Internet Trolls: Monsters Haunting the World Wide Web

Wendy and Brian Froud, book cover of ‘Trolls’ (2012).

In continuing our previous conversation surrounding the semantics of trǫll in Old Norse-Icelandic literature, and the evolution of the term in modern English, we turn our attention to contemporary applications of the term, particularly in the context of internet trolls and trolling. The concept of  internet trolls builds on the image of a goblin or a giant stalking and skulking about in the dark and the implication that these people are perhaps ugly. This produces a harmful stereotype of “somebody sitting on their bed that weighs 400 pounds,” as Donald Trump remarked in a 2016 debate, in a diversionary (and rather ironic) attempt to draw attention away from evidence of Russian meddling in his favor during the most recent U.S. presidential election.

Harry Potter (Daniel Jacob Radcliffe) holding his invisibility cloak in Chris Columbus’s ‘Harry Potter and the Sorcerer’s Stone’ (2001).

However, the reality is that the online shield of anonymity operates as a cloak of invisibility, not unlike the invisibility cloak worn by Harry Potter as he explores Hogwarts castle at night or the tarnkappe “cloak of concealment” that Sîfrit [Siegfried] receives from a dwarf named Alberich in the Middle High German Nibelungenlied. Online anonymity often renders one’s physical fitness either irrelevant or artificial anyway, while at the same time it protects the identities of nefarious actors, thereby allowing them to troll the internet unseen or in disguise. Indeed, the ugliness of internet trolls has everything to do with their emotionally pathetic behavior characterized by cowardly hatred and blind rage.

BrittMartin, ‘Internet Troll’ (2014 – 2020).

Considering this semantic range, a trǫll is not much more specific than the general concept of a “monster” that encompasses everything from sorcerers to goblins and giants to dragons. As we have seen, the medieval tradition bears out the vagueness of this term as a category of being. While the giant-trǫll may be one of the most common applications of the term in saga literature, modern representations of trolls suggest far more uniformity than evidence from medieval literature demonstrates.

However, even the modern sense of troll retains some flexibility, for in addition to the giant-trǫll, much smaller goblin-like representations of trolls (manifesting in the modern troll doll phenomenon) also features prominently in modern medievalism from early modern fairy tales, like those in the Grimm brothers‘ and Hans Christian Andersen‘s collections, to contemporary fantasy literature and film.

Allen Douglas, ‘The Brothers Gruff’ (2020).

If a troll is principally a monster lurking in the shadows, then the contemporary use of the term to describe a form of cyber-bullying is especially apt. Not everyone agrees on the precise definition of a modern internet troll, and it seems that—in this sense—the semantic ambiguity of the word endures. For some a troll is specifically someone interested in online agitation for the purposes of entertainment, for others a troll is essentially comparable to a cyber-bully and internet stalker. As with some of their medieval counterparts, internet trolls may hunt in packs or prowl alone, though they no longer hide under bridges and caves but instead lurk in the recesses of the world wide web.

The monstrous vitriol, stalking and harassment in which internet trolls engage is notorious, especially on social media platforms such as Twitter, and has furthered cultural trends in discourse toward antagonism rather than cooperation, leading Melania Trump to launch a campaign as first lady against cyber-bullying and online harassment, in other words against the internet trolls.

Alexander Pavlov, ‘Internet Troll Sitting at the Computer’ Vector Illustrations (2003-2020).

Internet trolls have developed a terrible reputation as being a cowardly group of angry individuals. Bernie Sanders, despite unequivocally disavowing any internet trolls among the ranks of his supporters and calling for a government of compassion and justice, suffered from a lasting stereotype of the “Bernie-bro” during both his presidential campaigns, which characterized his grassroots movement as an army of internet trolls, primarily comprised of angry white men terrorizing Twitter. Although a recent Harvard study revealed that the “Bernie-bro” narrative was a myth and suggested that political trolling occurred by supporters of every Democratic candidate at similar rates, this caricature proved impossible for Sanders to shake as a result of the public disdain for internet trolls.

Steve Sack, ‘Troll Trouble’ Star Tribune (2020).

This Harvard study, however, highlighted a different but related issue—namely how ubiquitous trolling has become and the damage it has wrought upon ethical discussion and political conversations in this country regardless of which candidate one supports or with which party one affiliates.

