Abstract
Despite their typically benign portrayal in modern popular culture, elves and fairy beings were once very much “troublesome things” (Purkiss 2000): branded as demons or fallen angels by medieval Church writers (Green 2019), and a source of fear as much as wonder well into early modern Europe (Thomas 1971, Harte 2022). In the 21st Century, however, the genre fantasy elf is now an established trope embodying physical beauty, agile grace, and, variously, an affinity with nature, far-sighted wisdom, ageless civilisation and virtuous nobility. The sinister roots of this benevolent figure might still be visible, though, in their most iconic but overlooked feature: their pointed ears.
Starting with the principle that all art and literature reflects the needs and priorities of its time and place (Williams 1961, Tolkien 1964), this study asks: why DO we think elves have pointed ears? Tracing the emergence of this cultural synthesis, through Dungeons & Dragons, Tolkien and his successors, folklore collections and Victorian fairy art, I argue that the pointed ears are an aberration not originally associated with fairy beings. Rather, they owe more to early modern illustrations of the Devil himself - whose pointed ears, cloven hooves and horns represent a bestial affinity with a more hostile natural world, in contrast with the ecofriendly modern elf. Examining the meaning behind each cultural image, the journey from devil to Legolas therefore becomes a valuable object lesson in the fluidity of popular culture, adapting to express the changing anxieties, solaces,
hopes and fears of its day.
Starting with the principle that all art and literature reflects the needs and priorities of its time and place (Williams 1961, Tolkien 1964), this study asks: why DO we think elves have pointed ears? Tracing the emergence of this cultural synthesis, through Dungeons & Dragons, Tolkien and his successors, folklore collections and Victorian fairy art, I argue that the pointed ears are an aberration not originally associated with fairy beings. Rather, they owe more to early modern illustrations of the Devil himself - whose pointed ears, cloven hooves and horns represent a bestial affinity with a more hostile natural world, in contrast with the ecofriendly modern elf. Examining the meaning behind each cultural image, the journey from devil to Legolas therefore becomes a valuable object lesson in the fluidity of popular culture, adapting to express the changing anxieties, solaces,
hopes and fears of its day.
| Original language | English |
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| Publication status | Published - 8 Mar 2024 |
| Event | Demonology Through the Ages: Beliefs, Ideas, Material and Visual Culture - Online Duration: 8 Mar 2024 → 8 Mar 2024 https://www.history.ac.uk/events/demonology-through-ages-beliefs-ideas-material-and-visual-culture |
Workshop
| Workshop | Demonology Through the Ages |
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| Period | 8/03/24 → 8/03/24 |
| Other | The Institute of Historical Research’s PGRs Network, the HistoryLab, is pleased to announce the workshop “Demonology through the ages” aimed at PGRs and ECRs. The day will be structured to offer as much discussion and feedback as possible, in line with the HistoryLab’s aims of supporting UK-based postgraduates, their research, and professional development. It will comprise a PGRs roundtable, and ECRs papers session, two keynote presentations, and a networking session at the end of the day. The keynote speakers, times and details of the sessions will be confirmed shortly. This interdisciplinary workshop is open to UK-based postgraduate students working on any aspect and topic related to demonology, such as (but not limited to) religious and intellectual history, folklore, witchcraft, exorcism, material and visual culture, philosophy, and supernatural beliefs. We particularly encourage submissions with a transhistorical and interdisciplinary approach, but case studies related to a specific historical period, geographical area, text, or artifact are also welcome. |
| Internet address |