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Swords Drawn

02 Wednesday Jul 2025

Posted by Ollamh in Uncategorized

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Anduril, arthur-hughes, bent-swords, Fafnir, George Macdonald, Glamdring, Goblins, great-goblin, Howard Pyle, King Edward's Horse, NC Wyeth, Orcrist, Scimitar, Sigurd, Sigurd Portal, swords, The Hobbit, Tolkien, William Morris

Welcome, dear readers, as always.

Every time I read or teach The Hobbit, I come to this passage:

“There in the shadows on a large flat stone sat a tremendous goblin with a huge head, and armed goblins were standing round him carrying the axes and the bent swords which they use.”  (The Hobbit, Chapter 4, “Over Hill and Under Hill”)

and I wonder: what does Tolkien mean by “bent swords”?

As a medievalist, and as someone who grew up in the world of illustrators like Howard Pyle (1853-1911)

and NC Wyeth (1882-1945),

as well as an avid reader of the stories of William Morris (1834-1896),

it’s not surprising that Tolkien’s works so often include swords, although perhaps the first sword he met may have been in Andrew Lang’s (1844-1912) The Red Fairy Book, 1890, where, in the last chapter, he would have found Sigurd and a, to us, strangely-familiar sword—

“ONCE upon a time there was a King in the North who had won many wars, but now he was old. Yet he took a new wife, and then another Prince, who wanted to have married her, came up against him with a great army. The old King went out and fought bravely, but at last his sword broke, and he was wounded and his men fled. But in the night, when the battle was over, his young wife came out and searched for him among the slain, and at last she found him, and asked whether he might be healed. But he said ‘ No,’ his luck was gone, his sword was broken, and he must die. And he told her that she would have a son, and that son would be a great warrior, and would avenge him on the other King, his enemy. And he bade her keep the broken pieces of the sword, to make a new sword for his son, and that blade should be called Gram.”  (“The Story of Sigurd”, 357  If you don’t have your own copy of Lang’s collection, here it is for you:  https://archive.org/details/redfairybook00langiala/redfairybook00langiala/mode/2up courtesy of the invaluable Internet Archive.  If  you don’t know this source, and you enjoy this blog, you should check it out.  It has the most remarkable things, even including a very good selection of silent films and film classics, like Kurosawa’s “The Seven Samurai”, 1954, which, for me—and for George Lucas—is a model for adventure films and you can see it here for free:  https://archive.org/details/seven-samurai-1954_202402 )

Yes, “the sword that was broken”—Anduril—and Sigurd has it reforged—and uses it to kill Fafnir, the dragon.

(This is from the “Sigurd Portal” of a  lost stave—wooden—church from Hylestad, in Norway, dating c1200AD.  Fortunately, the doorway carvings were saved and they show in detail the story of Sigurd.  Here’s where you can read more:  https://sites.pitt.edu/~dash/sigurddoor.html#location and here:  https://en.wikipedia.org/wiki/Hylestad_stave_church )

In his own life, Tolkien would have been personally familiar with swords.  When he was a member, briefly, of King Edward’s Horse,

in 1912, he would have been issued with this, the Pattern 1908 cavalry sword.

To me, it’s rather a strange weapon, seemingly designed only to stab,

whereas earlier cavalry blades might be used both to stab and to slash (very useful in chasing off enemy infantry)

Then, a new 2nd lieutenant in 1915,

JRRT would have had to buy himself the Pattern 1897 infantry officer’s sword

(as there were an increasing number of new officers from families who couldn’t afford it, there was a kind of subscription created to help such officers acquire a required piece of equipment.  For more on just what was required of officers, who had to provide their own kit, see Field Service Manual 1914, pages 16-18, here (and yes, again, it’s from the Internet Archive):  https://archive.org/details/fieldservicemanu00greauoft/page/n11/mode/2up )

These, as you can see, are straight-bladed swords, however.

Tolkien’s earliest experience with goblins was probably with George MacDonald’s (1824-1905) The Princess and the Goblin (1871/2), and he likens his own later goblins/orcs to them (see Letters, 267, 279).

