The (King's) fame riding Pegasus

The (King's) fame riding Pegasus

Artist	Antoine Coysevox (1640–1720)
Description	English: The (King's) fame riding Pegasus. Français : La renommée (du roi) chevauchant Pégase.
Date	1702
Medium	Carrara marble
Dimensions	Height: 315 cm (124 in). Width: 291 cm (114.6 in). Depth: 128 cm (50.4 in).
Current location	Louvre Museum Department of Sculptures, Richelieu, loxer ground floor, Cour Marly
Accession number	MR 1824
Object history	English: Commissioned in 1699 for the decoration of the park of Marly, transfered in 1719 to the entrance to the Tuileries Garden, replaced in 1986 by copies Français : Commandé en 1699 pour la décoration du parc de Marly, transféré en 1719 à l'entrée du jardin des Tuileries, remplacées en 1986 par des copies.
Credit line	From the Tuileries Garden, 1986; restored with the aid of the Pari Mutuel Urbain, 2004-2006 (patron)
Source/Photographer	Jebulon (2010)
Licensing	This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or less.

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From Wikimedia Commons http://commons.wikimedia.org

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From Life http://joeungul1.blogspot.com/

Scottish Shapeshifting

Scottish mythology features shapeshifters and the ability allow's the various creature to trick, deceive, hunt, and kill humans. Tales are abound about the Selkie as a seal that can remove its skin to make contact with humans for only a short amount of time before they must return to the sea. Such stories surrounding these creatures are usually romantic tragedies. Clan MacColdrum of Uist foundation myths include of a union between the founder of the clan and a shapeshifting seal woman Selkie. While other tales include Kelpies who emerge from lochs and rivers to ensnare and kill unweary travellers in the disguise of a horse or woman. While other tales include Tam Lin, a man captured by the Queen of the Fairies who is changed into all manner of beasts if rescued. He was finally turned into a burning coal and thrown him into a well, whereupon he reappeared in his human form. The motif of capturing a person by holding him through all forms of transformation is a common thread in folktales. While modern Scottish literature as in the Strange Case of Dr Jekyll and Mr Hyde explores human transformation and the moral implications of changing ones shape.

The Kelpie by Herbert James Draper: transformed into a human.

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http://en.wikipedia.org/wiki/Shapeshifting

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Shapeshifting | Science fiction themes | Fantasy tropes

Tsaofu (造父)

Tsao Fu (造父)

Alternative Names (異名):
造父, zào fù, Tsao Fu

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Tsao Fu (traditional: 造父, simplified: 造父 pinyin: zào fù), in ancient Chinese Mythology, was an exceptionally skilled charioteer, who is said to have lived around 950 B.C.

The Chinese tell the story of the Emperor Mu Wang, who was determined to visit paradise. He wanted to taste the peaches of immortality there. He found a very brave charioteer named Tsao Fu, who drove eight amazing horses with great skill. Tsao Fu was afraid of nothing—he carried the emperor across the Earth and into the heavens. The emperor finally reached Mount K’uen Lun and tasted the peaches of immortality. His brave charioteer Tsao Fu was carried up to the stars, where both he and his eight horses can be seen among the stars of the constellation Cepheus. The star Zeta Cephei is specifically named after him.

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http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
http://en.wikipedia.org/wiki/Portal:Mythology

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China stubs | Chinese mythology | Chinese legendary creatures

Siren

Siren

In Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn; Greek plural: Σειρῆνες Seirēnes) were three dangerous bird-women, portrayed as seductresses who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on an island called Sirenum scopuli. In some later, rationalized traditions the literal geography of the "flowery" island of Anthemoessa, or Anthemusa, is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae. All such locations were surrounded by cliffs and rocks.

When the Sirens were given a parentage they were considered the daughters of the river god Achelous, fathered upon Terpsichore, Melpomene, Sterope, or Chthon (the Earth; in Euripides' Helen 167, Helen in her anguish calls upon "Winged maidens, daughters of the Earth"). Although they lured mariners, for the Greeks the Sirens in their "meadow starred with flowers" were not sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys.

Their number is variously reported as between two and five. In the Odyssey, Homer says nothing of their origin or names, but gives the number of the Sirens as two. Later writers mention both their names and number: some state that there were three, Peisinoe, Aglaope, and Thelxiepeia (Tzetzes, ad Lycophron 7l2) or Parthenope, Ligeia, and Leucosia (Eustathius, loc. cit.; Strabo v. §246, 252 ; Servius' commentary on Virgil's Georgics iv. 562); Eustathius (Commentaries §1709) states that they were two, Aglaopheme and Thelxiepeia. Their individual names are variously rendered in the later sources as Thelxiepeia/Thelxiope/Thelxinoe, Molpe, Aglaophonos/Aglaope/Aglaopheme, Pisinoe/Peisinoë/Peisithoe, Parthenope, Ligeia, Leucosia, Raidne, and Teles.

The Sirens of Greek mythology are sometimes portrayed in later folklore as fully aquatic and mermaid-like; the facts that in Spanish, French, Italian, Polish, Romanian and Portuguese the word for mermaid is respectively Sirena, Sirène, Sirena, Syrena, Sirenă and Sereia, and that in biology the Sirenia comprise an order of fully aquatic mammals that includes the dugong and manatee, add to the visual confusion, so that Sirens are even represented as mermaids. However, "the sirens, though they sing to mariners, are not sea-maidens," Harrison had cautioned; "they dwell on an island in a flowery meadow."

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Sirens and death

The Siren,

by John William Waterhouse (circa 1900)

According to Ovid (Metamorphoses V, 551), the Sirens were the companions of young Persephone and were given wings by Demeter to search for Persephone when she was abducted. Their song is continually calling on Persephone. The term "siren song" refers to an appeal that is hard to resist but that, if heeded, will lead to a bad result. Later writers have inferred that the Sirens were anthropophagous, based on Circe's description of them "lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones."

As Jane Ellen Harrison notes of " The Ker as siren:" "It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh." For the matter of the siren song is a promise to Odysseus of mantic truths; with a false promise that he will live to tell them, they sing,

Once he hears to his heart's content, sails on, a wiser man.
We know all the pains that the Greeks and Trojans once endured
on the spreading plain of Troy when the gods willed it so—
all that comes to pass on the fertile earth, we know it all!

