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Goblin

A goblin is a diminutive, grotesque, and often malevolent humanoid creature prominent in European folklore, typically characterized by its mischievous or demonic nature, small stature (around 30 cm in some traditions), furry or leathery appearance, and ability to shape-shift.^[1] Goblins are believed to dwell in caves, mountains, or households, where they engage in pranks, theft, or more sinister acts like child-stealing and hoarding gold.^[1] Their etymology derives from Old French gobelin (late 12th century), possibly linked to Medieval Latin gobelinus or Greek kobalos (meaning rogue or sprite), though some scholars trace it to earlier domestic protector spirits like the Germanic kobold, which were later demonized under Christian influence.^[2]^[3] In folklore, goblins often represent dispossessed or underground beings, with origins tied to myths such as fallen angels who landed on earth rather than in hell, or the hidden, unwashed children of Eve who became subterranean folk.^[4] They exhibit dual natures—ranging from benevolent household guardians in early Germanic traditions to tricksters or evil sprites in later accounts—appearing invisible unless they choose otherwise and inhabiting rocks, hills, or homes.^[4]^[2] Similar entities exist beyond Europe, such as the Korean dokkaebi (one-legged mischief-makers with magical tools) and Japanese tengu (mountain guardians with avian features), suggesting cross-cultural archetypes of disruptive supernatural humanoids.^[1] Goblins evolved significantly in literature, transitioning from demonic incubi in medieval texts (e.g., early 14th-century English references) to playful antagonists in works like Shakespeare's A Midsummer Night's Dream (featuring the goblin-like Puck) and Victorian poetry such as Christina Rossetti's Goblin Market (1862), which explores temptation and otherworldliness.^[1]^[2] By the 19th and 20th centuries, they influenced fantasy genres, as seen in George MacDonald’s The Princess and the Goblin (1872) and J.R.R. Tolkien’s depictions of goblin hordes in The Hobbit (1937), cementing their role as symbols of chaos and the uncanny.^[1] This literary adaptation reflects broader shifts from outright malevolence to more nuanced mischief, while preserving their core as embodiments of the liminal and the feared unknown in human imagination.^[2]

Etymology and Origins

Linguistic Roots

The term "goblin" entered English in the early 14th century, derived from the Anglo-Norman French gobelin or Old French gobelin, which was first attested in 1195 in the chronicle L’Estoire de la guerre sainte by the Norman monk Ambroise, where it described a treacherous figure.^[2] This French form traces back to Medieval Latin gobelinus, appearing around 1140 in Orderic Vitalis's Historia ecclesiastica, referring to a demon expelled from a church in Évreux.^[5]^[2] Scholars propose possible etymological connections to earlier languages, including Ancient Greek kóbalos, meaning "rogue" or "mischievous sprite," which may have influenced post-classical Latin forms like cobalus denoting a demon.^[2] Additionally, links have been suggested to Germanic kobold, a household spirit, potentially from Old High German elements meaning "room protector," though the precise relationship remains uncertain.^[5]^[2] Historical spellings of the term include gobelin (Old and Middle French), gobelinus (Medieval Latin), gobellin (Middle French, by 1506), and Middle English variants such as gobelyn around 1330.^[2] Gender-specific forms are rare in early records, but diminutive suffixes in Romance languages occasionally implied feminine variants, though none are prominently attested before modern usage.^[2] The adoption of "goblin" in early English literature was shaped by Norman folklore, where the term evoked domestic sprites or imps, as seen in Picard French goguelin for spirits haunting remote rooms, influencing its integration into medieval English texts like the Wycliffe Bible (late 14th century).^[2]^[5]

