Dragonomics: Smaug and Climate Change

Today, we talk about dragons. I refer specifically to the greedy, northern (often fire-breathing) variety as described in Beowulf and featured in Tolkien’s Hobbit, and I will consider how these monsters present environmental catastrophe as a direct result of hoarding and greed.

My discussion of dragons and climate change continues my recent series of blogs interested in placing medieval literature (and in this case also modern medievalism) in conversation with current crises. This blog develops an earlier argument made in a paper at a “Tolkien in Vermont” conference (2014), titled “Dragonomics: Smaug and Pollution on Middle-Earth,” in which I argue that pollution in Tolkien’s Hobbit is linked to both the literal destruction by the dragon, and the rampant greed that motivates Smaug and ultimately initiates the plunder and violence at the Battle of Five Armies.

‘Dragon Hoard,’ Stephen Hickman (1985).

In the past, I have defined dragonomics as “the relationship between greed and catastrophe characteristic of certain representations of medieval dragons (especially the Beowulf-dragon),” which I separately argued also may apply to the study of Smaug in Tolkien’s Hobbit. In Beowulf, both the draca “dragon” slain by Sigemund (892), and the draca slain by Beowulf (2211), are depicted as excessively greedy, possessing heaps of beagas “rings” (894 and 3105) and frætwe “treasures” (896 and 3133). To emphasize the extent of their respective plunder, the dragon in the Sigemund episode is named hordes hyrde “guardian of the hoard” (887), and likewise the Beowulf-dragon is characterized repeatedly as hordweard “hoard-guardian” (2293, 2302, 2554, 2593), an epithet otherwise used throughout poem to describe kings, such as Hroðgar (1047) and Beowulf (1852).

Smaug’s hoard is equally impressive, and Tolkien describes the dragon atop his treasure: “Beneath him, under all his limbs and his coiled tail, and about him on all sides stretching away across the unseen floors, lay countless piles of precious things, gold wrought and unwrought, gems and jewels, and silver red-stained in the ruddy light” (215). Likewise when Smaug attacks, Bard of Lake-town acknowledges that the dragon is “the only king under the Mountain we have ever known” (248). Smaug similarly styles himself a king in his riddling conversation with Bilbo. Before he journeys to destroy Esgaroth, Smaug proudly remarks that “They shall see me and remember who is the real King under the Mountain!” (233).

Smaug and Bilbo, from Jackson’s ‘The Desolation of Smaug’ (2013).

Indeed, it is the hoarded wealth of a dying people that lures the Beowulf-dragon to the barrow (2270-72), and similarly, in Tolkien’s Hobbit, we learn that the dwarves’ obscene wealth is what lured Smaug to Erebor in the first place. Thorin explicitly notes how their hoard attracted Smaug:

“So my grandfather’s halls became full of armour and jewels and carvings and cups, and the toy market of Dale was the wonder of the North. Undoubtedly, that was what brought the dragon” (23).

Although the greedy wyrm “serpent” (891) that Sigemund kills is not described as particularly destructive, the avaricious Beowulf-dragon becomes belligerent once its wealth is disturbed by an anonymous thief, who steals its dryncfæt deore “precious drinking-cup” (2254). The narrator explains that after the wyrm (2287) is robbed of his prized chalice, he ravages the countryside causing widespread destruction.