"They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future," Harrison observed. "Their song takes effect at midday, in a windless calm. The end of that song is death." That the sailors' flesh is rotting away, though, would suggest it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to provide for their visitors, who starved to death by refusing to leave.

according to hyginus, sirens were fated to live only till the mortals who heard their songs failed to pass

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Appearance

Sirens combine women and birds in various ways. In early Greek art Sirens were represented as birds with large women's heads, bird feathers and scaly feet. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments, especially harps. The tenth century Byzantine encyclopedia Suda says that from their chests up Sirens had the form of sparrows, below they were women, or, alternatively, that they were little birds with women's faces. Birds were chosen because of their beautiful voices. Later Sirens were sometimes depicted as beautiful women, whose bodies, not only their voices, are seductive.

The first century Roman historian Pliny the Elder discounted Sirens as pure fable, "although Dinon, the father of Clearchus, a celebrated writer, asserts that they exist in India, and that they charm men by their song, and, having first lulled them to sleep, tear them to pieces." In his notebooks Leonardo da Vinci wrote of the Siren, "The siren sings so sweetly that she lulls the mariners to sleep; then she climbs upon the ships and kills the sleeping mariners."

In 1917, Franz Kafka wrote in The Silence of the Sirens, "Now the Sirens have a still more fatal weapon than their song, namely their silence. And though admittedly such a thing never happened, it is still conceivable that someone might possibly have escaped from their singing; but from their silence certainly never."

The so-called "Siren of Canosa" accompanied the deceased among grave goods in a burial and seems to have some psychopomp characteristics, guiding the dead on the after-life journey. The cast terracotta figure bears traces of its original white pigment. The woman bears the feet and the wings and tail of a bird. It is conserved in the National Archaeological Museum of Spain, in Madrid.

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Encounters with the Sirens

In Argonautica (4.891-919), Jason had been warned by Chiron that Orpheus would be necessary in his journey. When Orpheus heard their voices, he drew out his lyre and played his music more beautifully than they, drowning out their voices. One of the crew, however, the sharp-eared hero Butes, heard the song and leapt into the sea, but he was caught up and carried safely away by the goddess Aphrodite.

Odysseus was curious as to what the Sirens sounded like, so, on Circe's advice, he had all his sailors plug their ears with beeswax and tie him to the mast. He ordered his men to leave him tied to the mast, no matter how much he would beg. When he heard their beautiful song, he ordered the sailors to untie him but they bound him tighter. When they had passed out of earshot, Odysseus demonstrated with his frowns to be released.

Some post-Homeric authors state that the Sirens were fated to die if someone heard their singing and escaped them, and that after Odysseus passed by they therefore flung themselves into the water and perished. It is also said that Hera, queen of the gods, persuaded the Sirens to enter a singing contest with the Muses. The Muses won the competition and then plucked out all of the Sirens' feathers and made crowns out of them.

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Christian belief

By the fourth century, when pagan beliefs gave way to Christianity, belief in literal sirens was discouraged. Although Jerome, who produced the Latin Vulgate version of the Scriptures, used the word "sirens" to translate Hebrew tenim (jackals) in Isaiah 13:22, and also to translate a word for "owls" in Jeremiah 50:39, this was explained by Ambrose to be a mere symbol or allegory for worldly temptations, and not an endorsement of the Greek myth.

Sirens continued to be used as a symbol for the dangerous temptation embodied by women regularly throughout Christian art of the medieval era; however, in the 17th century, some Jesuit writers began to assert their actual existence, including Cornelius a Lapide, who said of Woman, "her glance is that of the fabled basilisk, her voice a siren's voice—with her voice she enchants, with her beauty she deprives of reason—voice and sight alike deal destruction and death." Antonio de Lorea also argued for their existence, and Athanasius Kircher argued that compartments must have been built for them aboard Noah's Ark.

The Early Christian euhemerist interpretation of mythologized human beings received a long-lasting boost from Isidore's Etymologiae. "They [the Greeks] imagine that 'there were three Sirens, part virgins, part birds,' with wings and claws. 'One of them sang, another played the flute, the third the lyre. They drew sailors, decoyed by song, to shipwreck. 31. According to the truth, however, they were prostitutes who led travelers down to poverty and were said to impose shipwreck on them.' They had wings and claws because Love flies and wounds. They are said to have stayed in the waves because a wave created Venus."

Charles Burney expounded c. 1789, in A General History of Music: "The name, according to Bochart, who derives it from the Phoenician, implies a songstress. Hence it is probable, that in ancient times there may have been excellent singers, but of corrupt morals, on the coast of Sicily, who by seducing voyagers, gave rise to this fable." John Lemprière in his Classical Dictionary (1827) wrote, "Some suppose that the Sirens were a number of lascivious women in Sicily, who prostituted themselves to strangers, and made them forget their pursuits while drowned in unlawful pleasures. [The etymology of Bochart, who deduces the name from a Phoenician term denoting a songstress, favours the explanation given of the fable by Damm. This distinguished critic makes the Sirens to have been excellent singers, and divesting the fables respecting them of all their terrific features, he supposes that by the charms of music and song they detained travellers, and made them altogether forgetful of their native land.]"

Such euhemerist interpretations have been abandoned since the later 19th century, in favour of analyses of Greek mythology in terms of historical Greek social structure and their cultural system, and the Greek taxonomy of the spiritual world.

Ulysses and the Sirens

by H.J. Draper

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Links and References

http://en.wikipedia.org/wiki/Siren
Theoi Project, Seirenes the Sirens in classical literature and art
The Suda (Byzantine Encyclopedia) on the Sirens

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Characters in the Odyssey | Greek mythology | Greek legendary creatures | Legendary creatures in popular culture | Music in Greek mythology | Mythological hybrids | Water spirits

Succubus

Succubus

A succubus (plural succubi) is a female demonic legendary creature who seduces men in their sleep. She often visits monks. Its male counterpart is the incubus.

Similar to a vampire, succubi draw energy from men to sustain themselves. In the past succubi were depicted as frightening and demonic, usually with wings and a tail. Sometimes the wings are that of a bat or a bird. The tail takes various shapes, sometimes that of a snake or an aquatic tail like that of a mermaid.

In modern times, a succubus may or may not appear in dreams and is often portrayed as a highly attractive seductress or enchantress.