Historical Development

The concept of goblins first emerged in European folklore during the 12th to 14th centuries, appearing in texts as mischievous household spirits or rogue sprites derived from earlier mythological figures. The term "goblin" traces its roots to Medieval Latin gobelinus, attested before 1141, and entered English literature around the late 13th or early 14th century.^[1] These early depictions portrayed goblins as grotesque yet not entirely malevolent entities, often linked to ancient Greek kobalos (rogue or impish sprite), blending pagan folklore with emerging Christian narratives.^[1] Concurrently, goblins transitioned in medieval tales from benevolent or neutral household helpers, similar to brownies, to more disruptive figures causing minor chaos like overturning furniture or mimicking voices.^[6] By the Renaissance and into the 17th century, Christian demonology profoundly shaped goblin lore, recasting them as demonic imps or fallen fairies serving infernal purposes, often equated with hellish minions in theological treatises and popular sermons. This shift reflected broader Protestant anxieties about superstition, portraying goblins as agents of temptation or punishment rather than playful spirits. In Scottish traditions, this evolution is evident in border ballads collected by Sir Walter Scott, such as The Lay of the Last Minstrel (1805), which draws on the legend of the goblin Gilpin Horner—a shape-shifting household spirit tied to the wizard Michael Scott—illustrating goblins' role in weaving local folklore with demonic undertones.^[1]^[7]

Characteristics in Folklore

Physical Appearance

In traditional European folklore, goblins are commonly portrayed as small, dwarf-like humanoids measuring approximately 2 to 3 feet in height, with grotesque and deformed features that emphasize their malicious nature. These include elongated or pointed ears, sharp or prominent teeth, and wrinkled or swarthy skin, often giving them a beastly, unattractive appearance. Thomas Keightley describes related goblin-like entities such as dwarfs and alfs as possessing low stature, long crooked noses, immoderate humps, and dark complexions blacker than pitch, underscoring their ugly, grim demeanor.^[8] Variations in goblin depictions occur across regional traditions, particularly in English and Welsh folklore, where they may exhibit green or gray skin tones, sometimes covered in a thick coat of fur for a more feral look. Animalistic elements are frequent, such as clawed or hairy hands, tails, and the ability to shapeshift into animals or become invisible to evade detection. Wirt Sikes notes that Welsh coblynau, a goblin variant, stand about 18 inches tall with grotesque, hairy hands and black or copper-colored faces, while broader goblin archetypes display swarthy, beastlike qualities and shape-shifting capabilities into forms like cats or serpents.^[9]^[1] Gender distinctions appear in some accounts, with male goblins often depicted as brutish and deformed, embodying raw malice, whereas female variants—such as Scandinavian elle-maids—are more seductive or ethereal, akin to enchanting fairy figures. Keightley highlights both male elf-kings and female elle-maids in Scandinavian lore, the latter sometimes luring humans despite their supernatural traits like hollow backs.^[8] A notable iconic example is the redcap from Scottish Border folklore, a murderous goblin subtype described as a short, thickset old man with long prominent teeth, skinny taloned fingers like an eagle's, large fiery-red eyes, and grisly hair streaming over its shoulders. Redcaps don red caps and wear iron boots. This portrayal is detailed by William Henderson, drawing from Border traditions.^[10]

Behaviors and Abilities

In European folklore, goblins exhibit a range of behaviors from playful mischief to outright malevolence, often centered on disrupting human lives through pranks such as moving household objects, souring milk, or tangling horses' manes.^[8] These actions serve to annoy or frighten, as seen in accounts of the Pwca, a Welsh goblin that would lead travelers astray with deceptive lights or throw stones at farmhands. In early-modern English texts, goblins are similarly described as engaging in "sports and pranks" that could range from ludicrous to frightful, reflecting their role as domestic nuisances. More malicious behaviors include stealing children or livestock, with fairies and goblin-kin reportedly substituting human infants with changelings or abducting them to subterranean realms.^[9] To avert such harms, humans often left offerings like milk, porridge, or bread by hearths, a practice that underscores the goblins' conditional tolerance for human presence.^[8] Goblins possess a variety of supernatural abilities, including shapeshifting into animals, humans, or inanimate forms to facilitate their deceptions; for instance, the Welsh Pwca could transform into a horse or goat to carry off unsuspecting victims.^[9] Invisibility allows them to observe and intervene unseen, vanishing abruptly when discovered, as in tales of household spirits that flee at the sight of iron or clergy. They also wield minor magic, such as creating illusions of feasts, dances, or false treasures that entice and mislead, or cursing individuals with misfortune, illness, or death—exemplified by the Gwyllion leading travelers astray or appearing as frightful hags as punishment for neglect.^[9] These powers position goblins as intermediaries between the human and otherworldly, capable of minor enchantments but vulnerable to everyday items like sunlight or steel. Preferred habitats for goblins include underground lairs such as mines and caves, where creatures like the Coblynau knock to signal ore deposits while guarding their domains jealously.^[9] Forests and wild groves serve as realms for nocturnal revels and ambushes, with goblin lights luring wanderers into bogs. Many variants, particularly hobgoblins or bwca, inhabit households and farms as domestic spirits, performing chores like churning butter if properly appeased but wreaking havoc if offended by uncleanliness or iron tools.^[9] The moral character of goblins reveals significant ambiguity, with benevolent tendencies in helpful subtypes like the hobgoblin, which aids in farm labor or rewards tidy homes with small gifts, contrasting sharply with vicious bogles or redcaps that actively lead people to peril or demand blood sacrifices. This duality—mischievous aid turning to malevolence upon provocation—highlights goblins as morally fluid beings whose actions depend on human reciprocity, as evidenced in folklore where offerings transform potential tormentors into uneasy allies.^[8]

