UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA. Oddelek za anglistiko in amerikanistiko DIPLOMSKO DELO. Maja Skok

Transcription

1 UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA Oddelek za anglistiko in amerikanistiko DIPLOMSKO DELO Maja Skok Maribor, 2016

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3 UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA Oddelek za anglistiko in amerikanistiko Diplomsko delo SIMBOLIZEM IN NAČELA DRESURE ZMAJEV V ZGODBI KAKO IZURITI SVOJEGA ZMAJA: KOMPARATIVNI PRISTOP Graduation thesis SYMBOLISM AND PRINCIPLES OF DRAGON TRAINING IN THE STORY HOW TO TRAIN YOUR DRAGON: A COMPARATIVE APPROACH Mentor: red. prof. dr. Victor Kennedy Kandidatka: Maja Skok Maribor, 2016

4 Lektorica (slovenski povzetek): Univ. dipl. prof. slov. j. s knjiž. Natalija Furman

5 ACKNOWLEDGEMENTS First and foremost, I would like to thank my mentor dr. Victor Kennedy for his time, helpful and expert advice and guidance during the process of writing. I would like to thank my family for their unconditional love and support during my studies. I would like to thank my dear Miha for being there for me all the time. I would also like to thank my friend Natalija for encouraging me and believing in me.

6 Koroška cesta Maribor, Slovenija Podpisani-a MAJA SKOK rojen-a študent-ka Filozofske fakultete Univerze v Mariboru, smer ANGLEŠKI JEZIK S KNJIŽEVNOSTJO IN PEDAGOGIKA, izjavljam, da je diplomsko delo z naslovom SIMBOLIZEM IN NAČELA DRESURE ZMAJEV V ZGODBI KAKO IZURITI SVOJEGA ZMAJA: KOMPARATIVNI PRISTOP / SYMBOLISM AND PRINCIPLES OF DRAGON TRAINING IN THE STORY HOW TO TRAIN YOUR DRAGON: A COMPARATIVE APPROACH pri mentorju-ici RED. PROF. DR. VICTORJU KENNEDYJU, avtorsko delo. V diplomskem delu so uporabljeni viri in literatura korektno navedeni; teksti niso prepisani brez navedbe avtorjev. Kraj, MARIBOR Datum, (podpis študenta-ke) ff@um.si t f trr: SI id ddv: SI

7 POVZETEK Namen pričujočega diplomskega dela je primerjava simbolizma zmajev v knjigi in filmu z naslovom Kako izuriti svojega zmaja. Raziskujemo, kakšen je simbolični pomen tega bitja v različnih kulturah in literaturi; osredinimo se na predstavitev zmaja v zgodbi. Nekonvencionalna vloga tega mitološkega bitja močno vpliva na glavne teme v zgodbi. Nadalje proučujemo alegorični vidik obeh različic te zgodbe in primerjamo načine dresure zmajev v zgodbi z načini dresure udomačenih živali v resničnem življenju. Slednja primerjava pripomore k boljšemu razumevanju literarnega razvoja pri glavni osebi. Zgodba veliko ponuja tudi s pedagoškega vidika, saj je priljubljena zlasti med otroci. Ključne besede: zmaj, simbolizem, Kako izuriti svojega zmaja, alegorija, načela dresure, pedagoški vidik

8 ABSTRACT The aim of this diploma thesis is to compare the symbolism of dragon in the book and the film How to Train Your Dragon. I explore the symbolic meaning of the creature in different cultures and in literature and then I focus on the presentation of the dragon in the story. The role of the mythological creature is very unconventional and it affects major themes of the story. I also explore the allegorical aspect of the story and compare the principles of dragon training to the principles of real-life pet training. This comparison helps to gain deeper understanding of the character development of the protagonist. very young. The story has a lot to offer from the pedagogical point of view, since the audience is Key words: dragon, symbolism, How to Train Your Dragon, allegory, training principles, pedagogical point of view

9 Table of Contents 1. Introduction Symbolism and imagery of dragons How to Train Your Dragon About the author About the film The plot of the book How to Train Your Dragon The plot of the animated film How to Train Your Dragon Symbolism of dragons in the story Themes Training principles Pedagogical aspect of the topic Conclusion WORKS CITED... 48

10 1 1. Introduction There is a common saying that the imagination has no limits. Is seems that this has been many times taken seriously, especially by fantasy authors. The genre of fantasy has become increasingly popular amongst all ages over recent generations. The authors look for inspiration in various places, many times in mythology and ancient cultures. In this thesis I will focus on the presentation and symbolism of the dragon in popular animated film and the children s book which inspired it, How to Train Your Dragon. I will compare the book and the film; I will focus on symbolism and themes. I will take a closer look at the presentation of a mythical dragon in the story; analyze its role and its symbolic meaning. I will also focus on the relationship between the protagonist and the dragon. The analysis of the mythical nature of the dragon will also help us to understand the themes in the story better. Further on I will focus on the allegorical aspect of the story. The title itself implies that it is possible to train this legendary creature. I will look closely at the principles of dragon training in the story of How to Train Your Dragon and compare it with the very real-life principles of dog training. I will look for similarities between real-life and fictional training. Can a dragon be a man s best friend? Do the real-life techniques also apply with dragon training? How did the training process affect the protagonist as a pet owner? Is there a message about pet training in the story? These are just some of the questions I will try to explore in my thesis. Since the book and the film How to Train Your Dragon target younger generation, I will also explore the pedagogical aspect. The genre of fantasy has become popular among younger generations. Can this kind of story provide material for ESL classroom? These are the main aspect that I will focus on and the answers that I will try to find.

