The Princess and the Goblin

Irene is a princess by blood, but this is not what the author uses to define her princess status. What does it mean to “be a princess”? Is it about a royal status or something more? How does Irene exhibit the traits that MacDonald claims are princess-like, and how does her transformation throughout the novel turn her into more of a princess than ever?

Grandmother can only be seen by those who believe in her, and the same can be said of her magical thread and the moon-lamp and pigeons that often accompany her presence. Is Grandmother human, or is she something more? What do her powers indicate about Irene’s family lineage, and why does Grandmother require Irene’s Faith in the Mystical? How does Irene demonstrate this faith, and how does Curdie learn to accept the possibility of the unseen?

The Princess and the Goblin develops a strong juxtaposition between the surface world and the underground. What is the cause of this conflict between goblins and humans? How might MacDonald use that conflict to comment on human nature?

George MacDonald makes use of several unique literary devices, including authorial intrusion and admission of non-omniscience, that help define The Princess and the Goblin as a children’s bedtime story. How do these devices impact the reading/listening experience? What purposes do these devices serve in terms of foreshadowing, characterization, and setting?

Curdie and Irene have a complex relationship and frequently test each other’s faith, patience, loyalty, and courage. How do Irene and Curdie grow together throughout the course of the novel, and how does this growth force their relationship to evolve?

How is The Princess and the Goblin, first published in 1872, influenced by the ideologies of the Victorian era? How does it challenge those ideologies? Consider the characters’ lives (miners and royalty) and the traits they exhibit, the dichotomy between humans and goblins, and the fact that The Princess and the Goblin is a fantasy novel.

Compare and contrast Curdie and Irene. How do their traits enable them to work together?

How does MacDonald’s decision to build up to the central conflict gradually affect the reading experience? Furthermore, how does this style of plot design differ from children’s and middle grade novels today?