but visibly demurring, grunting, and snarling. One called her proud

364
00:22:45,320 --> 00:22:50,400
Speaker 4: cross grained uncivil. Their tones waxed loud, their looks were evil.

365
00:22:51,000 --> 00:22:54,879
Speaker 4: Lashing their tails, they trod and hustled her, elbowed and

366
00:22:55,000 --> 00:23:01,040
Speaker 4: jostled her, clawed with their nails, barking, mewing, hissing, tore

367
00:23:01,119 --> 00:23:04,680
Speaker 4: her gown and soiled her stocking, twitched her hair out

368
00:23:04,720 --> 00:23:08,920
Speaker 4: by the roots stamped upon her tender feet, held her hands,

369
00:23:08,960 --> 00:23:12,520
Speaker 4: and squeezed their fruits against her mouth to make her eat.

370
00:23:13,600 --> 00:23:16,679
Speaker 4: White and golden. Lizzie stood like a lily in a flood,

371
00:23:17,119 --> 00:23:21,320
Speaker 4: like a rock of blue veined stone, lashed by tides, obstreperously,

372
00:23:21,840 --> 00:23:25,320
Speaker 4: like a beacon left alone in a hoary, roaring sea,

373
00:23:25,840 --> 00:23:30,200
Speaker 4: sending up a golden fire, Like a fruit crowned orange tree,

374
00:23:30,480 --> 00:23:35,200
Speaker 4: white with blossoms, honey, sweet sore, beset by wasp and bee,

375
00:23:35,640 --> 00:23:39,159
Speaker 4: like a royal virgin town, topped with gilded dome and

376
00:23:39,240 --> 00:23:43,480
Speaker 4: spire close beleaguered by a fleet mad to tug her

377
00:23:43,480 --> 00:23:48,040
Speaker 4: standard down. One may lead a horse to water, twenty

378
00:23:48,160 --> 00:23:51,640
Speaker 4: cannot make him drink. Though the goblins cuffed and caught her,

379
00:23:51,920 --> 00:23:55,600
Speaker 4: coaxed and fought her, bullied and besought her, scratched her,

380
00:23:55,880 --> 00:23:59,359
Speaker 4: pinched her black as ink, kicked and knocked her, mauled

381
00:23:59,400 --> 00:24:02,520
Speaker 4: and mocked her. Lizzie uttered not a word, would not

382
00:24:02,680 --> 00:24:05,960
Speaker 4: open lip from lip lest they should cram a mouthful in,

383
00:24:06,480 --> 00:24:09,199
Speaker 4: but laughed in heart to feel the drip of juice

384
00:24:09,280 --> 00:24:12,800
Speaker 4: that sirruped all her face and lodged in dimples of

385
00:24:12,840 --> 00:24:16,320
Speaker 4: her chin, and streaked her neck, which quaked like curd.

386
00:24:16,760 --> 00:24:20,280
Speaker 4: At last, the evil people, worn out by her resistance,

387
00:24:20,600 --> 00:24:24,400
Speaker 4: flung back her penny, kicked their fruit along whichever road

388
00:24:24,480 --> 00:24:28,199
Speaker 4: they took, not leaving root or stone or shoot. Some

389
00:24:28,440 --> 00:24:32,000
Speaker 4: writhed into the ground, some dived into the brook with

390
00:24:32,200 --> 00:24:36,080
Speaker 4: ring and ripple. Some scudded on the gale without a sound.

391
00:24:36,400 --> 00:24:41,120
Speaker 4: Some vanished in the distance in a smart ache tingle.

392
00:24:41,560 --> 00:24:44,600
Speaker 4: Lizzie went her way, knew not was it night or day,

393
00:24:45,040 --> 00:24:48,960
Speaker 4: sprang up the bank, tore through the furs, threaded copse

394
00:24:49,040 --> 00:24:52,439
Speaker 4: and dingle, and heard her penny jingle bouncing in her purse.

395
00:24:53,000 --> 00:24:56,240
Speaker 4: Its bounce was music to her ear. She ran and ran,

396
00:24:56,400 --> 00:24:59,919
Speaker 4: as if she feared some goblin man dogged her with gibe,

397
00:25:00,200 --> 00:25:04,200
Speaker 4: curse or something worse. But not one goblin scurried after,

398
00:25:04,680 --> 00:25:07,880
Speaker 4: nor was she pricked by fear. The kind heart made

399
00:25:07,920 --> 00:25:11,520
Speaker 4: her windy paste that urged her home, quite out of breath.

400
00:25:11,560 --> 00:25:17,600
Speaker 4: With haste and inward laughter, she cried, Laura, up the garden, did.

401
00:25:17,440 --> 00:25:20,760
Speaker 1: You miss me? Come and kiss me. Never mind my bruises,

402
00:25:20,920 --> 00:25:24,280
Speaker 1: Hug me, kiss me, suck my juices squeezed from goblin

403
00:25:24,320 --> 00:25:28,080
Speaker 1: fruits for you, Goblin pulp and goblin do eat me,

404
00:25:28,200 --> 00:25:32,000
Speaker 1: drink me, love me, Laura, make much of me. For

405
00:25:32,040 --> 00:25:34,480
Speaker 1: your sake, I have braved the glen and had to

406
00:25:34,520 --> 00:25:35,919
Speaker 1: do with goblin merchantmen.

407
00:25:36,760 --> 00:25:39,600
Speaker 4: Laura started from her chair, flung her arms up in

408
00:25:39,640 --> 00:25:41,240
Speaker 4: the air, clutched her hair.

409
00:25:41,440 --> 00:25:44,680
Speaker 2: Lizzy, Lizzie, have you tasted for my sake the fruit forbidden?

410
00:25:44,960 --> 00:25:47,639
Speaker 2: Must your light like mine be hidden, your young life

411
00:25:47,760 --> 00:25:51,480
Speaker 2: like mine be wasted, undone in mine, undoing and ruined

412
00:25:51,480 --> 00:25:54,960
Speaker 2: in my ruin. Thirsty, cankered, goblin ridden, she.

413
00:25:55,000 --> 00:25:58,240
Speaker 4: Clung about her sister, kissed and kissed and kissed her

414
00:25:58,280 --> 00:26:01,840
Speaker 4: tears once again refreshed, her sh shrunken, eyes dropping like

415
00:26:02,000 --> 00:26:07,159
Speaker 4: rain after long sultry drouth, Shaking with anguish, fear and pain,

416
00:26:07,520 --> 00:26:10,520
Speaker 4: she kissed and kissed her with a hungry mouth. Her

417
00:26:10,560 --> 00:26:14,720
Speaker 4: lips began to scorch. That juice was wormwood to her tongue.

