mythological creatures essay

Arts & Culture | March 31, 2021

Why So Many Mythological Monsters Are Female

A new collection of essays considers how the villainous women of classical antiquity resonate in contemporary Western society

Nora McGreevy

Correspondent

Monsters reveal more about humans than one might think. As figments of the imagination, the alien, creepy-crawly, fanged, winged and otherwise-terrifying creatures that populate myths have long helped societies define cultural boundaries and answer an age-old question: What counts as human, and what counts as monstrous?

In the classical Greek and Roman myths that pervade Western lore today, a perhaps surprising number of these creatures are coded as women. These villains, wrote classicist Debbie Felton in a 2013 essay , “all spoke to men’s fear of women’s destructive potential. The myths then, to a certain extent, fulfill a male fantasy of conquering and controlling the female.”

Ancient male authors inscribed their fear of—and desire for—women into tales about monstrous females : In his first-century A.D. epic Metamorphoses , for example, the Roman poet Ovid wrote about Medusa , a terrifying Gorgon whose serpentine tresses turned anyone who met her gaze into stone. Earlier, in Homer’s Odyssey , composed around the seventh or eighth century B.C., the Greek hero Odysseus must choose between fighting Scylla, a six-headed, twelve-legged barking creature, and Charybdis, a sea monster of doom. Both are described as unambiguously female.

These stories may sound fantastical today, but for ancient people, they reflected a “quasi-historical” reality, a lost past in which humans lived alongside heroes, gods and the supernatural, as curator Madeleine Glennon wrote for the Metropolitan Museum of Art in 2017. What’s more, the tales’ female monsters reveal more about the patriarchal constraints placed on womanhood than they do about women themselves. Medusa struck fear into ancient hearts because she was both deceptively beautiful and hideously ugly; Charybdis terrified Odysseus and his men because she represented a churning pit of bottomless hunger.

Female monsters represent “the bedtime stories patriarchy tells itself,” reinforcing expectations about women’s bodies and behavior, argues journalist and critic Jess Zimmerman in Women and Other Monsters: Building a New Mythology . In this essay collection, newly published by Beacon Press, she reexamines the monsters of antiquity through a feminist lens. “Women have been monsters, and monsters have been women, in centuries’ worth of stories,” she notes in the book, “because stories are a way to encode these expectations and pass them on.”

Women and Other Monsters: Building a New Mythology

A fresh cultural analysis of female monsters from Greek mythology

A mythology enthusiast raised on D’Aulaires Book of Greek Myths , Zimmerman writes personal essays that blend literary analysis with memoir to consider each monster as an extended metaphor for the expectations placed on women in the present moment. She relies on the translations and research of other classics scholars, including “ monster theory ” expert Jeffrey Jerome Cohen , Debbie Felton on monstrosity in the ancient world, Kiki Karoglou 's analysis of Medusa , Robert E. Bell’s Women of Classic Mythology and Marianne Hopman on Scylla .

Zimmerman also joins the ranks of other contemporary writers who have creatively reimagined the significance of these monstrous women—for instance, Muriel Rukeyser, who wrote poetry about the Sphinx; Margaret Atwood, who retold the story of Odysseus’ wife, Penelope ; and Madeline Miller, who penned a 2018 novel about the Greek enchantress Circe.

Though fearsome female monsters pop up in cultural traditions worldwide, Zimmerman chose to focus on ancient Greek and Roman antiquity, which have been impressed on American culture for generations. “Greek mythology [had] a heavy, heavy influence on Renaissance literature, and art and Renaissance literature [have] a heavy influence on our ideas now, about what constitutes literary quality, from a very white, cis[gendered], male perspective,” she explains in an interview.

Below, explore how the myths behind six “terrible” monsters, from the all-knowing Sphinx to the fire-breathing Chimera and the lesser-known shapeshifter Lamia, can illuminate issues in modern-day feminism. Zimmerman’s book takes a wide view of these stories and their history, linking the ancient past to modern politics. She says, “My hope is that when you do go back to the original texts to read these stories, you can think about, ‘What is this story trying to pass on to me?’”

She also argues that the qualities that marked these female creatures as “monstrous” to ancient eyes might have actually been their greatest strengths. What if, instead of fearing these ancient monsters, contemporary readers embraced them as heroes in their own right? “The traits the [monsters] represent—aspiration, knowledge, strength, desire—are not hideous,” Zimmerman writes. “In men’s hands, they have always been heroic.”

