Kobold - Origins and Etymology

Origins and Etymology

The kobold's origins are obscure. Sources equate the domestic kobold with creatures such as the English boggart, hobgoblin and pixy, the Scottish brownie, and the Scandinavian nisse or tomte; while they align the subterranean variety with the Norse dwarf and the Cornish knocker. Irish historian Thomas Keightley has argued that the German kobold and the Scandinavian nis predate the Irish fairy and the Scottish brownie and influenced the beliefs in those entities, but American folklorist Richard Mercer Dorson has discounted this argument as reflecting Keightley's bias toward Gotho-Germanic ideas over Celtic ones.

Kobold beliefs represent the survival of pagan customs into the Christian and modern eras and offer hints of how pagan Europeans worshipped in the privacy of their homes. Religion historian Otto Schrader has suggested that kobold beliefs derive from the pagan tradition of worshipping household deities thought to reside in the hearth fire. Alternatively, Nancy Arrowsmith and George Moorse have said that the earliest kobolds were thought to be tree spirits. According to 13th-century German poet Conrad of Würzburg, medieval Germans carved kobolds from boxwood and wax and put them "up in the room for fun". Mandrake root was another material used. People believed that the wild kobold remained in the material used to carve the figure. These kobold effigies were 30 to 60 cm (one to two feet) high and had colourful clothing and large mouths. One example, known as the monoloke, was made from white wax and wore a blue shirt and black velvet vest. The 17th century expression to laugh like a kobold may refer to these dolls with their mouths wide open, and it may mean "to laugh loud and heartily". These kobold effigies were stored in glass and wooden containers. German mythologist Jacob Grimm has traced the custom to Roman times and has argued that religious authorities tolerated it even after the Germans had been Christianised.

Several competing etymologies for kobold have been suggested. In 1908, Otto Schrader traced the word to kuba-walda, meaning "the one who rules the house". According to this theory, the root of the word is chubisi, the Old High German word for house, building, or hut, and the word akin to the root of the English cove. The suffix -old means "to rule". Classicist Ken Dowden has identified the kofewalt, a spirit with powers over a single room, as the antecedent to the term kobold and to the creature itself. He has drawn parallels between the kobold and the Roman lares and penates and the Anglo-Saxon cofgodas, "room-gods". Linguist Paul Wexler has proposed yet another etymology, tracing kobold to the roots koben ("pigsty") and hold ("stall spirit").

Grimm has provided one of the earlier and more commonly accepted etymologies for kobold, tracing the word's origin through the Latin cobalus to the Greek koba'los, meaning "rogue". The change to the word-final -olt is a feature of the German language used for monsters and supernatural beings. Variants of kobold appear as early as the 13th century. The words goblin and gobelin, rendered in Medieval Latin as gobelinus, may in fact derive from the word kobold or from kofewalt. Related terms occur in Dutch, such as kabout, kabot, and kabotermanneken. Citing this evidence, British antiquarian Charles Hardwick has argued that the house kobold and similar creatures, such as the Scottish bogie, French goblin, and English Puck, all descend from the Greek kobaloi, creatures "whose sole delite consists in perplexing the human race, and evoking those harmless terrors that constantly hover round the minds of the timid." In keeping with Grimm's definition, the kobaloi were spirits invoked by rogues. Similarly, British writer Archibald Maclaren has suggested that kobold beliefs descend from the ancient Roman custom of worshipping lares, household gods, and penates, gods of the house and its supplies.

Another class of kobold lives in underground places. Folklorists have proposed that the mine kobold derives from the beliefs of the ancient Germanic people. Scottish historical novelist Walter Scott has suggested that the Proto-Norse based the kobolds on the short-statured Finns, Lapps, and Latvians who fled their invasions and sought shelter in northern European caves and mountains. There they put their skills at smithing to work and, in the beliefs of the proto-Norse, came to be seen as supernatural beings. These beliefs spread, becoming the kobold, the Germanic gnome, the French goblin and the Scottish bogle. In contrast, Humorists William Edmonstoune Aytoun and Theodore Martin (writing as "Bon Gaultier") have proposed that the Norse themselves were the models for the mine kobold and similar creatures, such as dwarfs, goblins, and trolls; Norse miners and smiths "were small in their physical proportions, and usually had their stithies near the mouths of the mines among the hills." This gave rise to myths about small, subterranean creatures, and the stories spread across Europe "as extensively as the military migrations from the same places did".

German writer Heinrich Smidt believed that the sea kobolds, or Klabautermann, entered German folklore via German sailors who had learned about them in England. However, historians David Kirby and Merja-Liisa Hinkkanen dispute this, claiming no evidence of such a belief in Britain. An alternate view connects the Klabautermann myths with the story of Saint Phocas of Sinope. As that story spread from the Black Sea to the Baltic Sea. Scholar Reinhard Buss instead sees the Klabautermann as an amalgamation of early and pre-Christian beliefs mixed with new creatures.

Read more about this topic:  Kobold

Famous quotes containing the words origins and, origins and/or etymology:

    Lucretius
    Sings his great theory of natural origins and of wise conduct; Plato
    smiling carves dreams, bright cells
    Of incorruptible wax to hive the Greek honey.
    Robinson Jeffers (1887–1962)

    Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.
    W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)

    The universal principle of etymology in all languages: words are carried over from bodies and from the properties of bodies to express the things of the mind and spirit. The order of ideas must follow the order of things.
    Giambattista Vico (1688–1744)