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Etymology

The word is derived from Late Latin succuba "strumpet" (from succubare "to lie under", from sub- "under" and cubare "to lie"), used to describe the supernatural being as well. It is first attested from 1387.

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In folklore

According to Zohar and the Alphabet of Ben Sira, Lilith was Adam's first wife who later became a succubus. She left Adam and refused to return to the Garden of Eden after she mated with with archangel Samael. In Zoharistic Kabbalah, there were four succubi who mated with archangel Samael. They were four original queens of the demons Lilith, Agrat Bat Mahlat, Naamah, and Eisheth Zenunim. In later folklore, a succubus took the form of a siren.

Throughout history, priests and rabbis including Hanina Ben Dosa and Abaye, tried to curb the power of succubi over humans.

Not all succubi were malevolent. According to Walter Mapes in De Nugis Curialium (Trifles of Courtiers), Pope Sylvester II (999-1003) was involved with a succubus named Meridiana, who helped him achieve his high rank in the Catholic Church. Before his death, he confessed of his sins and died repentant.

Names of known succubi

Agrat Bat Mahlat
Eisheth Zenunim
Lilith
Meridiana
Naamah
mia menzies
joan of cusequ

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Ability to reproduce

According to the Kabbalah and the school of Rashba, the original three queens of the demons, Agrat Bat Mahlat, Naamah, and Eisheth Zenunim and all their cohorts give birth to children, except Lilith. According to other legends, the children of Lilith are called Lilin.

According to the Malleus Maleficarum, or "Witches' Hammer", written by Heinrich Kramer (Insitoris) in 1486, a succubus collects semen from the men she seduces. The incubi or male demons then use the semen to impregnate human females, thus explaining how demons could apparently sire children despite the traditional belief that they were incapable of reproduction. Children so begotten - cambions - were supposed to be those that were born deformed, or more susceptible to supernatural influences. The book does not address why a human female impregnated with the semen of a human male would not produce a regular human offspring.

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Possible explanation for alleged encounters with succubi

It is believed by some in the field of medicine that the stories relating to encounters with succubi bear similar resemblance to the contemporary phenomenon of people reporting alien abductions, which has been ascribed to the condition known as sleep paralysis. It is therefore suggested that historical accounts of people experiencing encounters with succubi may have been in fact symptoms of sleep paralysis, with the hallucination of the said creatures coming from their contemporary culture.

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Qarinah

In Arabic superstition, the qarînah (قرينه) is a spirit similar to the succubus, with origins possibly in ancient Egyptian religion or in the animistic beliefs of pre-Islamic Arabia (see Arabian mythology). A qarînah "sleeps with the person and has relations during sleep as is known by the dreams." They are said to be invisible, but a person with "second sight" can see them, often in the form of a cat, dog, or other household pet. "In Omdurman it is a spirit which possesses. ... Only certain people are possessed and such people cannot marry or the qarina will harm them."

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Succubi in fiction

Throughout history, succubi have been popular characters in music, literature, film, television, and especially as video game and anime characters.

In anime

Goshūshō-sama Ninomiya-kun

Mayu Tsukimura (月村真由 Tsukimura Mayu)

Mayu is a girl suffering from androphobia who is sent by Ryōko Ninomiya to live with Shungo to get over her fear. She is a succubus, which in this series refers to people with special abilities of attracting members of the opposite sex and feeding on their life force. However, Mayu cannot control her power, which causes her to be chased by men often. She frequently finds herself getting into situations where she puts herself into embarrassing situations, for example, getting sprayed with water from the sink while wearing a tight white shirt or frequently falling on top of Shungo in suggestive positions. She is horrible at cleaning up or tidying up places. She binds up the fringes of her hair on each side with a pair of bat's wing-like hair-clips. Though she is terribly clumsy, which often gets her into bad situations, Mayu is very lucky, which serves to bring her out of said situations. Mayu is in love with Shungo. It is later revealed that Mayu, Reika, and Shungo are actually childhood friends.

http://en.wikipedia.org/wiki/Goshusho-sama_Ninomiya-kun

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Similar creatures in folklore

Al Basti
Cecaelia
Empusa
Hisa-me
Hone-onna
Huli jing
Incubus
Kitsune
Lamia
Lidérc
Mara
Melusine
Qarînah
Rusalka
Spirit spouse
Vandella
Yuki-onna

http://en.wikipedia.org/wiki/Succubus

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Arts

John Collier: Lilith, 1892.

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Demons | Jewish mysticism | Jewish mythology | Legendary creatures

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This page was last modified on 14 May 2010 at 20:30.

Medusa (Greek Myth)

Medusa

In Greek mythology, Medusa (Greek: Μέδουσα (Médousa), "guardian, protectress") was a Gorgon, a chthonic female monster, and a daughter of Phorcys and Ceto; Only Hyginus, (Fabulae, 151) interposes a generation and gives another chthonic pair as parents of Medusa; gazing directly upon her would turn onlookers to stone. She was beheaded by the hero Perseus, who thereafter used her head as a weapon until he gave it to the goddess Athena to place on her shield. In classical antiquity the image of the head of Medusa appeared in the evil-averting device known as the Gorgoneion.

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Medusa in classical mythology

The three Gorgon sisters—Medusa, Stheno, and Euryale—were children of the ancient marine deities Phorcys and his sister Ceto, chthonic monsters from an archaic world. Their genealogy is shared with other sisters, the Graeae, as in Aeschylus's Prometheus Bound, who places both trinities of sisters far off "on Kisthene's dreadful plain":

Near them their sisters three, the Gorgons, winged
With snakes for hair— hated of mortal man—

While ancient Greek vase-painters and relief carvers imagined Medusa and her sisters as beings born of monstrous form, sculptors and vase-painters of the fifth century began to envisage her as a being both beautiful as well as terrifying. In an ode written in 490 BC Pindar already speaks of "fair-cheeked Medusa".

In a late version of the Medusa myth, related by the Roman poet Ovid (Metamorphoses 4.770), Medusa was originally a beautiful maiden, "the jealous aspiration of many suitors," priestess in Athena's temple, but when she and the "Lord of the Sea" Poseidon lay together in Athena's temple (in some versions of the mythology Medusa was raped by Poseidon), the enraged Athena transformed Medusa's beautiful hair to serpents and made her face so terrible to behold that the mere sight of it would turn onlookers to stone. In Ovid's telling, Perseus describes Medusa's punishment by Athena as just and well-deserved.

