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   Кристина много занималась благотворительностью, её поэтический шедевр Goblin Market возник из опыта работы по социальной адаптации  бывших проституток  in St Mary Magdalene Penitentiary. Тут она столкнулась с опытом обольщения и спасения и исследовала близкую для неё тему духовной и сексуальной жажды. Данте Габриэль Россетти иллюстрировал Ярмарку гоблинов весьма чувственными гравюрами.

                 

s143a (192x300, 84Kb)

s143b (193x300, 83Kb)

 

Laughed every goblin

Wehn they spied her peeping:

Came towards her hobbling,

Flying, running, leaping,

Puffing and blowing,

Chuckling, clapping, crowing,

Clucking and gobbling...

 

 

 

 

 

 

     И далее по тексту, переводить не буду.

А ещё я узнал, что за грозный зверь вомбата. Вы не знаете, слабо, а я даже фото посмотрел. Знатная зверюга.

(432x378, 33Kb) ВОМБАТИЩЕ.

              Rossetti's best-known work, GOBLIN MARKET AND OTHER POEMS, was published in 1862. The collection established Rossetti as a significant voice in Victorian poetry. The title poem is a cryptic fairy-tale and tells the story of two sisters, Lizzie and Laura, who are tempted the eat the fruit of the goblin men. After eating the fruit, Laura cannot see the goblins. Lizzie, whose refusal have angered the goblins, is attacked by them, and she saves her sister in an act of sacrifice. Laura, longing to taste again the fruit, licks the juices with which Lizzie is covered. "For there is no friend like a sister / In calm or stormy weather."

 

   Борьба духовного и плотского отражена и в других поэмах Кристины, например, Amor Mundi иллюстрации для которой делали Frederick Sandys and Edward Robert Hughes

 

 

 

Amor Mundi

“Oh where are you going with your love-locks flowing 
   On the west wind blowing along this valley track?” 
“The downhill path is easy, come with me an it please ye, 
   We shall escape the uphill by never turning back.” 
 
So they two went together in glowing August weather, 
   The honey-breathing heather lay to their left and right; 
And dear she was to dote on, her swift feet seemed to float on 
   The air like soft twin pigeons too sportive to alight. 
 
“Oh what is that in heaven where gray cloud-flakes are seven, 
   Where blackest clouds hang riven just at the rainy skirt?” 
“Oh that’s a meteor sent us, a message dumb, portentous, 
   An undeciphered solemn signal of help or hurt.” 
 
“Oh what is that glides quickly where velvet flowers grow thickly, 
   Their scent comes rich and sickly?”—“A scaled and hooded worm.” 
“Oh what’s that in the hollow, so pale I quake to follow?” 
   “Oh that’s a thin dead body which waits the eternal term.” 
 
“Turn again, O my sweetest,—turn again, false and fleetest: 
   This beaten way thou beatest I fear is hell’s own track.” 
“Nay, too steep for hill-mounting; nay, too late for cost-counting: 
   This downhill path is easy, but there’s no turning back.”
 

 

Edward Robert Hughes - Oh, what's that in the hollow?

Hollow-L (525x357, 100Kb)

 

Amor Mundi

Frederick Sandys

1865

Wood engraving

5 x 4 inches

Illustration for Christina Rossetti's "Amor Mundi"

 

4 (373x648, 139Kb)

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