Folklore Across Cultures

European Traditions

In English and Scottish folklore, goblins often appear as brownies, benevolent household spirits that perform domestic chores such as threshing grain, churning butter, or tending livestock during the night, provided they receive a small offering like porridge or milk left by the hearth. These creatures, typically depicted as small, shaggy-haired males dressed in ragged clothing, embody a symbiotic relationship with human households but are quick to abandon or turn mischievous if offered gifts of clothing or if their labor is criticized. In contrast, boggarts from Yorkshire traditions represent a more malevolent variant, functioning as vengeful familial spirits that attach to specific houses or farms, shapeshifting into animals or objects to perpetrate pranks, illness, or calamity upon those who slight them, often requiring rituals like relocation to appease their wrath. Welsh folklore features the pwca as a solitary trickster goblin, akin to a puckish sprite that misleads nighttime wanderers along paths or into bogs, sometimes assuming animal forms like a goat or horse to amplify the deception, though it may also assist those who show respect by leaving offerings. In Irish lore, the clurichaun emerges as a goblin-like fairy with a notorious affinity for alcohol, haunting cellars and breweries where it pilfers liquor, rides barrels like horses, and unleashes drunken fury on distillers who disturb its revels, distinguishing it from more industrious kin through its solitary, intemperate nature. French and Norman traditions portray lutins as impish goblins that frolic in stables, knotting horses' manes into "pixie locks" for sport or covertly aiding with nighttime labors, their dual temperament shifting from playful to petty depending on human hospitality. The region of Évreux in northern France holds particular significance as a historical hub of goblin lore, where 12th-century accounts describe the demon Gobelinus—a prototype for later goblin figures—haunting pagan sites and temples, expelled only through saintly intervention, thereby embedding the creature in local hagiographic narratives. (Note: Using historical reference from Orderic Vitalis via reliable secondary source.) Prominent narratives in European goblin traditions include tales of fairy markets from folklore, where spectral merchants peddle illusory fruits and wares to ensnare the unwary, symbolizing temptation and otherworldly commerce in rural traditions—later popularized in literature such as Christina Rossetti's Goblin Market (1862). Redcap legends from Anglo-Scottish Border lore depict these ferocious goblins as squat, iron-shod murderers dwelling in forsaken border towers, who slay wayfarers with their pikestaffs and soak their knitted caps in the spilled blood to maintain their vivid hue, fleeing only from consecrated objects or swift escapees.