Scylla and Charybdis

As Homer’s Odysseus and his men attempt to sail back home to Ithaca, they must pass through a narrow, perilous channel fraught with danger on both sides. Scylla—a six-headed, twelve-legged creature with necks that extend to horrible lengths and wolf-like heads that snatch and eat unsuspecting sailors—resides in a clifftop cave. On the other side of the strait, the ocean monster Charybdis rages and threatens to drown the entire ship.

This pair of monsters, Scylla and Charybdis , interested Zimmerman because “they’re represented as things that Odysseus just has to get past,” she says. “So they become part of his heroic story. But surely that’s not their only purpose? Or at least, it doesn’t have to be their only purpose.”

Homer described Scylla as a monster with few human characteristics. But in Ovid’s retelling, written about 700 years later, Circe, in a jealous fit of rage, turns Scylla’s legs into a writhing mass of barking dogs. As Zimmerman points out in Women and Other Monsters , what makes Scylla horrifying in this version of the story is “the contrast between her beautiful face and her monstrous nethers”—a metaphor, she argues, for the disgust and fear with which male-dominated societies regard women’s bodies when they behave in unruly ways.

As for Charybdis, the second-century B.C. Greek historian Polybius first suggested that the monster might have corresponded to a geographic reality—a whirlpool that threatened actual sailors along the Strait of Messina . In the Odyssey , the Greek hero barely escapes her clutches by clinging to the splintered remains of his ship.

“[V]oraciousness is [Charybdis’] weapon and her gift,” Zimmerman writes, proposing a new dynamic of the story. “What strength the unapologetically hungry monster-heroine could have: enough to swallow a man.”

Lamia , one of the lesser-known demons of classical mythology, is a bit of a shapeshifter. She appears in Greek playwright Aristophanes’ fifth-century B.C. comedy Peace , then all but vanishes before reemerging in 17th- and 18th- century European literature, most notably the Romantic poetry of John Keats.

Some stories hold that Lamia has the upper body of a woman but the lower half of a snake; her name in ancient Greek translates roughly to “rogue shark.” Other tales represent her as a woman with paws, scales and male genitalia, or even as a swarm of multiple vampiric monsters. Regardless of which account one reads, Lamia’s primary vice remains the same: She steals and eats children.

Lamia is motivated by grief; her children, fathered by Zeus, are killed by Hera, Zeus’ wife, in yet another mythological pique of rage. In her sorrow, Lamia plucks out her own eyes and wanders in search of others’ children; in some retellings, Zeus gives her the ability to take out her own eyes and put them back at will. (Like Lamia’s origin story, the reasons for this gift vary from one story to the other. One plausible explanation, according to Zimmerman, is that Zeus offers this as a small act of mercy toward Lamia, who is unable to stop envisioning her dead children.)

Zimmerman posits that Lamia represents a deep-seated fear about the threats women pose to children in their societally prescribed roles as primary caregivers. As Felton wrote in 2013, “That women could also sometimes produce children with physical abnormalities only added to the perception of women as potentially terrifying and destructive.”

Women are expected to care for children, but society remains “constantly worried [they] are going to fail in their obligation to be mothers and to be nurturers,” Zimmerman says. If a woman rejects motherhood, expresses ambivalence about motherhood, loves her child too much or loves them too little, all of these acts are perceived as violations, albeit to varying degrees.

“To deviate in any way from the prescribed motherhood narrative is to be made a monster, a destroyer of children,” Zimmerman writes.

And this fear wasn’t limited to Greek stories: La Llorona in Latin America, Penanggalan in Malaysia and Lamashtu in Mesopotamia all stole children as well.

Like most mythical monsters, Medusa meets her end at the hands of a male hero. Perseus manages to kill her, but only with the aid of a slew of overpowered tools: winged sandals from messenger god Hermes; a cap of invisibility from the god of the underworld, Hades; and a mirror-like shield from the goddess of wisdom and war, Athena.

He needed all the reinforcement he could muster. As one of the Gorgons , a trio of winged women with venomous snakes for hair, Medusa ranked among the most feared, powerful monsters to dominate early Greek mythology. In some versions of their origin story, the sisters descended from Gaia , the personification of Earth herself. Anyone who looked them in the face would turn to stone.

Of the three, Medusa was the only mortal Gorgon. In Ovid’s telling, she was once a beautiful maiden. But after Poseidon, the god of the sea, raped her in the temple of Athena, the goddess sought revenge for what she viewed as an act of defilement. Rather than punishing Poseidon, Athena transformed his victim, Medusa, into a hideous monster.

