The Cobs' Creatures
by George MacDonald · from The Princess and the Goblin
Adapted Version
Guard Leo stands in the garden. It is night. He watches the big house. The princess sleeps inside.
Guard Leo walks around the house. He sees a strange thing. It looks like a dog. Its head is very big. The head is round like a big root. It looks in a window. It stays there.
Guard Leo makes a loud noise. The thing makes a funny sound. It runs away fast. Guard Leo tells his friends. They do not believe him. They laugh a little. They think it is a joke.
Other guards walk at night. Guard Sam sees a strange thing. It has a funny shape. Then more guards see them. The things are all not alike. The guards start to believe. They see many strange things.
One night, all guards watch. Guard Ben is there too. He did not believe. They see many strange things. The silly things play on the grass. They make funny sounds. They run around.
The strange things run quickly. They go to a big rock. They vanish there. The guards are surprised. They now know what they saw. They talk about it. It was very real.
These things were once normal. Goblins took them long ago. They live deep down. This is their home. Living there made them change. They look very changed now. It was a long time.
Their home is very strange. They live with the goblins. So the things look very changed. Their faces look a little like people. But their faces are funny. They are not scary.
The things found a secret path. It is a broken river part. This path goes up. It goes from their home. They come out to play. They play on the grass. They like the grass.
The goblins were digging. They made the path. They do not know this. Their things come out to play. The things want to explore. They want to have fun. They are not mean.
The guards watch the garden with care. The clever things watch too. The goblins also watch them. They watch from the secret path. It is like a fun game. All watch.
The guards watch the garden. The strange things watch them too. It is a fun, secret game.
Original Story
The Cobs' Creatures
About this time the gentlemen whom the king had left behind him to watch over the princess had each occasion to doubt the testimony of his own eyes, for more than strange were the objects to which they would bear witness. They were of one sort—creatures—but so grotesque and misshapen as to be more like a child's drawings upon his slate than anything natural. They saw them only at night, while on guard about the house. The testimony of the man who first reported having seen one of them was that, as he was walking slowly round the house, while yet in the shadow, he caught sight of a creature standing on its hind legs in the moonlight, with its forefeet upon a window-ledge, staring in at the window. Its body might have been that of a dog or wolf, he thought, but he declared on his honour that its head was twice the size it ought to have been for the size of its body, and as round as a ball, while the face, which it turned upon him as it fled, was more like one carved by a boy upon the turnip inside which he is going to put a candle than anything else he could think of. It rushed into the garden. He sent an arrow after it, and thought he must have struck it; for it gave an unearthly howl, and he could not find his arrow any more than the beast, although he searched all about the place where it vanished. They laughed at him until he was driven to hold his tongue, and said he must have taken too long a pull at the ale-jug.
But before two nights were over he had one to side with him, for he, too, had seen something strange, only quite different from that reported by the other. The description the second man gave of the creature he had seen was yet more grotesque and unlikely. They were both laughed at by the rest; but night after night another came over to their side, until at last there was only one left to laugh at all his companions. Two nights more passed, and he saw nothing; but on the third he came rushing from the garden to the other two before the house, in such an agitation that they declared—for it was their turn now—that the band of his helmet was cracking under his chin with the rising of his hair inside it. Running with him into that part of the garden which I have already described, they saw a score of creatures, to not one of which they could give a name, and not one of which was like another, hideous and ludicrous at once, gambolling on the lawn in the moonlight. The supernatural or rather subnatural ugliness of their faces, the length of legs and necks in some, the apparent absence of both or either in others, made the spectators, although in one consent as to what they saw, yet doubtful, as I have said, of the evidence of their own eyes—and ears as well; for the noises they made, although not loud, were as uncouth and varied as their forms, and could be described neither as grunts nor squeaks nor roars nor howls nor barks nor yells nor screams nor croaks nor hisses nor mews nor shrieks, but only as something like all of them mingled in one horrible dissonance. Keeping in the shade, the watchers had a few moments to recover themselves before the hideous assembly suspected their presence; but all at once, as if by common consent, they scampered off in the direction of a great rock, and vanished before the men had come to themselves sufficiently to think of following them.