418
00:26:14,880 --> 00:26:19,159
Speaker 4: She loathed the feast, writhing as one possessed. She leaped

419
00:26:19,200 --> 00:26:22,520
Speaker 4: and sung, rent all her robe, and wrung her hands

420
00:26:22,560 --> 00:26:26,879
Speaker 4: in lamentable haste, and beat her breast. Her locks streamed

421
00:26:26,960 --> 00:26:29,879
Speaker 4: like the torch borne by a racer at full speed,

422
00:26:30,400 --> 00:26:32,919
Speaker 4: or like the mane of horses in their flight, or

423
00:26:33,000 --> 00:26:36,159
Speaker 4: like an eagle when she stems the light straight toward

424
00:26:36,200 --> 00:26:39,679
Speaker 4: the sun, or like a caged thing freed, or like

425
00:26:39,720 --> 00:26:44,120
Speaker 4: a flying flag when armies run. Swift fire spread through

426
00:26:44,119 --> 00:26:48,040
Speaker 4: her veins, knocked at her heart, met the fire smoldering there,

427
00:26:48,080 --> 00:26:52,119
Speaker 4: and overbore its lesser flame. She gorged on bitterness without

428
00:26:52,119 --> 00:26:55,440
Speaker 4: a name. Ah fool to choose such part of soul,

429
00:26:55,600 --> 00:26:59,679
Speaker 4: consuming care since failed in the mortal strife, Like the

430
00:26:59,720 --> 00:27:03,280
Speaker 4: water tower of a town which an earthquake shatters down

431
00:27:03,720 --> 00:27:07,320
Speaker 4: like a lightning stricken mast, like a wind uprooted tree

432
00:27:07,359 --> 00:27:11,360
Speaker 4: spun about like a foam topped water spout, cast down

433
00:27:11,480 --> 00:27:15,320
Speaker 4: headlong in the sea. She fell at last, Pleasure passed,

434
00:27:15,359 --> 00:27:19,160
Speaker 4: and anguish passed. Is it death or is it life?

435
00:27:19,400 --> 00:27:22,760
Speaker 4: Life out of death? That night long Lizzie watched by her,

436
00:27:23,080 --> 00:27:27,560
Speaker 4: counted her pulses flagging, stir felt for her breath, held

437
00:27:27,640 --> 00:27:30,920
Speaker 4: water to her lips, and cooled her face with tears

438
00:27:30,960 --> 00:27:34,280
Speaker 4: and fanning leaves. But when the first birds chirped about

439
00:27:34,280 --> 00:27:37,879
Speaker 4: their eaves, and early reapers plodded to the place of

440
00:27:37,960 --> 00:27:41,879
Speaker 4: golden sheaves and dew wet grass bowed in the morning,

441
00:27:41,920 --> 00:27:45,480
Speaker 4: winds so brisk to pass, and new buds with new

442
00:27:45,560 --> 00:27:48,959
Speaker 4: day opened of cup like lilies on the stream, Laura

443
00:27:49,000 --> 00:27:52,760
Speaker 4: awoke as from a dream, laughed in the innocent old way,

444
00:27:53,200 --> 00:27:57,280
Speaker 4: hugged Lizzie, but not twice or thrice. Her gleaming locks

445
00:27:57,320 --> 00:28:00,600
Speaker 4: showed not one thread of gray. Her breath was sweet

446
00:28:00,640 --> 00:28:05,560
Speaker 4: as may, and light danced in her eyes. Days, weeks, months,

447
00:28:05,800 --> 00:28:09,359
Speaker 4: years afterwards, when both were wives, with children of their own,

448
00:28:09,720 --> 00:28:13,239
Speaker 4: their mother hearts beset with fears, their lives bound up

449
00:28:13,280 --> 00:28:16,560
Speaker 4: in tender lives, Laura would call the little ones and

450
00:28:16,600 --> 00:28:20,320
Speaker 4: tell them of her early prime, those pleasant days long gone,

451
00:28:20,400 --> 00:28:24,080
Speaker 4: of not returning time would talk about the haunted glen,

452
00:28:24,359 --> 00:28:28,159
Speaker 4: the wicked, quaint fruit merchantmen, their fruits like honey to

453
00:28:28,200 --> 00:28:31,720
Speaker 4: the throat, but poison in the blood men sell not

454
00:28:31,880 --> 00:28:35,000
Speaker 4: such in any town. Would tell them how her sister

455
00:28:35,080 --> 00:28:38,200
Speaker 4: stood in deadly peril to do her good and win

456
00:28:38,280 --> 00:28:42,240
Speaker 4: the fiery antidote. Then, joining hands to little hands, would

457
00:28:42,240 --> 00:28:44,440
Speaker 4: bid them cling together, for.

458
00:28:44,360 --> 00:28:46,720
Speaker 2: There is no friend like a sister in calm or

459
00:28:46,760 --> 00:28:49,360
Speaker 2: stormy weather. To cheer one on the tedious way, to

460
00:28:49,440 --> 00:28:52,200
Speaker 2: fetch one if one goes astray, to lift one, if

461
00:28:52,200 --> 00:28:55,280
Speaker 2: one totters down, to strengthen whilst one stands.

462
00:29:07,240 --> 00:29:12,080
Speaker 1: We hope you enjoyed, yes, that reading listeners as much

463
00:29:12,080 --> 00:29:15,640
Speaker 1: as we enjoyed doing it. We do have some discussion.

464
00:29:15,720 --> 00:29:17,680
Speaker 1: We kind of sort of got to talking about this

465
00:29:17,800 --> 00:29:20,880
Speaker 1: after we I was gonna say, reenacted, but we did

466
00:29:20,920 --> 00:29:24,000
Speaker 1: not do that. No, we just read it with voices.

467
00:29:25,200 --> 00:29:30,520
Speaker 1: That's what we did. There was no reenacting involved, no goodness. Also,

468
00:29:30,640 --> 00:29:32,800
Speaker 1: I guess this was a fantasy, so.

469
00:29:34,560 --> 00:29:36,960
Speaker 2: You can't reenact. It never happened in the first place.