Interestingly, artistic depictions of Medusa changed dramatically over time, becoming increasingly gendered, said Karaglou, curator of the Met exhibition “ Dangerous Beauty: Medusa in Classical Art ,” in a 2018 interview . In the show, Karaglou united more than 60 depictions of Medusa’s face. Sculptures of the monster from the archaic Greek period, roughly 700 to 480 B.C., are mostly androgynous figures. Designed to be ugly and threatening, they boast beards, tusks and grimaces.

Fast forward to later centuries, and statues of Medusa become much more recognizably beautiful. “Beauty, like monstrosity, enthralls, and female beauty in particular was perceived—and, to a certain extent, is still perceived—to be both enchanting and dangerous, or even fatal,” wrote Karaglou in a 2018 essay . As the centuries progressed, Medusa’s duplicitous beauty became synonymous with the danger she posed, cementing the trope of a villainous seductress that endures to this day.

Chimera , referenced in Hesiod ’s seventh-century B.C. Theogony and featured in Homer’s the Iliad , was a monstrous jumble of disparate parts: a lion in front, a goat in the middle, and a dragon or snake on the end. She breathed fire, flew and ravaged helpless towns. In particular, she terrorized Lycia, an ancient maritime district in what is now southwest Turkey, until the hero Bellerophon managed to lodge a lead-tipped spear in her throat and choke her to death.

Of all the fictional monsters, Chimera may have had the strongest roots in reality. Several later historians, including Pliny the Elder, argue that her story is an example of a “ euhemerism ,” when ancient myth might have corresponded to historical fact. In Chimera’s case, the people of Lycia may have been inspired by nearby geological activity at Mount Chimera, a geothermally active area where methane gas ignites and seeps through cracks in the rocks, creating little bursts of flames.

“You can go take a hike there today, and people boil their tea on top of these little spurts of geological activity,” Zimmerman says.

For ancient Greeks who told stories about the monster, Chimera’s particular union of dangerous beasts and the domestic goat represented a hybrid, contradictory horror that mirrored the way women were perceived as both symbols of domesticity and potential threats. On one hand, writes Zimmerman, Chimera’s goat body “carries all the burdens of the home, protects babies … and feeds them from her body.” On the other, her monstrous elements “roar and cry and breathe fire.”

She adds, “What [the goat] adds is not new strength, but another kind of fearsomeness: the fear of the irreducible, of the unpredictable.”

Chimera’s legend proved so influential that it even seeped into modern language: In scientific communities, “chimera” now refers to any creature with two sets of DNA . More generally, the term refers to a fantastical figment of someone’s imagination.

One of the most recognizable giants of antiquity, the Sphinx was a figure popular across Egypt, Asia and Greece. A hybrid of various creatures, the mythical being assumed different meanings in each of these cultures. In ancient Egypt, for instance, the 66-foot-tall lion-bodied statue that guards the Great Pyramid of Giza was likely male and designed, accordingly, as a male symbol of power.

Across the Mediterranean, playwright Sophocles wrote the Sphinx into his fifth-century B.C. tragedy Oedipus Rex as a female monster with the body of a cat, the wings of a bird, and a foreboding reservoir of wisdom and riddles. She travels to Thebes from foreign lands and devours anyone who cannot correctly answer her riddle : What goes on four legs in the morning, two feet at noon and three in the evening? (Answer: a man, who crawls as a baby, walks as an adult and uses a cane as an elder.)

When Oedipus successfully completes her puzzle, the Sphinx is so distraught that she throws herself to her death. This, Zimmerman writes, is the logical conclusion for a culture that punished women for keeping knowledge to themselves. Knowledge is power—that’s why in modern history, Zimmerman argues, men have excluded women from access to formal education.

“The story of the Sphinx is the story of a woman with questions men can’t answer,” she writes. “Men didn’t take that any better in the fifth century [B.C.] than they do now.”

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Nora McGreevy | | READ MORE

Nora McGreevy is a former daily correspondent for Smithsonian . She is also a freelance journalist based in Chicago whose work has appeared in Wired , Washingtonian , the Boston Globe , South Bend Tribune , the New York Times and more.

Ancient Greek Mythical Characters Essay

Heracleidae, seven against thebes.