My readers will suspect what these were; but I will now give them full information concerning them. They were, of course, household animals belonging to the goblins, whose ancestors had taken their ancestors many centuries before from the upper regions of light into the lower regions of darkness. The original stocks of these horrible creatures were very much the same as the animals now seen about farms and homes in the country, with the exception of a few of them, which had been wild creatures, such as foxes, and indeed wolves and small bears, which the goblins, from their proclivity towards the animal creation, had caught when cubs and tamed. But in the course of time all had undergone even greater changes than had passed upon their owners. They had altered—that is, their descendants had altered—into such creatures as I have not attempted to describe except in the vaguest manner—the various parts of their bodies assuming, in an apparently arbitrary and self-willed manner, the most abnormal developments. Indeed, so little did any distinct type predominate in some of the bewildering results, that you could only have guessed at any known animal as the original, and even then, what likeness remained would be more one of general expression than of definable conformation. But what increased the gruesomeness tenfold was that, from constant domestic, or indeed rather family association with the goblins, their countenances had grown in grotesque resemblance to the human.
No one understands animals who does not see that every one of them, even amongst the fishes, it may be with a dimness and vagueness infinitely remote, yet shadows the human: in the case of these the human resemblance had greatly increased: while their owners had sunk towards them, they had risen towards their owners. But the conditions of subterranean life being equally unnatural for both, while the goblins were worse, the creatures had not improved by the approximation, and its result would have appeared far more ludicrous than consoling to the warmest lover of animal nature. I shall now explain how it was that just then these animals began to show themselves about the king's country house.
The goblins, as Curdie had discovered, were mining on—at work both day and night, in divisions, urging the scheme after which he lay in wait. In the course of their tunnelling they had broken into the channel of a small stream, but the break being in the top of it, no water had escaped to interfere with their work. Some of the creatures, hovering as they often did about their masters, had found the hole, and had, with the curiosity which had grown to a passion from the restraints of their unnatural circumstances, proceeded to explore the channel. The stream was the same which ran out by the seat on which Irene and her king-papa had sat as I have told, and the goblin creatures found it jolly fun to get out for a romp on a smooth lawn such as they had never seen in all their poor miserable lives. But although they had partaken enough of the nature of their owners to delight in annoying and alarming any of the people whom they met on the mountain, they were, of course, incapable of designs of their own, or of intentionally furthering those of their masters.
For several nights after the men-at-arms were at length of one mind as to the fact of the visits of some horrible creatures, whether bodily or spectral they could not yet say, they watched with special attention that part of the garden where they had last seen them. Perhaps indeed they gave in consequence too little attention to the house. But the creatures were too cunning to be easily caught; nor were the watchers quick-eyed enough to descry the head, or the keen eyes in it, which, from the opening whence the stream issued, would watch them in turn, ready, the moment they should leave the lawn, to report the place clear.
Story DNA
Plot Summary
Guards protecting a princess begin to see bizarre, grotesque creatures at night, initially dismissing the sightings as delusion. As more guards witness the strange beings, their skepticism turns to shared fear and confusion. The narrator then reveals these creatures are the mutated, human-faced descendants of animals taken by goblins into their subterranean world centuries ago. They have found an escape route to the surface through a stream channel, emerging for innocent, albeit terrifying, romps. The story concludes with the guards now united in their watch, unaware that the cunning creatures and their goblin masters are also observing them.
Themes
Emotional Arc
skepticism to fear to understanding
Writing Style
Narrative Elements
Cultural Context
George MacDonald was a Victorian author known for his Christian allegories and fantasy works, often blending moral themes with imaginative, sometimes dark, fantastical elements.
Plot Beats (10)
- A guard on duty sees a grotesque, dog-like creature with a disproportionately large, round, turnip-like head staring into a window.
- The guard shoots an arrow at the creature, which howls and vanishes, but his report is met with ridicule from his colleagues.
- Over several nights, more guards report seeing different, equally strange and misshapen creatures, gradually convincing the others.
