All over the world people have believed in a race of creatures, superhuman and subhuman, that are not gods or ghosts, but differ from humans in their powers, properties, and attributes (Briggs, Vanishing 27). The concepts of these creatures/fairies have been passed down through generations in many cultures through forms such as songs, sayings, and stories. Stories such as folktales and myths have wide array of fairy types found in them from various cultures' folklores (Abrams 101). Little people (lesser spirits) are often considered a subclass of fairies and include creatures like gnomes, trolls, and goblins (Rose 200, South 329).
George MacDonald in his myth novel, The Princess and the Goblin, draws from many folk sources to bring to life his underworld "goblins." These "goblins" are an amalgamation of various types of little people. MacDonald effectively brings together attributes of goblins, dwarfs and trolls, gnomes and kobolds, and brownies to create a narrative full of tension and
humour.
First, MacDonald's "goblins" once lived above ground as humans, but they chose refuge underground to avoid severe taxes placed on them by the king (MacDonald 3). Through time, these people were transformed into "goblins." This is similar to the common suggested origin of the little people as humans conquered by other races that now conceal themselves from their conquerors (South 334). The fairies are often said to have been Eve's children whom she hid from God because she was embarrassed by them; God was not deceived and decided that those children should be "hidden from all Mankind" forever (Briggs, Vanishing 31). These origins suggest that the creatures are half human, which is a common idea in Scandinavian tradition (Briggs, Vanishing 31). This human origin of the "goblins" suggests that they are one side of human nature. There is a tension between the "goblins" and the humans as they show different aspects of life and morality.
Second, the goblins, dwarfs and trolls, gnomes and kobolds, and brownies are all small, but they are humanlike in form though often described as misshapen and grotesque, and except for brownies, they are also often described as being old with gray hair and beards (Rose 51, 93, 128, 316). MacDonald's "goblins" are dwarfed and hideous, and though they are not described as old looking, their cleverness is associated with this characteristic (MacDonald 4). The use of these common folklore images of little people creates creatures that can be imagined easily by the reader. The "goblins'" deformed shapes create apprehension because they are viewed as evil. Also, their wisdom suggests they are capable of a great many things including creating troubles for humans.
MacDonald also uses specific characteristics of the various little people to create his "goblins." In European folklore, goblins are wicked and malevolent spirits (Rose 128, South 329). They are usually associated with the earth and live in dark places like cupboards in people's homes (Jones 204, Rose 128, South 329). They create mischief at night by breaking dishes and banging on walls (Jones 204). If offended, they can be a particularly troublesome enemy (Jones 205). These do not sound like the "goblins" in the novel, but MacDonald does use the wickedness associated with goblins when the "goblins" try to capture Princess Irene and when they try to flood out the mine. Their malevolent characteristics create much of the suspense in the novel, as it is not known whether they will succeed in their plans of hindering their human enemies.
Dwarfs and trolls from Scandinavian tradition are also drawn upon as sources for MacDonald's "goblins." Dwarfs are typically associated with inhabiting underground places in order to avoid sunlight like their close relatives, trolls, whom turn to stone in daylight (Jones 154, Rose 316). Mountain caverns and mines that have watercourses are typical dwellings of dwarfs, which is exactly where we find MacDonald's "goblins" living (Rose 93). The "goblins," like the dwarfs, are hard working miners, and guardians of treasure, as Helfer carries the "great chest," presumably full of treasure, to his family's new cave (MacDonald 52, Rose 93). Another characteristic of MacDonald's "goblins" is their soft feet which links to the recurring idea that dwarfs have odd shaped legs and feet (Jones 154, MacDonald 53, Rose 93). The characteristic of dwarfs being wiser than humans is also seen in the "goblins" as is the great bodily strength of dwarfs and trolls, which far exceeds that of humans (Jones 153, Keightly 96, MacDonald 4-5). Also, Curdie admires the "goblins" for their mining capabilities suggesting that the "goblins" are highly skilled workers like dwarfs and trolls.
In the Scandinavian tradition, there are three main types of dwarfs: white, brown and black. The white dwarfs are pleasant and enjoy music and even leave their underground homes for celebrations; they do not resemble the "goblins" (Jones 154, Rose 93). Brown dwarf characteristics, such as creating mischief for humans by playing tricks, and abducting human children to be their slaves is seen in the "goblins" (Jones 154, Rose 93). The action of human abduction, which is also done by trolls, may be the reason we see the attempt of the "goblins" to take the princess to marry Harelip (Rose 316). Also, the goblin queen's feet suggest that she was once human and may have been abducted. Finally, the black dwarfs who are ugly, and malicious closely resemble the "goblins" in several aspects (Rose 93). The black dwarfs often have evil intentions towards humans, and they will take revenge for any wrong doings inflicted on them (Rose 93-4). The "goblins" seek revenge on humans and the king's family specifically for treating them so terribly in the past - this conflict creates tension throughout the novel. The black dwarfs are bad tempered and they live morose and solitary without music and revelry (Jones 154). Though the "goblins" live in family groups, contrary to black dwarfs, their distaste for music is evident, and the characteristic of trolls hating noise compounds this idea so that any song Curdie sings drives the "goblins" away (Keightly 95, Rose 316, MacDonald 35).