Non-European Equivalents

In non-European folklore, several creatures share similarities with goblins in their mischievous or malevolent behaviors, small stature, and supernatural abilities, though they embody distinct cultural motifs. In Japanese tradition, the kappa serve as water-dwelling imps notorious for drowning unwary humans as a form of prankish retribution or territorial defense. These amphibious beings are characterized by their turtle-like shells, webbed extremities, and a sara (dish-like depression on the head) filled with water that grants them strength; depleting this water renders them vulnerable.^[11]^[12] Korean folklore features the dokkaebi, horned tricksters animated from discarded household tools like brooms or rice bowls through spiritual possession, wielding magical clubs (bangmangi) to enforce games or punishments on humans. Unlike purely malevolent entities, dokkaebi often reward clever individuals with treasures after riddles or wrestling matches, reflecting a moral dimension in their pranks.^[13]^[14] Among African cultures, the Zulu tokoloshe embodies an evil sprite summoned by sangomas (witchdoctors) to inflict misfortune, illness, or nocturnal terror, particularly on children whom it scratches or devours. This hairy, diminutive water spirit, capable of invisibility and shape-shifting, is warded off by elevating beds on bricks to exploit its short stature, underscoring its role in explaining unexplained harms.^[15] In Egyptian and broader Middle Eastern lore, certain jinn exhibit goblin-like prankster qualities, such as misplacing items, mimicking voices to deceive travelers, or creating illusory disturbances in homes. These shape-shifting spirits, invisible to humans unless they choose otherwise, blend mischief with potential malevolence, often tied to ancient pre-Islamic beliefs in desert wanderers.^[16] Indigenous American traditions include the Wampanoag pukwudgie, porcupine-quilled tricksters who wield poison arrows to mislead or injure humans in forested areas, originally benevolent guides turned vengeful after perceived slights by the Creator. These knee-high, gray-skinned beings use illusions to lure victims off paths, embodying cautionary tales of nature's perils.^[17] These equivalents parallel core goblin traits like trickery and supernatural interference but diverge in environmental ties—such as water for kappa and tokoloshe—or moral ambiguity in dokkaebi, shaped by local ecosystems and spiritual worldviews. Potential parallels, like the dokkaebi's club to goblinish tools, suggest cross-cultural exchanges via ancient trade routes, though direct influences remain debated among folklorists.^[13]

Representations in Literature and Media

Traditional Fairy Tales and Stories

In the Brothers Grimm's collection of fairy tales, goblins appear in various forms as mischievous imps embodying trickery and moral caution. In "Rumpelstiltskin," first published in 1812, a diminutive imp-like creature aids a miller's daughter by spinning straw into gold, but demands her firstborn child in return, illustrating themes of deceptive bargains and the perils of unchecked ambition.^[18] The creature's rage upon the discovery of its name underscores the motif of vulnerability in trickster figures, where cleverness can backfire against the greedy.^[19] Similarly, in "The Elves and the Shoemaker," also from the 1812 collection, small, helpful beings—often interpreted as goblin-like elves in folklore traditions—secretly craft shoes for a poor shoemaker, rewarding his honesty without expectation of payment and highlighting benevolent supernatural aid in contrast to malevolent trickery.^[18] These entities drive the narrative toward resolution, emphasizing moral integrity as a counter to potential exploitation.^[19] Christina Rossetti's 1862 poem "Goblin Market," drawn from English folklore, depicts goblins as seductive merchants peddling enchanted fruits to tempt young women, portraying them as animalistic figures with cries of "Come buy, come buy" that lure the innocent into ruin. The goblins' allure leads protagonist Laura to trade her hair and vitality for the forbidden produce, symbolizing carnal greed and the deceptive pull of desire, while her sister Lizzie's resistance and sacrifice redeem her, reinforcing sisterly bonds over individual temptation.^[20] This narrative transitions oral folk motifs into written verse, using goblin merchants to explore the dangers of succumbing to trickery disguised as pleasure.^[20] George MacDonald's 1872 novel The Princess and the Goblin reimagines goblins as subterranean miners resentful of surface dwellers, plotting to flood mines and kidnap the young Princess Irene to exact revenge on humanity.^[21] Led by the scheming King Frolic and Queen Harelip, these deformed, scheming creatures embody underground malice, their failed invasions thwarted by the bravery of miner boy Curdie and Irene's faith in her invisible great-great-grandmother.^[21] The goblins' physical aversion to rhymes and their vengeful schemes reflect folklore behaviors of evasion and hostility, adapted into a Christian allegory of light overcoming darkness.^[22] Across these pre-20th-century works, goblins serve as vehicles for moral lessons on greed and trickery, transitioning from oral folklore to literary forms while illustrating human vulnerabilities in interactions with the supernatural. In tales like "Rumpelstiltskin" and "Goblin Market," goblin figures exploit human desires for wealth or pleasure, leading to consequences that teach restraint and communal support.^[19]^[20] MacDonald's mining goblins extend this to themes of resentment and failed rebellion, where human virtues like courage prevail, reinforcing the didactic role of goblin encounters in fostering ethical growth during the 19th-century shift from spoken to printed stories.^[22]