- Eventually, all the guards, including the last skeptic, witness a score of unique, hideous, and ludicrous creatures gambolling on the lawn in the moonlight, making discordant noises.
- The creatures suddenly scamper off towards a great rock and vanish, leaving the guards shaken and united in their testimony.
- The narrator explains that these creatures are the mutated descendants of common animals, taken by goblins into their subterranean world centuries ago.
- Due to their unnatural environment and association with goblins, the creatures have become grotesque, with human-like resemblances in their faces.
- The creatures have discovered a broken channel of a stream, which leads to the surface, allowing them to escape for romps on the lawn.
- The goblins, whose mining activities caused the stream break, are unaware of their creatures' excursions, which are driven by curiosity and a desire for fun, not malicious intent.
- The guards, now convinced, begin to watch the garden intently, but the cunning creatures and their goblin overseers are also watching them from the stream's exit.
Characters
First Watchman ◆ supporting
A man of average height and build, likely sturdy from his duties as a guard. His face shows signs of weariness and perhaps a bit of stubbornness, especially after being ridiculed. He is capable of quick action, as evidenced by his firing an arrow.
Attire: Standard medieval-era soldier's attire: a padded gambeson or leather tunic, possibly chainmail beneath, sturdy breeches, and practical boots. He would wear a metal helmet, likely a simple kettle hat or a nasal helm, and carry a bow and quiver.
Wants: To perform his duty of guarding the princess's house and to convince his peers of the strange occurrences he witnessed.
Flaw: Susceptible to ridicule and peer pressure, initially causing him to 'hold his tongue'.
From a ridiculed individual to a validated witness, as more guards corroborate his sightings.
Observant, courageous (to report something so strange), persistent (in his belief), and initially somewhat isolated.
Image Prompt & Upload
A medieval watchman standing upright, facing forward, full body visible from head to toe. He is a sturdy adult man with short brown hair and a trimmed beard, his face showing a mix of alertness and slight bewilderment. He wears a dark green linen gambeson, a leather belt with a simple buckle, and sturdy brown leather boots. A metal kettle helmet sits on his head. He holds a wooden longbow in his left hand, resting it against his leg. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Second Watchman ◆ supporting
Similar to the First Watchman, a sturdy man, but perhaps with a slightly more open or less skeptical demeanor before his own encounter.
Attire: Standard medieval-era soldier's attire: a padded gambeson or leather tunic, sturdy breeches, and practical boots. He would wear a metal helmet, likely a simple kettle hat or a nasal helm.
Wants: To perform his duty and to understand the strange creatures he witnessed.
Flaw: Initially prone to laughing at others' strange accounts, until he experiences one himself.
Changes from a skeptic to a believer, joining the First Watchman in his observations.
Initially skeptical or neutral, but quickly convinced by his own experience. He is willing to stand by a fellow guard.
Image Prompt & Upload
A medieval watchman standing upright, facing forward, full body visible from head to toe. He is a sturdy adult man with short dark hair and a clean-shaven face, his expression one of surprise and growing concern. He wears a grey wool tunic over a light brown linen shirt, dark breeches, and practical leather boots. A simple metal kettle helmet is on his head. His hands are at his sides, slightly clenched. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Last Laughing Watchman ◆ supporting
A robust man, perhaps with a slightly more arrogant or confident bearing than the others, initially. His physical reaction to seeing the creatures is extreme, suggesting a strong nervous system pushed to its limit.
Attire: Standard medieval-era soldier's attire: a padded gambeson or leather tunic, sturdy breeches, and practical boots. He would wear a metal helmet, likely a simple kettle hat or a nasal helm, which is described as cracking.
Wants: To maintain his rational worldview and to perform his duty, though his skepticism initially overrides his duty to believe his comrades.
Flaw: Overconfidence in his own judgment and extreme fear when faced with the unknown.
Undergoes the most dramatic change, from the sole skeptic to the most terrified and convinced of all the guards.
Skeptical, dismissive, and perhaps a bit arrogant initially. Easily frightened when confronted with undeniable evidence of the supernatural.