Death

In most versions of the story, while Medusa was pregnant by Poseidon, god of the sea, she was beheaded by the hero Perseus, who was sent to fetch her head by King Polydectes of Seriphus as a gift. With help from Athena and Hermes who supplied him with winged sandals, Hades' cap of invisibility, a sword, and a mirrored shield, he accomplished his quest. The hero slew Medusa by looking at her harmless reflection in the mirror instead of directly at her to prevent being turned into stone. When the hero severed Medusa's head from her neck, two offspring sprang forth: the winged horse Pegasus and the golden giant Chrysaor.

Jane Ellen Harrison argues that "her potency only begins when her head is severed, and that potency resides in the head; she is in a word a mask with a body later appended... the basis of the Gorgoneion is a cultus object, a ritual mask misunderstood."

In Odyssey xi, Homer does not specifically mention the Gorgon Medusa:

"Lest for my daring Persephone the dread,

From Hades should send up an awful monster's grisly head."

Harrison's translation states "the Gorgon was made out of the terror, not the terror out of the Gorgon."

According to Ovid, in North-West Africa Perseus flew past the Titan Atlas, who stood holding the sky aloft, and transformed him into stone. In a similar manner, the corals of the Red Sea were said to have been formed of Medusa's blood spilled onto seaweed when Perseus laid down the petrifying head beside the shore during his short stay in Aethiopia where he saved and wed his future wife, the lovely princess Andromeda. Furthermore the poisonous vipers of the Sahara, in the Argonautica 4.1515, Ovid's Metamorphoses 4.770 and Lucan's Pharsalia 9.820, were said to have grown from spilt drops of her blood.

Perseus then flew to Seriphus where his mother was about to be forced into marriage with the king. King Polydectes was turned into stone by the gaze of Medusa's head.

Then he gave the Gorgon's head to Athena, who placed it on her shield, the Aegis.

Some classical references refer to three Gorgons; Harrison considered that the tripling of Medusa into a trio of sisters was a secondary feature in the myth:

The triple form is not primitive, it is merely an instance of a general tendency... which makes of each woman goddess a trinity, which has given us the Horae, the Charites, the Semnai, and a host of other triple groups. It is immediately obvious that the Gorgons are not really three but one + two. The two unslain sisters are mere appendages due to custom; the real Gorgon is Medusa.

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Modern interpretations

Psychoanalysis

In 1940, Sigmund Freud's Das Medusenhaupt (Medusa's Head) was published posthumously. This article laid the framework for his significant contribution to a body of criticism surrounding the monster. Medusa is presented as "the supreme talisman who provides the image of castration — associated in the child's mind with the discovery of maternal sexuality — and its denial." Psychoanalysts continue archetypal literary criticism to the present day: Beth Seelig analyzes Medusa's punishment from the aspect of the crime of having been "raped" rather than having willingly consented in Athena's temple as an outcome of the Goddess' unresolved conflicts with her own father, Zeus.

Feminism

In the 20th century, feminists reassessed Medusa's appearances in literature and in modern culture, including the use of Medusa as a logo by fashion company Versace. The name "Medusa" itself is often used in ways not directly connected to the mythological figure but to suggest the gorgon's abilities or to connote malevolence; despite her origins as a beauty, the name in common usage "came to mean monster." The book Female Rage: Unlocking Its Secrets, Claiming Its Power by Mary Valentis and Anne Devane notes that "When we asked women what female rage looks like to them, it was always Medusa, the snaky-haired monster of myth, who came to mind ... In one interview after another we were told that Medusa is 'the most horrific woman in the world' ... [though] none of the women we interviewed could remember the details of the myth."

Medusa's visage has since been adopted by many women as a symbol of female rage; one of the first publications to express this idea was a 1978 issue of Women: A Journal of Liberation. The cover featured the image of a Gorgon, which the editors explained "can be a map to guide us through our terrors, through the depths of our anger into the sources of our power as women." In a 1986 article for Women of Power magazine called "Ancient Gorgons: A Face for Contemporary Women's Rage," Emily Erwin Culpepper wrote that "The Amazon Gorgon face is female fury personified. The Gorgon/Medusa image has been rapidly adopted by large numbers of feminists who recognize her as one face of our own rage."

Nihilism

Medusa has sometimes appeared as representing notions of scientific determinism and nihilism, especially in contrast with romantic idealism. In this interpretation of Medusa, attempts to avoid looking into her eyes represent avoiding the ostensibly depressing reality that the universe is meaningless. Jack London uses Medusa in this way in his novel The Mutiny of the Elsinore:

I cannot help remembering a remark of De Casseres. It was over the wine in Mouquin's. Said he: "The profoundest instinct in man is to war against the truth; that is, against the Real. He shuns facts from his infancy. His life is a perpetual evasion. Miracle, chimera and to-morrow keep him alive. He lives on fiction and myth. It is the Lie that makes him free. Animals alone are given the privilege of lifting the veil of Isis; men dare not. The animal, awake, has no fictional escape from the Real because he has no imagination. Man, awake, is compelled to seek a perpetual escape into Hope, Belief, Fable, Art, God, Socialism, Immortality, Alcohol, Love. From Medusa-Truth he makes an appeal to Maya-Lie."

—Jack London, "The Mutiny of the Elsinore''

Perseus with the Head of Medusa (bronze sculpture)

by Benvenuto Cellini (1554)

http://en.wikipedia.org/wiki/Medusa

Greek mythology | Greek legendary creatures | Heraldic beasts | Women and death

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This page was last modified on 14 May 2010 at 22:17.

Dragon

Dragon

Dragons are legendary creatures, typically with serpentine or otherwise reptilian traits, that feature in the myths of many cultures.

The two most familiar interpretations of dragons are European dragons, derived from various European folk traditions and ultimately related to Greek and Middle Eastern mythologies, and the unrelated Oriental dragons, such as the Chinese dragon (Traditional: 龍; Simplified: 龙; Pinyin: lóng). The English word "dragon" derives from Greek δράκων (drákōn), "dragon, serpent of huge size, water-snake", which probably comes from the verb δρακεῖν (drakeîn) "to see clearly".

