Colin Burrow's "Ogres Are Cool" argues that ogres, far from being simply monstrous, embody complex and often contradictory cultural anxieties. From their ambiguous origins in folklore to their modern depictions in children's stories and film, ogres reflect evolving societal fears about the other – encompassing foreignness, wildness, and the blurring of human/animal boundaries. The ogre's cannibalism, a defining characteristic, taps into primal fears of consumption and the violation of social taboos, while simultaneously offering a perverse fascination with transgression. Ultimately, the enduring appeal of the ogre lies in its capacity to embody these anxieties in a figure that is both terrifying and strangely compelling.
Colin Burrow's essay, "Ogres Are Cool," published in the London Review of Books, embarks upon a comprehensive exploration of the ogre's enduring presence within the tapestry of folklore and literature. He meticulously dissects the etymology of the word "ogre," tracing its origins back to the figure of Orcus, the Roman god of the underworld, and ultimately connecting it to the Hungarian "ogur," referencing a Turkic people historically associated with barbarism. Burrow posits that this etymological lineage imbues the ogre with a primal, almost elemental, association with fear and the unknown, effectively positioning the ogre as a symbolic representation of the external threats perceived by settled communities.
The essay further elucidates how the ogre archetype has metamorphosed throughout literary history. Burrow meticulously examines the ogre's depiction in various literary contexts, commencing with the medieval chansons de geste and continuing through the fairy tales of Perrault and the Grimm brothers. He notes the consistent portrayal of ogres as monstrous figures, often characterized by their immense size, grotesque appearance, and insatiable appetite, frequently, and most disturbingly, for human flesh. This cannibalistic tendency, Burrow argues, further cements the ogre's position as a figure of abject terror, embodying the primal fear of being consumed, both literally and metaphorically, by forces beyond human control.
However, Burrow's analysis transcends a simple cataloging of ogreish traits. He delves into the complex and often contradictory roles ogres play within these narratives. While acknowledging the ogre's predominantly negative portrayal, he also observes a certain degree of ambiguity, a potential for complexity within the monstrous facade. He highlights instances where ogres exhibit unexpected moments of vulnerability, even tenderness, suggesting a potential for redemption, or at least, a recognition of their inherent humanity, however deeply buried beneath layers of barbarity.
Burrow's examination extends to contemporary manifestations of the ogre in popular culture, referencing examples such as Shrek to illustrate how the figure has been reinterpreted and, in some cases, rehabilitated. He argues that the enduring fascination with ogres stems from their capacity to embody our deepest anxieties about the unknown, about the "other," while simultaneously offering a canvas onto which we can project our own complex and often contradictory desires and fears. In conclusion, Burrow's essay offers not merely a history of the ogre, but a profound meditation on the enduring power of monsters in the human imagination, demonstrating their capacity to evolve and adapt across cultures and time periods, reflecting our ever-shifting relationship with the world and the shadows that lurk within it.
Summary of Comments ( 9 )
https://news.ycombinator.com/item?id=43369739
HN users largely agree with the author's premise that ogres are experiencing a cultural resurgence, moving away from purely monstrous depictions. Several commenters highlight Shrek as the pivotal turning point, making ogres sympathetic and even heroic. Some discuss the etymology of "ogre," linking it to Hungarian and historical figures like Attila the Hun. Others explore the shifting portrayals of ogres in various media, from Tolkien to Dungeons & Dragons, noting their complex and sometimes contradictory nature (brutal yet family-oriented). A few users push back, arguing that ogres have always had a multifaceted presence in folklore, predating Shrek. There's also a brief discussion of other "monster" rehabilitations in popular culture.
The Hacker News post "Ogres Are Cool" (linking to a London Review of Books article of the same name) generated a modest discussion with 15 comments. Several commenters engage with the premise of the article, which, based on the comments, seems to explore the evolving portrayal and cultural significance of ogres.
One commenter appreciates the author's exploration of how ogres, initially figures of terror, have become somewhat sympathetic figures. They highlight the shift from ogres being purely monstrous to their portrayal in works like "Shrek" where they possess relatable qualities and struggles. Another commenter picks up on this thread, mentioning George MacDonald's "The Princess and the Goblin" and suggesting that perhaps ogres have always held a more nuanced position in folklore than solely being objects of fear.
The discussion also touches upon the nature of folklore and mythology. One commenter remarks on the fluid nature of such stories, highlighting how they adapt and change across cultures and over time. This malleability, they suggest, is what allows figures like ogres to be reinterpreted and recontextualized.
A couple of comments offer further reading suggestions related to folklore and mythology, pointing to other analyses of fairy tales and monstrous figures. One commenter even draws a parallel to Tolkien's orcs, suggesting that they, too, underwent a similar shift from purely evil beings to more complex characters with their own motivations, particularly in the works of Tolkien's son, Christopher.
There's a brief tangent about video game representations of ogres, with one commenter mentioning how they're often portrayed as brutes or cannon fodder. Another commenter contrasts this with the nuanced portrayal of ogres in the tabletop role-playing game Dungeons & Dragons, suggesting that their depiction there allows for more complex interactions and character development.
Overall, the comments section reflects a general agreement with the article's premise and explores the evolving cultural understanding of ogres. The commenters delve into the adaptable nature of folklore, comparing different portrayals of ogres in literature and gaming, and reflecting on the shift from pure monster to more complex and sometimes sympathetic figure. The discussion remains relatively focused on the topic, without significant digressions or disagreements.