Although Joe Biden does not have the same online presence as Sanders, and has promised to restore decency, he nevertheless embodied the trollish spirit of combativeness, which permeates social media discourse, in his everyday interactions with voters on the campaign trail. Biden repeatedly told those who disagree with him that they should vote for someone else, and at times getting into near physical altercations with Americans who challenged him on his record and policies. Despite both Democratic candidates’ feisty reputations (or in Sanders’ case the reputation of his supporters), both Bernie and Biden were notably amicable and referred to each other frequently and intentionally as friends during the primary. Sanders‘ recent endorsement of Joe Biden for president as the Democratic nominee then comes as no surprise and underscores a shared sense of party unity with the goal of winning back the White House.

US Senator Bernie Sanders (I-VT) and former Vice President Joe Biden hug at February’s debate, Getty Images (2020).

When responding to charges of a “Bernie-bro” culture among his supporters, Sanders has wondered if again, as in 2016, Russian media (especially bots and trolls) might be targeting his campaign, though this claim has been contested. Sanders also noted that in fact some of the most vicious trolling has been aimed at his surrogates and supporters of his campaign and progressive agenda, especially women of color, including his campaign co-chair Nina Turner, and the freshmen congresswomen known as “the squad” three of whom have endorsed Sanders, namely Alexandria Ocasio-Cortez, Ilhan Omar, and Rashida Tlaib. In making this point, Sanders shifted the spotlight onto some of the most marginalized voices in our government who face some of the most vile and threatening trolls haunting the internet.

US Representatives Ilhan Abdullahi Omar (D-MN), Alexandria Ocasio-Cortez (D-NY) and Rashida Tlaib (D-MI) hold a press conference on July 15, 2019 to address remarks President Donald Trump Twitter attacks on them. Photo by Brendan Smialowski/Getty Images (2019).

In our own field of medieval studies, we have observed a similar phenomenon. Medievalists of color, including junior scholars such as Dorothy Kim, Mary Rambaran-Olm, Adam Miyashiro, Sierra Lomuto, Seeta Chaganti and others, have become the target of alt-right trolls as a result of their speaking up against white nationalist appropriations of medieval history, literature and culture and raising the issue of racism within the field itself (and not without resistance). Professional internet trolls, like Milo Yiannopoulos, have pursued ad hominem attacks on some of these scholars in the guise of pseudo-academic arguments, and the internet troll forces involved with the alt-right movement have taken up his call to arms against our colleagues of color in the name of white supremacy, masquerading as nationalism (but centered on issues of ethnocentrism and notions of cultural homogeneity). The threat from modern trolls is indeed as serious as encountering a monstrous trǫll in an Old Norse-Icelandic saga.

Ashva, ‘Ugly Internet Troll’ Vector Illustrations (2003-2020).

Many have argued that Donald Trump is a cyber-bullying wizard, and his supporters notoriously seem to follow his lead. This characterization marks the president as essentially the mesta trǫllgreatest troll” capable of dragon-scale destruction via the internet, which renders his wife’s campaign against online harassment profoundly paradoxical. Moreover, whether it’s demonizing undocumented immigrants, insulting the squad, or attempting to rebrand covid-19 as the “Chinese virus” rather than simply calling it the novel coronavirus, the president is infamous for his straightforwardly offensive, racially loaded and politically incorrect tweets, which inflame racial tensions and partisanship. Trump’s relentless trolling of Climate Change activist Greta Thunberg is perhaps his most opprobrious internet feud, surpassing even his decade-long spat with Rosie O’Donnell

Steve Sack, ‘Feeding the Trolls’ (2019).

While it only takes one brief glance at Trump’s Twitter account to recognize his ferocity, dedication and skill in trolling his political opponents, it is important to recognize that he also receives his fair share of troll-attacks. Perhaps as a result of observing Trump’s effective trolling, Democrats and those criticizing the president have resorted to similar tactics, and have been praised for it, especially when Trump’s statements are trafficking in bigotry or misinformation. Indeed, if the Democratic nominee means to best Trump in the general election, and thereby defeat the greatest troll, as it were, it will certainly require strength of character and no small amount of courage.

Photo by Sofya Levina. Images by Drew Angerer/Getty Images (2016).

Perhaps the most infamous subcategory of internet troll, which has come under intense scrutiny as a result of their involvement in the 2016 presidential election in the United States, is the Russian troll. The involvement of Russian trolls (and bots) has received a share of credit for Donald Trump’s surprising victory over Hilary Clinton, and the president’s critics have alleged collusion between the Trump campaign and the Russian government, which resulted in a special investigation by Robert Mueller centered on whether there was a conspiracy (with Russia) or obstruction of justice on the part of the administration. This produced the famous Mueller Report that indicted 13 Russian nationals linked to tampering with the U.S. election. This Russian strategic operation was organized by the Internet Research Agency, which CNN describes as “a Kremlin-linked Russian troll group, [which] set up a vast network of fake American activist groups and used the stolen identities of real Americans in an attempt to wreak havoc on the U.S. political system.”