Gnomes and kobolds also have characteristics that are apparent in the "goblins." Gnomes in Tuetonic mythology are Earth spirits that are small, stocky, and grotesque (Rose 128). This stocky description is illustrated by the king "goblin" when he "drew himself to his full height of four feet, spread himself to his full breadth of three and a half, for he was the handsomest and squarest of all the goblins" (MacDonald 137). Also, the "goblins" like the gnomes and the Welsh coblyns or German kobolds, work in mines deep in the Earth (Rose 70, 128). Kobolds are experts with metals and ore; therefore, it is no surprise that MacDonald's "goblins" mine ore (MacDonald 2, Rose 94). Kobolds also lead miners to good seems of ore, and they warn of impending disaster by knocking on the rocks (Jones 118). Though the "goblins" do not knock to help the miners, the miners do hear them, and humorously the "goblins" unintentionally warn Curdie of impending disaster, and show him, by knocking, where the thinnest place is on the stone, which eventually leads the "goblins" to their own undoing (MacDonald 52). Warning is also given unintentionally by the "goblins" when they are too loud coming up under the castle.
MacDonald also uses English and Scottish brownie folklore characteristics in creating his "goblins." Brownies are industrious household spirits that perform tasks for humans (Briggs, Fairies 38, Rose 51). They inhabit the home or a nearby rock, cave, or pool (Briggs, Fairies 38). They are very small, shaggy, and brown, and they are often described as having no nose (Rose 51). Characteristics used for the "goblins" are the brownie's webbed or joined fingers and no separate toes, which is part of the Amberdeeshire folklore tradition (Briggs, Fairies 38, Rose 51). The abnormal fingers may be the source for the "goblins" lack of fingernails (MacDonald 139). However, the most significant feature of the "goblins" is their lack of toes, which creates tension between them and the humans. The tension suggests that shoes/toes represents possession of the ground whereas the lack of shoes represents slavery (Chevalier and Gheerbrant 876-7, Jones 391). The "goblins" are not free to obtain the surface; they are not in control. Also, the feet characteristics lead to humorous events such as feet stomping battles, and the desire for intimacy by the king "goblin" with his wife whom insists on wearing shoes; removing the shoes would represent a step towards intimacy (Chevalier and Gheerbrant 877). Brownies are also grotesque looking tricksters that are easily driven away; however, their mischievousness can be very dangerous (Briggs, Fairies 39). This is seen in the "goblins" too, as they run quickly away from Curdie's songs, and their plans have potential for destruction of the mines. It is also important to note the "goblins" become like the "Scotch Brownies" at the end of the novel; they become friendlier than goblins, trolls, and black dwarfs (MacDonald 241).
Using the characteristics of various types of little people in the "goblins," MacDonald effectively created dynamic "goblin" characters from family oriented mischievous creatures to malevolent creatures capable of great destruction. The "goblins'" complexity resulting from the use of various folk sources gives the novel a unique balance of tension and
humour that makes the story enjoyable.
Works Cited
Abrams, M.H. A Glossary of Literary Terms 7th ed. Fortworth: Harcourt Brace College, 1999.
Briggs, Katherine M. The Fairies in Tradition and Literature. London: Routledge and Kegan Paul, 1967.
---. The Vanishing People: A Study of Traditional Fairy Beliefs. London: B.T. Batsford, 1978.
Chevalier, Jean, and Alain Gheerbrant. A Dictionary of Symbols. Oxford: Blackwell, 1994.
Jones, Alison. Larousse: Dictionary of World Folklore. New York: Larousse, 1995.
Keightley, Thomas. The Fairy Mythology. London: George Bell and Sons, 1900.
MacDonald, George. The Princess and the Goblin. London: Puffin, 1996.
Rose, Carol. Spirits, Fairies, Gnomes, and Goblins. Santa Barbara: ABC - CLIO, 1996.
South, Malcolm (Ed.). Mythical and Fabulous Creatures: A Sourcebook and Research
Guide. New York: Greenwood, 1987.