11 2 2. Symbolism and imagery of dragons Dragons are legendary creatures that appear in many different cultures all around the world. In literature we can find countless descriptions of these beasts and of their meaning and symbolic power. The symbolism of dragons varies from one culture to another. Many times they are portrayed as monsters and are a representation of evil, while in some cultures, like Chinese, they represent the good. Therefore I will explore their meaning across different cultures. The concept of the dragon symbolizing the evil is common in history and cultures in Western Civilization. The beginnings of this concept go far back to ancient Greece. The Encyclopaedia Britannica writes that in Greece the word drakon, from which English word was derived, was used originally for any large serpent and the dragon of mythology, whatever shape it later assumed, remained essentially a snake ( dragon ). The same source later on explains that in the Middle Eastern world, where snakes are large and deadly, the serpent or dragon was symbolic of the principle of evil ( dragon ). This concept is common in Christianity, where dragon came to be symbolic of sin and paganism and, as such, was depicted prostrate beneath the heels of saints and martyrs ( Dragon ). In A Dictionary of Symbols there are many other symbolic meanings of a dragon. Cirlot writes that dragons signify plagues which beset the country (or the individual if the symbol takes on a psychological implication) (Cirlot 86). The imagery of the dragon is very important, because it supports their symbolic power. The most typical representation of a dragon resembles a shape of an enormous reptile; usually it has a pair of wings and the ability to breathe fire. Cirlot also writes that a dragon is kind of amalgram of elements taken from various animals that are particularly aggressive and dangerous (Cirlot 85).

12 3 It is also interesting how the portrayal of a dragon as an evil creature can emphasize its symbolism. Cirlot writes that sometimes the dragon is depicted with number of heads and its symbolism then becomes correspondingly unfavourable, given the regressive and involutive sense of all numerical increase (Cirlot 87). This kind of the portrayal of a dragon also had a function in clear opposition to its terrible implications, of guarding temples and treasures (like the griffin), as well as being turned into an allegory of prophecy and wisdom (Cirlot 87). The Enylclopedia Britannica writes that dragons not only possessed both protective and terror-inspiring qualities but also had decorative effigies, dragons were early used as warlike emblems ( dragon ). This kind of aesthetic use of a dragon can be found in northern cultures such as the Norse warriors who painted dragons on their shields and carved dragons heads on the prows of their ships. ( dragon ). These kinds of portrayal of a dragon show that his evil nature was used as a warning sign or helped to empower the warriors. There is another interesting example of the portrayal of a dragon and that is the dragon biting its tail which is a symbol of all cyclic processes and of time in particular (Cirlot 87). The story How to Train Your Dragon is based in a fictional community of Vikings, where dragons played an important role. However the dragons did have strong symbolic meaning in the history of these famous warriors. Dee Shneiderman writes: The sight of a Viking longship, with its huge dragon figurehead, struck terror in the hearts of northwestern Europeans for centuries. The Vikings from the Norse countries of Iceland, Denmark, Sweden and Norway, sailed along the coasts of the British Isles and the European continent, exploring, raiding and colonizing from around 800 to They called their longships drakkar or dragon ships and the dragon was a powerful symbol of war. The dragon

13 4 symbol may have represented the Midgard Serpent, a mythical sea creature who fought with the Norse god, Thor. (Shneiderman) opponents. The image of this legendary beast was again used to represent power and fear to the Dragons symbolize evil in Christianity and European cultures, but they can also represent good. This kind of symbolism is most common in the Far East and especially in China, where dragons still play an important part in traditions, art and history of this culture. The symbolism of a dragon has been present in the royal circles and became an emblem of imperial power (Cirlot 87). The Encyclopedia Britannica writes that dragon is known as a beneficial creature and mentions its role in cosmology, where it represents yang, the principle of heaven, activity, and maleness in the yin-yang of Chinese cosmology ( dragon ). Cirlot explains the deeper meaning and significance of a dragon in cosmology: It plays an important part as an intermediary, then, between two extremes of the cosmic forces associated with the essential characteristics of the three-level symbolism, that is: the highest level of spirituality; the intermediary plane of the phenomenal life; the lower level of inferior and telluric forces. A related and powerful part of its meaning is that of strength and speed. (Cirlot 87, 88) An important part of the symbolism in Chinese mythology is the visual representation of the dragon, especially the length, colors and number of claws. Hayes explains the symbolic meaning of colors in relation to ruling dynasties and writes that yellow or golden dragon was designated the imperial dragon (Hayes 27). Dragons across the world have many different meanings, but we can also find those that are considered universal. Cirlot writes that the dragon appears with this very meaning of the primordial enemy with whom the combat is the supreme test (Cirlot 86). This could be