470
00:29:37,680 --> 00:29:42,280
Speaker 1: Yes, anyway, we had some thoughts, Yes, and we are

471
00:29:42,360 --> 00:29:44,440
Speaker 1: going to take a quick break for a word from

472
00:29:44,480 --> 00:29:58,240
Speaker 1: our sponsor, and then be right back with those and

473
00:29:58,320 --> 00:30:03,000
Speaker 1: we're back. Thank you sponsor. Now back to past Annie, Lauren,

474
00:30:03,080 --> 00:30:05,640
Speaker 1: Robert and Joe and our thoughts about the goblin market.

475
00:30:05,760 --> 00:30:12,080
Speaker 4: Yeah, I get the feeling that the goblins represent men.

476
00:30:12,720 --> 00:30:15,400
Speaker 3: Oh yes, I would agree that, mate.

477
00:30:15,440 --> 00:30:17,480
Speaker 1: That might have something I think.

478
00:30:18,200 --> 00:30:19,840
Speaker 6: Yeah, it's a very It.

479
00:30:19,880 --> 00:30:22,160
Speaker 4: Just seems to offer like a like you don't need

480
00:30:22,200 --> 00:30:24,480
Speaker 4: to go down to the goblins. What about sisterly love?

481
00:30:25,680 --> 00:30:25,880
Speaker 1: Right?

482
00:30:26,040 --> 00:30:28,440
Speaker 2: Yeah, yeah, what about your family love? Come on, what

483
00:30:28,560 --> 00:30:31,800
Speaker 2: about saving yourself and getting married? That's clearly the best

484
00:30:31,800 --> 00:30:33,880
Speaker 2: thing to do. Don't eat that goblin fruit.

485
00:30:34,680 --> 00:30:36,280
Speaker 1: No matter how tempting it is.

486
00:30:36,720 --> 00:30:39,160
Speaker 2: Right mm hmm, Yeah, they'll call to you at night.

487
00:30:39,920 --> 00:30:44,400
Speaker 1: Yes, yes, it's yes, I think I've seen it reminds

488
00:30:44,400 --> 00:30:47,760
Speaker 1: me of a lot of horror movies where women will

489
00:30:47,800 --> 00:30:51,200
Speaker 1: fall in love with a monster. I've always found that

490
00:30:51,240 --> 00:30:53,360
Speaker 1: an interesting trope.

491
00:30:54,640 --> 00:30:58,400
Speaker 4: Yeah, so I have a question. Yeah, is Lizzie supposed

492
00:30:58,440 --> 00:30:59,640
Speaker 4: to be Jesus?

493
00:31:01,000 --> 00:31:05,200
Speaker 2: See, that's a great question because I the author, Christinaozetti,

494
00:31:06,080 --> 00:31:08,880
Speaker 2: maintains that there was no Christian allegory in it, but

495
00:31:09,320 --> 00:31:11,760
Speaker 2: it is like a physical self sacrifice.

496
00:31:11,840 --> 00:31:15,880
Speaker 4: Yeah, she like sacrifices her body and she comes back,

497
00:31:15,880 --> 00:31:18,440
Speaker 4: and then she says like eat of me, drink of me,

498
00:31:18,600 --> 00:31:19,440
Speaker 4: and love me or.

499
00:31:19,440 --> 00:31:20,480
Speaker 1: Something, make much of me.

500
00:31:20,760 --> 00:31:21,040
Speaker 4: Yeah.

501
00:31:21,160 --> 00:31:24,800
Speaker 1: Yeah, like I even read that. I caught myself like

502
00:31:24,960 --> 00:31:27,000
Speaker 1: doing it. How I would a prayer that you would

503
00:31:27,040 --> 00:31:28,600
Speaker 1: say in church over and over again, like when I

504
00:31:28,640 --> 00:31:31,640
Speaker 1: was a kid. Yeah, like picked up that tone subconsciously.

505
00:31:31,640 --> 00:31:34,000
Speaker 1: I didn't even think about it, So it had that

506
00:31:34,080 --> 00:31:35,880
Speaker 1: for me. I was picking up on that.

507
00:31:36,160 --> 00:31:39,480
Speaker 6: Yeah, the idea being somebody has to fall to the goblins,

508
00:31:39,520 --> 00:31:42,400
Speaker 6: like somebody has to buy the goblin because ultimately somebody

509
00:31:42,440 --> 00:31:46,000
Speaker 6: has to support the goblin economy. Oh yeah, this is

510
00:31:46,320 --> 00:31:47,240
Speaker 6: the driving force.

511
00:31:47,360 --> 00:31:47,600
Speaker 1: Yeah.

512
00:31:47,600 --> 00:31:51,360
Speaker 4: But also Lizzie is presented as a sinless sacrifice, like

513
00:31:51,560 --> 00:31:55,000
Speaker 4: she is morally pure. She doesn't have like the parian

514
00:31:55,160 --> 00:31:57,360
Speaker 4: interests that Laura does.

515
00:31:58,120 --> 00:32:00,200
Speaker 2: Yeah, the first time that she falls down into in

516
00:32:01,720 --> 00:32:03,800
Speaker 2: First of all, she remains pure, she doesn't actually eat

517
00:32:04,040 --> 00:32:06,080
Speaker 2: on purpose any of the fruit, and second of all,

518
00:32:06,160 --> 00:32:08,120
Speaker 2: she only does it in order to save her sister.

519
00:32:08,280 --> 00:32:12,280
Speaker 4: Yeah. Yeah, sort of like coming down and into a

520
00:32:12,280 --> 00:32:15,160
Speaker 4: sinful world. I don't know, maybe I'm reading too much. Yeah,

521
00:32:15,320 --> 00:32:19,000
Speaker 4: So Rosetti says she didn't mean any of that. Yeah, Well,

522
00:32:19,040 --> 00:32:21,200
Speaker 4: I mean I can actually believe. I can see it

523
00:32:21,200 --> 00:32:22,400
Speaker 4: could be one of those things. So you live in

524
00:32:22,480 --> 00:32:26,680
Speaker 4: Victorian culture. Maybe even if this is not, you didn't

525
00:32:26,720 --> 00:32:31,240
Speaker 4: mean it as an allegory for the New Testament or anything. Still,

526
00:32:31,280 --> 00:32:34,320
Speaker 4: like you're steeped in Christian religious themes and so like,

527
00:32:34,320 --> 00:32:36,280
Speaker 4: if you want to write a story, it's just a

528
00:32:36,320 --> 00:32:40,280
Speaker 4: story about self sacrifice and love. Your main reference point

529
00:32:40,400 --> 00:32:43,160
Speaker 4: is the existing archetype of the Christian story.