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Overview

Dragons are usually shown in modern times with a body like a huge lizard, or a snake with two pairs of lizard-type legs, and able to emit fire from their mouths. The European dragon has bat-type wings growing from its back. A dragon-like creature with no front legs is known as a wyvern. Following discovery of how pterosaurs walked on the ground, some dragons have been portrayed without front legs and using the wings as front legs pterosaur-fashion when on the ground.

Although dragons occur in many legends around the world, different cultures have varying stories about monsters that have been grouped together under the dragon label. Some dragons are said to breathe fire or to be poisonous. They are commonly portrayed as serpentine or reptilian, hatching from eggs and possessing typically scaly or feathered bodies. They are sometimes portrayed as having especially large eyes or watching treasure very diligently, a feature that is the origin of the word dragon (Greek drakeîn meaning "to see clearly"). Some myths portray them with a row of dorsal spines. European dragons are more often winged, while Oriental versions of the dragon resemble large snakes. Dragons can have a variable number of legs: none, two, four, or more when it comes to early European literature.

Dragons are often held to have major spiritual significance in various religions and cultures around the world. In many Asian cultures dragons were, and in some cultures still are, revered as representative of the primal forces of nature, religion and the universe. They are associated with wisdom—often said to be wiser than humans—and longevity. They are commonly said to possess some form of magic or other supernatural power, and are often associated with wells, rain, and rivers. In some cultures, they are also said to be capable of human speech. In some traditions dragons are said to have taught humans to talk.

The term dragoon, for infantry that moved around on horseback yet still fought as foot soldiers, is derived from their early firearm, the "dragon", a wide-bore musket that spat flame when it fired, and was thus named for the mythical creature.

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Origin and etymology

The word dragon derives from Greek δρακων, via Latin draco. It is attested in Middle English from the 13th century, in the context of medieval bestiaries and legends.

The Greek and Latin term referred to any great serpent, not necessarily mythological, and this usage was also current in English up to the 18th century. Today the great komodo lizard Varanus komodoensis is also known in English as the Komodo dragon. The King James Bible uses the words "serpent", "dragon" and "Devil" in a fairly interchangeable manner.

The association of the serpent with a monstrous opponent overcome by a heroic deity has its roots in the mythology of the Ancient Near East, including Canaanite (Hebrew, Ugaritic), Hittite and Mesopotamian. The Chaoskampf motif entered Greek mythology and ultimately Christian mythology, although the serpent motif may already be part of prehistoric Indo-European mythology as well, based on comparative evidence of Indic and Germanic material.

The "European dragon" (and its Near Eastern and Indic cognates) myth has quite different characteristics and origins from those of the Chinese dragon.

Dinosaur and mammalian fossils were occasionally mistaken for the bones of dragons and other mythological creature; for example, a discovery in 300 BC in Wucheng, Sichuan, China, was labeled as such by Chang Qu. Adrienne Mayor has written on the subject of fossils as the inspiration for myths in her book The First Fossil Hunters, and in an entry in the Encyclopedia of Geology she wrote: "Fossil remains generated a variety of geomyths speculating on the creatures' identity and cause of their destruction. Many ancient cultures, from China and India to Greece, America, and Australia, told tales of dragons, monsters, and giant heroes to account for fossils of animals they had never seen alive." In Australia, stories of such creatures may have referred to the land crocodiles, Quinkana sp., a terrestrial crocodile which grew from 5 to possibly 7 metres in length, or the 4 tonne monitor lizard Varanus priscus (formerly Megalania prisca) a giant, carnivorous goanna that might have grown to as long as 7 metres, and weighed up to 1,940 kilograms, or rainbow serpents (possibly Wonambi naracoortensis) that were part of the extinct megafauna of that continent.

In the book An Instinct for Dragons anthropologist David E. Jones suggests a hypothesis that humans just like monkeys have inherited instinctive reactions to snakes, large cats and birds of prey. Dragons have features that are combinations of these three. Our instinctive fear for these three would explain why dragons with similar features occur in stories from independent cultures on all continents. Other authors have suggested that especially under the influence of drugs or in dreams, this instinct may give raise to fantasies about dragons, snakes, spiders, etc, which would explain why these symbols are popular in drug culture. The traditional mainstream explanation to the folklore dragons does however not rely on human instinct, but on the assumption that fossil remains of dinosaurs gave raise to similar speculations all over the world.

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By region

Greek mythology

In Ancient Greece the first mention of a "dragon" is derived from the Iliad where Agamemnon is described as having a blue dragon motif on his sword belt and a three-headed dragon emblem on his breast plate. However, the Greek word used (δράκων drákōn, genitive δράκοντοϛ drákontos) could also mean "snake". δράκων drákōn is a form of the aorist participle active of Greek δέρκομαι dérkomai = "I see", derkeîn = "to see", and originally likely meant "that which sees", or "that which flashes or gleams" (perhaps referring to reflective scales). This is the origin of the word "dragon". (See also Hesiod's Theogony, 322.)

In 217 A.D., Philostratus discussed dragons (δράκων, drákōn) in India in The Life of Apollonius of Tyana (II,17 and III,6-8). The Loeb Classical Library translation (by F.C. Conybeare) mentions (III,7) that “In most respects the tusks resemble the largest swine’s, but they are slighter in build and twisted, and have a point as unabraded as sharks’ teeth.”

According to Aelian's On Animals, Ethiopia was inhabited by a species of dragon that hunted elephants. It could grow to a length of 180 feet and had a lifespan rivaling that of the most enduring of animals.

European

European dragons exist in folklore and mythology among the overlapping cultures of Europe. Despite having wings, the dragon is generally depicted as having an underground lair or cave, making it an ancient creature of the earth element.

Chinese

Chinese dragons (simplified Chinese: 龙; traditional Chinese: 龍; pinyin: lóng), and Oriental dragons generally, can take on human form and are usually seen as benevolent, whereas European dragons are usually malevolent though there are exceptions (one exception being Y Ddraig Goch, the Red Dragon of Wales). Malevolent dragons also occur in the mythology of Persia and Russia, among other places.

Dragons are particularly popular in China and the five-clawed dragon was a symbol of the Chinese emperors, with the phoenix or fenghuang the symbol of the Chinese empress. Dragon costumes manipulated by several people are a common sight at Chinese festivals.