The illustrations are by Arthur Hughes (1832-1915) and, as far as I can see, there’s not a bent sword among them  (If you don’t know the story, here’s the text, but without its original illustrations, alas: https://www.gutenberg.org/cache/epub/708/pg708-images.html )

If we try some Tolkien goblin illustrators, we find Justin Gerard’s version of the scene with the Great Goblin, where there are a few pole arms off to the left, but the only sword must be Orcrist.

(Justin Gerard—you can see more of his work here:  https://www.artstation.com/justingerardillustration and here:  https://www.justingerard.com/the-art-of-justin-gerard )

Here’s John Howe’s version of the scene—

with Orcrist peeking out of its scabbard and a straight sword and a couple of spears off to the left.

Then there’s Alan Lee’s, with the seemingly inevitable Orcrist, but with, just below it, perhaps a sabre—a curved sword

and we see this again in Lee’s depiction of Bilbo’s encounter with the goblin door guards.

In Michael Hague’s illustration for the escape from the Great Goblin’s throne room,

we see both Orcrist and Glamdring, along with one more seemingly curved sword.

Are any of these, however, an example of a “bent sword”?  Archaeologists have discovered numerous ancient swords which appear to have been “sacrificed” by being bent–

but this is hardly what Tolkien meant.  Then there is what might be taken literally for a “bent sword”—

from Jackson’s The Lord of the Rings, but I must say, this looks pretty improbable as a sword—if you see how the grip is shaped, that spike at the end if pointing upwards:  what could it possibly be for?  In fact, when one sees a chart of swords from the films, I’m not sure about many of them as useful weapons—

Those to the left share patterns with swords from our Middle-earth, both those on the right look like they might be dramatic over a fireplace, but I’d question their use as practical weapons.

So what might this “bent sword” be?  Some of the swords in the illustrations above would suggest that their artists believed that, by “bent”, Tolkien meant “curved”.  One possibility:  we know that Tolkien had read or had read to him at least one of Andrew Lang’s fairy books (the Red Fairy Book, as mentioned above), but perhaps he had also seen Lang’s Arabian Nights Entertainments (1898) in which there are a number of illustrations with scimitars in them—

(Here’s a copy of the book for you:  https://archive.org/details/arabiannightsent00lang/page/n9/mode/2up )

Scimitars are curved and, barring silly ones like those in Disney’s Aladdin—which look more like something used for carving meat–

are both deadly and would seem very exotic, if not alien,

in contrast to very medieval swords like Orcrist and Glamdring.

I doubt that we’ll ever know exactly what JRRT had in mind, but, if I had to illustrate “armed goblins…carrying axes and the bent swords…” I might consider drawing—in both senses—such blades.

Stay well,

Avoid inviting caves, even if Stone Giants are playing dodge ball outside,

And remember that, as always, there’s

MTCIDC

O

PS

I’ve just discovered a contemporary illustrator who clearly enjoys the dramatic style of artists like Pyle and Wyeth, as well as French historical artists, like Meissonier (1815-1891).  This is Ugo Pinson (1987-) and here is a sample of his work.

He has illustrated book covers as well as several graphic novels and done illustrations for the “Witcher” series.  His sketches alone show his skill and talent.  You can see more samples here:  https://duckduckgo.com/?q=ugo+pinson&iar=images&iai=http%3A%2F%2Fbdzoom.com%2Fwp-content%2Fuploads%2F2016%2F07%2F13427953_10154226704759687_4371726455862878086_n.jpg 

To Horse!

18 Wednesday Jun 2025

Posted by Ollamh in Uncategorized

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Agincourt, bicycle, Boer War, cavalry charges, Charge of the Light Brigade, Cu Chulainn, Dwarves, Fredegunda, Gregory of Tours, heavy artillery, Historia Francorum, Hobbits, horses, King Edward's Horse, lotr, machine gun, machine-guns, Nazgul, Normans, Pegasus, Rohirrim, Russian Civil War, signals officer, Sleipnir, The Hobbit, Tolkien, Valkyries

In a colleague’s office, I once saw this on his wall—

“Proletariat, to horse!”