Bibliography

Daedalus is a character from Greek mythology, a famous artist and craftsman known for his numerous inventions, as well as for building the Labyrinth on Crete. He is also known as the father of Icarus; he made wings for Icarus and himself to escape from Crete by air together. The story of Icarus and Daedalus is told in a Roman source, Ovid’s “Metamorphoses”; the Isle of Crete was blocked by the order of King Minos, but Daedalus wanted to return to his home, Athens. Thus, he devised the wings for himself and his young son; but the son disobeyed his instructions and sank in the sea. 1 It is stated that Daedalus is a symbol of the ability of Athenians to invent and solve extremely complicated problems. Making The Labyrinth is one of the embodiments of this ability; creating the wings enabling people to fly is another.

Artemis is the Ancient Greek goddess of wild animals and hunting, of fertility and virginity; she is also the embodiment of femininity. This daughter of Zeus and Leto is usually portrayed as a huntress with a bow and arrows, sometimes accompanied by a deer. According to one of the myths, Agamemnon angered Artemis during the Troyan War by slaying one of her animals. Agamemnon was advised to sacrifice his daughter Iphigenia to appease the goddess. 2 Apparently, the Ancient Greeks, who very much disliked human sacrifice, believed Artemis to be rather cruel and ruthless if they thought she would wish Iphigenia to be sacrificed. That the goddess of femininity and virginity possessed such traits is not surprising; it was common in that (rather a sexist) culture to think of women as of ruthless and cunning beings.

Medusa, a mythical being of the Ancient Greece, was one of the three of the Gorgon sisters, the only one mortal among them. She had the appearance of a hideous human female with snakes instead of hair; her gaze was able to turn anyone into stone permanently. Ovid tells the story of how Perseus beheaded Medusa in order to protect her mother from Polydectes, who fell in love with her and whom Perseus believed to be dishonorable. 3

Numerous gods helped Perseus and equipped him for battle so that he could slay Medusa. Thus, Perseus killed one woman in order to protect another. Interestingly, late classical myths state that Medusa was at first a beautiful woman who offended Athena and was transformed into a beast of malevolence, an embodiment of female rage. Thus, Medusa was first abused by one woman, and then slain to save another, which, perhaps, also shows the attitude of the Ancient Greek (male-dominated) culture towards women.

Heracleidae, or Heraclids, were the numerous descendants of the Ancient Greek hero Heracles and his multiple consorts. The words are most often used to denote the descendants of the oldest son of Heracles, Hyllus, one of the generations of whom were able to capture the Peloponnesus, a land once owned by Heracles. According to Euripides, the children of Heracles were pursued by the Herald Copreus working for King Eurystheus, who was responsible for many of Heracles’ problems and thought the hero’s sons would take revenge on him. 4 The play finishes with the death of Eurystheus; other myths state that Heraclids would recapture the Peloponnesus later. According to some historical hypotheses, the recapture is associated with the Dorian invasion, which might have taken place in the latter half of the 2 nd millennium B.C. These hypotheses reflect the fact that some historical events often might stand beyond the stories told in myths and beliefs.

Seven against Thebes is the third (and the only one extant) part of Aeschylus’ trilogy about Oedipus; it was first staged in 467 B.C. The story starts when Polynices leads an army to Thebes in order to take power from Eteocles; both are sons of Oedipus, who married his own mother and, having learned of it, left their children to divide the kingdom via bloodshed. According to the story, Polynices leads six other heroes to attack and capture Thebes; there are seven bloody battles, in which most of the heroes die.

Tydeus, a fallen hero, even eats the brains of Melanippus. 5 Noteworthy, the story was written circa 467 B.C., approximately 10-12 years after the unsuccessful invasion of Xerxes supported by Thebes; thus, Thebes was rather disliked by the other polises. It is, therefore, not surprising that the cruelty, greed, and other adversities of human nature are depicted as attributes of Thebans.

Theseus was one of the most famous Ancient Greek heroes, the 11 th King of Athens, the son of either Aegeus (an Athenian king) or Poseidon (the God of the Sea), and Aethra. Theseus was famous for numerous feats, including the death of the Minotaur. According to Plutarch, Theseus, assisted by Ariadne who had fallen in love with him, killed the Minotaur, the beast who had been terrorizing the population of the Isle of Crete.

Theseus then found the way out of the Labyrinth using Ariadne’s thread, and sailed off Crete with Ariadne and “the youths.” 6 Interestingly, by finding the Minotaur in the Labyrinth, killing him, and finding the way out, Theseus shows his Athenian strength and intelligence (even though he was helped by Ariadne). Importantly, the Labyrinth was built by Daedalus, and is, thus, also a result of Athenian ingenuity. Thus, Athenians attempted to make Theseus one of their most famous heroes, and a symbol of their wisdom, intelligence, and strength.