Jeffrey Koterba, Omaha World-Herald ‘Russian Trolls’ (2018).

Now in 2020, the U.S. again finds itself in yet another battle against Russian trolls and the spread of misinformation and disinformation. Russian trolls seem to be focused on antagonizing and disaffecting groups and individuals thereby turning Americans on Americans, as the Mueller Report outlines a “strategic goal to sow discord in the US political system.” Although Russian virtual propaganda and social media trolling certainly may have fanned the flames, the sad truth is the the fire was already burning. What’s worse, anyone and everyone arguing online becomes a potential Russian troll, providing scapegoats and discrediting of the hard work and dedication of many Americans calling for social, racial, environmental and economic justice, and necessary reform to meet these needs.

As the loudest and most provocative views often receive the most traction and attention, especially on social media, internet trolls—whether an operative from the Internet Research Agency or simply troubled person lashing out online—cast long shadows, effectively silencing all those softer voices and further destabilizing civil discourse.

Bryant Arnold, ‘Internet Troll Under a Bridge’ (2013).

In both medieval literature and modern times, we must fight the trolls and the horrors they bestow upon human society. While I am suggesting a sort of call to action against internet trolls and trolling, it is expressly not a call for tone-policing. Critique, even the sharpest criticism—especially of public officials and elected representatives—must be uncensored so the people may speak freely and in whatever (and whichever) language they choose, whether vulgar or polite in tone. However, I am suggesting that we consider changing our rhetorical strategy as a nation and a world.

Legendary heroes often fight trolls by matching their strength and ferocity, by fighting fire with fire, but I believe a different path might be more efficient. Perhaps it is cliché for a medievalist to suggest a hagiographical approach, but I would contend that we could learn a lesson from St. Juliana’s contest with a demon (267-558) in the Old English Juliana by Cynewulf recorded in the Exeter Book (Exeter Cathedral Library MS3051). As a medieval saint might when facing a devil, I believe that it is often best (and more rhetorically effective) to match vice with virtue, anger with empathy, belligerence with amicability and hate with love in order to transform political conversations in America toward more ethical practices.

Demon attacks hermit in Smithfield Decretals, British Library, Royal MS 10 E IV, f. 113v.

This rhetorical strategy, meeting vice with virtue, is the centerpiece of the late classical Christian epic, Prudentius’s Psychomachia, often regarded as the first medieval allegory which establishes the robust tradition which follows. In the Psychomachia, demonic vices fight against saintly virtues in what amounts to a battle for the soul of humanity, a phrase which is repeatedly invoked regarding our current political moment. Although the Psychomachia frames its narrative in reductive notions of good and evil, it nevertheless argues that the strongest way to combat monstrous vices ira “wrath,” superbia “pride,” luxuria “luxury” and avaritia “greed” is with inverse behavior, in other words, the heroic virtues of patientia “patience,” humilitas “humility,” sobrietas “sobriety,” and operatio “service.”

Sobrietas defeats Luxuria, the vice is ultimately caught in the wheels of her own war-chariot and destroyed, British Library, Add MS 24199 f.20v.

Of course, we must continue the constant battle against what can seem like an endless horde of internet trolls, and it is all too tempting, and necessary at times, to get into the proverbial mud and valiantly take the fight to them in their digital lairs (usually located somewhere in the comment section) as heroes often do in saga literature and fantasy novels.

We might also note that in the Hobbit, the grey wizard Gandalf initiates and perpetuates an argument between three stone-trolls in an effort to stall and prevent the monsters from devouring Thorin’s company (ch 2: “Roast Mutton“). Gandalf’s ventriloquism mirrors the trolls‘ level of discourse, and eventually not only does their bickering delay their eating the dwarves, it causes the trolls to forget about the approaching dawn, which turns them to stone. Perhaps there is something of a serendipitous metaphor in the argument between the wizard and the trolls in the Hobbit, which suggests that in order to overcome trolls, one must beat them at their own game and hope they self-destruct.

DonatoArts, ‘Lunch with William, Tom and Bert’ (2018-2020).

Indeed, like Grettir wreaking vengeance upon the trǫllkona mikil “great troll-woman” in Grettis saga (ch. 65), it may be that sometimes the only way to respond to a troll is to retaliate in some form. But there is also another kind of strength, kinder but no less powerful. While it is often impossible to starve trolls by ignoring them, and acknowledging that no single strategy will always prove effective, it may nevertheless be that the most productive way to defeat internet trolls is through sustained civil discourse in the spirit of generosity. In other words, kill them with kindness.