Japanese

Japanese dragon myths amalgamate native legends with imported stories about dragons from China, Korea and India. Like these other Asian dragons, most Japanese ones are water deities associated with rainfall and bodies of water, and are typically depicted as large, wingless, serpentine creatures with clawed feet. Gould writes (1896:248), the Japanese dragon is "invariably figured as possessing three claws".

Vedic

In the early Vedic religion, Vritra (Sanskrit: वृत्र (Devanāgarī) or Vṛtra (IAST)) "the enveloper", was an Asura and also a "naga" (serpent) or possibly dragon-like creature, the personification of drought and enemy of Indra. Vritra was also known in the Vedas as Ahi ("snake"), and he is said to have had three heads.

Indian

The following detailed account comes from The Life of Apollonius of Tyana by Flavius Philostratus:

"The whole of India is girt with dragons of enormous size; for not only the marshes are full of them, but the mountains as well, and there is not a single ridge without one. Now the marsh kind are sluggish in their habits and are thirty cubits long, and they have no crest standing up on their heads, but in this respect resemble the she-dragons. Their backs however are very black, with fewer scales on them than the other kinds; and Homer has described them with deeper insight than have most poets, for he says that the dragon that lived hard by the spring in Aulis had a tawny back; but other poets declare that the congener of this one in the grove of Nemea also had a crest, a feature which we could not verify in regard to the marsh dragons.

And the dragons along the foothills and the mountain crests make their way into the plains after their quarry, and prey upon all the creatures in the marshes; for indeed they reach an extreme length, and move faster than the swiftest rivers, so that nothing escapes them. These actually have a crest, of moderate extent and height when they are young; but as they reach their full size, it grows with them and extends to a considerable height, at which time also they turn red and get serrated backs. This kind also have beards, and lift their necks on high, while their scales glitter like silver; and the pupils of their eves consist of a fiery stone, and they say that this has an uncanny power for many secret purposes. The plain specimen falls the prize of the hunters whenever it draws upon itself an elephant; for the destruction of both creatures is the result, and those who capture the dragons are rewarded by getting the eyes and skin and teeth. In most respects they resemble the largest swine, but they are slighter in build and flexible, and they have teeth as sharp and indestructible as those of the largest fishes. Now the dragons of the mountains have scales of a golden colour, and in length excel those of the plain, and they have bushy beards, which also are of a golden hue; and their eyebrows are more prominent than those of the plain, and their eye is sunk deep under the eyebrow, and emits a terrible and ruthless glance. And they give off a noise like the clashing of brass whenever they are burrowing under the earth, and from their crests, which are all fiery red, there flashes a fire brighter than a torch. They also can catch the elephants, though they are themselves caught by the Indians in the following manner. They embroider golden runes on a scarlet cloak, which they lay in front of the animal's burrow after charming them to sleep with the runes; for this is the only way to overcome the eyes of the dragon, which are otherwise inflexible, and much mysterious lore is sung by them to overcome him. These runes induce the dragon to stretch his neck out of his burrow and fall asleep over them : then the Indians fall upon him as he lies there, and despatch him with blows of their axes, and having cut off the head they despoil it of its gems. And they say that in the heads of the mountain dragons there are stored away stones of flowery colour, which flash out all kinds of hues, and possess a mystical power if set in a ring, like that which they say belonged to Gyges. But often the Indian, in spite of his axe and his cunning, is caught by the dragon, who carries him off into his burrow, and almost shakes the mountains as he' disappears. These are also said to inhabit the mountains in the neighbourhood of the Red Sea, and they say that they heard them hissing terribly and that they saw them go down to the shore and swim far out into the sea."

Persian

Aži Dahāka is the source of the modern Persian word azhdahā or ezhdehā اژدها (Middle Persian azdahāg) meaning "dragon", often used of a dragon depicted upon a banner of war. The Persians believed that the baby of a dragon will be the same color as the mother's eyes. In Middle Persian he is called Dahāg or Bēvar-Asp, the latter meaning "[he who has] 10,000 horses." Several other dragons and dragon-like creatures, all of them malevolent, are mentioned in Zoroastrian scripture.

Semitic

In Jewish religious texts, the first mention of a dragon-like creature is in the Biblical works of Job (26:13), and Isaiah (27:1) where it is called Nachash Bare'ach, or a "Pole Serpent". This is identified in the Midrash Rabba to Genesis 1:21 as Leviathan from the word Taninim (תנינים) "and God created the great sea-monsters." In modern Hebrew the word Taninim is used for Crocodiles - however, this is a 20th Century usage unconnected with the original Biblical meaning.

In Jewish astronomy this is also identified with the North Pole, the star Thuban which, around 4,500 years ago, was the star in the Draco constellation's "tail". However this can also have been either the celestial pole or the ecliptic pole. The ancient observers noted that Draco was at the top of the celestial pole, giving the appearance that stars were "hanging" from it, and in Hebrew it is referred to as Teli, from talah (תלה) - to hang. Hebrew writers from Arabic-speaking locations identified the Teli as Al Jaz'har, which is a Persian word for a "knot" or a "node" because of the intersection of the inclination of the orbit of a planet from the elliptic that forms two such nodes. In modern astronomy these are called the ascending node and the descending node, but in medieval astronomy they were referred to as "dragon's head" and "dragon's tail".

Rahab, as described in Psalms 89:9-10 and Isaiah 51:9-10, also has "dragon-like" characteristics

http://en.wikipedia.org/wiki/Dragon

Dragon from Dragon Ball

How to train your Dragon

Dragons | Cryptids | Heraldic beasts | Mythological hybrids | Greek loanwords

Plants: Vegetable Lamb of Tartary

Plants: Vegetable Lamb of Tartary

The Vegetable Lamb of Tartary (Latin: Agnus scythicus or Planta Tartarica Barometz) is a legendary plant of central Asia, believed to grow sheep as its fruit. The sheep were connected to the plant by an umbilical cord and grazed the land around the plant. When all the plants were gone, both the plant and sheep died.

Although it owed its currency in medieval thought as a way of explaining the existence of cotton, underlying the myth is a real plant, Cibotium barometz, a fern of the genus Cibotium. It was known under various other names including the Scythian Lamb, the Borometz, Barometz and Borametz, the latter three being different spellings of the local word for lamb. The 'lamb' is produced by removing the leaves from a short length of the fern's woolly rhizome. When the rhizome is inverted, it fancifully resembles a woolly lamb with the legs being formed by the severed petiole bases. The Tradescant Museum of Garden History has one under glass.