530
00:32:43,440 --> 00:32:46,600
Speaker 2: Absolutely, and she was a very religious woman. She was

531
00:32:46,760 --> 00:32:50,360
Speaker 2: very active in her church. She a couple times turned

532
00:32:50,400 --> 00:32:56,000
Speaker 2: down marriages because the Christian human dude in question wasn't

533
00:32:56,040 --> 00:33:00,760
Speaker 2: the right type of Christian. Oh okay, like King can't truck.

534
00:33:00,560 --> 00:33:01,440
Speaker 1: With those Catholics.

535
00:33:01,560 --> 00:33:05,240
Speaker 4: Oh, I see sort of thing. Yeah, she had she

536
00:33:05,280 --> 00:33:06,000
Speaker 4: had opinions.

537
00:33:07,280 --> 00:33:09,280
Speaker 2: She's a lady who had a lot of opinions.

538
00:33:09,520 --> 00:33:11,520
Speaker 1: Yes, well, this is a poem.

539
00:33:11,560 --> 00:33:14,800
Speaker 4: I can detect opinions in between the lines in it.

540
00:33:16,240 --> 00:33:21,320
Speaker 4: But man, it is it's funny. How so, So would

541
00:33:21,400 --> 00:33:23,920
Speaker 4: you say that the tone of this poem is moralistic?

542
00:33:25,360 --> 00:33:25,479
Speaker 5: Oh?

543
00:33:25,560 --> 00:33:28,600
Speaker 2: Yeah, yeah, I mean personally, I can't help but find

544
00:33:28,840 --> 00:33:32,280
Speaker 2: like a strong more moralistic bent in it.

545
00:33:32,680 --> 00:33:34,920
Speaker 6: See you know that's interesting because I favor a very

546
00:33:34,960 --> 00:33:39,280
Speaker 6: literal interpretation of the poem that goblins were literally selling

547
00:33:39,560 --> 00:33:41,719
Speaker 6: fruit to ladies Victorian times.

548
00:33:41,960 --> 00:33:44,360
Speaker 4: Well you could, well, yeah, I mean of course they

549
00:33:44,360 --> 00:33:44,920
Speaker 4: were right.

550
00:33:45,000 --> 00:33:46,160
Speaker 6: Yeah, of course.

551
00:33:46,600 --> 00:33:49,160
Speaker 2: Also it's interesting that you bring up the Goblin economy

552
00:33:49,240 --> 00:33:51,840
Speaker 2: because there has been some criticism about the poem that

553
00:33:51,920 --> 00:33:56,720
Speaker 2: talks about the uh. The way that Laura is made

554
00:33:56,760 --> 00:33:59,920
Speaker 2: into herself part of that economy, like the way that

555
00:34:00,080 --> 00:34:02,120
Speaker 2: she pays for it is with a literal part of.

556
00:34:02,080 --> 00:34:04,320
Speaker 4: Her are yeah, and a tear.

557
00:34:04,360 --> 00:34:05,520
Speaker 2: And oh and teardrop.

558
00:34:05,600 --> 00:34:08,000
Speaker 4: She pays for it with her body and with her suffering.

559
00:34:09,400 --> 00:34:11,200
Speaker 6: Wait, did the goblins even ask for the tears?

560
00:34:11,520 --> 00:34:13,560
Speaker 4: No, they didn't ask her for anything, just.

561
00:34:13,520 --> 00:34:16,960
Speaker 6: For the hair. But that was only the oh okay,

562
00:34:17,000 --> 00:34:18,799
Speaker 6: but that was after I don't have any money and

563
00:34:18,800 --> 00:34:20,600
Speaker 6: they said, well, your hair's pretty golden.

564
00:34:20,719 --> 00:34:26,360
Speaker 1: So they're like poifect, just what we wanted to hear.

565
00:34:28,160 --> 00:34:30,680
Speaker 4: See, we're in the whig business here here at the

566
00:34:30,680 --> 00:34:31,480
Speaker 4: Goblin market.

567
00:34:31,680 --> 00:34:34,840
Speaker 6: Let's see the upper class of Goblin society. They're more

568
00:34:34,880 --> 00:34:38,400
Speaker 6: into changelings. That's where the real money is. That somebody's

569
00:34:38,400 --> 00:34:39,120
Speaker 6: got to sell the fruit.

570
00:34:39,400 --> 00:34:41,680
Speaker 2: Yeah, if you don't have any babies on hand, then

571
00:34:41,800 --> 00:34:43,520
Speaker 2: it's absolutely Okay.

572
00:34:43,239 --> 00:34:44,800
Speaker 4: Well, I mean what I was going to say was

573
00:34:44,840 --> 00:34:47,640
Speaker 4: I think it's funny if you consider this poem moralistic.

574
00:34:47,680 --> 00:34:50,200
Speaker 4: I get moralistic vibes from it as well. It seems

575
00:34:50,239 --> 00:34:53,400
Speaker 4: like it's kind of like wagging a finger at I

576
00:34:53,400 --> 00:34:57,719
Speaker 4: don't know, shameful, sinful curiosity, and I get like indulgence, yeah,

577
00:34:57,800 --> 00:34:59,919
Speaker 4: like telling you to be good. But at the same time,

578
00:35:00,040 --> 00:35:01,719
Speaker 4: I feel like the poem is just kind of an

579
00:35:01,920 --> 00:35:05,120
Speaker 4: orgy of words. It's like, yeah, like she really gets

580
00:35:05,120 --> 00:35:06,640
Speaker 4: into the nasty parts.

581
00:35:06,360 --> 00:35:08,960
Speaker 2: Like the sensuality. Yeah, it's the way the way that

582
00:35:09,120 --> 00:35:10,719
Speaker 2: those fruits are described is.

583
00:35:10,719 --> 00:35:13,160
Speaker 4: Absolutely it's embarrassing.

584
00:35:14,719 --> 00:35:14,919
Speaker 1: Yeah.

585
00:35:15,080 --> 00:35:18,040
Speaker 2: I sort of realized after after y'all agreed to do this,

586
00:35:18,120 --> 00:35:20,400
Speaker 2: I was like, oh, man, I just asked my coworkers

587
00:35:20,440 --> 00:35:23,160
Speaker 2: to do this. This is potentially inappropriate.