14 5 compared to the psychological explanation and Cirlot writes that present-day psychology defines the dragon-symbol as something terrible to overcome, for only he who conquers the dragon becomes a hero (Cirlot 88). Dragons in literature These legendary creatures many times occur in literature and have become especially popular in fantasy literature and film. They are fascinating and terrifying at the same time. Their mythical nature and strong symbolism play an important part for the structure of the story. Nowadays dragons often occur in literature, but their presence goes far back. J.R.R. Tolkien writes about the importance of the dragon in his essay Beowulf: The Monsters and the Critics. In the essay he responds to criticism of the historic poem Beowulf. He is especially focused on the presence of the monsters in the poem and defends their role. He exposes the importance of the dragon and writes that a dragon is no idle fancy. Whatever may be his origins, in fact or invention, the dragon in a legend is a potent creation of men s imagination, richer in significance than his barrow is in gold. (Tolkien 113). Therefore the non-human and mythical nature of the creature is important for the story. According to Tolkien, the dragons have to meet some specific standards, since he writes that there are in any case many heroes but very few good dragons (Tolkien 114). The representation of the dragon is very important. He writes that the dragon in the story is a real worm, with a bestial life and thought of his own, but the conception, none the less, approaches draconitas rather than draco: a personification of malice, greed, destruction (the evil side of heroic life), and of the undiscriminating cruelty of fortune that distinguishes not good or bad (Tolkien 114). That also explains the symbolic meaning of the beast and emphasizes his evil nature. The hero has to then symbolically face his own flaws.

15 6 In this essay he continues to address the criticism of the dragon in the poem and exposes the importance of its presence in the story. He addresses the symbolism of evil and explains the relationship between the heroes on one side and the dragons on the other. The role and the placement of the dragon in the poem are especially important: But for the universal significance which is given to the fortunes of its hero it is an enhancement and not detraction, in fact it is necessary, that his final foe should be not some Swedish prince, or treacherous friend, but a dragon: a thing made by imagination for just such purpose. Nowhere does a dragon come in so precisely where he should. But if the hero falls before the dragon, then certainly he should achieve his early glory by vanquishing a foe of similar order. (Tolkien 128) It is essential for the hero to fight the dragon, since it symbolizes the greatest enemy. Tolkien not only defends the presence of this monster in the story, but he also explains the importance of its placement: The placing of the dragon is inevitable: a man can but die upon his death-day (Tolkien 128). He even concludes his essay with these words: until the dragon comes (Tolkien 130), which not only express the importance of the placement of the dragon, but again expose the dragon as a symbol of the ultimate enemy. Even though the dragon is a mythical creature, it is very important for the story. The dragon is especially powerful when its nature is wild and evil. Although Tolkien is focused especially on the Beowulf; he also defends the role of the monsters and presented their value in the works of literature. The symbolic meaning and the placement of the monster are essential for the structure of the story and the development of the hero. Dragons are still very popular in literature. However their role in the story and symbolism vary and differ from Tolkien s version and the portrayal of the dragon in Beowulf.

16 7 In recent years dragons have often appeared in pop culture. They are present in fantasy fiction and children s literature as well as in popular fantasy films and TV series. In 2010 John Mullan made a list of what he calls 10 of the best fire-breathing, treasure guarding or tattooed dragons in literature (Mullan). Among the works that made the list are: Argonautica by Appolonius of Rhodes, Dr Faustus by Christopher Marlowe, The Faerie Queene by Edmund Spencer, The Story of Sigurd the Volsung and the Fall of the Niblungs by William Morris, The Hobbit by JRR Tolkien, The Voyage of the Dawn Treader by CS Lewis, Possession by AS Byatt, Red Dragon by Thomas Harris, Dragon Rider by Cornelia Funke and The Girl with a Dragon Tattoo by Stieg Larsson (Mullan). Since then some of these works of literature such as The Hobbit and The Girl with a Dragon Tattoo, also made it to the big screen and reached even greater popularity. The idea of not fighting the dragons as monsters but rather using their supernatural powers and terrifying image in more beneficial ways seems to be present in many of the stories. The creatures that appear in fantasy fiction and film today still carry some of the mythical nature and strong symbolism, but have also gone in different directions. The dragons in the story How to Train Your Dragon are different and far less evil than the traditional monsters. Are dragons nowadays still as essential, dangerous and important for stories? Therefore I will explore the symbolism of the dragons in the animated film and the children s book and explore the value of these legendary monsters in the highly popular story.