Manuscript image of Beowulf, British Library, Cotton Vitellius a.xv, f.184r.
Beowulf, 2312-27
Ða se gæst ongan   gledum spiwan,
beorht hofu bærnan;   bryneleoma stod
eldum on andan.   No ðær aht cwices
lað lyftfloga   læfan wolde.
Wæs þæs wyrmes wig   wide gesyne,
nearofages nið   nean ond feorran,
hu se guðsceaða   Geata leode
hatode ond hynde;   hord eft gesceat,
dryhtsele dyrnne,   ær dæges hwile.
Hæfde landwara   lige befangen,
bæle ond bronde.   Beorges getruwode,
wiges ond wealles.   Him seo wen geleah.
Þa wæs Biowulfe   broga gecyðed
snude to soðe,   þæt his sylfes ham,
bolda selest,   brynewylmum mealt,
gifstol Geata.
“Then the spirit began to spew flames, burning the bright buildings. The burning-light [i.e. dragon] remained in anger toward all humans. The loathsome air-flier wanted to leave nothing alive there. The war of the serpent, the enmity of the narrow-hostile one, was widely seen, near and far—how the war-harmer hated and humiliated the Geatish people. It shot back to its hoard, its secret lordly-hall, a while before daybreak. The land-citizens had been surrounded by fire, by flame and brand. It trusted in its barrow, war and wall. The expectation for him was deceived. Then was the terror known to Beowulf, quickly to truth, that his own home, the best of houses, melted in burning-waves, the gift-throne of the Geats.”

In Tolkien’s Hobbit, widespread devastation occurs when Smaug first plunders the wealth from the dwarves, unlike in Beowulf, where the hoarders are long-dead (2236-70). Pollution seems to accompany Smaug, and in Thorin’s retelling of the dwarves’ exile from Erebor, he describes how “A fog fell on Dale, and in the fog the dragon came on them” (23). Smaug again causes calamity when his hoard is disturbed, and Bilbo—like the Beowulf-thief—steals a treasured cup from the dragon. Bilbo accidentally directs Smaug’s attention toward Lake-town, and when the dragon attacks, he arrives with “shadows of dense black” (249) that engulfs the city.

Smaug attacking Lake-town, Rankin and Bass’ ‘The Hobbit’ (1977).

Although both dragons lay waste to the surrounding region, Smaug’s pollution of Middle-Earth expands well beyond the scope of his medieval predecessor. Indeed, as a result of Smaug, the environment has been poisoned, and a once lush and thriving place had withered as a result of excessive smoke and heat.

I would argue that for Tolkien—whose environmentalism is no secret—Smaug represents a more contemporary form of dragonomics with special attention toward the ways in which greed drives war and industry, which pollutes the land and skies. The smog episodes in London throughout the 19th and 20th centuries–which culminated in the “Great Smog” of 1952 that killed 4,000 peoplemay not be part of the philological jest of the dragon’s name (since Tolkien describes the etymology of Smaug as derived from the past tense smaug of the proto-Germanic smugan “to squeeze through a hole” in his 1938 Observer letter); nevertheless, Smaug becomes a representation of the dragonomics more closely associated with industrialization, which promised wealth but delivered also ecological catastrophe. Tolkien emphasizes that “his hot breath shriveled the grass” (219) and “The dragon had withered all the pleasant green” (229).

London during the Great Smog of 1952, Associated Newspapers /REX.

Smaug is characteristically avaricious, and Thorin describes him as “a most specially greedy, strong and wicked worm called Smaug” (23).” Tolkien refers to Smaug’s environmental impact as “The Desolation of the Dragon” (203, 255), and the author imagines an earlier, greener and more plentiful time before the dragon made his mark:

“There was little grass, and before long there was neither bush nor tree, and only broken and blackened stumps to speak of ones long vanished” (203).

I would argue that Smaug’s pollution changes the climate of Middle-Earth, affecting the land and the skies, but also the rivers and woods (such as the poisoned river and forests encountered in Mirkwood), and even the Elf-king’s woodland realm and the human merchant city of Lake-town. A conversation between Bilbo and Balin emphasizes Smaug’s lingering effect. Bilbo wagers that ‘The dragon is still alive—or I imagine so from the smoke’ (204), but Balin is worried about the lasting pollution of Smaug, and so the dwarf objects. Balin explains how Smaug “might be gone away some time … and still I expect smokes and steams would come out of the gates: all the halls within must be filled with his foul reek” (204). Bilbo discovers the truth of the dwarf’s words, for even when Smaug is not at home, “the worm-stench was heavy in the place, and the taste of vapour was on his tongue” (235).

