The Goblins
by George MacDonald · from The Princess and the Goblin
Adapted Version
Curdie worked in the dark mine. He heard strange sounds. Tap, tap, tap. It was the goblins. He worked for a long time. He used his pickaxe. He worked very hard. Then he felt very hungry. Curdie stopped his hard work. He ate his bread. He sat on some ore rocks. It was his supper. He liked his bread. He needed to eat.
Curdie leaned on the cold rock. He wanted to rest his head. The rock was hard. He heard soft voices. The voices came from inside the rock. It was a goblin group. They talked about moving home. They talked about the miner. The miner worked far away. He was not near them. They did not worry. He listened closely.
Curdie listened to their words. He learned new things. Goblins have soft feet. Their feet have no toes. This was a big secret. Goblins have very hard heads. They like their hard heads much. Humans wear shoes on feet. Goblins do not like shoes. They do not like human feet. They think shoes are bad. They hated human shoes.
The Goblin Father spoke loudly. His voice was strong. He talked about a big plan. It was a very bad plan. The plan was for the miners. He would go to the king's palace. They would talk about the plan there. It was a very secret meeting. He wanted to go soon. He must go fast.
Curdie thought about this news. He thought hard. The goblins would move soon. They made many new homes for themselves. This was why they dug at night. He heard their tools often. They made many sounds. This was big for him. He knew now. He knew the truth.
Curdie wanted to see them. He wanted to look. He felt the rock wall. He found a loose stone there. He pulled it out slowly. He pulled it out softly. He made a small hole. He could look through. The hole was tiny. He was very slow. He moved very gently.
The Goblin Father heard a sound. He heard a noise. "What was that noise?" he asked. The Goblin Mother spoke. "It is a falling stone. Or the miner working. He is still here." They did not worry. They felt safe.
Curdie put his hand in the hole. His hand went in. He felt a thing very soft. It was a goblin's foot. He touched it by mistake. Helfer cried out. He yelled loudly. "My foot! A beast touched my foot!" The Goblin Father laughed. The father smiled. "Silly Helfer," he said. "There is no beast here." He did not trust him. He laughed again. Curdie kept making the hole bigger. He used his fingers. His fingers worked fast. The goblins got ready to go. They would leave now. The Goblin Father helped Helfer. Helfer needed help. He lifted a big box. The box was heavy. "I must go to the palace," he said. "The meeting is tonight." The meeting was key. The goblins lit their lights. Their lights shone bright. They were happy with their lights. They walked away. They left the cave. They went into the dark. Curdie stayed hidden. Curdie was still. He knew their secret now. He knew their bad plan. Curdie had to tell someone. He had to warn people.
Original Story
The Goblins
For some time Curdie worked away briskly, throwing all the ore he had disengaged on one side behind him, to be ready for carrying out in the morning. He heard a good deal of goblin-tapping, but it all sounded far away in the hill, and he paid it little heed. Towards midnight he began to feel rather hungry; so he dropped his pickaxe, got out a lump of bread which in the morning he had laid in a damp hole in the rock, sat down on a heap of ore, and ate his supper. Then he leaned back for five minutes' rest before beginning his work again, and laid his head against the rock. He had not kept the position for one minute before he heard something which made him sharpen his ears. It sounded like a voice inside the rock. After a while he heard it again. It was a goblin voice—there could be no doubt about that—and this time he could make out the words.
'Hadn't we better be moving?' it said.
A rougher and deeper voice replied:
'There's no hurry. That wretched little mole won't be through tonight, if he work ever so hard. He's not by any means at the thinnest place.'
'But you still think the lode does come through into our house?' said the first voice.
'Yes, but a good bit farther on than he has got to yet. If he had struck a stroke more to the side just here,' said the goblin, tapping the very stone, as it seemed to Curdie, against which his head lay, 'he would have been through; but he's a couple of yards past it now, and if he follow the lode it will be a week before it leads him in. You see it back there—a long way. Still, perhaps, in case of accident it would be as well to be getting out of this. Helfer, you'll take the great chest. That's your business, you know.'
'Yes, dad,' said a third voice. 'But you must help me to get it on my back. It's awfully heavy, you know.'
'Well, it isn't just a bag of smoke, I admit. But you're as strong as a mountain, Helfer.'
'You say so, dad. I think myself I'm all right. But I could carry ten times as much if it wasn't for my feet.'
'That is your weak point, I confess, my boy.'
'Ain't it yours too, father?'
'Well, to be honest, it's a goblin weakness. Why they come so soft, I declare I haven't an idea.'