17 8 3. How to Train Your Dragon In this part of my thesis I will explore the story of How to Train Your Dragon. The animated version of the story is well known amongst younger and older generations. How close is the story to its written original? I will compare the two and I will focus especially on the dragon in the story; I will analyze his role and symbolism. I will also focus on the relationship between the protagonist and the mythical creature. Is the symbolism of the dragon close to the classic meaning? Is the dragon considered beneficial or evil? I will also compare the book to the film adaptation About the author The novel How to Train Your Dragon was written by children s author Cressida Cowell. Her official website Cressida Cowell writes that she was born on 15th of April 1966 in London. She is married and has three children. According to the website she started writing books in her childhood and published her first book in Her website also writes that she had had 18 books published, 8 Hiccup fiction titles, and ten picture books. In an article published in The Telegraph, Cowell writes about her inspiration for the story How to Train Your Dragon. She writes: I am children s book writer, after all; making things up is what I do for living. But I assure you that the Isle of Berk, where character Hiccup in my How to Train Your Dragon books lives, is a real place (though it isn t called Berk, of course). It is a place where I spent great deal of my childhood. (Cowell) Later on she describes the life on the remote island and the adventures she shared with her siblings. She also mentions where she got the inspiration to write about dragons: In the evenings my father told us tales of the Vikings who invaded this part of Scotland 1,200 years before, of the quarrelsome tribes who fought and tricked

18 9 each other, and of the legendary dragons that were supposed to live in the caves in the cliffs. There was a hillside behind our little stone house that looked exactly like the back of a sleeping dragon. On stormy nights, when the wind howled like a fury across the Hebridean wilderness, I would scare myself silly imagining it was that dragon shaking off its stony incarnation to come and kill us all. (Cowell) 3.2. About the film The book How to Train Your Dragon served as an inspiration for the highly popular animated film that goes by the same name. The animated film was released in It was directed by Dean DeBlois and Chris Sanders. The actors who voiced the characters include: Jay Baruchel as Hiccup, Gerard Butler as Stoic, America Ferrera as Astrid and Jonah Hill as Snotlout. The film became very popular amongst younger generation, but also received praise from adults. The review by Tim Robey marks it in The Telegraph as one of DreamWork s most idiosyncratic and genuinely charming films in years (Robey). He compares this film other famous animations and concludes it by praising Dream Works and writes that in laying alongside the post-modern quips, they ve rediscovered an airborne sense of joy (Robey). In The New York Times, Mekado Murphy writes about techniques of animation that were used in the film. He even compares it to the film No Country for Old Men and writes that from washed- out landscapes to minimally lighted rooms, the Nordic locations in Dragon feel more lived in and rough edged more realistic than one typically finds in animation (Murphy). The film was highly praised by the audience and by the critics for its cinematic achievements. The sequel of the story called How to Train Your Dragon 2 was released in 2014.

19 10 Many differences appear between the page and the screen. The plots differ in many situations. However the main themes and characters have remained more or less the same. I will look closely at the presentation of dragons and the relationship between mythical creatures and people in both versions of the story.

20 The plot of the book How to Train Your Dragon The story begins on the island called Berk, where the tribe of Vikings lives. The main character is a boy called Hiccup, who is a son of the chief of the tribe called Hairy Hooligan Tribe. He is in a group of youngsters, who are preparing for the so called Dragon Initiation Program. This is an initiation process and an important part of their lives, since they need to pass all the challenges in order to become true members of the tribe. If they do not pass the initiation, they will be sent into exile. First part of the process involves sneaking into a cave full of sleeping dragons and stealing the dragons, which then must be trained. When boys go to the remote cave and pick the dragons, Hiccup s friend Fishlegs accidentally wakes up the wild creatures and boys have to run out for their lives. Hiccup gives his own dragon to his friend and manages to steal another one on his way out. When they arrive home, Hiccup disappointedly realizes that his dragon is incredibly small and unimpressive. The dragon has no teeth; therefore he gets the name Toothless. Hiccup is under great pressure, because he is the son of the chief of the tribe and everybody has high expectations of him and his dragon. The second part of the initiation process is training the dragon. The purpose of this part is to properly teach the dragon of the commands and to present the success of the training on the Initiation Day. If young Vikings fail, they will be sent to exile. Hiccup quickly realizes that training is a difficult and challenging process, since his dragon is exceptionally stubborn and whiny. He also finds the recommended practices of training useless and dated and he realizes that he needs to come up with some methods on his own. He does have a secret ability of speaking to dragons, which he uses in his advance.

21 12 While he is trying to prepare his dragon for the big day, the gigantic dragons that have slept at the bottom of the sea start to wake up. The final part is the Initiation on Thor s Thursday, when all of the tribe members, boys and their dragons gather on the beach. The boys have to present the success of the dragon training. Although Hiccup is very nervous, the process goes well until his little dragon causes a fight between all of the dragons. That causes the chaos and the elders of the tribe along with Hiccup s father, the chief, decide that the boys failed the test and will be sent to exile. Hiccup then bravely stands up to his father s decision. The boys are allowed to spend their last night on the island and the next morning they will have to leave, but a great storm during the night causes major changes. The two of the gigantic dragons that slept at the bottom of the sea appear lying on the beach of the island the next morning. They are evil and very dangerous for the Vikings. The tribe has to remove them, but they are unsuccessful. They no longer make fun of Hiccup s ability to speak to dragons, and send him to talk to the monsters. After talking to the dragons, Hiccup and the boys make a plan to remove the enormous dragons. They have to convince the two monsters to fight each other. The young Vikings prepare their tactics and their trained dragons help. The two gigantic dragons finally fight each other and while one is killed, the other one goes after Hiccup, catches him and swallows him. When the dragon tries to breathe fire, Hiccup manages to escape out of his throat and defeats the beast. Just before that Toothless intuition tells little dragon that Hiccup is in danger and the creature saves the young Viking s life. Toothless is almost killed and Hiccup saves him from the dragon s funeral. The boy and the dragon become great friends in the end.