588
00:35:23,280 --> 00:35:26,120
Speaker 6: I have to say. I really so, I really loved

589
00:35:26,120 --> 00:35:29,600
Speaker 6: reading the Goblin lines because there's kind of ah, I

590
00:35:29,640 --> 00:35:31,880
Speaker 6: read a lot of Doctor Seuss these days, and so

591
00:35:31,920 --> 00:35:34,840
Speaker 6: there's kind of like a Sussian element to it. But

592
00:35:34,920 --> 00:35:37,040
Speaker 6: then so much of the narration I feel like you

593
00:35:37,080 --> 00:35:39,120
Speaker 6: could have dropped a beat behind it, like it it

594
00:35:39,200 --> 00:35:40,760
Speaker 6: has some really tight rhymes.

595
00:35:43,440 --> 00:35:47,120
Speaker 4: It really did squeeze from Goblin fruits for you, Goblin juice,

596
00:35:47,120 --> 00:35:47,839
Speaker 4: and Goblin dew.

597
00:35:48,000 --> 00:35:48,200
Speaker 2: Yeah.

598
00:35:48,239 --> 00:35:49,560
Speaker 6: I think that was one of the parts where I

599
00:35:49,600 --> 00:35:51,360
Speaker 6: was like, I was thinking, you know, you need to

600
00:35:51,440 --> 00:35:53,040
Speaker 6: drop something in there. Maybe they can do that in

601
00:35:53,080 --> 00:35:53,799
Speaker 6: post I don't know.

602
00:35:53,960 --> 00:35:56,799
Speaker 2: Yeah, oh man, yeah, Lan Dylan feel free to free

603
00:35:56,840 --> 00:35:57,839
Speaker 2: to play around.

604
00:35:57,520 --> 00:35:59,960
Speaker 1: With it, turn it into a club hit. Yeah.

605
00:36:00,560 --> 00:36:02,480
Speaker 2: Yeah, and then I don't know, like like right up

606
00:36:02,560 --> 00:36:05,040
Speaker 2: until because they both sisters get married at the end,

607
00:36:05,120 --> 00:36:07,960
Speaker 2: but right up until then. It's the type of close

608
00:36:08,000 --> 00:36:12,320
Speaker 2: physical relationship that I think is is rebranded these days

609
00:36:12,360 --> 00:36:16,120
Speaker 2: as being sexual, but at the time, among women and

610
00:36:16,200 --> 00:36:20,680
Speaker 2: also among some men, especially younger men, it was allowable

611
00:36:20,840 --> 00:36:23,400
Speaker 2: to have those kind of close physical relationships with another

612
00:36:23,440 --> 00:36:26,680
Speaker 2: person at the same sex, and even considered preferable to

613
00:36:27,200 --> 00:36:31,040
Speaker 2: having a close physical relationship or sexual relationship with someone

614
00:36:31,040 --> 00:36:31,239
Speaker 2: of the.

615
00:36:31,200 --> 00:36:32,720
Speaker 1: Opposite sex or gender.

616
00:36:33,200 --> 00:36:37,400
Speaker 2: Right, But that being said, like in today's parlance, like

617
00:36:37,440 --> 00:36:39,720
Speaker 2: that reads is just heck a lesbian.

618
00:36:40,719 --> 00:36:42,399
Speaker 1: Yes it does.

619
00:36:42,440 --> 00:36:44,759
Speaker 4: But I mean, knowing a little bit about literature at

620
00:36:44,760 --> 00:36:46,560
Speaker 4: the time, I could see this, this is like straight

621
00:36:46,640 --> 00:36:49,959
Speaker 4: up that that kind of sisterly love kind of totally yeah.

622
00:36:50,120 --> 00:36:53,359
Speaker 2: Yeah, they're they're literally pure and innocent and it's just

623
00:36:53,400 --> 00:36:56,879
Speaker 2: affectionate and that's fine, although yeah, like I don't know,

624
00:36:56,960 --> 00:37:00,880
Speaker 2: like it's it's so interesting to me that the bad

625
00:37:00,960 --> 00:37:05,759
Speaker 2: thing that Laura does is engage in this sensuality, in

626
00:37:05,800 --> 00:37:12,800
Speaker 2: this like hedonistic indulgence, but the way that she's saved

627
00:37:13,360 --> 00:37:19,680
Speaker 2: is by literally physically kissing her sister's face. Her sin

628
00:37:20,440 --> 00:37:25,040
Speaker 2: is with fruit and her savior is with literal physical

629
00:37:25,080 --> 00:37:30,080
Speaker 2: contact of another human person. Victorians, y'all like like, I

630
00:37:30,080 --> 00:37:32,160
Speaker 2: don't know what that means, but I'm just like, who,

631
00:37:32,160 --> 00:37:33,280
Speaker 2: that's some kind of repression.

632
00:37:34,360 --> 00:37:39,120
Speaker 1: Yeah, well, yeah, I was saying earlier, there's this trope

633
00:37:39,120 --> 00:37:42,040
Speaker 1: where I feel like a lot of a lot of

634
00:37:42,040 --> 00:37:44,560
Speaker 1: female characters that we see even today, when they fall

635
00:37:44,600 --> 00:37:47,319
Speaker 1: in love, it's with some kind of monstrous creature, Like

636
00:37:47,400 --> 00:37:50,239
Speaker 1: I always think of Twilight, and I think it, Hey,

637
00:37:50,840 --> 00:37:55,000
Speaker 1: I think it represents like female fear of sexuality having

638
00:37:55,040 --> 00:37:58,560
Speaker 1: like a being able to explore that. So it becomes

639
00:37:58,600 --> 00:38:02,480
Speaker 1: this vampire are this werewolf that you're in love but

640
00:38:02,520 --> 00:38:04,399
Speaker 1: it's very dangerous and.

641
00:38:04,400 --> 00:38:06,840
Speaker 2: It's almost not your fault because you're kind of seduced

642
00:38:06,880 --> 00:38:08,880
Speaker 2: by it. Like eat in the Garden, Oh, which is

643
00:38:08,920 --> 00:38:11,160
Speaker 2: another good religious allegory. It's totally in there.

644
00:38:11,680 --> 00:38:14,080
Speaker 4: Oh yeah, eating the fruit. Yeah, the fruit is literally

645
00:38:14,160 --> 00:38:15,719
Speaker 4: a sinful temptation.

646
00:38:15,960 --> 00:38:16,200
Speaker 1: Yeah.