'Specially when your head's so hard, you know, father.'
'Yes my boy. The goblin's glory is his head. To think how the fellows up above there have to put on helmets and things when they go fighting! Ha! ha!'
'But why don't we wear shoes like them, father? I should like it—especially when I've got a chest like that on my head.'
'Well, you see, it's not the fashion. The king never wears shoes.'
'The queen does.'
'Yes; but that's for distinction. The first queen, you see—I mean the king's first wife—wore shoes, of course, because she came from upstairs; and so, when she died, the next queen would not be inferior to her as she called it, and would wear shoes too. It was all pride. She is the hardest in forbidding them to the rest of the women.'
'I'm sure I wouldn't wear them—no, not for—that I wouldn't!' said the first voice, which was evidently that of the mother of the family. 'I can't think why either of them should.'
'Didn't I tell you the first was from upstairs?' said the other. 'That was the only silly thing I ever knew His Majesty guilty of. Why should he marry an outlandish woman like that-one of our natural enemies too?'
'I suppose he fell in love with her.'
'Pooh! pooh! He's just as happy now with one of his own people.'
'Did she die very soon? They didn't tease her to death, did they?'
'Oh, dear, no! The king worshipped her very footmarks.'
'What made her die, then? Didn't the air agree with her?'
'She died when the young prince was born.'
'How silly of her! We never do that. It must have been because she wore shoes.'
'I don't know that.'
'Why do they wear shoes up there?'
'Ah, now that's a sensible question, and I will answer it. But in order to do so, I must first tell you a secret. I once saw the queen's feet.'
'Without her shoes?'
'Yes—without her shoes.'
'No! Did you? How was it?'
'Never you mind how it was. She didn't know I saw them. And what do you think!—they had toes!'
'Toes! What's that?'
'You may well ask! I should never have known if I had not seen the queen's feet. Just imagine! the ends of her feet were split up into five or six thin pieces!'
'Oh, horrid! How could the king have fallen in love with her?'
'You forget that she wore shoes. That is just why she wore them. That is why all the men, and women too, upstairs wear shoes. They can't bear the sight of their own feet without them.'
'Ah! now I understand. If ever you wish for shoes again, Helfer, I'll hit your feet—I will.'
'No, no, mother; pray don't.'
'Then don't you.'
'But with such a big box on my head—'
A horrid scream followed, which Curdie interpreted as in reply to a blow from his mother upon the feet of her eldest goblin.
'Well, I never knew so much before!' remarked a fourth voice.
'Your knowledge is not universal quite yet,' said the father. 'You were only fifty last month. Mind you see to the bed and bedding. As soon as we've finished our supper, we'll be up and going. Ha! ha! ha!'
'What are you laughing at, husband?'
'I'm laughing to think what a mess the miners will find themselves in—somewhere before this day ten years.'
'Why, what do you mean?'
'Oh, nothing.'
'Oh, yes, you do mean something. You always do mean something.'
'It's more than you do, then, wife.' 'That may be; but it's not more than I find out, you know.'
'Ha! ha! You're a sharp one. What a mother you've got, Helfer!'
'Yes, father.'
'Well, I suppose I must tell you. They're all at the palace consulting about it tonight; and as soon as we've got away from this thin place I'm going there to hear what night they fix upon. I should like to see that young ruffian there on the other side, struggling in the agonies of—'
He dropped his voice so low that Curdie could hear only a growl. The growl went on in the low bass for a good while, as inarticulate as if the goblin's tongue had been a sausage; and it was not until his wife spoke again that it rose to its former pitch.
'But what shall we do when you are at the palace?' she asked.
'I will see you safe in the new house I've been digging for you for the last two months. Podge, you mind the table and chairs. I commit them to your care. The table has seven legs—each chair three. I shall require them all at your hands.'
After this arose a confused conversation about the various household goods and their transport; and Curdie heard nothing more that was of any importance.
He now knew at least one of the reasons for the constant sound of the goblin hammers and pickaxes at night. They were making new houses for themselves, to which they might retreat when the miners should threaten to break into their dwellings. But he had learned two things of far greater importance. The first was, that some grievous calamity was preparing, and almost ready to fall upon the heads of the miners; the second was—the one weak point of a goblin's body; he had not known that their feet were so tender as he had now reason to suspect. He had heard it said that they had no toes: he had never had opportunity of inspecting them closely enough, in the dusk in which they always appeared, to satisfy himself whether it was a correct report. Indeed, he had not been able even to satisfy himself as to whether they had no fingers, although that also was commonly said to be the fact. One of the miners, indeed, who had had more schooling than the rest, was wont to argue that such must have been the primordial condition of humanity, and that education and handicraft had developed both toes and fingers—with which proposition Curdie had once heard his father sarcastically agree, alleging in support of it the probability that babies' gloves were a traditional remnant of the old state of things; while the stockings of all ages, no regard being paid in them to the toes, pointed in the same direction. But what was of importance was the fact concerning the softness of the goblin feet, which he foresaw might be useful to all miners. What he had to do in the meantime, however, was to discover, if possible, the special evil design the goblins had now in their heads.