Smog in Lianyungang, China (2013), Chinafotopress/Getty Images.

I offer this interpretation of Tolkien’s dragon, because I would suggest that Smaug may be productively read as a representation of climate change, in the sense that the dragon is a force of smoke and heat which destroys ecosystems and disrupts the environment in much deeper and more long-lasting ways. Indeed, Tolkien reiterates the ecological cost of Smaug’s presence, and he describes how “his hot breath shriveled the grass” (219) and “The dragon had withered all the pleasant green” (229).

Since the president’s declaration of a national emergency with regard to the alleged immigration crisis on the southern border of the United States, many have already begun to discuss the potential for a future president to declare a national emergency in order to act on climate change more comprehensively, if necessary. We are already imagining our environmental crisis as the monster it threatens to be.

Cal Fire firefighter in Igo, CA (2018), Hector Amezcua/The Sacramento Bee via AP.

At the center of our modern struggles with dragonomics, I would argue, the problem of avarice endures. It is greed, especially from the fossil fuel lobby and the major energy companies (many linked to nations themselves), which have stalled and prevented developments in renewable energies in order to reduce our carbon footprint. And greed continues to obstruct human efforts to act upon the issue, both globally and as individual nations, as the looming dragon grows ever bigger and more ominous.

Dragonomics is not simply about making money, it is about plundering it and more importantly hoarding it. I have already referenced how greed motivates Smaug’s plunder, and I will turn now to Tolkien’s description of dragon-hoarding:

“Dragons steal gold and jewels…and they guard their plunder as long as they live….and never enjoy a brass ring of it. Indeed they hardly know a good bit of work from a bad, though they usually have a good notion of the market value” (23).

‘Smaug,’ Sam Kieser (2012).

The socially detrimental result of hoarding obscene wealth marks the very pinnacle of greed in the Hobbit, which Tolkien describes specifically as “dragon-sickness” (305).  I would argue that hoarding is also a major motivating force when it comes to our environmental crisis, especially with regard to our delayed and incoherent responses to the issues climate change presents. This is especially true with regard to the oil companies and related special interests linked to fossil fuels, which in their attempts to consolidate and retain their wealth and virtual monopoly on energy, have awoken a terrible dragon, one that will dwarf Smaug and will require heroism—not only from those in leadership positions, but also from the people. Indeed, when it comes to the crisis of global pollution and climate change, Bilbo’s sentiments ring truer to me than ever: “‘This whole place still stinks of dragon….and it makes me sick’” (267).

Thorin’s final words to Bilbo, Rankin and Bass’ ‘The Hobbit’ (1977).

Still, it is Thorin’s famous deathbed realization that speaks most directly to today’s crisis, if the goal is to work together globally in order to combat our collective environmental crisis. The moment calls for a collective change of attitude, particularly from those who maintain that profits and economics necessarily trump ecological concerns. As even the miserly dwarf-king, formerly seduced by “the bewitchment of the hoard” (240), must admit at the end of his life: “If more of us valued food and cheer and song above hoarded gold, it would be a merrier world” (290).

Richard Fahey
PhD Candidate in English
University of Notre Dame

Editions and Translations:

Tolkien, J. R. R. 1937. The Hobbit, or, There and back again. George Allen & Unwin.
Pages correspond to:
Tolkien, J. R. R. 1937. The Hobbit, or, There and back again (Mass Market Edition). HarperCollins Publishers. 2012.

Heaney, Seamus. Beowulf: A New Verse Translation (Bilingual Edition). Farrar, Straus and Giroux. 2000.

Klaeber’s Beowulf (Fourth Edition), ed. R.D. Fulk, Robert E. Bjork, John D. Niles. University of Toronto Press. 2008.

Further Reading:

Abram, Christopher. Evergreen Ash: Ecology and Catastrophe in Old Norse Myth and Literature. University of Virginia Press. 2019.