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Characteristics

In his book, The Vegetable Lamb of Tartary (1887), Henry Lee describes the legendary lamb as believed to be both a true animal and a living plant. However, he states that some writers believed the lamb to be the fruit of a plant, sprouting forward from melon-like seeds. Others however believed the lamb to be a living member of the plant that once separated from it, would perish. The vegetable lamb was believed to have blood, bones, and flesh like that of a normal lamb. It was connected to the earth by a stem similar to an umbilical cord that propped the lamb up above ground. The cord could flex downward allowing the lamb to feed on the grass and plants surrounding it. Once the plants within reach were eaten, the lamb died. It could be eaten once dead, and its blood supposedly tasted sweet like honey. Its wool was said to be used by the native people of its homeland to make head coverings and other articles of clothing. The only carnivorous animals attracted to the lamb-plant (other than humans) were wolves.

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Possible Origins

There is mention of a similar plant-animal in Jewish folklore as early as 436 ad. This creature, called the Jeduah, was like a lamb in form and sprouted from the earth connected to a stem. Those who went hunting the Jeduah could only harvest the creature by severing it from its stem with arrows or darts. Once the animal was severed, it died and its bones could be used in divination and prophetic ceremonies.

An alternative version of the legend tells of the "Faduah," a human-shaped plant-animal connected to the earth from a stem attached to its navel. The Faduah was believed to be aggressive though, grabbing and killing any creature that wandered too close. Like the Barometz, it too died once severed from its stem.

The Minorite Friar Odoricus of Friuli, upon recalling first hearing of a Barometz, told of trees on the shore of the Irish Sea with gourd-like fruits that fell into the water and became birds called Bernacles. He is referring to the legendary plant-animal, the Barnacle Tree which was believed to drop its ripened fruit into the sea near the Orkney Islands. The ripened fruit would then release “barnacle geese” that would live in the water, growing to mature geese. The alleged existence of this fellow plant-animal was accepted as an explanation for migrating geese from the North.

In his work The Shui-yang or Watersheep and The Agnus Scythicus or Vegetable Lamb (1892), Gustav Schlegel points to Chinese legends of the "watersheep" as inspiration for the legend of the Vegetable Lamb of Tartary. Much like the vegetable lamb, the watersheep was believed to be both plant and animal and tales of its existence placed it near Persia. It was connected to the ground by a stem and if the stem were severed, it would die. The animal was protected from aggressors by an enclosure built around it and by armored men yelling and beating drums. Its wool was also said to be used for fine clothing and headdresses. (In turn, the origin of watersheep is an explanation for sea silk.)

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In Search of the Legend

Earlier versions of the legend tell of the lamb as a fruit, springing from a melon or gourd-like seed, perfectly formed as if born naturally. As time passed, this idea was replaced with the notion that the creature was indeed both a living animal and a living plant. Gustav Schlegel, in his work on the various legends of the vegetable lamb, recounts the lamb being born without its horns, but with two puffs of white, curly hair instead.

Sir John Mandeville is credited with bringing the legend to public attention in England in the 14th century during the reign of King Edward III. A known traveler, Sir Mandeville returned from Tartary describing a strange gourd-like fruit grown there. Once ripe, the fruit was cut open, revealing what looked like a lamb in flesh and blood but lacking wool. The fruit and the lamb could then be eaten.

Friar Odoric of Friuli, much like Sir Mandeville, travelled extensively and claimed to have heard of gourds in Persia that when ripe, opened to contain lamb-like beasts.

In the mid 16th century, Sigismund, Baron von Herberstein, who in 1517 and 1526 was the Ambassador to the Emperors Maximilian I and Charles V, presented a much more detailed account of the Barometz in his “Notes on Russia.” He claimed to have heard from too many credible sources to doubt the lamb’s existence, and gave the location of the creature as being near the Caspian Sea, between the Jaick and Volga rivers. The creature grown from the melon-like seeds described was said to grow to two and half feet high, resembling a lamb in most ways except a few. It was said to have blood, but not true flesh as it more closely resembled that of a crab. Unlike a normal lamb, its hooves were said to be made of parted hair. It was the favorite food of wolves and other animals.

The German scholar and physician Engelbert Kaempfer accompanied an embassy to Persia in 1683 with the intention of locating the lamb. After speaking with native inhabitants and finding no physical evidence of the lamb-plant, Kaempfer concluded it to be nothing but legend. However, he observed the custom of removing an unborn lamb from its mother’s womb in order to harvest the soft wool and believed the practice to be a possible source of the legend. He speculated further that museum specimens of the fetal wool could be mistaken for a vegetable substance.

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In Poetry

In Dr. Erasmus Darwin’s work Botanic Garden (1781), he writes of the Borametz:

E'en round the Pole the flames of love aspire,
And icy bosoms feel the secret fire,
Cradled in snow, and fanned by Arctic air,
Shines, gentle borametz, thy golden hair
Rooted in earth, each cloven foot descends,
And round and round her flexile neck she bends,
Crops the grey coral moss, and hoary thyme,
Or laps with rosy tongue the melting rime;
Eyes with mute tenderness her distant dam,
And seems to bleat - a vegetable lamb

Guillaume de Saluste, the Sieur du Bartas, writes of the vegetable lamb in his poem La Semaine (1587). In the poem, Adam wanders the Garden of Eden and is amazed by the peculiarity of the creature. Joshua Sylvester translates:

But with true beasts, fast in the ground still sticking
Feeding on grass, and th’ airy moisture licking,
Such as those Borametz in Scythia bred
Of slender seeds, and with green fodder fed;
Although their bodies, noses, mouths, and eyes,
Of new-yeaned lambs have full the form and guise,
And should be very lambs, save that for foot
Within the ground they fix a living root
Which at their navel grows, and dies that day
That they have browzed the neighboring grass away.
Oh! Wondrous nature of God only good,
The beast hath root, the plant hath flesh and blood.
The nimble plant can turn it to and fro,
The nummed beast can neither stir nor goe,
The plant is leafless, branchless, void of fruit,
The beast is lustless, sexless, fireless, mute:
The plant with plants his hungry paunch doth feede,
Th’ admired beast is sowen a slender seed.