Aeschylus. “ Seven against Thebes. ” Theoi Greek Mythology . Web.

Euripides. “ Iphigenia at Aulis. ” The Internet Classics Archive . Web.

Euripides. “ The Heracleidae. ” The Internet Classics Archive . Web.

Ovid. “ Metamorphoses, Book 8. ” Theoi Greek Mythology . Web.

Ovid. “ Metamorphoses .” The Internet Classics Archive . Web.

Plutarch. “ Life of Theseus. ” Theoi Greek Mythology . Web.

• Ovid, “Metamorphoses, Book 8,” Theoi Greek Mythology . Web.
• Euripides, “Iphigenia at Aulis,” The Internet Classics Archive . Web.
• Ovid, “Metamorphoses,” The Internet Classics Archive . Web.
• Euripides, “The Heracleidae,” The Internet Classics Archive . Web.
• Aeschylus, “Seven against Thebes,” Theoi Greek Mythology. Web.
• Plutarch, “Life of Theseus,” Theoi Greek Mythology . Web.
• “The Minotaur and the Muse: Picasso’s Carmen Fixation” by Alan Riding
• Heracles’ Death in Women of Trachis and Modern Perspective
• Medusa in Greek Mythology
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• Reality of Achilles in “The Iliad”
• One Eye Character in the Valhalla Rising Film
• Myths about Gods and Spirits in Different Cultures
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IvyPanda . 2020. "Ancient Greek Mythical Characters." July 1, 2020. https://ivypanda.com/essays/ancient-greek-mythical-characters/.

1. IvyPanda . "Ancient Greek Mythical Characters." July 1, 2020. https://ivypanda.com/essays/ancient-greek-mythical-characters/.

IvyPanda . "Ancient Greek Mythical Characters." July 1, 2020. https://ivypanda.com/essays/ancient-greek-mythical-characters/.

Tragic Tales and Epic Adventures: Essay Topics in Greek Mythology

Table of contents

• 1 Tips on Writing an Informative Essay on a Greek Mythical Character
• 2.1 Titles for Hero Essays 
• 2.2 Ancient Greece Research Topics
• 2.3 Common Myth Ideas for Essays
• 2.4 Topics about Greek Gods
• 2.5 Love Topics in the Essay about Greek Mythology

With its rich pantheon of gods, heroes, and timeless tales, Greek mythology has been a source of inspiration and fascination for centuries. From the mighty exploits of Hercules to the cunning of Odysseus, these myths offer a window into ancient Greek culture, values, and understanding of the world. This exploration delves into various aspects of Greek mythology topics, providing a wealth of ideas for a captivating essay. How do myths impact today’s society? Whether you’re drawn to the legendary heroes, the powerful gods, or the intricate relationships within these stories, there’s a trove of ideas to explore in Greek mythology research topics.

Tips on Writing an Informative Essay on a Greek Mythical Character

Crafting an informative essay on a Greek mythical character requires a blend of passionate storytelling, rigorous research, and insightful analysis. Yet, there are some tips you can follow to reach the best result. Read this student essay written about the Greek mythology guide.

• Select a Fascinating Character. Choose a Greek mythical character that genuinely interests you. Your passion for the character will enhance your writing and engage your readers.
• Conduct Thorough Research. Dive into the character’s background, roles in various myths, and their significance in Greek mythology. Use reliable sources such as academic papers, respected mythology books, and scholarly articles to gather comprehensive and accurate information.
• Analyze Characteristics and Symbolism. Explore the deeper meanings behind your character’s actions and traits. Discuss what they symbolize in Greek culture and mythology.
• Use a Clear Structure. Organize your essay logically. Ensure each paragraph flows smoothly to the next, maintaining a coherent and compelling narrative.
• Incorporate Quotes and References. Use quotes from primary sources and reference key scholars to support your points. This adds credibility and depth to your essay.
• Edit and Revise. Finally, thoroughly revise your essay for clarity, coherence, and grammatical accuracy. A well-edited essay ensures your ideas are conveyed effectively.

By following these tips, you can create a compelling essay that recounts famous myths and explores the rich symbolic and cultural significance of these timeless tales.