It’s a recruiting poster from the Russian civil war (1918-1922), showing the Reds trying to raise cavalry for their armies, but, at the time this call came, the military world was changing and, although horsemen would still appear, very sporadically, on battlefields, for some years to come, the day of events like this—

was rapidly coming to a close.

It didn’t happen all at once, however.  As you can imagine, traditional cavalrymen—those who believed that swinging a sword in a valiant charge was the point of cavalry—

fought back.  The evidence was against them, however, in two ways.

First, in the case of the British, there had been the Boers,

with whom the British had fought a war, from 1899-1902.  The Boers (Dutch for “farmers”) had been militia—men obliged by law to defend the state upon demand.  Across the wide open spaces of so much of South Africa, they had fought as mounted infantry, using horses as a means of moving from place to place, then dismounting for combat and, if things didn’t go their way, mounting up and escaping.

To counter this, especially in the later phases of the war, the British were forced to develop their own mounted infantry,

which suggested to some military theorists at the time that the wave of the future was not in sword-swingers, but in riflemen, who could rapidly move to where they were needed, but employ horses for transport, not for gallant charges.  (This also led to the rise of units mounted entirely on bicycles,

but we can imagine the off-road difficulties for early machines and, although there were bicycle units as late as WW2, they never had the popularity—or the dash—of horsemen.)

The second piece of evidence lies in technological change. 

With the coming of the 20th century, machine guns, sometimes firing as many as 600 rounds (shots) per minute,

appeared in increasing numbers and artillery was developed to become more accurate at greater distances.

In self-defense, soldiers would be forced to take cover wherever they could,

at first in holes simply scraped out of the ground, but, in time, in very sophisticated lines, shored up with wood and metal and sandbags.

On the Western Front, where everyone was dug into the ground, and being in the open could mean instant destruction, there simply wasn’t a place for old-fashioned cavalry, for all that there were still lots of old-fashioned cavalrymen in the army—like the first commander of the British in France in 1914, Sir John French.

Imagine, then, that this was all happening when Tolkien was very young—when the Boer War ended, in 1902, for instance, he would have been only 10.

(JRRT and his brother, Hillary, in 1905)

His own military career had begun at King Edward’s School in Birmingham, when he entered the new Cadet Corps in 1907.

(For more, see this essay by John Garth: https://johngarth.wordpress.com/2014/03/05/tolkien-at-fifteen-a-warrior-to-be/ )

Then, in the summer of 1912, he was briefly a member of a territorial (a sort of national guard unit) cavalry regiment, King Edward’s Horse.  (The reference here is to Carpenter’s J.R.R.Tolkien, 66.  John Garth later added detail to this, but subsequently qualified it, saying that his evidence was faulty.  See:  https://oxfordinklings.blogspot.com/2009/06/tolkien-and-horses.html )

(Officers of the regiment about 1916)

It was clearly an indication of the drop in the use of cavalry, however, when JRRT began his second enlistment not in a cavalry, but an infantry regiment, the Lancashire Fusiliers, in which he was commissioned as a 2nd Lieutenant in 1915.

In his brief battlefield career, he was the signals officer for his battalion, the 11th.  In the advance into the Somme in July, 1916, Tolkien, although armed with a revolver,

would have been too busy to do any fighting as his work involved

“More code, flag and disc signaling, the transmission of messages by heliograph and lamp, the use of signal rockets and field-telephones, even how to handle carrier pigeons…” (Carpenter, 86)

To ask for reinforcements, as well as to avoid artillery fire which could be called in to fend off German counterattacks, but which might hit friendly troops instead, it was extremely necessary for attacking units to let their positions and situations be known as often as possible, so JRRT would have been more than a little occupied during the months (1 July-18 November, 1916) of the very costly (nearly 58,000 British casualties the first day alone) offensive.  Fortunately for him—and for us—he fell ill with so-called “trench fever” and left France for good early in November, going home to England and, ultimately, to Middle-earth.

Although his military service in the field was relatively brief, and his career with cavalry even briefer (he resigned from King Edward’s Horse in January, 1913), we see horses everywhere in Middle-earth, from the ponies of the dwarves in The Hobbit

(from Painting Valley—no artist listed)

to the horses of the Nazgul in The Lord of the Rings.