647
00:38:16,239 --> 00:38:18,520
Speaker 6: But then again, we have we have versions of both

648
00:38:18,560 --> 00:38:23,280
Speaker 6: the succubists and incubus and various cultures, you know, essentially

649
00:38:23,280 --> 00:38:26,560
Speaker 6: the same idea. There's the monstrous masculine or the monstrous

650
00:38:26,600 --> 00:38:33,680
Speaker 6: feminine that you have very little power to overcome. Yeah,

651
00:38:33,760 --> 00:38:37,319
Speaker 6: that being said, I guess the goblins themselves don't sound

652
00:38:37,440 --> 00:38:40,080
Speaker 6: very sexy, you know, but their fruit is very sexy.

653
00:38:41,719 --> 00:38:46,120
Speaker 4: Well, then again, it's also very quite literally fruity. It's

654
00:38:46,160 --> 00:38:49,960
Speaker 4: like it reads like like maybe Rossetti was really hungry

655
00:38:50,040 --> 00:38:53,000
Speaker 4: when she's writing this. She just gets into the fruit.

656
00:38:53,080 --> 00:38:55,840
Speaker 4: I mean, there's that sexual implication, but there's also just

657
00:38:55,960 --> 00:38:59,560
Speaker 4: totally like fruit. It's like, my god, that would taste good.

658
00:39:00,280 --> 00:39:02,560
Speaker 1: And it's a little bit pastoral. She was writing.

659
00:39:02,560 --> 00:39:07,359
Speaker 2: She didn't herself associate with the pre Raphaelite movement, but

660
00:39:07,880 --> 00:39:11,400
Speaker 2: she was definitely associated with it and like her brother

661
00:39:11,520 --> 00:39:14,640
Speaker 2: was into it, and you can see a lot of

662
00:39:14,680 --> 00:39:17,160
Speaker 2: the same influences I think in her work. That's sort

663
00:39:17,160 --> 00:39:21,719
Speaker 2: of like worship of the pastoral and even like a

664
00:39:21,800 --> 00:39:25,960
Speaker 2: kind of halicon version of what nature is and what

665
00:39:26,040 --> 00:39:29,680
Speaker 2: nature has to present you and those kind of medieval

666
00:39:29,760 --> 00:39:33,480
Speaker 2: concepts of what it is to be a good person.

667
00:39:33,600 --> 00:39:35,480
Speaker 2: A good person isn't living in the city. A good

668
00:39:35,480 --> 00:39:37,680
Speaker 2: person is out in the country and doing these things,

669
00:39:37,760 --> 00:39:39,960
Speaker 2: and milking the cows and taking care of the poultry.

670
00:39:41,400 --> 00:39:44,680
Speaker 2: But somehow not being tempted by somehow not being tempted

671
00:39:44,680 --> 00:39:45,719
Speaker 2: by the best wellether.

672
00:39:45,760 --> 00:39:50,040
Speaker 6: The goblins are peddling like natural pleasures here, or at

673
00:39:50,080 --> 00:39:53,520
Speaker 6: least I mean maybe they're not represented as such in

674
00:39:53,560 --> 00:39:55,919
Speaker 6: the poem, but I mean, if we're to actually say,

675
00:39:55,960 --> 00:39:59,520
Speaker 6: what our fruit, you know, fruit are the splendors of

676
00:39:59,520 --> 00:40:01,759
Speaker 6: the natural world, right, no matter what other kind of

677
00:40:02,239 --> 00:40:04,919
Speaker 6: you know, symbolic power they end up taking on them.

678
00:40:04,960 --> 00:40:07,359
Speaker 4: But actually they're not, aren't they? Are they because they're

679
00:40:07,360 --> 00:40:08,360
Speaker 4: products of agriculture.

680
00:40:08,400 --> 00:40:11,120
Speaker 6: Well, yeah, that's true, especially the oranges.

681
00:40:11,200 --> 00:40:13,319
Speaker 4: I mean, you go pick wild fruit most of the time,

682
00:40:13,360 --> 00:40:16,120
Speaker 4: it's not very good there you go.

683
00:40:16,440 --> 00:40:22,120
Speaker 2: Yeah, yeah, this is this is a warning against contemporary agribusiness.

684
00:40:23,040 --> 00:40:26,040
Speaker 6: Well okay, but some of the fruit that the gods

685
00:40:26,080 --> 00:40:28,520
Speaker 6: are peddling here I think are more natural than the others.

686
00:40:28,680 --> 00:40:31,319
Speaker 4: I mean those what are those green gauges? Yeah, those

687
00:40:31,360 --> 00:40:33,200
Speaker 4: are named after a dude, I just looked it up

688
00:40:33,239 --> 00:40:35,880
Speaker 4: on Wikipedia. There's some guy named Gage.

689
00:40:36,480 --> 00:40:39,880
Speaker 1: Some guy named Gauge out there. It's got a whole

690
00:40:39,920 --> 00:40:41,120
Speaker 1: fruit named after him.

691
00:40:41,239 --> 00:40:42,040
Speaker 2: He engage.

692
00:40:42,160 --> 00:40:44,319
Speaker 4: I wanted to say also that I just, on a

693
00:40:44,440 --> 00:40:47,440
Speaker 4: purely technical level, I thought, this is a really good poem.

694
00:40:47,560 --> 00:40:50,800
Speaker 4: This is like, really pleasurable to read line to line.

695
00:40:50,840 --> 00:40:54,360
Speaker 4: It's got that. I really like the the irregular rhyme

696
00:40:54,480 --> 00:40:57,280
Speaker 4: scheme and the varying line length that kind of reminds

697
00:40:57,320 --> 00:41:00,160
Speaker 4: me of stuff like you would see in the love

698
00:41:00,200 --> 00:41:02,600
Speaker 4: song of Jailford Proof Rock Later, you know, where like

699
00:41:02,680 --> 00:41:06,279
Speaker 4: Elliott uses the irregular rhyme scheme and varying line length,

700
00:41:06,320 --> 00:41:09,080
Speaker 4: but then sometimes it gets very regular all of a sudden.

701
00:41:09,480 --> 00:41:11,360
Speaker 4: And then when it does that sort of like it

702
00:41:11,520 --> 00:41:15,239
Speaker 4: like yanks you into the poem even deeper. It's uh, yeah,

703
00:41:15,320 --> 00:41:15,800
Speaker 4: it's good.

704
00:41:16,480 --> 00:41:17,520
Speaker 1: It's really beautiful.