Greek Mythology Topics for an Essay

Explore the rich tapestry of Greek mythology ideas with these intriguing essay topics, encompassing legendary heroes, ancient gods, and the timeless themes that have captivated humanity for millennia. Dive into the stories of Hercules, the wisdom of Athena, the complexities of Olympian deities, and the profound lessons embedded in these ancient tales. Each topic offers a unique window into the world of Greek myths, inviting a deep exploration of its cultural and historical significance.

Titles for Hero Essays  

• Hercules: Heroism and Humanity 
• Achilles: The Warrior’s Tragedy
• Odysseus: Cunning over Strength
• Theseus and the Minotaur: Symbolism and Society
• Perseus and Medusa: A Tale of Courage
• Jason and the Argonauts: The Quest for the Golden Fleece
• Atalanta: Challenging Gender Roles
• Ajax: The Unsung Hero of the Trojan War
• Bellerophon and Pegasus: Conquest of the Skies
• Hector: The Trojan Hero
• Diomedes: The Underrated Warrior of the Iliad
• Heracles and the Twelve Labors: A Journey of Redemption
• Orpheus: The Power of Music and Love
• Castor and Pollux: The Gemini Twins
• Philoctetes: The Isolated Warrior

Ancient Greece Research Topics

• The Trojan War: Myth and History. Examining the blending of mythological and historical elements in the story of the Trojan War.
• The Role of Oracles in Ancient Greek Society. Exploring how oracles influenced decision-making and everyday life in Ancient Greece.
• Greek Mythology in Classical Art and Literature. Analyzing the representation and influence of Greek myths in classical art forms and literary works.
• The Historical Impact of Greek Gods on Ancient Civilizations. Investigating how the worship of Greek gods shaped the societal, cultural, and political landscapes of ancient civilizations.
• Mythology’s Influence on Ancient Greek Architecture. Studying the impact of mythological themes and figures on the architectural designs of Ancient Greece.
• Athenian Democracy and Mythology. Exploring the connections between the development of democracy in Athens and the city’s rich mythological traditions.
• Minoan Civilization and Greek Mythology. Delving into the influence of Greek mythology on the Minoan civilization, particularly in their art and religious practices.
• The Mycenaean Origins of Greek Myths. Tracing the roots of Greek mythology back to the Mycenaean civilization and its culture.
• Greek Mythology and the Development of Theater. Discuss how mythological stories and characters heavily influenced ancient Greek plays.
• Olympic Games and Mythological Foundations. Examining the mythological origins of the ancient Olympic Games and their cultural significance.
• Maritime Myths and Ancient Greek Navigation. Investigating how Greek myths reflected and influenced ancient Greek seafaring and exploration.
• The Impact of Hellenistic Culture on Mythology. Analyzing how Greek mythology evolved and spread during the Hellenistic period.
• Alexander the Great and Mythological Imagery. Studying the use of mythological symbolism and imagery in portraying Alexander the Great.
• Greek Gods in Roman Culture. Exploring how Greek mythology was adopted and adapted by the Romans.
• Spartan Society and Mythological Ideals. Examining Greek myths’ role in shaping ancient Sparta’s values and lifestyle.

Common Myth Ideas for Essays

• The Concept of Fate and Free Will in Greek Myths. Exploring how Greek mythology addresses the tension between destiny and personal choice.
• Mythological Creatures and Their Meanings. Analyzing the symbolism and cultural significance of creatures like the Minotaur, Centaurs, and the Hydra.
• The Underworld in Greek Mythology: A Journey Beyond. Delving into the Greek concept of the afterlife and the role of Hades.
• The Role of Women in Greek Myths. Examining the portrayal of female characters, goddesses, and heroines in Greek mythology.
• The Transformation Myths in Greek Lore. Investigating stories of metamorphosis and their symbolic meanings, such as Daphne and Narcissus.
• The Power of Prophecies in Greek Myths. Discussing the role and impact of prophetic declarations in Greek mythological narratives.
• Heroism and Hubris in Greek Mythology. Analyzing how pride and arrogance are depicted and punished in various myths.
• The Influence of Greek Gods in Human Affairs. Exploring stories where gods intervene in the lives of mortals, shaping their destinies.
• Nature and the Gods: Depictions of the Natural World. Examining how natural elements and phenomena are personified through gods and myths.
• The Significance of Sacrifice in Greek Myths. Investigating the theme of voluntary and forced sacrifice in mythological tales.
• Greek Mythology as a Reflection of Ancient Society. Analyzing how Greek myths mirror ancient Greek society’s social, political, and moral values.
• Mythical Quests and Adventures. Exploring the journeys and challenges heroes like Jason, Perseus, and Theseus face.
• The Origins of the Gods in Greek Mythology. Tracing the creation stories and familial relationships among the Olympian gods.
• Lessons in Morality from Greek Myths. Discussing the moral lessons and ethical dilemmas presented in Greek mythology.
• The Influence of Greek Myths on Modern Culture. Examining how elements of Greek mythology continue to influence contemporary literature, film, and art.