Although he knew all the gangs and all the natural galleries with which they communicated in the mined part of the mountain, he had not the least idea where the palace of the king of the gnomes was; otherwise he would have set out at once on the enterprise of discovering what the said design was. He judged, and rightly, that it must lie in a farther part of the mountain, between which and the mine there was as yet no communication. There must be one nearly completed, however; for it could be but a thin partition which now separated them. If only he could get through in time to follow the goblins as they retreated! A few blows would doubtless be sufficient—just where his ear now lay; but if he attempted to strike there with his pickaxe, he would only hasten the departure of the family, put them on their guard, and perhaps lose their involuntary guidance. He therefore began to feel the wall with his hands, and soon found that some of the stones were loose enough to be drawn out with little noise.
Laying hold of a large one with both his hands, he drew it gently out, and let it down softly.
'What was that noise?' said the goblin father.
Curdie blew out his light, lest it should shine through.
'It must be that one miner that stayed behind the rest,' said the mother.
'No; he's been gone a good while. I haven't heard a blow for an hour. Besides, it wasn't like that.'
'Then I suppose it must have been a stone carried down the brook inside.'
'Perhaps. It will have more room by and by.'
Curdie kept quite still. After a little while, hearing nothing but the sounds of their preparations for departure, mingled with an occasional word of direction, and anxious to know whether the removal of the stone had made an opening into the goblins' house, he put in his hand to feel. It went in a good way, and then came in contact with something soft. He had but a moment to feel it over, it was so quickly withdrawn: it was one of the toeless goblin feet. The owner of it gave a cry of fright.
'What's the matter, Helfer?' asked his mother.
'A beast came out of the wall and licked my foot.'
'Nonsense! There are no wild beasts in our country,' said his father.
'But it was, father. I felt it.'
'Nonsense, I say. Will you malign your native realms and reduce them to a level with the country upstairs? That is swarming with wild beasts of every description.'
'But I did feel it, father.'
'I tell you to hold your tongue. You are no patriot.'
Curdie suppressed his laughter, and lay still as a mouse—but no stiller, for every moment he kept nibbling away with his fingers at the edges of the hole. He was slowly making it bigger, for here the rock had been very much shattered with the blasting.
There seemed to be a good many in the family, to judge from the mass of confused talk which now and then came through the hole; but when all were speaking together, and just as if they had bottle-brushes—each at least one—in their throats, it was not easy to make out much that was said. At length he heard once more what the father goblin was saying.
'Now, then,' he said, 'get your bundles on your backs. Here, Helfer, I'll help you up with your chest.'
'I wish it was my chest, father.'
'Your turn will come in good time enough! Make haste. I must go to the meeting at the palace tonight. When that's over, we can come back and clear out the last of the things before our enemies return in the morning. Now light your torches, and come along. What a distinction it is, to provide our own light, instead of being dependent on a thing hung up in the air—a most disagreeable contrivance—intended no doubt to blind us when we venture out under its baleful influence! Quite glaring and vulgar, I call it, though no doubt useful to poor creatures who haven't the wit to make light for themselves.'
Curdie could hardly keep himself from calling through to know whether they made the fire to light their torches by. But a moment's reflection showed him that they would have said they did, inasmuch as they struck two stones together, and the fire came.
Story DNA
Moral
Understanding an enemy's weaknesses can be key to overcoming them.
Plot Summary
Young miner Curdie, while working late, overhears a goblin family through a thin rock wall. He learns about their physical vulnerability (tender, toeless feet) and their deep-seated prejudice against humans. More critically, he uncovers their secret plot to unleash a 'grievous calamity' upon the miners, with a crucial meeting at the goblin king's palace to finalize the details. Curdie carefully creates an opening in the wall, accidentally touching a goblin's foot, but the goblins dismiss it. As the goblin family prepares to move to a new dwelling, Curdie remains hidden, having gained vital intelligence to protect his people.