Modern Fiction and Popular Culture

In J.R.R. Tolkien's The Hobbit (1937), goblins emerge as key antagonists, depicted as cruel cave-dwellers inhabiting the subterranean lairs of the Misty Mountains, where they capture Bilbo Baggins, Thorin Oakenshield, and their company, subjecting them to torment in the halls of the Great Goblin. These short, deformed creatures, skilled in tunneling and devising malicious contraptions, embody a pitiless malice, raiding surface lands for slaves and provisions while allying with wargs for greater predation. Tolkien's goblins function as precursors to the orcs of his later The Lord of the Rings (1954–1955), representing an earlier conceptualization of the same corrupted race, with the term "goblin" serving as a folkloric synonym for orc in the more childlike tone of The Hobbit. The influence of Tolkien's goblins extended into fantasy role-playing games, notably Dungeons & Dragons (1974), co-created by Gary Gygax and Dave Arneson under TSR Inc., where goblins were established as ubiquitous, low-level threats in tribal clans led by the cunning and brutal strongest members. Typically small (about 3 feet tall), cowardly yet vicious in numbers, these green-skinned humanoids dwell in warrens and caves, employing hit-and-run tactics and crude weapons; they form part of the broader goblinoid hierarchy, including the militaristic hobgoblins and hulking bugbears, reinforcing their role as disposable minions in epic campaigns. Over successive editions, such as the fifth edition Monster Manual (2014) published by Wizards of the Coast, goblins retained their status as weak but resilient foes, capable of nimble escapes and ambushes to overwhelm superior adversaries.^[23] Urban fantasy reimagined goblins in J.K. Rowling's Harry Potter series (1997–2007), portraying them as shrewd, diminutive bankers operating the underground vaults of Gringotts Wizarding Bank, founded in 1474^[24] and located beneath the streets of London. With long fingers ideal for intricate work, these goblins excel in artisan craftsmanship, forging legendary items like the Sword of Gryffindor using goblin-made silver, which they believe rightfully belongs to their creators rather than wizard owners, fueling cultural conflicts within the magical world. Unlike malevolent folklore figures, Rowling's goblins emphasize themes of economic autonomy and resentment toward human dominance, as seen in characters like Griphook, who aids Harry Potter but harbors deep-seated grudges.^[25] In superhero comics, Marvel's Green Goblin debuted in The Amazing Spider-Man #14 (July 1964), crafted by writer Stan Lee and artist Steve Ditko as the psychotic alter ego of billionaire Norman Osborn, who ingests an experimental "Goblin Formula" granting superhuman strength, agility, and insanity, augmented by high-tech gadgets like a razor-glider and explosive pumpkin bombs. This emerald-clad villain, driven by delusions of grandeur and vendetta against Spider-Man, evolved into one of the web-slinger's most enduring archenemies, embodying corporate corruption twisted into chaos. The character transitioned to film with Willem Dafoe's portrayal in Sam Raimi's Spider-Man (2002), reprised in Spider-Man: No Way Home (2021), where a multiversal variant unleashes glider attacks and hallucinogenic gases across dimensions.^[26]