Bates, Robin. “Dragon Billionaires Assaulting America.” Better Living Through Beowulf. September 19, 2012.

Cooke, William. “Who Cursed Whom, and When? The Cursing of the Hoard and Beowulf’s Fate.” Medium Aevum 76.2 (2007): 207-224.

Evans, Jonathan D. “A Semiotics and Traditional Lore: The Medieval Dragon Tradition.” Journal of Folklore Research 22 (1985): 85-112.

—. “‘As Rare as They Are Dire’: Old Norse Dragons, Beowulf and the Deutsche Mythologie”: 207-269. In The Shadow-Walkers: Grimm’s Mythology of the Monstrous, ed. Tom Shippey. Arizona Center for Medieval and Renaissance Studies. 2005.

Lawrence, William Witherle. “The Dragon and His Lair in Beowulf.” PMLA 33.4 (1918): 547-583.

Lee, Alvin A. Gold-hall and Earth-dragon: Beowulf as Metaphor. University of Toronto Press. 1998.

Lionarons, Joyce Tally. The Medieval Dragon: The Nature of the Beast in Germanic Literature. Hisarlik Press. 1998.

Park, Jisung and James Hacker. “The Derivation of Smaug: Dragons, Methane, and Climate Change.” Sense and Sustainability. January, 20, 2014.

Rauer, Christine. Beowulf and the Dragon: Parallels and Analogues. Boydell and Brewer. 2000.

Shabala, Alex. “From Smaug to Smog: Historical carbon emissions due to dragons in Middle Earth.” Climate System Analysis Group. January 27, 2014.

Shippey, T.A. The Road to Middle-Earth: How J.R.R. Tolkien Created a New Mythology. Mariner Books. 2003.

Silber, Patricia. “Gold and Its Significance in Beowulf.” Annuale Mediaevale 18 (1977): 5-19.

Undergrad Wednesdays – Fart Jokes: “The Summoner’s Tale” and the Timelessness of Crass Humor

 [This post was written in the spring 2018 semester for Karrie Fuller's course on Chaucer’s Canterbury Tales. It responds to the prompt posted here.]
The fart scene in Step Brothers.

In films today, one of the simplest yet effective means of eliciting laughter is a fart. The Mel Brooks film Blazing Saddles features a scene with cowboys farting around a campfire after consuming beans. In “Step Brothers,” one character unleashes a long, loud fart during a job interview. Another example of fart humor in modern cinema is the dinner scene in “The Nutty Professor,” starring Eddie Murphy. Murphy plays several members of the Klump family who humorously pass gas at their dinner table. However, long before the advent of cinema, in Geoffrey Chaucer’s The Canterbury Tales, one of the collection’s more humorous works is told by the Summoner, who also uses a fart for comedic effect. By examining Chaucer’s use of a fart and the “Summoner’s Tale’s” discussion of how to divide a fart into twelve parts, we can begin to understand why fart jokes continue to make us laugh when used in cinema today.

In The Summoner’s Tale, a friar goes to the house of an ailing man, Thomas, to ask for a donation. He explains to Thomas that he will become better if he donates more, to which Thomas replies that he already donates plenty to the other friars who come to visit. The friar then attempts to manipulate Thomas, as friars and clergy were wont to do in Chaucer’s time, by giving him a sermon about the dangers of anger, before asking him again for a donation. Thomas replies that he can have a donation if he agrees to divide it equally amongst the other friars at the convent. When the friar agrees, Thomas has him reach around to his rear end, then unleashes a monstrous fart into the friar’s hands. The friar then goes to the lord of the village and explains the ordeal. The lord’s squire offers a solution for dividing a fart evenly: place each friar around a wheel, each at the end of one of the twelve spokes. Then, allow a fart to be released at the center of the wheel. The smell will then travel evenly along each spoke and to the nose of each friar.