22 The plot of the animated film How to Train Your Dragon Young Hiccup in the film is again shy and skinny Viking, but he is also a smith s apprentice. His community lives in the same environment with the dragons, but these creatures are considered to be dangerous pests. Since Vikings are very stubborn, they insist that dragons have to be fought and killed. They are convinced that there is a dragon s nest that should be destroyed and only then they can live in peace. Therefore they train their young members to defeat and kill the dragons. Again Hiccup feels that he needs to make an impression on his father and other Vikings, so he attempts to kill a dragon to prove that he is a true Viking. He makes the weapon and during the attack of dragons one night, he shoots down one beast. He gets attacked by another monster and his father saves his life. Hiccup is very stubborn and he does not listen to his father s orders to stay inside and learn to defend. Next day in the woods Hiccup finds the dragon he hit. The dragon is alive, but is tied in ropes and Hiccup thinks this could be an opportunity for establishing himself and killing a dragon. He cannot do it and instead he carefully frees the dragon from the rope-trap. At that moment the wild dragon attacks Hiccup, but does not hurt him. In comparison to the book, these Vikings train their young members to fight and kill the dragons in an arena. Hiccup is encouraged by his father to join the youngsters. He does not want to kill the dragons like the rest of them. He starts learning about them from the manual that other young Vikings find boring. He goes back to the woods to find the injured dragon again and starts observing him. He quickly establishes a bond with this creature and then starts to train the dragon, which is something unthinkable for a Viking. This training process is different than the one in the book, because the dragons in the film do not speak. He makes a harness and builds a prosthetic wing that helps the dragon to fly again.

23 14 One day a girl he likes finds out about his secret of dragon training and flying on his back. He invites her to join on a flight. When they are flying on Toothless back, he starts following many other dragons in the direction of the dragon s nest. They learn that dragons are actually submissive to a monstrous dragon that lives in the nest and the creatures have to feed him. Hiccup learns that dragons may not be dangerous at all and that they are actually living under a threat. One day he shows his new approach in the arena in front of the whole Viking community, including his father, who has recently returned from an unsuccessful mission of looking for dragon s nest. He decides to seize the moment and shows everyone that dragons could be successfully controlled by using tricks instead of violence, but his father misunderstands his intentions. He wants to protect his son from the dragon, but instead he enrages the dragon and the beast attacks his son. Similarly to the book, Toothless wakes up, flies to the arena and saves Hiccup s life. That is how the community learns about Hiccup s secret. His father is again not impressed; he takes Toothless away from him and disowns his son. Vikings leave on a mission to destroy the dragon s nest and take Toothless with them. Hiccup again uses his knowledge and teaches other youngsters how to fly on dragon s back and they follow the older members. Vikings unsuccessfully attack the nest and the monstrous dragon appears in the open. This dragon does not speak to Hiccup, but he and Toothless fight the beast together. They lead him dangerously high in the sky, where they attack him and burn his wings. Hiccup fells off his dragon s back and Toothless saves his rider s life again. Stoic accepts his son back and the attitude of Vikings drastically changes; they start domesticating dragons.

24 15 4. Symbolism of dragons in the story Dragons are essential for both versions of the story, but do they carry deeper meaning? What do they represent in a relationship between them and protagonist? Does the meaning of dragons differ between the story in the book and the animated version? Are the dragons presented as beneficial or evil? What do the dragons represent to the fictional society of Vikings? The dragons in the written version have special meaning for the tribe of Vikings. They domesticate the wildest, most dangerous creatures on Earth (Cowell 5). They also describe dragons as vain, cruel, and amoral creatures (Cowell 137). They consider the training process an important part of the tribe s tradition, where only heroes succeed: Your next task will be training of dragons yourself. This will be a test of the force of your personality. You will assert your will over this wild creature and show it who is Master. Your dragon will be expected to obey simple commands such as go and stay, and hunt fish for you in the way dragons have hunted for the Sons of Thor since anybody can remember. (Cowell 35) The Vikings view dragons as dangerous and strong creatures. When they train dragons they deservingly become true members of the tribe. Trained dragons are more valuable and symbolize the establishment of one as a hero. They also symbolize power and pride since members are supposed to show their dominance over such wild creatures. In a way they even identify themselves with the creatures; they think that only they are strong enough to tame them. The dragons also symbolize the initiation of young members. The image of the monstrous dragons that appeared on the beaches of the island after the storm is rather different. The dragon is described as an impossibly vast Serpent stretched out on the sand (Cowell 137). It represents a great threat to their existence. The comparison