Topics about Greek Gods

• Zeus: King of Gods. Exploring Zeus’s leadership in Olympus, his divine relationships, and mortal interactions.
• Athena: Goddess of Wisdom and War. Analyzing Athena’s embodiment of intellect and battle strategy in myths.
• Apollo vs. Dionysus: Contrast of Sun and Ecstasy. Comparing Apollo’s rationality with Dionysus’s chaotic joy.
• Hera: Marriage and Jealousy. Examining Hera’s multifaceted nature, focusing on her matrimonial role and jealous tendencies.
• Poseidon: Ruler of Seas and Quakes. Investigating Poseidon’s dominion over the oceans and seismic events.
• Hades: Lord of the Underworld. Delving into Hades’s reign in the afterlife and associated myths.
• Aphrodite: Essence of Love and Charm. Exploring Aphrodite’s origins, romantic tales, and divine allure.
• Artemis: Protector of Wilderness. Discussing Artemis’s guardianship over nature and young maidens.
• Hephaestus: Craftsmanship and Fire. Analyzing Hephaestus’s skills in metallurgy and his divine role.
• Demeter: Goddess of Harvest and Seasons. Investigating Demeter’s influence on agriculture and seasonal cycles.
• Ares: Embodiment of Warfare. Delving into Ares’s aggressive aspects and divine relations.
• Hermes: Divine Messenger and Trickster. Exploring Hermes’s multifaceted roles in Olympian affairs.
• Dionysus: Deity of Revelry and Wine. Analyzing Dionysus’s cultural impact and festive nature.
• Persephone: Underworld’s Queen. Discussing Persephone’s underworld journey and dual existence.
• Hercules: From Hero to God. Examining Hercules’s legendary labors and deification.

Love Topics in the Essay about Greek Mythology

• Orpheus and Eurydice’s Tragedy. Analyzing their poignant tale of love, loss, and music.
• Aphrodite’s Influence. Exploring her role as the embodiment of love and beauty.
• Zeus’s Love Affairs. Investigating Zeus’s romantic escapades and their effects.
• Eros and Psyche’s Journey. Delving into their story of trust, betrayal, and love’s victory.
• Love and Desire in Myths. Discussing the portrayal and impact of love in Greek myths.
• Hades and Persephone’s Love. Analyzing their complex underworld relationship.
• Paris and Helen’s Romance. Examining their affair’s role in sparking the Trojan War.
• Pygmalion and Galatea’s Tale. Exploring the theme of transcendent artistic love.
• Alcestis and Admetus’s Sacrifice. Investigating the implications of Alcestis’s self-sacrifice.
• Apollo’s Unrequited Love for Daphne. Discussing unreciprocated love and transformation.
• Hercules and Deianira’s Tragic Love. Exploring their love story and its tragic conclusion.
• Jason and Medea’s Turmoil. Analyzing their intense, betrayal-marred relationship.
• Cupid and Psyche’s Resilience. Delving into the strength of their love.
• Baucis and Philemon’s Reward. Exploring their love’s reward by the gods.
• Achilles and Patroclus’s Bond. Discussing their deep connection and its wartime impact.

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English Folklore Creatures: A Guide to Enchanting Mythical Beings

English folklore is a tapestry woven with the colorful threads of myths and legends, featuring an array of creatures unique to its cultural landscape. From the shadowy moors to the ancient woods, tales of fantastical beings have been passed down through generations. They serve as gatekeepers to a world where the lines between reality and the supernatural blur, inviting one to explore the rich heritage of England’s mythical inhabitants.

Creatures like the mischievous pixies, the foreboding black dogs, and the elusive asrai have occupied the stories and superstitions of English lore. Each being comes with its own set of tales, often rooted in the local geography and history, reflecting the beliefs and values of the communities that shared them. As remnants of England’s Celtic, Nordic, and Germanic influences, these beings contribute to the nation’s cultural identity, encapsulating the mystery and magic of the English countryside.