The Summoner’s Tale can help reveal what it is about farts that continues to make us laugh at them in today’s films. One important element of The Summoner’s Tale is the repulsiveness of the fart. Prior to the release of the fart, Chaucer uses some graphic details to drive home the disgusting nature of what is about to happen: “And doun his hand he launcheth to the clifte, / In hope for to fynde there a yifte. / And whan this sike man felte this frere / Aboute his tuwel grope there and heere, / Amydde his hand he leet the frere a fart” (III, 2145-2149). The imagery of the friar reaching around Thomas’s anus alerts the reader that something of a foul nature is approaching in the narrative. The word “grope” also carries crass connotation, which, when associated with a friar, could produce a comedic effect. Another important detail is that the friar is hoping to find a gift as he reaches around. The fart is an insult in this situation, and it is humorous because of its rudeness. The friar expects money or something of value, and instead receives an obnoxious, odorous gas.

Similarly, farts in movies receive laughter partially because of their disgusting nature. The inappropriateness of a loud and odorous gas during something as important in our society as a job interview is enough to strike audiences as ridiculous. In the film “Step Brothers,” John C. Reilly’s character releases a noisy, prolonged fart in the middle of a job interview (McKay, Step Brothers). In modern society, a reasonable human would not expect such an obnoxious fart to come during such an important moment, just as the friar would not expect a fart when he believes he is about to receive a gift.

Chaucer goes beyond the use of a single fart for humor in The Summoner’s Tale. After the friar angrily takes his leave of Thomas, a squire explains a way in which a fart could be divided equally and shared amongst the friars of the convent, as Thomas intended. The squire explains that the spokes of a wheel can divide a fart so that each friar along the side of the wheel receives the same amount of gas: “By preeve which that is demonstratif / That equally the soun of it wol wende / And eke the stynk unto the spokes ende” (III, 2272-2274). This elaborate plan for the distribution of something as base as a fart most likely struck Chaucer’s audience as humorous. The idea of such a well-planned, complex method for mathematically distributing something being applied to a fart is so ridiculous that it is funny. Similarly, elaborate musings about flatulence entertain us in movies today. In the film “I Love You, Man,” Jason Segel’s character is very perceptive of when someone else is passing gas. His extreme observational skills relating to a man passing gas make for a humorous moment in the film (Hamburg, I Love You, Man).

Michael Doherty
University of Notre Dame

Works Cited

Brooks, Mel, director. Blazing Saddles. 1974.

Chaucer, Geoffrey, -1400.The Summoner’s Tale IIIfrom The Canterbury Tales.Ontario: Boenig& Taylor, 2012. Print.

Chitwood, Adam. “Exclusive: Will Ferrell Talks STEP BROTHERS 2 and Political Comedy SOUTHERN RIVALS with Zach Galifianakis.” Collider, 3 May 2011, collider.com/willferrell-interview-step-brothers-2-southern-rivals/.

Hamburg, John, director. I Love You, Man. 2009.

McKay, Adam, director. Step Brothers. 2008.

Shadyac, Tom, director. The Nutty Professor. 1996

“The Canterbury Tales: The Legacy Today (The Summoner’s Tale).” The (Pop) Culture   Medievalist, 9 Nov. 2017, neomedievalism.info/2017/11/10/the-canterbury-tales-the     legacy-today-the-summoners-tale/.

Undergrad Wednesdays – Chaucer, Disney, and The Good vs. Evil Narrative

[This post was written in the spring 2018 semester for Karrie Fuller's course on Chaucer’s Canterbury Tales. It responds to the prompt posted here.]
Portrait of Chaucer: Wikimedia Commons
Portrait of Disney: Wikimedia Commons