Richard Fahey
PhD in English (2020)
University of Notre Dame

Texts and Translations

Andersen, Hans Christian. Fairy Tales and Stories, translation by H. P. Paull (1872).

Byock, Jesse. Grettir’s Saga. Oxford University Press (2009).

Grimm, Jakob, and Wilhelm Grimm. Grimm’s Household Tales, translation by Margaret Hunt (1884).

Cynewulf. Juliana. In Anglo-Saxon Narrative Poetry Project, translation by Aaron K. Hostetter. Rutgers University (2007).

Margaret Armour. The Nibelungenlied. In Parentheses Publications (1999).

Mueller, Robert. Report On The Investigation Into Russian Interference In The 2016 Presidential Election. Special Counsel Office (2019).

Prudentius. Psychomachia. In Prudentius, with an English translation by H.J. Thomson (1949).

Rowling, J. K. Harry Potter and the Philosopher’s Stone. Bloomsbury (1997).

Tolkien, J. R. R. The Hobbit, or There and Back Again. Allen & Unwin (1937).

Further Reading

Ashkenas, Jeremy. “Was It a 400-Pound, 14-Year-Old Hacker, or Russia? Here’s Some of the Evidence.” The New York Times (2017).

Chaganti, Seeta. “Statement Regarding ICMS Kalamazoo.” Medievalists of Color (2018).

Fahey, Richard. “Medieval Trolls: Monsters from Scandinavian Myth and Legend.” Medieval Studies Research Blog. University of Notre Dame (2020).

Grendell, Alexis. “Should We Have a Right to Troll Politicians on Twitter?The Nation (2019).

Hanson, James. “Trolls and Their Impact on Social Media.” University of Nebraska-Lincoln (2018).

Jones, Brandon G. “Harvard Scientist Analyzes 6.8 Million Tweets, Finds Bernie Sanders Supporters Are NOT More Abusive.” ABC 14 News (2020).

Kim, Dorothy. “White Supremacists Have Weaponized an Imaginary Viking Past. It’s Time to Reclaim the Real History.” Time (2019).

—. “Teaching Medieval Studies in a Time of White Supremacy.” In the Middle (2017).

Klempka, Allison and Arielle Stimson. Anonymous Communication on the Internet and Trolling. Concordia University (2017).

Kosoff, Maya. “Why the Right’s Dark-Web Trolls Are Taking Over Youtube.” Vanity Fair (2018).

Lahut, Jake. “Joe Biden Gets Away with Yelling at Voters, and May Even Benefit from It.” Business Insider (2020).

Leigh, Kira. “Fantastic Internet Trolls and How to Fight Them.” Medium (2017).

Lewis, Simon. “Bernie Sanders to Online Trolls: Stop ‘Ugly Personal Attacks.” Reuters (2020).

Lindgren, Émelie Vangen. “Trolls in Your Comment Section and How to Fight Them.” Medium (2017).

Lomuto, Sierra. “White Nationalism and the Ethics of Medieval Studies.” In the Middle (2016).

Martin, Tess. “Racism 101: Tone Policing.” Medium (2018).

McQuade, Barbara and Joyce White Vance. “These 11 Mueller Report Myth Just Won’t Die. Here’s Why They’re Wrong.” Time (2019).

Miyashiro, Adam. “Decolonizing Anglo-Saxon Studies: A Response to ISAS in Honolulu.” In the Middle (2017).

Noor, Poopy. “Trump’s Troll-in-Chief? Once Again, Nancy Pelosi Bites Back.” The Guardian (2019).

Perry, David. “How to Fight 8Chan Medievalism—and Why We Must.” Pacific Standard (2019).

 Mary. “Misnaming the Medieval: Rejecting ‘Anglo-Saxon’ Studies.” History Workshop (2019).

Ray, Alison. “The Psychomachia: An Early Medieval Comic Book.British Library (2015).

Read, Bridget. “I’m Sorry, What Did Biden Say to This Voter?The Cut (2019).

Roll, Nick, “A Schism in Medieval Studies, for All to See.” Inside Higher Ed (2017).

Sarsour, Linda. “Yes, Women of Color Support Bernie Sanders. It’s Time to Stop Erasing Our Voices.” Teen Vogue (2019).

Silver, Nate. “Donald Trump is the World’s Greatest Troll.” FiveThirtyEight (2015).

Spencer, Kieth A. “There Is Hard Data That Shows ‘Bernie Bros’ Are a Myth.” Salon (2020).

Sax, David. “‘If You Fight Fire with Fire, Everyone Burns’: How to Catch a Troll Like Trump.” The Guardian (2016).