(with the Gaffer, one of my favorite illustrations by Denis Gordeev)

But, although cavalry might have been only a brief flirtation for Tolkien, horses had been part of his life since its beginnings.  Part of this would have been mundane—it was only after the Great War that the internal combustion engine really began to dominate the streets.  When JRRT was young, Birmingham and London, as well as Berlin, Paris, and New York, would have looked like this—

His early reading would have given him Bellerophon on Pegasus,

to which would have been added the Valkyries,

and, in time, Sleipnir, Odin’s 8-legged steed,

(This is the Tjaengvide image stone, one of a group of runic stones, called the “Sigurd stones”, found in Sweden and dated to between 700 and 1100AD.  You can read more about it here:  https://en.wikipedia.org/wiki/Tj%C3%A4ngvide_image_stone You can read about the other stones here:  https://en.wikipedia.org/wiki/Sigurd_stones  Tolkien would first have heard about Sigurd from Andrew Lang’s The Red Fairy Book, 1890, which you can find here:   https://archive.org/details/redfairybook00langiala/redfairybook00langiala/mode/2up  Sigurd himself possessed the offspring of Sleipnir, Grani, which you can read about here:  https://en.wikipedia.org/wiki/Grani )

and further medieval reading would have filled his mind with mythic and magic horses, like Cu Chulainn, the Irish hero’s, chariot pair, water horses named Liath Macha and Dub Sainglend (although he wasn’t very enthusiastic about Old Irish literature which, I suspect, he found much wilder and stranger and more disturbing than, say, the Welsh Mabinogion, which you can read about here:    https://en.wikipedia.org/wiki/Mabinogion )

(a rather over-the-top image by the usually dependable Angus McBride—someone should have mentioned to him that, although “Dub” means “black”, Liath means “grey”.  Cu Chulainn is one of my favorite ancient berserkers—to mix cultures—and, if you don’t know him, you can begin to read about him here:  https://en.wikipedia.org/wiki/C%C3%BA_Chulainn )

But there are magical horses in many places—see https://en.wikipedia.org/wiki/List_of_horses_in_mythology_and_folklore for many more, with at least many of the medieval, he would have been familiar. 

And while we’re speaking of Middle-earth and horses, we need to mention the Normans, who, combined with the Anglo-Saxons for language, were the basis of the Rohirrim–

“The Rohirrim were not ‘medieval’ in our sense.  The styles of the Bayeux Tapestry…fit them well enough…” (letter to Rhona Beare, 14 October, 1958, Letters, 401)

The Rohirrim, in turn, lead us back to the opening of this posting.  Although, in Tolkien’s day, cavalry and glorious charges,

like that of the British Light Brigade at Balaclava in 1854, commemorated in Tennyson’s poem, were almost at the end of their military usefulness, for a Romantic, like Tolkien, the idea of such a charge was still a powerful image and one he couldn’t resist, depicting the heroic Rohirrim assembling

(from the Jackson film)

and roaring down on the unsuspecting orcs. 

(Abe Papakhian)

JRRT was writing medieval fantasy, however, but, as I’m always interested in “what if’s”, here I’m remembering what actually happened to that Light Brigade charge, an attack made in the teeth of Russia artillery.

The consequence was that, out of 609 men who rode towards the Russians, only 198 returned, and Lady Butler’s picture, “Balaclava the Return 25 October 1854” (1911) sums up the actual aftermath of that charge.

There’s evidence in the destruction of the Causeway Forts that Sauron’s army had some sort of blasting powder—suppose, instead of using it just as a siege tool, it had been employed with some sort of projectile propelled by it out of a tube—what might that have done to the Rohirrim’s valiant attack? 

Or even using the technique of the English army against the French at Agincourt, in our medieval world of 1415AD:  pointed stakes to threaten horses, behind which stood massed bowmen:  what would have been the outcome of that?