25 16 to the serpent also indicates that this dragon is far more evil and dangerous than the rest. The defeat of this dragon symbolizes the ultimate win of the Vikings. Do the dragons have the same meaning for the fictional society in the animated film? Although there are many similarities between both versions, there are also differences. Perhaps one of the most important differences is the level of the personification of the dragons. The dragons in the book have the ability to speak in their own language. This ability affects their interaction with Vikings, especially with the protagonist. They are considered cruel, but can be controlled when properly trained and domesticated. The protagonist in the written story knows their language and is able to train the creatures in a far more sophisticated way than their standard practices. The dragons in the animated version are different. While those in the book can express their cunning and nature through speech, the dragons in film do not have this ability. Their nature is wilder. This affects the communication and interaction between them and people. They are considered wild creatures and impossible to tame. Their nature is much more comparable to animals and beasts living in the wild. At the beginning of the film the protagonist Hiccup describes dragons as pests (DeBlois) and in the next segment we can see a common attack of dragons on the Vikings village. Hiccup says: most people would leave. Not us. We have stubbornness issues (DeBlois). The Vikings in the film have a daily struggle with dragons attacking their village, burning down houses and steeling sheep, but they insist on fighting the monsters. Their attitude towards the dragons can be observed even through details in the animated film. The close up shows that they painted dragons pierced with swords on the sails of their ships. In the story they fight them and teach their children to do the same. At the end of the scene where Hiccup fights in the arena for the first time, Gobber, the warrior, tells him that dragon

26 17 will always, always go for the kill (DeBlois). Youngsters have to learn about dragons, fight them and eventually kill them. Killing a dragon has a symbolic meaning; it is an honorable deed. It symbolizes a defeat of an enemy, which is something only strong Vikings can do. Later on, when Hiccup shows his community that dragons can be controlled differently and that they are not as unpleasant and dangerous, the Vikings perception of the dragon changes. Training of dragons symbolizes a cultural change of their tribe. In the film, dragons are considered evil and annoying from the beginning. The Vikings establish themselves by either training them or killing them. At the end of the story the attitude of the Vikings changes drastically. They start viewing dragons as beneficial creatures. In both versions of the story dragons symbolize a cultural change. It is also interesting that most dragons are portrayed untraditionally and they serve Vikings as domesticated creatures and companions, but both stories also have dragons that symbolize the ultimate foe. The monsters at the end of the stories differ drastically from the rest of the dragons. They are gigantic in size and extremely dangerous for the existence of Vikings. They symbolize great danger and have to be destroyed in order to survive. Dragons do carry great symbolic meaning for the fictional society, but what do they represent to the protagonist? The relationship between the protagonist Hiccup and the dragon Toothless is quite complicated in the book. Great things are expected of Hiccup, since some day he is expected to succeed his father, the chief of the tribe. Many of fellow youngsters make fun of him for being useless (Cowell 10). His description in the book says that he didn t LOOK like a Hero (Cowell 14). He is absolutely average, the kind of unremarkable, skinny, freckled boy who was easy to overlook in a crowd (Cowell 15). He is very insecure. He gets teased, because he lacks the preferable image of a future hero.

27 18 He does not differ from other youngsters just in his physical appearance, but he also has a fascination about dragons that others do not know about. He is even embarrassed, when Old Wrinkly mentions in a conversation that Hiccup knows great deal about dragons (Cowell 65). He hopes that he will establish himself with an appropriate dragon. However the dragon does not meet his expectations. The passage below marks his desperation and disappointment about the appearance of the dragon: There, curled up fast asleep in the bottom of the basket in a tangled dragon knot, lay perhaps the most common Common or Garden Dragon Hiccup had ever seen. Absolutely the only extraordinary thing about this dragon was how extraordinary SMALL it was. In this it was truly extraordinary. (Cowell 42, 44) This also illustrates the way Hiccup feels about himself. This dragon s appearance is far from the typical dragon look. He is not fierce at all and has many imperfections that are contradictory to what is expected of him. Other Vikings make fun of his dragon, because of his size and lack of teeth (Cowell 46-7). Because of his disobedient behavior and cowardly nature, the little creature gets teased by other dragons (Cowell 86). He is quite vain as well and thinks highly of himself (Cowell 88), but it is also lazy and scared when it comes down to his performance. Therefore the protagonist and the dragon have much in common. Their looks are far from preferable image and due to their small size and insecurities they both lack in confidence. In this way a dragon is a symbolic reflection of the protagonist. The dragon first represents a tool which could help Hiccup to establish himself inside the society, but he quickly learns that this dragon is greater challenge. The dragon represents an obstacle that will not allow him to improve his image. He sees that the challenge is much