Sebenius, Alyza. “Russian Trolls Shift Strategy to Disrupt U. S. Election in 2020.” Bloomberg (2020).

Stratton, Erica. “6 Ways to Fight Trolls Instead of Starving Them.” The Airship (2014).

Vinsonhaler, Christine. “The HearmscaÞa and the Handshake: Desire and Disruption in the Grendel Episode.” Comitatus 47 (2016): 1-36.

Waters, Lowenna. “AOC Destroys ‘Misogynist’ Twitter Troll with One Simple Comment: ‘I Don’t Give a Damn.” Indy100 & Independent (2019).

Medieval Trolls: Monsters from Scandinavian Myth and Legend

Scott Gustafson, ‘The Three Billy Goats Gruff’ (2020).

Trolls have a deep and murky literary history. Trolls haunt protagonists in Old Norse-Icelandic sagas. Trolls snatch gruff billygoats crossing bridges in grim fairy tales. In modern novels, trolls capture (and intend to eat) wandering dwarves and hobbits, and trolls sulk about in wizard’s dungeons, leaving a terrible stench wherever they go. Let us not forget, of course, trolls are also fluorescent-haired dolls with gems for bellybuttons.

Trolls dolls created by Thomas Dam in 1959, image of treasure trolls from ‘Troll Dolls’ (2009).

Acknowledging exceptions like the popular dolls (which were recently adapted into DreamWorks Animation movies and a television series), trolls in the modern imagination are generally represented as resembling a giant, but less human and more monstrous. Trolls are often racialized, depicted as pale, grey or green-skinned and regarded as ugly, with dim intelligence and a tendency towards evil.

Gustaf Tenggren’s book cover for his ‘Grimm’s Fairy Tales’ (1923).

This stereotypical representation of trolls features in cult classic films such as Troll directed by John Carl Buechler (1986), Troll 2 directed by Claudio Fragasso and originally called Goblins (1990), and more recently Trollhunter (Trolljegeren) directed by André Øvredal (2010).

Troll from Claudio Fragasso’s ‘Troll 2’  (1990).

These modern representations of trolls are based on medieval literary models, especially swamp-dwelling giant-like monsters, similar to the Old Norse-Icelandic þurs “giant” which also appears in Old English literature [þyrs]. In the Old English poem Beowulf, the Grendelkin have traditionally been identified as trolls by modern critics, and Grendel is himself described as a þyrs “swamp giant” by Beowulf (426). We learn from the Old English Maxims II that a þyrs is a lurking swamp creature: þyrs sceal on fenne gewunian/ ana innan lande “a giant shall dwell in a fen, alone within the land” (42-43).

Grendl (Phil Deguara) in James Dormer’s ‘Beowulf: Return to the Shieldlands’ (2016).

This description aligns directly with descriptions of Grendel, who sinnihte heold/ mistige moras “ruled the misty marshes in the perpetual night” (161-62) as angenga “a lone-wanderer” (449). Indeed the monster is characterized as a þyrs when the narrator first names him: Wæs se grimma gæst Grendel haten,/ mære mearcstapa, se þe moras heold,/ fen ond fæsten; fifelcynnes eard “The grim ghast was called Grendel, the famous mark-stepper, he who ruled the marshes, the fens and strongholds, the realm of monsterkind” (102-04).

The Stone Trolls: William, Tom and Bert (performed by Peter Hambleton, Mark Hadlow & William Kircher) in the Peter Jackson’s ‘The Hobbit: And Unexpected Journey’ (2012).

The Grendelkin are named giants elsewhere in Beowulf, marked with Old English terms such as eoten (112, 761, 1558, 1679), a relative cognate with the Old Norse jǫtunn [Icelandic jötunn] “giant” (commonly featured in Old Norse-Icelandic poetry and sagas), and the anglicized gigant “giant” (113, 1562, 1690), derived from the Latin gigans “giant” (notably used in the Latin Vulgate Bible (Genesis 6:4, Numbers 13:30–33, Deuteronomy 3:11, 2 Samuel 21:19). Despite the more than one hundred varying descriptions of Grendel and his mother, these Beowulf-monsters are undoubtedly giant in stature.

John Bauer, “The Princess and the Troll Sons’ (1915).