Themes
Emotional Arc
curiosity to revelation
Writing Style
Narrative Elements
Cultural Context
George MacDonald's work often blends Christian allegory with fantasy, though this specific excerpt is more focused on world-building and plot. It reflects a common Victorian fascination with subterranean worlds and hidden folk.
Plot Beats (12)
- Curdie works in the mine, hearing distant goblin noises, then takes a supper break.
- He leans against the rock and overhears a goblin family talking from within, discussing moving and a miner's progress.
- Curdie learns about the goblins' soft, toeless feet, their hard heads, and their prejudice against humans who wear shoes.
- The goblin father reveals a plot to inflict a 'grievous calamity' upon the miners, to be discussed at the goblin king's palace.
- Curdie realizes the goblins are preparing to move to a new dwelling, which explains their constant nighttime digging.
- He decides to create an opening in the wall to follow them, carefully removing a loose stone.
- The goblins hear the noise but dismiss it as a falling stone or the lone miner.
- Curdie puts his hand through the opening and accidentally touches a goblin's foot, causing a cry of fright.
- The goblin father dismisses his son's claim of a 'beast' as nonsense, attributing it to the son's lack of patriotism.
- Curdie continues to widen the hole with his fingers while the goblins prepare to leave.
- The goblin father helps his son, Helfer, with a heavy chest and reiterates his need to attend a meeting at the palace that night.
- The goblins light their torches, proud of their self-made light, and prepare to depart, leaving Curdie with vital information.
Characters
Curdie ★ protagonist
A young, sturdy miner boy, likely of average height and build for his age, accustomed to physical labor in the mines. His hands would be calloused from working with tools.
Attire: Practical, durable mining clothes, likely made of coarse wool or linen, possibly a tunic and trousers, well-worn and stained with earth and ore. He would wear sturdy boots suitable for the rough terrain of the mine.
Wants: To understand the goblins' plans and protect the miners from impending calamity.
Flaw: His youth and relative lack of physical strength compared to adult goblins or miners, though he compensates with wit.
In this segment, he transitions from a simple miner to an intelligence gatherer, discovering crucial information about the goblins' weaknesses and plans.
Observant, intelligent, brave, resourceful, and patient. He listens carefully, deduces information, and acts strategically.
Image Prompt & Upload
A young boy, around 10-12 years old, with a lean but sturdy build, facing forward. His fair skin is smudged with dark mine dust, and his short, practical brown hair is slightly disheveled. He has sharp, intelligent blue eyes, a small nose, and thin lips. He wears a dark grey wool tunic, brown linen trousers, and sturdy leather boots. He holds a small, lit miner's lamp in his left hand, casting a warm glow on his face. His expression is one of intense concentration and quiet determination. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Goblin Father ⚔ antagonist
A goblin, implied to be strong and robust, with a very hard head and notoriously soft, toeless feet. He is likely short, broad, and hunched, typical of underground dwellers, with a rough, earthy complexion.
Attire: Simple, practical garments suited for underground life, likely made of rough, dark fabrics, perhaps adorned with crude mining tools or natural elements. He would not wear shoes.
Wants: To protect his family and the goblin way of life, to expand goblin territory, and to inflict harm upon the surface dwellers (miners).
Flaw: His extremely soft, toeless feet, which are a universal goblin vulnerability.
Remains consistent in his antagonistic role, revealing more of his cunning and cruelty through his dialogue.
Authoritative, cunning, sarcastic, boastful, and somewhat cruel. He enjoys plotting against humans and takes pride in goblin traits.
Image Prompt & Upload
A short, broad, hunched male goblin with rough, earthy green skin and a disproportionately large, bony, hard-looking head. His small, beady black eyes are set deep in his craggy face, and he has a wide, sneering mouth. His coarse, dark hair is sparse and unkempt. He wears a tattered, dark brown leather tunic and rough grey trousers, both stained with dirt. His bare, pale, soft-looking feet are visible, lacking toes. He stands with a slight forward lean, a cunning, malicious grin on his face. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Goblin Mother ◆ supporting
A goblin, likely similar in general build to the father but perhaps slightly smaller. She also possesses the characteristic soft, toeless feet. She is described as 'hardest in forbidding' shoes, suggesting a strong adherence to goblin traditions.
Attire: Simple, dark, and practical goblin attire, similar to the father but perhaps with some crude adornments. She would emphatically not wear shoes.
Wants: To uphold goblin traditions, ensure the well-being of her family, and maintain the goblin way of life.
Flaw: Her soft, toeless feet, like all goblins.
Remains consistent in her role as a traditional and assertive goblin mother.