28 19 bigger from what he imagined and a lot has to be improved in order to achieve the glory he desires. The training process carries an even deeper symbolic meaning than the dragon itself. If Hiccup does well in training of the beast, he will become a true hero and if he fails, he will be sent to exile (Cowell 37). His lack of confidence and the disappointment in the dragon are big obstacles in the process of training. The process is very challenging for the protagonist. However, when Hiccup learns about his own strengths and the abilities of the creature, he eventually reaches a success. This success empowers him and the dragon and eventually they establish a bond. During the process of dragon training both Hiccup and Toothless develop individually. There is even physical evidence of growth; dragon Toothless gets his first tooth after Hiccup successfully convinces the dragon to catch fish (Cowell, 100). Even though the small size of the dragon is very unusual, he starts physically develop into a beast. The tooth is a symbol of hope, growth and success for both the dragon and the Viking. The dragon later on looses the tooth in the dragon fight and that is also when Hiccup looses hope in dragon training. Even though he does not feel completely confident on the day of the Initiation, he manages to show a great deal of improvement. The dragon responds well to his untraditional methods, but then greatly fails when he causes a dragon fight (Cowell 116-8). At this moment the dragon represents a failure, but Hiccup suddenly feels another form of strength. He stands up against his father s orders, which in not expected (Cowell 124). Even though the training appears to be a failure at that moment, it shows the development in Hiccup s personality. The training of a dragon left a significant mark on the protagonist and it is symbolic representation of the process of growing up.

29 20 When Hiccup accepts that he is different from the rest and he learns about his greatest strength, he gains confidence. He also realizes that power of his knowledge is much more useful and powerful than physical strength when it comes to training and fighting the dragons. This is how he manages to fight much bigger dragons that appear on the shores of the island. When the traditional methods do not provide success in defeat of these monsters, the tribe turns to Hiccup s ability of speaking to dragons (Cowell 143-4). This dragon differed from the domesticated ones in more than one way. He represents a true monster, but not just in the sense of its physical size and strength. The dangerous nature of this dragon is shown through his speech, cunning and skills of manipulation. When dragon speaks to Hiccup, he sees all of his insecurities and fears. He senses his inner weaknesses and tries to manipulate him: That s right, said the Dragon. Your Why-Can t-i-be-more-like-my- Father? problem. Your It s-hard-to-be-a-hero problem. Your Snotlout-Would- Make-a-Better-Chief-Than-Me problem. I have helped the problems of many a Supper. Somehow meeting a Really Big Problem like myself seems to put everything else in proportion. (Cowell 153) The dragon really seems to put Hiccup s inner issues into a different perspective. He symbolizes a true foe, not because of his enormous size, but because he brings out the biggest insecurities and issues of the protagonist. Later on Hiccup uses his skills and knowledge about dragons and with help of other youngsters and Toothless; he successfully defeats the beast that represents great threat for his tribe and for himself. He overcomes his own insecurities and fears. This dragon symbolizes the true test of bravery and skill for Hiccup and he successfully solves it.

30 21 Dragons in the book have a strong symbolic meaning for the protagonist, but can we say the same for the animated version of the story? Another difference between the animated film and the book is the way the society in the film treats the dragons explicitly as dangerous and unwanted pests that endanger their living environment. It is expected that Vikings fight and destroy dragons. Hiccup in the film has a desire to establish himself in the tribe, since he is kind of an outcast among youngsters. At the beginning of the film, during the attack of the dragons, Hiccup tries to kill a dragon in order to impress the villagers, youngsters and a girl. Killing of a dragon would have a strong symbolic meaning, since he would be able to impress his father and fellow Vikings. Later on he follows the dragon that he hit with his weapon, catches him, but realizes that he cannot kill the beast. He is intrigued by the creature and secretly starts observing it and learning more about it. Eventually they establish a bond and he starts training the dragon. When he is observing the dragons, he learns that they are much calmer and kinder than the Vikings believe. In one scene he observes the behavior of a group of dragons and come to the surprising realization that everything we know about you guys is wrong (DeBlois). He learns tricks by which he is able to control dragons in the arena and slowly starts showing Vikings that dragons can successfully be tamed in less violent ways. The success of the training of a dragon symbolizes the establishment of Hiccup in the society and marks personal changes in the protagonist. Like the written story, the dragon represents a symbolic reflection of the protagonist. After Stoic takes Toothless away from Hiccup, Hiccup even regrets that he did not killed the dragon on the first place, but in a conversation with Astrid, he admits that at the time he felt empathy towards the creature: I wouldn t kill him, because it looked as frightened as I was. I looked at him and I saw myself (DeBlois).

31 22 Both version of the story also show that dragon at the beginning symbolized a foe. The dragon is a projection of protagonist s insecurities and when he solves them he perceives dragon differently. In the film the dragon symbolizes danger and fear, but later on the protagonist learns to control him with his knowledge and skill. In both cases the dragon becomes the protagonist s friend and companion at the end and a symbol of empowerment and security. At the end of the story in the animated film, Hiccup has to confront the monstrous dragon, which symbolizes the ultimate evil. This dragon is again very different from the rest of the creatures. It is extremely large; he breathes much stronger fire and do not represent the dangerous enemy only to Vikings, but also to the rest of the dragons. In comparison to the final foe in the book, this dragon does not have the ability to speak and his superiority and rage are expressed through physical features such as size, muscularity and strength. This dragon symbolizes the real cruelty and danger to the world of Vikings and dragons. In the book and in the film the training process has strong symbolic meaning for the protagonist. Dragon empowers the protagonist and helps him to establish himself as a worthy member of the tribe. It also helps him to realize that a path to success was not an easy one. The expression to train a dragon therefore symbolizes the way with many great challenges. In the contrast to the dragon that accompanied the protagonist, the monstrous dragon at the end of both stories symbolized the ultimate enemy. Empowered with companionship of smaller dragons, the protagonist was able to defeat the beast and establish himself as a hero. The dragons can be divided into two categories. First category represents the domesticated dragons that are beneficial and powerful creatures and they bond with people. Their symbolism can be compared to dragons from East Asian mythology. The relationship between them and people is in a way symbiotic and can be compared to the relationship