(Angus Mcbride)

475 horses were lost in the Charge of the Light Brigade.  Military progress so often just means more killing, but the replacement of horses with machines seems to me, who loves horses, a turn for the better.   At the same time, with Tolkien, I can feel the attraction for wild charges with swords at top speed (although cavalry did better when, at most, it went in at the canter—galloping causes loss of formation which can blunt the effect of such an attack), but, as in the charge of the Rohirrim, I’m glad if they only appear in fiction—and far from modern weaponry.

Thanks, as ever, for reading,

Stay well,

Remember that there’s a special spot, just behind the poll (top of the head), which, if scratched in the right place, makes many horses happy,

And remember, as well, that there’s always

MTCIDC

O

PS

One of those little “what if” quirks of history–Tolkien’s immediate family had been in the Orange Free State at the time of his birth, in 1892.  Tolkien’s father, Arthur, was manager of the Bloemfontein branch there of the Bank of Africa.  The Orange Free State was one of the Boer republics attacked by Britain in the Boer War of 1899-1902. If Tolkien’s mother hadn’t brought JRRT and his brother, Hilary, back to England, in 1895, and Arthur hadn’t died of the effects of rheumatic fever in 1896,

Tolkien might have been in the Orange Free State when Bloemfontein was occupied by the British on 13 March, 1900.  (You can see early film of the Scots Guards marching in here:  https://www.youtube.com/watch?v=DHy2cEFwlIo )

PPS

In last week’s posting, I mentioned the story of the wonderfully bloodthirsty Frankish queen Fredegunda, as she appears in Gregory of Tours Historia Francorum.  I wrote there that you might read about her assassination of Bishop Praetextatus and her cold-blooded visit to him on his deathbed afterwards—but it required reading Gregory’s 6th-century Latin, as I didn’t provide a translation.  It seemed lazy of me not to include one of that scene, however, so here it is with the original Latin.  As always, I could smooth this out, but I prefer to stick as close as I can to the text, to give you a better feel for what’s actually been written.

Advenientem autem dominicae resurrectionis diae, cum sacerdos ad implenda aeclesiastica officia ad aeclesiam maturius properasset, antefanas iuxta consuetudinem incipere per ordinem coepit. Cumque inter psallendum formolae decumberet, crudelis adfuit homicida, qui episcopum super formolam quiescentem, extracto baltei cultro, sub ascella percutit. Ille vero vocem emittens, ut clerici qui aderant adiuvarent, nullius ope de tantis adstantibus est adiutus. At ille plenas sanguine manus super altarium extendens, orationem fundens et Deo gratias agens, in cubiculo suo inter manus fidelium deportatus et in suo lectulo collocatus est. Statimque Fredegundis cum Beppoleno duce et Ansovaldo adfuit, dicens: ‘Non oportuerat haec nobis ac reliquae plebi tuae, o sancte sacerdos, ut ista tuo cultui evenirent. Sed utinam indicaretur, qui talia ausus est perpetrare, ut digna pro hoc scelere supplicia susteneret’. Sciens autem ea sacerdos haec dolose proferre, ait: ‘Et quis haec fecit nisi his, qui reges interemit, qui saepius sanguinem innocentem effudit, qui diversa in hoc regno mala commisit?’ Respondit mulier: ‘Sunt aput nos peritissimi medici, qui hunc vulnere medere possint. Permitte, ut accedant ad te’. Et ille: ‘Iam’, inquid, ‘me Deus praecepit de hoc mundo vocare. Nam tu, qui his sceleribus princeps inventa es, eris maledicta in saeculo, et erit Deus ultur sanguinis mei de capite tuo’. Cumque illa discederit, pontifex, ordinata domo sua, spiritum exalavit. 