705
00:41:17,760 --> 00:41:19,879
Speaker 6: Now here's a question. Do you think the goblins have

706
00:41:20,000 --> 00:41:23,279
Speaker 6: a version of this poem that is warning impressionable young

707
00:41:23,280 --> 00:41:27,480
Speaker 6: goblins not to sell fruit to Lizzi's no, no.

708
00:41:27,520 --> 00:41:29,440
Speaker 4: I think it would say like, yeah, look, they did

709
00:41:29,440 --> 00:41:31,880
Speaker 4: a good job with Laura, but they really screwed up

710
00:41:31,880 --> 00:41:34,080
Speaker 4: with Lizzie. So here's the kind of Lizzy you need

711
00:41:34,080 --> 00:41:34,759
Speaker 4: to watch out for.

712
00:41:35,080 --> 00:41:39,640
Speaker 1: Yeah, what about Genie, the tragedy of Genie.

713
00:41:39,719 --> 00:41:40,800
Speaker 4: No, they did good with Genie.

714
00:41:41,280 --> 00:41:47,799
Speaker 1: Yeah, ge Genie and died alone Onwed. I mean that's

715
00:41:47,880 --> 00:41:50,720
Speaker 1: the worst, but this time for a lady.

716
00:41:51,160 --> 00:41:54,160
Speaker 4: Yes, it's like dead women cautionary tales. It's just like,

717
00:41:54,239 --> 00:41:55,800
Speaker 4: don't be like old dead Genie.

718
00:41:55,920 --> 00:41:56,160
Speaker 6: Yeah.

719
00:41:56,520 --> 00:41:58,440
Speaker 1: No, one wants to be like old dead Genie.

720
00:41:58,600 --> 00:42:00,960
Speaker 2: Yeah, but no, No, I like this idea of the

721
00:42:00,960 --> 00:42:04,880
Speaker 2: goblins being like, oh man, watch out for those tight

722
00:42:04,960 --> 00:42:05,520
Speaker 2: lipped ones.

723
00:42:05,600 --> 00:42:05,839
Speaker 5: Yeah.

724
00:42:06,400 --> 00:42:08,240
Speaker 6: No, I guess you could say it's probably just goblin

725
00:42:08,520 --> 00:42:12,440
Speaker 6: propaganda and goblins myselves up. I mean, that's ultimately one

726
00:42:12,440 --> 00:42:14,880
Speaker 6: of the things that I think speaks well to you know,

727
00:42:14,880 --> 00:42:18,440
Speaker 6: twenty eighteen readers of this poem or listeners to this poem,

728
00:42:18,480 --> 00:42:20,600
Speaker 6: is that there are, without a doubt, there are some

729
00:42:20,680 --> 00:42:24,360
Speaker 6: goblin men in the world pedaling their fruit.

730
00:42:25,360 --> 00:42:29,000
Speaker 1: Mm hm. I do think it's interesting how often food

731
00:42:30,400 --> 00:42:39,240
Speaker 1: is used to represent indulgence or like temptation. I just especially,

732
00:42:39,600 --> 00:42:42,280
Speaker 1: I guess because of things like the story of Eve

733
00:42:42,360 --> 00:42:45,400
Speaker 1: and the Garden of Eden, like the apple is always

734
00:42:45,640 --> 00:42:48,960
Speaker 1: popping up, and things I'm reading is like it's forbidden

735
00:42:50,360 --> 00:42:54,160
Speaker 1: to partaken. Yeah, the role of food and fairy tales

736
00:42:54,239 --> 00:42:55,279
Speaker 1: is pretty fascinating.

737
00:42:55,440 --> 00:42:57,759
Speaker 4: No fun fact, you know that the Bible never says

738
00:42:57,800 --> 00:42:58,400
Speaker 4: it's an apple.

739
00:42:58,640 --> 00:42:59,200
Speaker 6: No, that's right.

740
00:42:59,239 --> 00:43:01,040
Speaker 4: It never says why kind of fruit it is? And

741
00:43:01,080 --> 00:43:03,880
Speaker 4: so there are all these arguments of religious scholars throughout

742
00:43:03,880 --> 00:43:06,200
Speaker 4: the ages about what the fruit was. I think my

743
00:43:06,280 --> 00:43:08,120
Speaker 4: favorite I've ever heard was that somebody said it was

744
00:43:08,200 --> 00:43:08,680
Speaker 4: a lemon.

745
00:43:12,840 --> 00:43:15,759
Speaker 2: Don't eat that incredibly tempting lemon. I know, you just

746
00:43:15,800 --> 00:43:16,360
Speaker 2: want to eat it.

747
00:43:16,400 --> 00:43:17,399
Speaker 1: Wrong, the whole thing.

748
00:43:19,120 --> 00:43:21,279
Speaker 4: Another fun fact, you know, the Bible never says it

749
00:43:21,320 --> 00:43:23,879
Speaker 4: was the devil. It just says it's a snake, yeah,

750
00:43:24,000 --> 00:43:27,160
Speaker 4: or just a snake. Just a snake says here's a fruit.

751
00:43:27,200 --> 00:43:28,960
Speaker 4: It doesn't say what the fruit is. Doesn't say the

752
00:43:28,960 --> 00:43:29,720
Speaker 4: snake's a devil.

753
00:43:30,120 --> 00:43:32,920
Speaker 1: Huh. Yeah. We've talked a lot on the show about

754
00:43:32,960 --> 00:43:34,960
Speaker 1: like people thought it was a banana. They think it's

755
00:43:34,960 --> 00:43:37,720
Speaker 1: a big they thought it was. It's come up several

756
00:43:37,920 --> 00:43:38,279
Speaker 1: most of.

757
00:43:38,280 --> 00:43:40,359
Speaker 2: The fruits, a pomegranate, most of the fruits that we've

758
00:43:40,360 --> 00:43:42,880
Speaker 2: talked about. At some point someone was like, probably that's

759
00:43:42,920 --> 00:43:44,799
Speaker 2: what the Bible was talking about the story.

760
00:43:44,960 --> 00:43:46,000
Speaker 4: It was a green gauge.

761
00:43:46,080 --> 00:43:49,279
Speaker 1: It was definitely even though Gauge wasn't around yet. He's

762
00:43:49,360 --> 00:43:54,560
Speaker 1: just like a before his time, some kind of time

763
00:43:54,600 --> 00:43:55,640
Speaker 1: traveling going on there.