The art of storytelling is a complex one, but most tales can be distilled into a simple theme: good versus evil. While this approach to narrative might not seem immediately problematic, it becomes much more obviously troubling when a group of systemically oppressed people is repeatedly cast in the role of the villain. The Jewish people in particular have suffered a lot at the hands of this discriminatory casting, as is achingly apparent in Geoffrey Chaucer’s “The Prioresses’s Tale.” The poem, laden with an exaggerated anti-Semitism, has been difficult to reconcile for many critics. Some of Chaucer’s most devoted supporters excuse his prejudice as satire or as merely an unavoidable reflection of his historical and social context. I would argue, however, that these readings do not do enough to address the very real consequences of such anti-Semitism, spending too much time debating its origins rather than its effects. As Natalie Weber shows in her post “’The Prioress’ Tale:’ The Problem of Medieval Texts and the Alt-Right Movement,” Chaucer is speaking to people whose voices are still poisoning modern society. But his anti-Semitism may not even be the most famous in the world of media and entertainment.  Another way we can consider “The Prioress’s Tale” and its impact on Western culture is by examining the problematic nature of Chaucer’s work alongside that of another figure who looms perhaps as large and faces similar accusations: Walt Disney. While many have debated whether or not Disney was sexist, racist and anti-Semitic, the lack of cultural sensitivity and the presence of moral oversimplification in his work have made indelible marks on popular culture, regardless of the personal feelings Disney had towards these groups of people.

In her tale, the Prioress tells the story of a young boy who is murdered by inhabitants of a Jewish ghetto for singing the Alma redemptoris as he passes through their town. The depiction of Jewish people in this story is wholly unfavorable, to say the least, their cruelty a directive from Satan himself. The young boy, by contrast is the embodiment of religious devotion and childlike innocence.  He exhibits a degree of obedience and desire to please God seldom found in seven-year-olds, no matter how pure of heart they may be. The Prioress introduces him primarily through his steadfast faith: “And eek also whereas he saugh thy’mage/Of Cristes mooder, he hadde in usage,/As hym was taught to knele adoun and seye/His Ave Marie as he goth by the weye” (Chaucer 505-508). This child devotes his whole being to the worship of Christ’s mother, kneeling whenever the occasion for it arises. Throughout the poem, the Prioress emphasizes how the child behaves as he was taught, never once suggesting that he would deviate, intentionally or otherwise, from behavior sanctioned by his mother, his teachers, or by God. He is constantly characterized as “innocent” and “litel,” making it impossible for anyone to find fault with a creature so pure. Another section following his cruel murder compares his perfection to emeralds and rubies: “This gemme of chastite, this emeraude/And eek of martirdom the ruby bright” (Chaucer 609-610). By conflating the child and his “chastite” and “martirdom” to perfect jewels, the speaker defines him and his conduct as ideal, as items that are synonymous with value.

The speaker’s representation of the Jews is as condemning as the child’s is laudatory. The Prioress’s immediate connection of them to Satan could not make their evil nature any more clear. She says, “Oure firste foo, the serpent Sathanas,/That hath in Jues herte his waspes nest” (Chaucher 558-559). As if it were not enough to accuse the Jewish people of being under the influence of Satan, the speaker had to characterize that influence as a wasp’s nest, implying not just danger, but a sort of festering corruption. They are not even distinguished by any one character, but simply exist as one uniform body of “cursed Jues.” Through the Prioress, Chaucer develops a narrative of good versus evil devoid of any character complexity on either side. Whether or not one believes that the story is evidence that Chaucer himself was anti-Semitic, he still engages with this harmful collapsing and villainizing of the Jewish community, and as Emmy Zitter argues in her essay “Anti-Semitism in Chaucer’s Prioress’s Tale,” “a satirist can be only as effective as his audience’s attitudes will allow” (278). Try as scholars might to search for reasons to read the tale as ironic, much of Chaucer’s audience would have seen such a representation of Jews as affirming of their own negative perceptions, and that fact is what makes the text dangerous, regardless of Chaucer’s intent.