In the medieval tradition, the troll [Old Norse trǫll, Icelandic tröll, Middle High German trolle]  is a creature from Scandinavian myth and legend which features prominently in eddiac poetry and saga literature. Grettis saga, one of the sagas which most famously contains trolls, including both the þurs (two references) and trǫll (twelve references). There are multiple references to trolls as nocturnal predators (ch. 16 & 33) and a general menace (ch. 57 & 64). After Grettir encounters and outwits a þurs “giant” called Þorir (ch. 61-62), he later turns his attention toward slaying a family of trolls (ch. 64-66). In Grettis saga, the trǫllkona mikil “great troll-woman” (also simply called trǫll) attacks the hall first prompting Grettir to hunt her down in her cave (ch. 65).

John Vernon Lord, ‘Grettir’s Fight with the She-Troll’ from the ‘Grettir’s Saga’ in Icelandic Sagas v.2, The Folio Society (2002).

It is only when Grettir ventures deeper into their troll-den that he encounters a jǫtunn, who is of course her troll companion, but never explicitly named such (ch. 66). The giant-troll family that Grettir slays looms largest in the modern imagination. However, even here the categorical ambiguity between jǫtunn and trǫll highlights something fundamental about trolls in the Old Norse-Icelandic saga tradition. The range of monstrous creatures to which trǫll can apply is vast, and Sandra Alvarez notes that trǫll “could also be used to describe troublesome people, animals and even giants” in her blog “Trolls in the Middle Ages.” In Grettis saga, the term trǫll refers to the cave-dwelling monsters threatening the hall of Sandhaug and the human society within (ch. 64), but Grettir himself is earlier mistaken for a trǫll (ch. 33).

Troll (Michael Q. Schmidt) in the Dungeon in Chris Columbus’s ‘Harry Potter and the Sorcerer’s Stone’ (2001).

Moreover, in addition to trǫll referring to giant, the term can also indicate a witch, sorcerer, conjurer or any magic-user. Two Old Norse-Icelandic words for witchcraft, trǫlldómr and trǫllskap attest to the longstanding association between trǫll and magic. Moreover, in Hrólfs saga kraka the cowardly Hǫttr describes a flying monster, something akin to a dragon, as mesta trǫll “greatest troll” (ch. 35), and this creature terrorizes Hrólfr’s realm until Bǫðvar Bjarki slays the beast. Considering the semantic range for trǫll, the term appears to broadly refer to creatures monstrous, magical or both in the Old Norse-Icelandic literature.

Jared KrichevskyI, ‘I, Frankenstein designs,’ the Aaron Sims Company (2014).

Trolls can be giants. Trolls can be dragons. Trolls can be witches and warlocks. Above all, trolls are monsters. Despite this semantic ambiguity, each iteration of trǫll in Old Norse-Icelandic sagas emphasizes one major commonality—the wonder and monstrosity associated with anything or anyone deemed a troll in the extant literature from medieval Scandinavia.

Giant Troll called Isak Heartstone, created by Thomas Dambo. Photo by Jenise Jensen, Breckenridge Creative Arts (2018).

Return in a few weeks for further discussion of the evolution of trǫll in modern English, specifically in the context of the online monsters commonly known as internet trolls.

Richard Fahey
PhD in English (2020)
University of Notre Dame

Texts & Translations

Byock, Jesse. Grettir’s Saga. Oxford University Press (2009).

. The Saga of King Hrolf Kraki. Penguins Classics (1999).

Grimm, Jakob, and Wilhelm Grimm. Grimm’s Household Tales, translation by Margaret Hunt (1884).

Heaney, Seamus. Beowulf: A New Verse Translation. W. W. Norton & Company (2001).

Hostetter, Aaron K. Anglo-Saxon Narrative Poetry Project. Rutgers University (2007).

Kiernan, Kevin. The Electronic Beowulf. University of Kentucky (2015).

Tolkien, J. R. R. The Hobbit, or There and Back Again. Allen & Unwin (1937).

Treharne, Elaine, and Jean Abbot. Beowulf By All. Stanford University (2016).

Þórðarson, Sveinbjörn. Icelandic Saga Database (2007).

Rowling, J. K. Harry Potter and the Philosopher’s Stone. Bloomsbury (1997).


Further Reading

Alvarez, Sandra. Trolls in the Middle Ages.” Medievalist.net (2015).

Fahey, Richard. “Mearcstapan: Monsters Across the Border.” Medieval Studies Research Blog. University of Notre Dame (2018).

Firth, Matt. “Monsters and the Monstrous in the Sagas – the Saga of Grettir the Strong.” The Postgrad Chronicles (2017).

Fjalldal, Magnús. “Beowulf and the Old Norse Two-Troll Analogues.” Neophilologus 97 (2013): 541–553.

Jakobsson, Ármann. The Troll Inside You: Paranormal Activity in the Medieval North. Punctum Books (2017).

Lindow, John. Trolls: An Unnatural History. Reaktion Books (2015).

