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).

The Lay of Sigemund

Having recently posted a blog on dragonomics in Beowulf and Tolkien’s Hobbit, I decided to follow up by offering a complementary poetic translation of the Sigemund-episode in Beowulf.

I have chosen to isolate the Sigemund-episode (874-902) and translate this passage as a discrete poem, in part because the episode operates as a poem within a poem, delivered as one of three songs by the Danish court poet and recited in celebration of Beowulf’s victory over Grendel. Numerous scholars have tried to identify its literary function in Beowulf, and the episode has traditionally been regarded as a heroic exemplum, honoring Beowulf and foreshadowing his fight with the dragon. I wish to challenge this reading of the passage.

“The Sigurðr Portal” from Hylestad Stave Church, Setesdal, Norway; now housed at the Oldsaksamlingen of the University of Oslo.

The Sigemund-episode in Beowulf is the earliest known account of the Vǫlsung legend, and this tale is alluded to in both the anonymous Poetic Edda and the Prose Edda of Snorri Sturluson as well as in Njáls saga, Þiðreks saga and the Vǫlsunga saga. Christine Rauer notes in her study of the Beowulf-dragon and analogous medieval dragon-fights, “The more extensive accounts of the Vǫlsung dragon-fight, such as those found in Fáfnismál (Poetic Edda) and Vǫlsunga saga, date from the thirteenth century, although the subject matter can be presumed to be of an earlier date” (42). However, in these later Old Norse-Icelandic versions of the legend, it is Sigurðr, Sigmundr’s son, who is credited with slaying the hoard-guarding dragon, Fáfnir—not his father.

I would note that, in the section in Beowulf describing Sigemund’s slaying of the dragon, there appears to be an alliterative formula that features also in the Old English Maxims II. This poem characterizes the behavior, function and stereotypical nature of various things—including references to cyning “a king” (1, 28), wulf “wolf” (18) and þyrs “giant” (42), in addition to geological features such as ea “a river” (30), wudu “woods” (33) and brim “sea” (45), as well as material objects and structures such as daroð “a spear” (21), beorh “barrow” (34) and duru “doors” (36). Maxims II describes sweord “a sword” (25) before shifting focus onto the stereotypical image of a gold-proud and barrow-dwelling dragon. The line reads drihtlic isern. Draca sceal on hlæwe “lordly iron. The dragon shall be in a barrow” (26). This closely parallels a similar line in Beowulf, which reads dryhtlic iren. Draca morðre swealt “lordly iron. The dragon died by murder” (892). Although the ending of the line is altered, the commonalities are nevertheless striking, especially since in both cases the alliteration stretches across two discrete semantic units.

I have also tried in my translation and recitation to emphasize the poetics of this episode, especially the two rhyming b-verse half-lines, which emphasize the dragon’s demise. The first, draca morðre swealt “the dragon died by murder” (892), characterizes Sigemund’s killing of the monster as a crime, in its description of the slaying as morðor “murder” (892). The second, wyrm hat gemealt “the hot worm melted” (897), reiterates the dragon’s death at the hand of the hero, and emphasizes also the element of heat—otherwise absent from the characterization of the dragon in the Sigmeund-episode—though explicitly linked to the Beowulf-dragon, described as fyrdraca “fire-dragon” (2689) and ligdraca “flame dragon” (2334, 3040).

Vǫlsung Legend runestone discovered at Drävle (U 1163), relocated in 1878 to the courtyard of the manor house Göksbo, containing image of Sigurðr who thrusts his sword through the serpent.

The Sigemund-episode is also enveloped by references to his ellendædum “valorous deeds” (876, 900), a compound that appears at both the beginning and end of the passage. However, Mark Griffith has provided a detailed commentary of the episode, and he concludes that “The episode of Sigemund is more highly enigmatic, and its central figure much more problematic than received opinion has it” (40). Griffith observes the numerous pejorative terms used to describe the hero, perhaps most famously his characterization as aglæca “fearsome marauder” (893), a term used to characterize each monster in the poem, Grendel (159, 425, 433, 591, 646, 732, 739, 816, 989, 1000, 1269), Grendel’s mother (1259), and the dragon (2520, 2534, 2592, 2907, 3061), though notably also Beowulf at two key moments (1512, 2592). As Griffith points out, “if the term does have pejorative meaning, then this applies to both Sigemund and Beowulf” (35).