32 23 between people and their pets. This kind of the portrayal of dragons is more untraditional. They still have traditional features that symbolize fear and power, but they no longer represent a foe. Through their symbolism they empower people. The other category represents the dragons at the end of the story; they are dangerous, gigantic and incredibly cruel. These dragons represent much more powerful forces than the domesticated dragons, which are very common. They symbolize the ultimate threat and evil and are in many ways similar to dragons from European and Christian mythology. The symbolism and characteristics of these dragons are closer to Tolkien s description of the dragon in his essay about Beowulf, which represents a traditional portrayal and function of a dragon as a symbol in the story. These dragons represent the greatest enemy the hero has to face. If we compare the two gigantic dragons in the film and in the book, we notice that their power is portrayed in different ways. The ability of speaking even emphasizes the cruelty of the creature in the book. That dragon is very cunning, manipulative and tries to fight the protagonist on the psychological level. He makes the protagonist face his inner fears and insecurities, which perhaps represents greater threat that the actual physical danger. Another aspect that is similar to the dragon in Beowulf is the placement of the dragon in the story. In both cases these dragons appear towards the end of the story, when the hero has to face his fate. In both stories the protagonist defeats the evil dragon as the ultimate enemy and establishes himself as a hero. Ending scenes of both versions also represent the classical battle between good and evil forces. The domesticated dragons represent the good, since they help people with their extraordinary abilities and symbolically empower them with their presence. The gigantic dragons that have extremely dangerous nature represent the enemies and the evil.

33 24 Even though this is a children story, the presence of this mythological creature helps to create deeper meaning. Dragons also have strong impact on character development and they greatly influence the themes and structure of the story.

34 25 5. Themes Despite the differences between the written version and the cinematic adaptation, the same major themes can be observed. I will explain them and show how the symbolic meaning of the dragons helps us to understand them. David and Goliath This classical concept of how someone considerably smaller and weaker can fight someone much bigger and stronger is applied in both version of the story. Both the protagonist and the domesticated dragon have insecurities that made them seem weaker. They are smaller in size and have limited abilities. The training process helps them to gain confidence and strength and they establish a strong bond. They are stronger and more powerful together. The dragon is a symbol of power and confidence and that gives the protagonist the strength and courage when facing the enemy. When they are together they are stronger as a unit and are able to successfully face and defeat a much more dangerous and bigger dragon, which is the symbol of an ultimate foe. Knowledge is more powerful than physical strength The Vikings are a very proud community of warriors. They value physical strength and the ability to fight in combats. They do not put much emphasizes on learning and gaining knowledge. When it comes down to dragons they use violent methods to tame them. In both stories the protagonist differs from the rest of the youngsters. He is not physically strong and fearless. He learns that his strength is in gaining knowledge and using it as a tool. Eventually he discovers the power to control dragons in more sophisticated ways than Vikings traditionally use and shows his skills to the community of warriors. He serves as an example for change and shows how knowledge can bring big difference.

35 26 The knowledge he gains and his new skills in controlling the dragons help him in the combat with the giant and dangerous dragons. Physical power proves to be useless and the Vikings are defenseless. In the book the knowledge about dragons and the ability of speaking the dragon language help Hiccup to fight the monstrous dragon. In the film he fights the dragon with the help of his domesticated dragon, which is something unthinkable for the traditional and stubborn Vikings. In both cases he saves himself and the entire community. He shows them the importance and power of knowledge. Vikings change their perspective and see that dragons can be more beneficial if they treat them with less violence and more thought. Therefore the dragons also symbolize the power of knowledge that leads to big changes of the mindset of the Vikings. Cultural change Trained dragons symbolize a cultural change that appears after the protagonist sets a positive example. In both versions of the story, the fictional society of Vikings has established more or less negative attitude towards the dragons. In the written story Vikings have a tradition of training dragons, which serves as an initiation to their society. Their training methods are very limiting and contain much of negative reinforcement. When Hiccup shows them his own methods, which are based on knowledge and calmer approach, they see his success and their perspective of the dragon changes. The training of the dragons symbolizes the movement from a violent approach towards more thoughtful and successful one. They see the creatures as more beneficial and pleasant. This change is even more radical in the animated film, where dragons are perceived as pests and had explicitly negative connotation. The approach of Vikings towards dragons is very violent and destructive. Hiccup and his dragon Toothless serve as a symbol of change. He shows that with power of knowledge and persistence the creatures can be beneficial to