Another man whose anti-Semitism has been a subject of intense debate is Walt Disney. The evidence is not totally consistent, as some cite his frequent employment of Jewish people as proof that he was not, while others claim that despite that fact Disney was deeply resentful of Jews’ success in Hollywood (Medoff). Turning to Disney’s alleged treatment of his employees is not incredibly helpful when evaluating the validity of these claims, but the stereotypes and ideals that came through in his work are much more revealing. In “Re-Reading Disney: Not Quite Snow White,” Claudine Michel describes an incident in which Disney almost let an offensive ethnic stereotype into his film:

The first version of The Three Little Pigs(1933), for example included a scene in which the Big, Bad Wolf disguised himself as a Hebrew peddler, complete with bear, long robe and thick spectacles. After leaders of the Jewish community in the US met Walt Disney to express their concern that such caricatures should not be lent legitimacy in the eyes of children at a time when anti-Semitism was rising around the world, he reluctantly changed the wolf’s disguise to that of an ordinary brush salesman. (12)

While most of the Disney films that persist in the modern consciousness stop short of egregious anti-Semitism, problematic representations of certain ethnic groups are still perpetuated by the company. In an article from the Israeli newspaper, Haaretz, Rachel Shalita from the Education Department at Hamidrasha Art Academy discusses the ways in which more modern Disney films promote anti-Semitism. The article’s author, Dana Shweffi, writes, “Shalita claims Aladdin depicts Arabs in a way that is reminiscent of old anti-Semitic cartoons and caricatures. ‘The movie opens with an Arab character that looks like a caricature of a Jew with a long nose and all of the Arab characters speak English with an Arabic accent except for Aladdin and Princess Jasmine who speak with an English accent’” (Shweffi). Even though it was made in 1992, Aladdin seems to actively embrace ethnic stereotypes. Through these characterizations, the Walt Disney Company does no favors for the Arabic or Jewish people, but this simplicity of representation manifests elsewhere as well. This lack of nuance also bleeds into all Disney films’ approach to morality, a problem that is more subtle, but still has insidious effects.

In films as old as The Three Little Pigs or as new as Aladdin, Disney’s staunch conservatism continues to make its way into much of his work. As with Chaucer and his “Prioress’s Tale,” “…much of the major animated work to come out of the Disney studio, the subtleties of traditional stories are boiled down into stark moral tales of Good v Evil, the forces of light against the forces of darkness” (Michel 10). These kinds of narratives may not be as obviously as harmful as those that deal in ethnic stereotypes to make their points; they are more subtly sinister in their role in dictating the moral values of an entire culture. Debating whether or not Disney or his work was intentionally anti-Semitic is in some ways a less productive discussion than one that examines “…Disney’s work as a potentially significant factor in shaping the notions of racial and cultural hierarchy in the West and the Third World alike” (Michel 13).  The simplicity of the good versus evil narrative is necessarily morally reductive and quite often places a person or group of people, sometimes Jewish people, in the position of wrongdoer. To have children consume media of this kind during such a formative period encourages them to develop a moral framework that is not unlike the one Chaucer puts forth in the “Prioress’s Tale.” Sure, the story is more compelling for its extremeness of character, but these tales also instruct one to understand humanity and morality as a dichotomy, so that when ambiguous ethical questions do arise, impressionable audiences are less equipped to deal with them.

Amanda Pilarski
University of Notre Dame

Works Cited

Medoff, Rafael. “Streep Ignites Debate: Was Walt Disney Anti-Semitic?” The American Israelite, 2014.

Michel, Claudine. “Re-Reading Disney: Not quite Snow White.” Discourse: Studies in the Cultural Politics of Education, vol. 17, no. 1, 1996, pp. 5-14, doi:10.1080/0159630960170101.

Zitter, Emmy. “Anti-Semitism in Chaucer’s Prioress’s Tale.” The Chaucer Review, vol. 25, no. 4, 1991, pp. 277-84.

Shweffi, Dana. “Do Disney Movies Promote Anti-Semitism and Racism?” Haaretz, Haaretz Daily Newspaper Ltd, 16 Aug. 2009, www.haaretz.com/1.5092056.