764
00:43:55,680 --> 00:43:57,800
Speaker 2: Well, no, no, it's Adam and even Gauge in the garden.

765
00:43:58,080 --> 00:44:01,359
Speaker 1: Oh yeah, forget about case now.

766
00:44:01,400 --> 00:44:03,000
Speaker 6: What I would love to see is to have some

767
00:44:03,000 --> 00:44:05,600
Speaker 6: sort of like a fruit gummy tie into this poem

768
00:44:05,719 --> 00:44:08,839
Speaker 6: with their shaped like goblins, and each one you have

769
00:44:08,880 --> 00:44:11,799
Speaker 6: one for flavor for each of the fruits that are

770
00:44:11,840 --> 00:44:12,439
Speaker 6: mentioned here.

771
00:44:12,920 --> 00:44:14,520
Speaker 2: I think we need to call jelly Belly.

772
00:44:15,280 --> 00:44:16,920
Speaker 6: Jelly Belly would would be great at this.

773
00:44:17,640 --> 00:44:21,600
Speaker 2: Get them on the line, yeah, jelly Belly, if you're.

774
00:44:21,480 --> 00:44:24,120
Speaker 1: Listening, we're here and we've got ideas.

775
00:44:24,440 --> 00:44:28,799
Speaker 6: Or have a Goblin Market fruit juice establishment. I did

776
00:44:28,880 --> 00:44:33,000
Speaker 6: notice when I initially looked up Goblin Market on my browser,

777
00:44:34,480 --> 00:44:37,560
Speaker 6: the number one hit was up a restaurant.

778
00:44:37,200 --> 00:44:39,840
Speaker 4: In Florida so called Goblin Market.

779
00:44:39,880 --> 00:44:41,160
Speaker 6: Yeah, Goblin Market.

780
00:44:44,000 --> 00:44:45,520
Speaker 4: They forced food in your face.

781
00:44:45,880 --> 00:44:49,839
Speaker 6: I think it's just sexy goblins selling hair, stomp.

782
00:44:49,560 --> 00:44:51,040
Speaker 4: On you and cram fruit in your mouth.

783
00:44:51,160 --> 00:44:53,840
Speaker 2: Yeah, pinchy black, yeah, I want.

784
00:44:53,719 --> 00:44:58,279
Speaker 4: That's yeah, fakes to fill your mouth, Goblin pulp and

785
00:44:58,280 --> 00:44:59,120
Speaker 4: Goblin juice.

786
00:45:00,320 --> 00:45:03,920
Speaker 1: And you can always fine or offer it and so on,

787
00:45:04,239 --> 00:45:08,200
Speaker 1: stuff to blow your mind. Another house Stuff Works podcast,

788
00:45:08,360 --> 00:45:08,759
Speaker 1: uh huh.

789
00:45:08,880 --> 00:45:12,240
Speaker 6: Yeah, and occasionally we talk about foods and goblins goblins

790
00:45:12,280 --> 00:45:12,560
Speaker 6: as well.

791
00:45:12,600 --> 00:45:16,680
Speaker 1: So yeah, yes, I'm getting that. I think everyone is giving.

792
00:45:17,640 --> 00:45:19,640
Speaker 4: Well, thanks so much for inviting us on. We've had

793
00:45:19,680 --> 00:45:20,200
Speaker 4: a great time.

794
00:45:20,440 --> 00:45:23,240
Speaker 6: Yeah, this is tremendous.

795
00:45:25,440 --> 00:45:28,360
Speaker 1: And that brings us to the end of this classic episode.

796
00:45:28,400 --> 00:45:31,040
Speaker 1: We hope that you enjoyed it as much as we

797
00:45:31,200 --> 00:45:34,520
Speaker 1: enjoyed doing it and bringing it back. We hope that

798
00:45:34,560 --> 00:45:37,359
Speaker 1: it did something you could relax too, even though it

799
00:45:37,400 --> 00:45:40,239
Speaker 1: is pretty pretty strange, kind of intense, uh huh, kind

800
00:45:40,280 --> 00:45:43,280
Speaker 1: of intense, but also yeah, we do love doing these.

801
00:45:43,360 --> 00:45:46,440
Speaker 1: We didn't We wanted to do one this year at

802
00:45:46,440 --> 00:45:48,879
Speaker 1: the end of the year, but we didn't have time. Yeah,

803
00:45:49,080 --> 00:45:53,319
Speaker 1: but hopefully next year we will and we if you

804
00:45:53,360 --> 00:45:56,839
Speaker 1: have any suggestions for the story you'd like us to do.

805
00:45:57,080 --> 00:46:00,280
Speaker 1: Hopefully we like to keep it food related. Yeah.

806
00:46:00,080 --> 00:46:00,239
Speaker 5: Yeah.

807
00:46:00,320 --> 00:46:04,360
Speaker 1: It also needs to be in the public domain public domaino.

808
00:46:04,239 --> 00:46:06,759
Speaker 2: Or the author has to give us explicit permission.

809
00:46:07,520 --> 00:46:10,080
Speaker 1: Yes, we do not want to be sued in the

810
00:46:10,080 --> 00:46:14,840
Speaker 1: new year. That's a goal that I have no no,

811
00:46:15,320 --> 00:46:19,640
Speaker 1: but if you have something that meets those criteria, Please

812
00:46:19,680 --> 00:46:22,840
Speaker 1: send it our way. You can email us at Hello

813
00:46:22,920 --> 00:46:25,480
Speaker 1: at savorpod dot com. We're also on social media.

814
00:46:25,600 --> 00:46:29,719
Speaker 2: You can find us on Twitter, Slash Blue Sky, Instagram,

815
00:46:29,800 --> 00:46:32,560
Speaker 2: and Facebook at saber pod and we do hope to

816
00:46:32,560 --> 00:46:35,400
Speaker 2: hear from you. Savor is a production of iHeartRadio. For

817
00:46:35,560 --> 00:46:37,560
Speaker 2: more podcasts from my Heart Radio, you can visit the

818
00:46:37,560 --> 00:46:40,719
Speaker 2: iHeartRadio app, Apple Podcasts, or wherever you listen to your

819
00:46:40,719 --> 00:46:44,120
Speaker 2: favorite shows. Thanks as always to our super producers Dylan

820
00:46:44,120 --> 00:46:46,640
Speaker 2: Fagan and Andrew Howard. Thanks to you for listening, and

821
00:46:46,680 --> 00:46:56,240
Speaker 2: we hope that lots more good things are coming your way.