In his work Connubia Florum, Latino Carmine Demonstrata (1791), Dr. De la Croix writes of the vegetable lamb (translated):

For in his path he sees a monstrous birth,
The Borametz arises from the earth
Upon a stalk is fixed a living brute,
A rooted plant bears quadruped for fruit,
…It is an animal that sleeps by day
And wakes at night, though rooted in the ground,
To feed on grass within its reach around.

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The barometz or vegetable lamb.

From: Lee, H. 1887. The Vegetable Lamb of Tartary: a Curious Fable of the Cotton Plant, to Which Is Added a Sketch of the History of Cotton and the Cotton Trade. S. Low, Marston, Searle & Rivington, London.

Redrawn from Johann Zahn's Specula Physico-Mathematico-Historica Notabilium ac Mirabilium Sciendorum, in Qua Mundi Mirabilis Oeconomia,...Norimbergae, 1696.

http://en.wikipedia.org/wiki/Vegetable_Lamb_of_Tartary

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Fictional plants | Fictional sheep | Medieval European legendary creatures

Cat Calendar 2010

Wolf and the Lamb

Wolf and the Lamb

Wolf, meeting with a Lamb astray from the fold, resolved not to lay violent hands on him, but to find some plea to justify to the Lamb the Wolf's right to eat him. He thus addressed him: "Sirrah, last year you grossly insulted me." "Indeed," bleated the Lamb in a mournful tone of voice, "I was not then born." Then said the Wolf, "You feed in my pasture." "No, good sir," replied the Lamb, "I have not yet tasted grass." Again said the Wolf, "You drink of my well." "No," exclaimed the Lamb, "I never yet drank water, for as yet my mother's milk is both food and drink to me." Upon which the Wolf seized him and ate him up, saying, "Well! I won't remain supperless, even though you refute everyone of my imputations."

The tyrant will always find a pretext for his tyranny.

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Aesop's Fables | Wolf | Lamb

Monster

Monster

A monster is any fictional dangerous or hideous creature, usually in legend or horror fiction. The word monster derives from the Latin word monstrum, meaning "omen", from the root of monere ("to warn") and also meaning "prodigy" or "miracle".
The word connotes something wrong or evil; a monster is generally morally objectionable, physically or psychologically hideous, and/or a freak of nature. It can also be applied figuratively to a person with similar characteristics.

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Monsters in legend

E.g. Minotaur, Medusa.

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Monsters in film

Pre-World War II

During the age of silent movies, monsters tended to be human-sized, e.g., Frankenstein's monster, the Golem, and vampires. The film Siegfried featured a dragon that was actually a giant puppet on tracks. A few movie dinosaurs were created with the use of stop-motion animated models, as in RKO's King Kong, the first giant monster film of the sound era.

Universal Studios specialized in monsters, with Bela Lugosi's reprising his stage role, Dracula, and Boris Karloff playing Frankenstein's monster. The studio also made several lesser films, such as Man-Made Monster, starring Lon Chaney, Jr. as an electrically reanimated zombie.

There was also a variant of Dr. Frankenstein, the mad surgeon Dr. Gogol (played by Peter Lorre), who transplanted hands that were reanimated with malevolent temperaments, in the film Mad Love.
Werewolves were introduced in films during this period, and similar creatures were presented in Cat People. Mummies were cinematically depicted as fearsome monsters as well. As for giant creatures, the Flash Gordon serial used a costumed actor to depict a large dragon. The cinematic monster cycle eventually wore thin, having a comedic turn in Abbott and Costello Meet Frankenstein (1948).

Post World War II

After World War II, however, giant monsters returned to the screen with a vigor that has been causally linked to the development of nuclear weapons.[citation needed] One early example occurred in the American film The Beast from 20,000 Fathoms, which was about a dinosaur that attacked a lighthouse. Subsequently, there were Japanese film depictions, (Godzilla, Gamera), British depictions (Gorgo), and even Scandinavian depictions (Reptilicus), of giant monsters attacking cities. The most recent depiction of a giant monster is the monster in J. J. Abrams's Cloverfield, which was released in theaters January 18, 2008. The intriguing proximity of other planets brought the notion of extraterrestrial monsters to the big screen, some of which were huge in size, (such as King Ghidorah and Gigan), while others were of a more human scale. During this period, the fish-man monster Gill-man was developed in the film series Creature from the Black Lagoon.

Britain's Hammer Film Productions brought colour to the monster movies in the late 1950s. Around this time, the earlier Universal films were usually shown on American television by independent stations (rather than network stations) by using announcers with strange personae, who gained legions of young fans. Although they have since changed considerably, movie monsters did not entirely disappear from the big screen as they did in the late 1940s.

Occasionally, monsters are depicted as friendly or misunderstood creatures. King Kong & Frankenstein are two examples of misunderstood creatures. Frankenstein's Monster is frequently depicted in this manner, in films such as Monster Squad and Van Helsing. The Hulk is an example of the "Monster as Hero" archetype. The theme of the "Friendly Monster" is pervasive in pop-culture. Chewbacca, Elmo, and Shrek are notable examples of friendly "monsters". The creatures of Monsters Inc. scare children in order to create energy for running machinery, while the furry monsters of The Muppets and Sesame Street live in harmony with animals and humans alike.

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Monsters in gaming

Monsters are commonly used in fantasy or role-playing games, especially role-playing video games, when a large number of enemies to fight against are needed. However, the idea has been used across every genre to varying degrees. These can include aliens, all types of legendary creatures, or mutated versions of regular animals. However, sentient fictional races are usually not referred to as monsters. Other times, the term can carry a neutral connotation, such as in the Pokémon franchise, where it is used to refer to fictional creatures that may resemble, but are not, real world animals. Characters in games may refer to all animals as "monsters".

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See also

Aliens
Cthulhu
Cryptozoology
Demons
Flying Spaghetti Monster
Fouke Monster
Freak
Kaiju
Lake monster
Legendary creature
List of monster movies
List of species in fantasy fiction
Monster movie
Mutant
Mythological hybrid
Ogre
Orcs
Sea monster
Yōkai

http://en.wikipedia.org/wiki/Monster

Legendary creatures | Mythemes | Horror | Folklore | Extraterrestrial life