This calls into question the merits of his heroism, and makes the reader wonder about the nature of his ellendædum, uncuþes fela “valorous deeds, much known” (876). The mystery introduced in this line is resolved when the Danish poet reports that þara þe gumena bearn gearwe ne wiston,/ fæhðe ond fyrena, buton Fitela mid hine “feuds and crimes, of which the sons of men did not readily know, except Fitela with him” (878-79). Indeed we learn that his valorous deeds are characterized specifically as fæhðe “feuds” (879), a term associated with the Grendelkin’s feud with God (109), and especially Grendel’s mother’s vengeance (1333, 1340, 1380, 1537) as well as the dragons wrath (2403, 2513, 2525, 2689). We learn also that these deeds are explicitly fyrena “crimes” (879)—a term repeatedly associated with Grendel (101, 164, 639, 750, 811, 1001, 1669)—who likewise performs fæhðe ond fyrene (137, 153).

Moreover, the reference to Fitela, Griffith argues, may call to mind information for the Vǫlsunga saga, which “records how Signy changes shape with a sorceress, visits her brother and sleeps with him, whilst in this disguise, in order to beget a son to further the Vǫlsung feud with her husband” (25). In other words, Sigmundr (Sigemund) is both father and uncle to Sinflǫtli (Fitela), as a result of his incestuous relations with his twin sister. This seems further emphasized by the reference to the secrets shared eam his nefan “uncle to nephew” (881), which focuses the reader’s attentions on Sigemund’s incest and role as eam, an Old English term which indicates specifically “maternal uncle.”

Indeed, troubling descriptions of the hero persist, as Sigemund becomes characterized as wreccena wide mærost “the most famous of exiles”(898), which calls to mind the exiled Grendel, described as mære mearcstapa “famous border-crosser” (103), depicting the hero once again in pejorative terms. I would argue that this bears especially on the final reference to Sigemund’s ellendædum “valorous deeds” (900), and specifically the parenthetical half-line at the end of the episode, which indicates that he þæs ær onðah “he prospered before by these” (900).

Vǫlsung legend runestone located at Gök (Sö 327), containing a runic text on two serpents that surround much of the Vǫlsung imagery, including a depiction of Sigurðr stabbing the serpent from below (photo from 1922).

If Sigemund prospers through fæhðe ond fyrena “feuds and crimes” (879), what does this say about the warrior ethics displayed in the poem? Indeed, I would suggest that the parenthetical half-line he þæs ær onðah “he prospered before by these” (900) highlights how in the heroic world of Beowulf, the only way to thrive is by imitating monsters and engaging readily in fæhðe ond fyrena. In Beowulf, feuds and crimes result in the protagonist’s death and the subsequent genocide of the Geatish people—which mirrors Sigemund’s (and Fitela’s) annihilation of ealfela eotena cynnes “an entire race of giants” (883)—perhaps in part because Beowulf seems to adopt Sigemund as a role model and seeks to emulate the ellendæda of this aglæca.

Richard Fahey
PhD Candidate in English
University of Notre Dame

Further Reading:

Abram, Christopher. “Bee-wolf and the Hand of Victory: Identifying the Heroes of Beowulf and Vǫlsunga saga.The Journal of English and Germanic Philology 116.4 (2017): 387-414.

Bonjour, Adrien. The Digressions in Beowulf. Basil Blackwell. 1950.

Kaske, Robert.  “The Sigemund-Heremod and Hama-Hygelac Passages in Beowulf.” Publications of the Modern Language Association 74 (1959): 489-94.

Griffith, Mark. “Some difficulties in Beowulf, lines 874-902: Sigemund reconsidered.” Anglo-Saxon England 24 (1995): 11-41.

Rauer, Christine. Beowulf and the Dragon. D. S. Brewer. 2000.

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.

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