Cultural Legacy

Place Names and Toponyms

Goblin Combe, a dry valley in North Somerset, England, is a Site of Special Scientific Interest characterized by limestone screes and ancient woodlands. The name's association with goblins remains uncertain, possibly linked to local folklore of eerie atmospheres, though etymological roots may derive from Old English terms for "dove valley."^[27] In Scotland, the Goblin Ha' (or Hobgoblin Ha'), a subterranean vault near Yester Castle in East Lothian, is linked to medieval tales of sorcery and demonic entities, with its name evoking goblin inhabitants from 13th-century chronicles. The structure, built in the 13th century by Sir Hugo de Gifford, is said to have been constructed through a pact with supernatural forces, including goblins or hobgoblins, as described in the Scotichronicon by Walter Bower, which portrays the site as a venue for wizardly rituals.^[28] This toponym reflects broader Scottish bogle lore, where such beings were seen as chaotic spirits dwelling in hidden caves and halls.^[29] Évreux in Normandy is noted in medieval accounts as a site haunted by a mischievous spirit named Gobelinus in the 12th century, contributing to early goblin lore in the region, though broader Norman traditions influenced the term's spread across Europe via Anglo-Norman language.^[30] Beyond Europe, Goblin Valley State Park in Utah, USA, exemplifies a modern toponym inspired by goblin imagery, named in the late 1940s for its eroded sandstone hoodoos that resemble grotesque figures from folklore. Photographer Philip Tompkins coined the name upon viewing the formations, which evoke mischievous sprites through their twisted, imp-like shapes, though the site's geology stems from natural erosion rather than mythical origins. The park, established in 1964, draws on this evocative naming to highlight its otherworldly landscape.^[31] In Wales, toponyms like Cwm Pwca (Puck's Valley) in the Clydach Gorge preserve goblin-equivalent lore through references to the pwca, a hobgoblin known for leading travelers astray with lights or illusions. Local folklore recounts encounters with the sprite, embedding such stories in the area's cultural memory and underscoring how such place names maintain oral histories of supernatural guardians in rural valleys.^[32] These designations, drawn from Celtic traditions akin to European goblin myths, illustrate the enduring role of toponyms in transmitting folklore across generations, often marking sites of cautionary tales about the perils of the wild.^[33]

Influence on Contemporary Media and Games

In video games, goblins appear as a playable race in World of Warcraft (2004), depicted as inventive engineers who produce ingenious gadgets and maintain neutrality between the game's major factions through their technological expertise.^[34] Similarly, in The Legend of Zelda series beginning in 1986, goblin-like enemies such as Moblins and Bokoblins form tribal societies that raid settlements and serve as foot soldiers for antagonists, emphasizing their organized, primitive hierarchies.^[35]^[36] Recent media has integrated goblin motifs into live-action formats, as seen in the Netflix series The Witcher (2019–), where drowners—slimy, green-skinned aquatic creatures—emerge as early threats in swampy environments, hunted by the protagonist Geralt.^[37] The 1986 film Labyrinth, with David Bowie portraying the Goblin King Jareth, established a lasting influence on fantasy aesthetics by showcasing a chaotic goblin kingdom filled with puppet-like inhabitants and illusory mazes, which has shaped visual tropes in subsequent films and games.^[38] Goblins permeate cultural trends through internet memes, exemplified by the 2022 Oxford Word of the Year "goblin mode," describing indulgent, chaotic behavior that went viral on social platforms, and as enduring Halloween tropes symbolizing mischief, though they rank below ghosts and witches in costume popularity due to their less approachable, grotesque imagery.^[39]^[40] In the 2018 anime Goblin Slayer, goblins function as relentless horde threats that economically devastate rural communities by stealing resources and livestock, underscoring themes of systemic exploitation in low-fantasy settings.^[41] Global adaptations highlight goblins in Korean media, where dokkaebi-goblin hybrids have been revived in K-dramas through supernatural narratives blending folklore with modern romance.^[42]

References

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'Goblin mode' is Oxford's Word of the Year - Mashable
Dec 5, 2022 · It was a strange year and "goblin mode," once a joke, was a runaway winner for Oxford's Word of the Year.
[34]
Halloween Is Filthy With Ghosts. But Where Are All the Goblins?
Oct 29, 2013 · All this neatly explains our current goblin crisis. Goblins have disappeared from Halloween because they are just not fun creatures to inhabit.
[35]
Goblin Slayer Wiki | Fandom
Goblins primarily haunt the frontier lands where the military doesn't have a strong presence. Individually, they are not very threatening and are considered the ...
[36]
Goblin & 14 More Of The Best Supernatural K-Dramas - Screen Rant
Apr 10, 2021 · Black (2017) · He Is Psychometric (2019) · The Uncanny Counter (2020) · Arang And The Magistrate (2012) · Blood (2015) · Goblin (2016) · Bring It On, ...