Conclusion in:

Denise Burkhard

Ancient Dwarf Kingdom or the Hoard of a Fiery Dragon?, page 85 - 90

J.R.R. Tolkien's Erebor as a Transformed and Dynamic Place

1. Edition 2017, ISBN print: 978-3-8288-3975-5, ISBN online: 978-3-8288-6774-1,

Tectum, Baden-Baden
Bibliographic information
n Tolkien’s The Hobbit company’s collective memories are, however, restricted to their ‘Song of the Lonely Mountain’, in which the create their ‘Erebor of the mind’. the dwarves’ Raduege, namely that “songs and stories of the past, especially in pre ing” , the ‘Song of the Lonely Mountain’ is used to dwarves’ The dwarves’ tunnelling and mining their kingdom. While the mountain retains its ‘natural’ look ‘Heart of the Mountain’, Bilbo’s Erebor, which is based to a great extent on the ‘Song of the Lonely Mountain’ and Thorin’s prose account, transform into a ‘ ’ “‘Worthy of a Song’: Memory, Mortality and Music.”, 115. its depiction as a dragon’s lair is informed by waste and destruction Liam Campbell claims that “Tolkien gave as much detail and passion to the glimmer of his green and vibrant lands” gon has on the desolate land. The depiction of the dragon’s wasteland is also informed by Tolkien’s use of the dragon’s lair is compared a ‘yawning mouth’ that leads into pitch dragon’s lair. “‘ ’” Liam Campbell. “Nature.”, 434. Cf. Emily Midkiff. “Uncanny Dragons.”, 43. cf. Ármann Jakobsson. “Talk to the Dragon.”, 34. The Hobbit the dwarves’ reshaping Transformation is also at the core of Peter Jackson’s “well imaginative reinterpretation” The Hobbit nt destruction are based on the ‘Song of the Lonely Mountain’ and Thorin’s dragon’s attack. Apart from being a symbol of warfare and the dwarves’ will to defend the selves, they also reflect the dwarves’ and contribute to Erebor’s majestic appearance dwarves’ habitat in the mountain is reminiscent of a city that has been the spatial arrangement, the position of Thror’s Frank P. Riga, Maureen Thum and Judith Kollmann. “From Children’s Book to Epic Prequel.”, 114. hand, a huge stalactite, which is traversed by golden ‘veins’, gold is flowing directly into the throne of the ‘King under the Mountain’. On the In Peter Jackson’s adaptations the dwarves’ kingdom is destroyed when the an emblem of the dwarves’ cul ate and Thror’s . In the context of Smaug’s attack, bot In Peter Jackson’s The Desolation of Smaug reminiscent of Jackson’s depiction of Moria in The Lord of the Rings the ‘chamber of ’ The Hobbit trance in Jackson’s adaptation and reshapes the mounta The Battle of the Five Armies ’ During the dragon’s rule The Desolation of Smaug

Chapter Preview



In J. R. R. Tolkien’s “The Hobbit” (1937), Erebor is both the ancient home of the dwarves, which has been conquered and is now occupied by the dragon Smaug, and the destination of the quest of thirteen dwarves and a hobbit, who aim at regaining Erebor from the claws of the dragon. On their way to the mountain, the dwarves constantly remember the old days in which their ancestors mined and crafted beautiful objects inside the walls of Erebor. Their thoughts are, however, frequently overshadowed by concerns about Smaug, who transformed the dwarf kingdom into a dragon hoard and is now sleeping on the gold.

Denise Burkhard delves into Tolkien’s children’s novel and Peter Jackson’s “The Hobbit” trilogy (2012–2014) and explores the depiction of Erebor. The analysis focuses on the dwarves’ reconstruction of the old kingdom, the ideas of home and belonging in the context of the dwarves’ diasporic situation as well as on the destruction and the reshaping(s) of the mountain. The adverse depictions of Erebor as dwarf kingdom and dragon hoard are examined by having a closer look at the dwarves, the sinister dragon and the enormous hoard in the novel as well as in Peter Jackson’s audio-visual interpretations.