“However, with the coming of the day of [Our] Lord’s resurrection, when the priest [Praetextatus] had hurried early to the church to fulfill [his] ecclesiastical duties, he started to begin [the] antiphons according to custom [in their proper] order.  And when, between the psalms, he was lying on a bench, a cruel murderer appeared, who, when a knife had been pulled from [his] belt, struck the bishop, resting on the bench, under the armpit.  He [the bishop], however, [although] shouting so that the clergy who were present might help him, was aided with help of none from so many being present.  Yet he, stretching his hands, full of blood, above the altar, pouring [out] a prayer and thanking God, was carried off into his bedchamber by the hands of [his] faithful [followers] and placed on his bed.  And straightaway Fredegunda, with the Duke Beppolenus and Ansovaldus, appeared, saying, ‘Oh holy priest, this was not right for us and for the rest of your people that such things should happen in your worshipping.  But would that it would be revealed who had dared to carry out such things that he should suffer punishment worthy of this crime.’  The priest, knowing, however, that she was speaking of these things deceptively, said, ‘And who has done these things if not [the one] who has killed kings, who very often has poured out innocent blood, who has committed many evil deeds in this kingdom’  The woman replied:  ‘There are in our household highly experienced doctors who would be able to heal this wound.  Allow [it] that they may come to you.’  And he [said]:    ‘God has decreed to call me from this world.  On the other hand, you who have been exposed as chief in these crimes, you will be cursed in the future and God will be the avenger of my blood on your head.’  And when she had left, the bishop, affairs arranged in his house, breathed out his spirit.”

And how could I not include Alma-Tadema’s illustration?

Gobs and Hobs.2

29 Wednesday Aug 2018

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, J.R.R. Tolkien, Language, Literary History

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A Midsummer Night's Dream, Arthur Rackham, Christina Rossetti, Elf Child, Fairies, Fairy Tale, George Macdonald, Goblin Feet, Goblin Market, Goblins, Historia Ecclesiastica, Hobgoblin, James Whitcomb Riley, John Garth, John Singer Sargent, King Edward's Horse, Little Orphan Annie, Orderic Vitalis, Pat Walsh, Psalm 91, Robin Goodfellow, The Crowfield Curse, The Crowfield Demon, The Hob and the Deerman, The Hobbit, The Lord of the Rings, The Princess and the Goblin, Tolkien, Tolkien and the Great War, Tolkien at Exeter College

As always, dear Readers, welcome!

In our last, we were talking about JRRT’s 1915 poem, “Goblin Feet” its origins, original publication, and context.

In this, we want to think out loud a bit about the idea of goblins in general.

Although the poem was entitled “Goblin Feet”, Tolkien seemed not to focus so much on goblins—there are also other creatures from the Otherworld, including fairies and gnomes and even leprechauns (not to mention bats—called by their old country name “flitter-mice”—and beetles and coneys).

In this posting, however, we’re going to stick to goblins—well, and hobgoblins—but more about those later.

We first encountered goblins as very small children when a teacher read us a poem by the American poet, James Whitcomb Riley (1849-1916).

image1riley.jpg

(We can’t resist a second picture.  This is by one of our favorite late-19th-early-20th-c. American Painters, John Singer Sargent—1856-1925.)

image2riley.jpg

This poem, first entitled “Elf Child”, originally appeared in a newspaper in 1885.  After that, it was meant to be “Little Orphan Allie”, but, owing to a typsetter’s error, it gained its present title, which it’s had ever since.

Little Orphant Annie – Poem by James Whitcomb Riley

To all the little children: — The happy ones; and sad ones;
The sober and the silent ones; the boisterous and glad ones;
The good ones — Yes, the good ones, too; and all the lovely bad ones.

Little Orphant Annie’s come to our house to stay,
An’ wash the cups an’ saucers up, an’ brush the crumbs away,
An’ shoo the chickens off the porch, an’ dust the hearth, an’ sweep,
An’ make the fire, an’ bake the bread, an’ earn her board-an’-keep;
An’ all us other childern, when the supper-things is done,
We set around the kitchen fire an’ has the mostest fun
A-list’nin’ to the witch-tales ‘at Annie tells about,
An’ the Gobble-uns ‘ll git you
Ef you
Don’t
Watch
Out!

Wunst they wuz a little boy wouldn’t say his prayers,–
An’ when he went to bed at night, away up-stairs,
His Mammy heerd him holler, an’ his Daddy heerd him bawl,
An’ when they turn’t the kivvers down, he wuzn’t there at all!
An’ they seeked him in the rafter-room, an’ cubby-hole, an’ press,
An’ seeked him up the chimbly-flue, an’ ever’-wheres, I guess;
But all they ever found wuz jist his pants an’ roundabout:–
An’ the Gobble-uns ‘ll git you
Ef you
Don’t
Watch
Out!

