Setting
The introductory phrase, "There once was a Princess," transports the reader to a faraway land in a bygone era. This realm is overseen by a king, and there is minimal evidence of modern technology. The story unfolds in and around (and even beneath) one of the king's magnificent residences, which is perched halfway up a mountainside. In the lower sections of this grand house reside the princess, Irene, her nurse, Lootie, and various other servants. During one of her explorations of an apparently deserted area of the house, Irene encounters a mysterious woman known as Grandmother. This enigmatic figure offers Irene guidance and supernatural assistance throughout her ensuing adventures. Irene also receives help from Curdie, the miner's son, who lives with his parents in a modest cottage higher up the mountain.
Beneath the mountain lies a subterranean realm inhabited by goblins. These creatures settled there generations ago and have since devolved from regular people into short, misshapen beings with tough heads and soft feet. Their domestic animals have similarly transformed into unusual forms. During the day, the goblins remain underground, harboring an age-old grudge against humans; at night, they emerge to cause whatever trouble they can. Their scheme for vengeance involves kidnapping Irene by tunneling from below into the great house to marry her to Harelip, the Goblin Prince. If that fails, they plan to unleash a devastating flood through the mines. While working late one night, Curdie overhears part of their plot and takes steps to stop them.
Style and Technique
In The Princess and the Goblin, MacDonald presents believable characters with genuine emotions and motivations. Princess Irene and Curdie exhibit extraordinary strength of character, yet they occasionally succumb to temptations and human frailties. Irene panics under pressure, while Curdie sometimes makes harsh, hurtful comments. The sinister goblins are memorable for their cleverness and their peculiar sense of familial unity.
The storyline of The Princess and the Goblin is filled with numerous thrilling events. It includes initial skirmishes, tense reconnaissance missions, and daring rescues, all culminating in a climactic battle towards the end. The narrative's events are not only well-paced but also driven by both internal and external conflicts. The goblins' schemes (external conflict) endanger the princess's life, prompting Curdie to stop their plans. Additionally, characters face internal battles as they engage in acts of foolishness or heroism. While the fantasy elements may initially draw readers in, it is the characters and plot that give The Princess and the Goblin its enduring appeal.
Historical Context
Given that the story is a spiritual fantasy set in a fairy tale world, it includes very little social commentary. MacDonald illustrates the journey of a young, developing mind in search of truth. Mistakes and failures are attributed to universal human traits, rather than the corrupting effects of societal attitudes and institutions. For example, organized religion is scarcely mentioned in the story, with only one vague reference to a parson, despite its religious theme. Lootie’s minor display of class snobbery is overshadowed by the princess, who prioritizes virtue over social standing.
One might assume a book from the Victorian era would echo the time's largely patriarchal values, portraying men as leaders and women as dependents needing protection. However, this story largely avoids such sexist assumptions. While Curdie's mother manages the household in a conventional manner, she is a dynamic character whose wisdom and guidance are crucial to Curdie's transformation. The story's heroine and hero both play significant roles. Although Curdie handles the fighting in the final battle, Irene bravely carries out a perilous mission behind enemy lines. Most importantly, the story’s spiritual guide is a female character. This makes
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One might assume a book from the Victorian era would echo the time's largely patriarchal values, portraying men as leaders and women as dependents needing protection. However, this story largely avoids such sexist assumptions. While Curdie's mother manages the household in a conventional manner, she is a dynamic character whose wisdom and guidance are crucial to Curdie's transformation. The story's heroine and hero both play significant roles. Although Curdie handles the fighting in the final battle, Irene bravely carries out a perilous mission behind enemy lines. Most importantly, the story’s spiritual guide is a female character. This makesThe Princess and the Goblin stand out as a work that does not rely on traditional gender roles to explain the workings of the world.
Bibliography
Hein, Roland. The Harmony Within: The Spiritual Vision of George MacDonald. Grand Rapids, MI: Christian University Press, n.d. In Chapter 2, Hein explores the theme of spiritual growth in MacDonald's Princess books.
Lewis, C. S. "Preface." In George MacDonald: An Anthology. New York: Macmillan, 1947. Lewis provides insights into the distinctive style of fantasy that MacDonald crafted.
MacDonald, Greville. George MacDonald and His Wife. New York: Dial Press, 1924. This edition is the definitive account of MacDonald's life and correspondence.
Manlove, C. N. Modern Fantasy: Five Studies. Cambridge: Cambridge University Press, 1975. Manlove critiques Wolff's interpretation for being overly allegorical and delves into the religious symbolism found in Grandmother's belongings.
Phillips, Michael R. George MacDonald: Scotland's Beloved Storyteller. Minneapolis: Bethany House, 1987. This comprehensive biography treats MacDonald's novels as largely autobiographical.
Reis, H. Richard. George MacDonald. New York: Twayne, 1972. While it lacks in-depth analysis of the Princess books, Reis's work is a valuable overview of MacDonald's impact on English literature and thought.
Willis, Lesley. " 'Born Again': The Metamorphosis of Irene in George MacDonald's The Princess and the Goblin." Scottish Literary Journal 12 (1985): 24-39. Willis provides an insightful examination of MacDonald's theme of spiritual transformation, highlighting the Biblical references that support the narrative.
Wolff, Robert Lee. The Golden Key: A Study of the Fiction of George MacDonald. New Haven: Yale University Press, 1961. This book offers an extensive interpretation of the Princess books, incorporating elements of Freudian theory.
