The emergence of new literary and theatrical forms in the nineteenth century led to additional iterations of goblins. The Gothic-inspired fiction of Walter Scott depicts goblins as monstrosities, somewhere between human and something else, whose unnatural appearance reflected the eerie atmosphere central to the genre. Charles Dickens puts a moralizing spin on the goblin within his Christmas stories. Equal parts startling and comical, goblins work to terrify miserly old protagonists into seeing the error of their ways. Such charitable framings of goblins are not reflected in Dickens’ other writings, however, which disparagingly present humans with recognizable disabilities and erratic behaviors as goblins. The traditionally masculine presentation of goblins takes center stage in Christina Rossetti’s Goblin Market, meanwhile, which frames them as the tempters of young women—as frenzied animals that seek to corrupt a pair of sisters with their forbidden fruit. Christian undertones also permeate George MacDonald’s The Princess and the Goblin, which sees a crude kingdom of troglodytic goblins attempt to kidnap a human princess. They are physically devolved creatures, corrupted by years of living underground, and their eventual destruction set a precedent in fictional literature for the massacring of goblins being an act of heroism.