An’ one time a little girl ‘ud allus laugh an’ grin,
An’ make fun of ever’ one, an’ all her blood-an’-kin;
An’ wunst, when they was ‘company,’ an’ ole folks wuz there,
She mocked ’em an’ shocked ’em, an’ said she didn’t care!
An’ jist as she kicked her heels, an’ turn’t to run an’ hide,
They wuz two great big Black Things a-standin’ by her side,
An’ they snatched her through the ceilin’ ‘fore she knowed what she’s about!
An’ the Gobble-uns ‘ll git you
Ef you
Don’t
Watch
Out!

An’ little Orphant Annie says, when the blaze is blue,
An’ the lamp-wick sputters, an’ the wind goes woo-oo!
An’ you hear the crickets quit, an’ the moon is gray,
An’ the lightnin’-bugs in dew is all squenched away,–
You better mind yer parunts, an’ yer teachurs fond an’ dear,
An’ churish them ‘as loves you, an’ dry the orphant’s tear,
An’ he’p the pore an’ needy ones ‘at clusters all about,
Er the Gobble-uns ‘ll git you
Ef you
Don’t
Watch
Out!

In some ways, this is a typical Victorian moral poem:  children better behave, or…  But, instead of being in “proper” English, it’s been told in the dialect of the US state of Indiana and this was something for which Riley was well-known, having written numbers of poems in the so-called “Hoosier” dialect.  (This includes what looks like a misprint for the proper spelling “orphan”.)

Our acquaintance with goblins has continued to be literary, from Christina Rossetti’s (1830-1894)

image3acr.jpg

Goblin Market (1862)

image3gobmark.jpg

to George Macdonald’s (1824-1905)

image4gmacd.jpg

1872 fantasy novel, The Princess and the Goblin.

princessandgoblin1872.jpg

Our biggest—and longest—exposure, of course, was in The Hobbit (1937).

image6hob.jpg

Goblins turn up from the moment Bilbo and the dwarves fall into their hands in Chapter 4, “Over Hill and Under Hill” and we see them again in their pursuit of the party once they’ve escaped the goblin stronghold and finally at the Battle of the Five Armies.  At their first appearance, they are described as “great ugly-looking goblins” and, unlike the nimble-footed creatures of Tolkien’s 1915 poem, these have flat feet and flap them as they move.  They live in a monarchy, ruled (for the moment) by a king described as “a tremendous goblin with a huge head”.

So far, we might see that as traditional nightmarish beings, like the “great big Black Things” in stanza 3 of Riley’s poem, but JRRT does something further and very interesting with them.  This first novel was written in the 1930s, only twenty years after the Great War which had ruined much of western Europe and killed all but one of Tolkien’s oldest friends, and the emotional scar was still fresh, it seems.  He was too humane (and too wise) to blame Germany for what had happened, but it’s clear that he wouldn’t excuse the Industrial Revolution and the goblins become a stand-in for all the worse of it:

“Hammers, axes, swords, daggers, pickaxes, tongs, and also instruments of torture, they make very well, or get other people to make to their designs, prisoners and slaves that have to work till they die for want of air and light.  It is not unlikely that they invented some of the machines that have since troubled the world, especially the ingenious devices for killing large numbers of people at once, for wheels and engines and explosions always delighted them, and also not working with their own hands more than they could help; but in those days and those wild parts they had not advanced (so it is called) so far.”  (The Hobbit, Chapter 4, “Over Hill and Under Hill”)

The word “goblin” has a rather mysterious etymological history and, like so many early words, that history is a murky one, full of guesses and suggestions.  A little research produces the explanation that the word first seems to appear in Latin, in Orderic Vitalis’ (1075-c1142) Historia Ecclesiastica, Book 5, Chapter 7, in which, while reviewing the life of the early French saint, Taurinus, (lived c.400AD), Orderic mentions a demon whom the saint has vanquished, but which still haunted the area around the town of Evreux in Normandy, a demon the locals called “gobelinus”.