Image Prompt & Upload
A medieval watchman running, facing forward, full body visible from head to toe. He is a robust adult man with short dark hair, his face contorted in extreme terror, eyes wide and mouth agape. The leather strap of his metal kettle helmet is visibly straining under his chin. He wears a dark blue wool tunic, grey breeches, and muddy leather boots. His arms are bent, hands slightly raised in a gesture of panic. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Goblin Creatures ⚔ antagonist
Grotesque and misshapen, highly varied. Bodies like dogs or wolves, but with heads twice the normal size, round as a ball, and faces like carved turnips. Some have abnormally long legs and necks, others seem to lack them entirely. Their forms are a bewildering mix, making it hard to identify their original animal stock. They possess a 'subnatural ugliness' and a grotesque resemblance to human countenances due to their association with goblins.
Attire: None, they are wild or semi-wild creatures.
Wants: Driven by curiosity, a desire for 'jolly fun' in the upper world, and an instinct to annoy humans. They are also driven by their masters, the goblins, though they don't intentionally further their plans.
Flaw: Lack of complex strategic thought; easily startled and prone to fleeing when discovered.
They are static characters, acting as a recurring nuisance and a symbol of the goblins' corrupting influence.
Curious, playful (in their own strange way), mischievous, delighting in annoying and alarming humans. They are cunning but lack complex designs of their own.
Image Prompt & Upload
A grotesque, misshapen creature standing on its hind legs, facing forward, full body visible from head to toe. It has a lean, dark grey, wolf-like body covered in coarse fur, but its head is twice the size of its body, perfectly round, and resembles a crudely carved turnip with glowing yellow eyes, a wide, jagged mouth, and a flat nose. Its forefeet are slender and clawed. Its posture is hunched and curious. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
King's Country House Exterior
The shadowy exterior of a large country house, likely a manor or small castle, with window ledges. The architecture would be typical of a European country estate, possibly stone or timber-framed, with a sense of age and solidity. Moonlight illuminates parts of the building.
Mood: Eerie, watchful, tense, mysterious
The first sighting of a grotesque creature by a guard, peering into a window.
Image Prompt & Upload
A large, imposing European country house at night, built of rough-hewn grey stone with tall, narrow windows. Deep shadows cling to the walls, while patches of bright moonlight illuminate a section of a window ledge. The sky is clear and dark, with a full moon casting long, sharp shadows across the ground. The overall mood is one of quiet suspense. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
The Garden Lawn
A smooth, open lawn within the garden of the country house, bathed in moonlight. It's a place where the goblin creatures 'gambol' and play, suggesting a well-maintained, perhaps expansive, grassy area. There's a 'great rock' in the distance towards which the creatures flee.
Mood: Surreal, grotesque, bewildering, playful (for the creatures)
Multiple guards witness a score of varied, grotesque goblin creatures playing on the lawn before they flee towards a great rock.
Image Prompt & Upload
A wide, smooth lawn in a moonlit garden, surrounded by the dark, indistinct shapes of mature trees and shrubs. The grass is short and well-kept, glowing with a cool, silvery light from the full moon high above. In the distance, a massive, ancient grey rock rises from the ground, casting a deep shadow. The air is still and cool, creating a sense of quiet wonder. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Stream Issuing Point / Goblin Tunnel Exit
The opening where a small stream issues forth, likely from an underground source or a culvert. This is the exit point for the goblin creatures from their subterranean tunnels, and where one of them watches the guards. It's implied to be near the garden, perhaps at its edge or within a more wild, less manicured section.
Mood: Hidden, watchful, secretive, mysterious
The goblin creatures use this opening to enter and exit the garden, and one watches the guards from here.
Image Prompt & Upload
A small, dark opening in the base of a moss-covered stone embankment, where a narrow stream of clear water gently flows out into a moonlit garden. Overhanging ferns and tangled roots partially obscure the entrance, creating a natural, hidden archway. The water surface reflects the pale moonlight, contrasting with the deep shadows within the opening. The surrounding ground is damp earth and pebbles. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.