Shippey, Thomas A. The Shadow-Walkers : Jacob Grimm’s Mythology of the Monstrous. Brepols (2005).

Game of Thrones: The Overthrow of the Patriarchy in Westeros? (An Opinion Piece)

George R. R. Martin’s Game of Thrones is currently one of the most popular fantasy series, both on television and in print, and some have begun to describe the work alongside J. R. R. Tolkien‘s Lord of the Rings and J. K. Rowling‘s Harry Potter. As with Tolkien and Rowling, Martin borrows readily from medieval history and literature, but somewhat differently; Martin seems at times to invert certain fantasy genre expectations and stereotypes. His fantasy series centers on themes generally associated with modern medievalism, especially issues of rightful rulership, noble lineage, courtly politics, codes of chivalry, medieval warfare, ancient prophecy, arcane magic, mysterious monsters and spiritual mysticism. However, Martin’s somewhat more innovative characterizations and reimagining of traditions are what I have personally found most enjoyable about reading Song of Ice and Fire and viewing Game of Thrones.

Arya Stark (Maisie Williams) with her sword, Needle

In particular, I appreciate how Martin highlights the failure of the patriarchy. At the beginning of Game of Thrones (both the book and the film), most of the powerful houses and many of the kingdoms are ruled by strong men—the seven kingdoms and the stormlands under Robert Baratheon, the north under Eddard Stark, the westerlands under Tywin Lannister, the iron islands under Balon Greyjoy, and the Dothraki khalasar under Khal Drogo. Even the exiled Viserys Targaryen held his family’s claim to the iron throne, though he could hardly be considered strong in any sense.

Robert Baratheon (Mark Addy), Eddard Stark (Sean Bean), Tywin Lannister (Charles Dance), Balon Greyjoy (Patrick Malahide), Khal Drogo (Jason Momoa), and Viserys Targaryen (Harry Llyod)

The one possible exception is the queen of thorns, Olenna Tyrell, who is ultimately poisoned by Jamie Lannister after allying with Daenerys Targaryen in season seven, episode three [“The Queen’s Justice”]. Like her grandmother, the thrice-made queen, Margaery Tyrell, also demonstrates her social prowess by navigating courtly politics and leveraging marriage to her advantage, working the system from within. However, Margaery underestimates her enemies and becomes a victim of the wildfire arson of the Sept of Balor, which all but destroys her family, sparing only Olenna who was then safe at Highgarden and beyond Cersei’s reach.

Olenna Tyrell (Diana Rigg) and Margaery Tyrell (Natalie Dormer)

By the end of the series, things look quite different. The final contest for the iron throne is staged between two rival queens, Daenerys Targaryen and Cersei Lannister. The once exiled Daenerys, having been fostered by the Dothraki, holds perhaps the strongest claim to the iron throne, though Jon Snow’s recently discovered identity certainly complicates the matter of succession as determined by the patriarchal legal traditions of Westeros. Nevertheless, Daenerys has emerged as a conqueror in Essos and returns to Westeros with both armies  and dragons.

Daenerys Targaryen (Emilia Clark) with her dragon, Drogon.

The Baratheon family is mostly wiped out in the war of five kings (although Daenerys names Gendry Baratheon the new lord of Storm’s End), and the north and riverlands seem to be led by Sansa Stark, despite Jon Snow’s recent title as king in the north. Cersei Lannister retains the iron throne as queen, and she commands her family’s forces as well as the Iron Fleet of Euron Greyjoy and the mercenary guild known as the Golden Company. Asha Greyjoy (or Yara in the films) is also named queen of the iron islands, and she has acted as a leader throughout the series, as has the Dornish matriarch, Ellaria Sand (a character loosely associated with princess Arianne Martell, absent from the films entirely). And, after Ned Stark’s death, Catelyn Stark took command of the north and riverlands alongside her son Robb Stark until the terrible red wedding claims both their lives.

Daenerys Targaryen (Emilia Clark), Sansa Stark (Sophie Turner), Cersei Lannister (Lena Headey), Yara Greyjoy (Gemma Whelan), Ellaria Sand (Indira Varma) and Catelyn Stark (Michelle Fairley)

Other prominent female characters have likewise developed into formidable figures, especially the fearless assassin Arya Stark, who crucially slays the Night King, the mighty knight Brienne of Tarth, and the mystical red priestess Melisandre. The young and fierce Lyanna Mormont also shows her unfailing fortitude, even as she dies heroically during the battle for Winterfell in a David and Goliath allusive scene, in which she destroys an undead giant.