A century later, in the long Old French poem on the Third Crusade (1189-1192) of Ambroise of Normandy (who lived at the end of the 12th century), a noted figure in the actual history of the period, Balian d’ Ibelin, is referred to as being “more false than a gobelin” (L’Histoire de la Guerre Sainte, line 8710), with no explanation, suggesting that readers would be aware of what a gobelin was (and that he wasn’t trustworthy).

The word first appears in English in John Wycliffe’s translation of the Bible in the late 14th century, in Psalm 91, in which a God-fearing person will never be afraid of various things, including

“of a gobelyn goyng in derknisses”.

If 14th-century people knew what this creature was, we wonder whether it was still clear to people two centuries later—the older standard English translation (the so-called “King James Bible”, 1611) translates this as

“the pestilence that walks in darkness”

(which actually is close to the Hebrew original, as best as we can make out, as we don’t, unfortunately, read Hebrew—see this LINK to read for yourself.)

In the preface to the 1951 second edition of The Hobbit, Tolkien gives his own gloss, based upon the word he will employ almost entirely in The Lord of the Rings for such creatures:

“Orc is not an English word.  It occurs in one or two places but is usually translated goblin (or hobgoblin for the larger kinds).  Orc is the hobbits’ form of the name given at that time to these creatures…)

thus blending villains from 1937 with those readers would soon see in his new work, The Lord of the Rings (1954-1955).

“Hobgoblin” brings us to our conclusion, however.  As in the case of “goblin”, things get murky here, too, with some stating that, as “Hob” is an old nickname for “Robert” (compare “Hodge” as an old nickname for “Roger”), so a hobgoblin is related to “Robin Goodfellow”, (“Robin” being another nickname for “Robert”) aka the Puck we see in A Midsummer Night’s Dream (1595-96?).

image7puck.jpg

(This image is from Arthur Rackham’s (1865-1939) 1933 version of the play.)

https://pictures.abebooks.com/BLAEU/md/md20625435733.jpg

Hobgoblins sometimes appear as prickly household helpers (rather like Dobby in the Harry Potter books), and those who want to associate the “hob” of “hobgoblin” with the “hob” (earlier “hubbe”), “the side of a fireplace” see that prefix as suggesting that “hobgoblins” might be a subset of “goblins” in general.

For us, however, a “hob” is a character in an on-going series we recommend to our readers.  These are novels set in and around a decaying medieval monastery in 1347 and the haunted world around it, written by Pat Walsh, an archaeologist/fantasy author.

image8pw.jpg

The first two in the series are The Crowfield Curse (2010) and The Crowfield Demon (2011)

image9crowc.jpg

image10crowd.jpg

In this series, the hero, Will, an orphan, discovers a wounded creature and brings it back to the monastery.  It’s a hob—and will be a major character as the series develops.  In 2014, Walsh began a new series with The Hob and the Deerman.

image11thehob.jpg

Walsh has promised a third book in the Crowfield series, Crowfield Rising, but it has yet to appear—unlike our next posting, which will appear (provided that there is no space alien invasion or implementation of Order 66 or Sauron producing a new ring), next week.

Till then, thanks, as ever, for reading.

MTCIDC

CD

PS

In our last, we mistakenly identified a photo of JRRT in a uniform which we thought belonged to a unit at his alma mater, King Edward’s School, as the caption with it said “1907”.   It seemed odd to us, however, because it had the look of a cavalry unit (the bandoleer across the chest was common during the period for cavalry and for artillerymen) and, for all that he writes admiringly of horses, we had no sense that he himself was ever a horseman.  This nagged at us until we did a little research and realized our mistake:  the uniform was for King Edward’s Horse, the equivalent of a national guard/volunteer unit raised before the Great War.  Tolkien was a member of this at the beginning of his Oxford career in 1911, but later resigned.  John Garth’s two really useful books, Tolkien at Exeter College and Tolkien and the Great War, set us straight.

image12keh.jpg

PPS

If you read us regularly, you know that we have a special love for early, silent film  While researching this posting, we learned that, in 1918, a film was made based upon “Little Orphant Annie” and that a copy of it has survived for us to see.  Here’s a poster and a still.

image13littleorphant.jpg

image14still.jpg

 

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