Faithful Likenesses: Lists of Similies in Milton, Shelley, and Rossetti

Faithful Likenesses:

Lists of Similes in Milton, Shelley,and Rossetti

Christina Rossetti's Goblin Market is full of lists, but these lists come in two distinct varieties. The first type, associated with the goblin men, is a list of objects: either of fruit ("Apples and quinces, / Lemons and oranges, / Plump unpecked cherries," and so on) or of the goblins themselves. The other type of list consists of similes: five times in the poem, either Lizzie or Laura or both together are described by a rapid string of similes ("Like two blossoms on one stem, / Like two flakes of new-fall'n snow, / Like two wands of ivory . . .").¹ Both devices are notable, but the latter is more striking, because a list or catalogue of similes is overtly self-defeating.

Any poetic list is to some extent self-defeating. The list of fruits that begins Goblin Market—sixteen fruits in ten lines (5–14), some with accompanying epithets—provides too much sensory information in quick succession for a reader to be able to picture clearly the individual species. After a certain number, each additional fruit adds to the impression of profusion, but does not actually conjure up a specific image: "Crab-apples, dewberries, / Pine-apples, blackberries, / Apricots, strawberries," coming at the end of the catalogue, are not only indistinct in themselves but even begin to crowd out the apples and quinces with which the list began. Such a list, then, is asymptotic: the first elements suggest a visual image, but each additional element adds less and less, until at a certain point the list could be extended indefinitely without making any noticeable difference to the cumulative picture that has been painted.

The list or catalogue, after all, is typically thought of as the most unpoetic of all rhetorical forms; what could be more banal than a laundry list or a phone book?² In A Defence of Poetry Percy Shelley specifically distinguishes between poetry and its opposite, "a catalogue of detached facts."³ Moreover, a list like the one that begins Goblin Market reveals one of the limitations of poetry: the difficulty of depicting simultaneity. Rossetti presents in temporal succession (since poetry unrolls in time) fruits that are meant to be pictured as coexisting. What would be simple for a still-life painter is almost impossible for a poet, and the poetic list, blurrily rapid but never instantaneous, necessarily reminds the reader of this disadvantage (Ulmer, "Sky-Lark," 250; Gass, 34). Yet if a list of things carries these limitations, a list of similes is still more paradoxical—not just asymptotic, but essentially self-destructive. A simile aims to illustrate, to provide an insight into one or both elements of which it consists; but the first set of similes in Goblin Market does not give us a clearer impression of Laura:

Laura stretched her gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
When its last restraint is gone.

(81–86)

Some commentators have commended the clarity of these lists,⁴ but I find it impossible to imagine someone who is simultaneously like a swan and a lily and a branch and a boat. (Although a simile does not necessarily require the reader to picture its elements distinctly, it does ask us to imagine their physical resemblance at some level.) The effect of this passage in context, where it is read rapidly—especially as it follows the earlier, material lists, which demand to be read trippingly—is self-defeating. The metaphors, as Katherine Mayberry writes, "serve, not as an enriching descriptive method, but as a desperate and hopeless means for defining an essence that is not known" (Mayberry, 99). Each new simile not only fails to add to the previous one, but drives it away, so that Laura, far from becoming clearer to the...