Opinionated, traditional, somewhat aggressive (hits Helfer's feet), and fiercely protective of goblin customs. She is also sharp-witted and observant.
Image Prompt & Upload
A female goblin, slightly smaller than the male, with rough, grey-green skin and a stern, angular face. Her small, dark eyes are narrowed, and her thin lips are often pursed. Her coarse, dark hair is pulled back tightly from her face. She wears a simple, dark, and practical tunic made of rough woven fabric, with no adornments. Her bare, pale, soft-looking feet are visible, lacking toes. She stands with a rigid, upright posture, hands on her hips, conveying a sense of authority. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Helfer ◆ supporting
A strong goblin, described as 'strong as a mountain' by his father, but with the characteristic soft, toeless goblin feet. He is likely well-built for a goblin, capable of carrying heavy loads.
Attire: Simple, durable goblin clothing, similar to his father's, designed for labor. He would not wear shoes.
Wants: To fulfill his duties within the family, particularly carrying heavy items, and to avoid pain to his feet.
Flaw: His extremely tender, toeless feet, which cause him significant discomfort and vulnerability.
Remains consistent, serving as an example of the typical goblin's physical strength and inherent weakness.
Strong, somewhat compliant, but also prone to complaining about his weakness (feet). He is eager to please his father but also expresses his discomfort.
Image Prompt & Upload
A young adult male goblin with a very muscular, stocky build and rough, greyish-brown skin. His face is somewhat less craggy than his father's, with small, dark, slightly anxious eyes and a wide mouth. His short, coarse black hair is messy. He wears a simple, sleeveless, dark leather tunic and rough, patched trousers. He is struggling to lift a large, heavy, dark wooden chest onto his back, his bare, pale, toeless feet visible and appearing tender. He has a pained expression, wincing slightly. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
Mine Tunnel (Curdie's Working Area)
A narrow, dark, and damp passage deep within a mountain, carved out by miners. The walls are rough-hewn rock, likely granite or schist, with veins of ore visible. The air is cool and still, carrying the faint scent of damp earth and minerals. Curdie sits on a heap of dislodged ore, his pickaxe nearby. The rock against which he leans is thin, allowing sounds from the goblin realm to pass through.
Mood: Solitary, industrious, then tense and mysterious as goblin voices are heard.
Curdie works, eats his supper, and then overhears the goblins' conversation through a thin part of the rock, learning their secrets and plans.
Image Prompt & Upload
A dimly lit, narrow mine tunnel, carved roughly into dark, damp rock. Piles of broken ore glint faintly on the uneven ground. A single, small, flickering oil lamp casts long, dancing shadows, highlighting the textured, raw stone walls. The air is heavy and still, with a sense of deep underground silence broken only by the faint drip of water. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Goblin Dwelling (Behind the Rock Partition)
An unseen but implied cavern or chamber within the mountain, connected to the mine by a thin rock partition. The sounds suggest a family preparing to move, with heavy chests and household goods. The goblins speak of 'making new houses for themselves,' implying a network of subterranean dwellings. The atmosphere is one of bustling activity and secretive planning.
Mood: Secretive, bustling, familial, with an underlying sense of malice and conspiracy.
The goblin family discusses their plans to move, their weakness (tender feet), and a 'grievous calamity' they are preparing for the miners. Curdie creates a small opening and touches a goblin's foot.
Image Prompt & Upload
An unseen, dark cavern interior, implied by muffled sounds and the faint glow of unseen torches. Shadows of unseen figures are cast on rough, uneven rock walls. The air is thick with the murmur of voices and the rustle of movement. A sense of hidden activity and ancient, subterranean architecture is conveyed through sound and implied space. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Goblin King's Palace (Unseen, Deeper Mountain)
A grand, unseen subterranean palace, deep within the mountain, described as the seat of the goblin king and the location of important meetings. It is implied to be a more elaborate and central hub for the goblin community, where major decisions are made regarding their interactions with the 'upstairs' world. The architecture would be naturally formed caverns enhanced with goblin-made structures, perhaps rough-hewn stone, but with a sense of scale and importance.
Mood: Authoritative, conspiratorial, central to goblin power.
The goblin father plans to attend a meeting here to finalize the details of the 'calamity' against the miners.
Image Prompt & Upload
A vast, naturally formed subterranean cavern, subtly enhanced with rough-hewn, dark stone structures and platforms. Stalactites and stalagmites create an imposing, ancient atmosphere. Distant, unseen torchlight casts long, deep shadows, hinting at immense scale and hidden depths. The air is still and heavy, conveying a sense of ancient power and secretive gatherings. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.