Ary Stark (Maisie Williams), Brienne of Tarth (Gwendoline Christie), Melisandre (Carice van Houten), and Lyanna Mormont (Bella Ramsey)

I am by no means attempting to exonerate Game of Thrones or Song of Ice and Fire from warranted allegations of sexism, and there is surely still much to reflect on and criticize in this regard. More blatantly, it seems that Game of Thrones is distinctly less concerned with issues of race. The films in particular consistently portray the Dothraki as exceptionally savage in a manner that upholds extremely harmful and problematic stereotypes. This characterization is especially troubling considering how in season eight, episode three [“The Long Night”], the Dothraki are essentially sacrificed. The much discussed Dothraki charge into the approaching forces of the Night King was the first and only assault by the living against the army of the dead, and the Dothraki were all but annihilated as a result. Rather miraculously, the one Westerosi knight who rides out with the Dothraki manages to make it back alive.

Jorah Mormont (Iain Glen) and the Dothraki screamers about to charge

Martin consistently focuses on the gritty human experience, and most of his cultures seem barbaric in one form or another. However, especially in the film, the Dothraki are presented at times in ways that reinforce a stubborn racial bias within the modern fantasy genre. It seemed to me as a reader that in the book series, Song of Ice and Fire, Martin is able to better demonstrate that savagery and the horrors which humans inflict on each other are ubiquitous and extend to every culture—perpetrated by the free folk wildlings north of the Wall, the feudal Westerosi and the pillaging iron islanders, as often as by the Dothraki horde or the ruling class in Slaver’s Bay. Of course, I fully concede that my interpretations of the books and films are necessarily limited and affected by my white male privilege, as it is for the books’ author [George R. R. Martin] and films’ creators [David Benioff and D. B. Weiss]. It nevertheless seems apparent that the various patriarchal systems are the universal root of atrocities in both Westeros and Essos.

Lord of Bones (Edward Dogliani) with wildlings and slaves in Slaver’s Bay

It must be emphasized, as many critics have pointed out, that the film series repeatedly underrepresents persons of color. The only two major non-white characters that make it to season eight are Grey Worm, who leads the Unsullied, and Missandei, who dies at Cersei’s hand this past weekend, after being captured by Euron Greyjoy during season eight, episode four [“The Last of the Starks”]. Both are former slaves from Essos who have become loyal friends and advisors to Daenerys. Missandei’s devotion to the “mother of dragons” costs her life, and I would be rather disappointed, if not surprised, should the same prove true for Grey Worm before the war for Westeros is done.

Missandei (Nathalie Emmanuel) and Grey Worm (Jacob Anderson)

Perhaps as unfortunate as Game of Thrones’ mistreatment of Missandei and Grey Worm is the book series’ numerous characters of color who simply do not feature in the show, including central figures from the Dornish royal family and Moqorro, a powerful red priest from Volantis, who is searching for Daenerys in Martin’s book five, A Dance with Dragons. The film also misses a number of opportunities to cast major protagonists from Essos as persons of color, including Varys, Thoros of Myr and Melisandre, all of whom are played by white actors.

Varys (Conleth Hill), Thoros of Myr (Paul Kaye) and Melisandre (Carice van Houten)

While Game of Thrones falls woefully short when it comes to fantasy representations of diverse and non-white cultures, and above all underrepresents women of color, it does seems to me that the toppling of the patriarchy by powerful (generally white) women is part of its narrative design. In virtually every case, with the notable exception of Cersei, female rulership is a marked improvement upon the patriarchy that existed prior to women’s rise to power in Westeros. In my opinion, even Cersei seems objectively preferable to her son Joffrey Baratheon, the adolescent-king poisoned by Littlefinger [Petyr Baelish] and Olenna Tyrell at his own wedding.

Daenerys Targaryen (Emilia Clark), Sansa Stark (Sophie Turner) and Cersei Lannister (Lena Headey)

Indeed, as the show nears its end, three formidable women—Daenerys Targaryen, Sansa Stark and Cersei Lannister—are best positioned to win the game of thrones. I hope that the fact that an anti-patriarchal message, however clumsily handled, features so prominently in a mainstream fantasy series may at the very least represent an evolution in contemporary audiences’ expectations and sensibilities. In addition to the series’ function as a literary bridge between the modern and medieval for many readers and students, the bifurcating successes and failures with regard to expressions of feminist and racial attitudes in Game of Thrones make the film a potentially useful teaching tool for illustrating conscious and unconscious misogyny and racism in medievalism and fantasy literature.

Hopefully, they do not blow it and put Jon Snow on the iron throne.

Richard Fahey
PhD Candidate in English
University of Notre Dame


Related Online Reading:

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