Mythological Origins

English folklore is a tapestry woven from the varied threads of the myths and legends that crossed paths in the British Isles. The creatures that roam this realm of imagination are often the offspring of complex cultural interactions.

Celtic Influences

The Celtic peoples have left a profound mark on English folklore with their rich mythology of gods, heroes, and monsters. Their influence manifests in creatures like the Púca , a shapeshifting being that could bring either good or bad fortune. Tales of fairy folk , smaller, often mischievous beings, are believed to be remnants of pre-Christian, Celtic deities and spirits.

Anglo-Saxon Legends

Conversely, Anglo-Saxon legends contribute a heroic and often grim aspect to English folklore. The tale of the Bisterne Dragon , slain by a brave knight, is an example of such legacy. Many such stories were transmitted orally before being recorded in Old English manuscripts, maintaining a sense of wonder around creatures like Black Shuck , a ghostly black dog foretelling doom.

Norse Connections

Finally, Norse mythology intertwines with English folklore through the Viking presence from the 8th to the 11th centuries. Creatures like wargs —giant, monstrous wolves—echo the mighty Fenrir from Norse lore. Moreover, the draugr , a Norse undead being, shares similarities with English revenant stories, hinting at a cultural exchange of spectral creature myths.

Famous Creatures

English folklore is rich with varied creatures that range from the menacing to the mischievous. These beings have woven their way into the tapestry of English myths and legends, capturing the imagination for centuries.

Dragons are among the most iconic creatures in English folklore. They are often depicted as powerful and fearsome serpents or reptiles with magical or spiritual qualities. The Bisterne Dragon and the Beast of Dean are examples of dragons that are steeped in English legend, feared for their destructive power and often defeated by valiant heroes.

Elves and Fairies

Elves and fairies are pervasive in English folklore, each with their distinctive characteristics and morality. These beings are usually described as ethereal and magical, existing in a parallel realm. Elves, like the one depicted in Richard Doyle’s “Poor little birdie teased,” are portrayed as mischievous and elusive, while fairies often interact with humans, sometimes helping or hindering them.

Boggarts and Bogles

Boggarts and bogles personify household mischief in English folklore. A boggart is a troublesome spirit that is known to misplace objects or create small disturbances. They transform from a friendly household spirit known as a hob if they are slighted or disrespected. Bogles, on the other hand, are more malevolent spirits that enjoy leading travelers astray.

Giants and Trolls

Giants and trolls feature prominently as large and often antagonistic beings in English folklore. They possess great strength and are typically associated with specific landmarks or regions. Giants are central to many tales where they often clash with human protagonists, while trolls are known to guard bridges or dwell in caves.

The Black Dog

The Black Dog is a spectral or demonic entity found in English folklore. Their appearance is often seen as an omen of death or doom. Tales such as the Black Shuck that roams East Anglia have cemented the Black Dog’s place in English myth as an eerie and foreboding figure that is best avoided.

Merfolk, or aquatic humanoids, have a long-standing place in English folklore, with stories of mermaids and mermen enticing sailors or warning of storms. They are creatures of both land and sea, often described as beautiful and enchanting, capable of forming connections with or spellbinding humans.

Will-o’-the-Wisp

Will-o’-the-Wisp refers to the ghostly lights seen at night over marshes and bogs. In folklore, these lights are believed to be spirits or mischievous fairies leading travelers from safe paths. They are emblematic of the mysterious and often treacherous nature of the English landscapes and the legends that emanate from them.

Regional Variations

English folklore is rich and diverse, with creatures and tales varying greatly by region. Each area has its peculiar myths anchored in local traditions and landscapes.

Cornish Mythology

Cornwall is famed for its piskies, small mischievous creatures akin to pixies. The Knockers or Knackers are also well-known in Cornish folklore; they are believed to inhabit the tin mines and are known to knock where rich veins of ore could be found, sometimes leading miners to their fortunes, or alternatively, away from danger.

Yorkshire Lore

Yorkshire lore includes the fearsome Barghest , a mythical monstrous black dog with large teeth and claws. It roams the moors and is seen as an omen of death. The countryside also has tales of Billy Blind , a helpful household spirit akin to a brownie, who aids those that leave offerings for him.

Welsh Folklore

Welsh folklore is distinct with mythical beings like the Asrai , believed to be water fairies that cannot survive in sunlight. Wales also has legends of the terrifying Black Annis , a blue-faced hag who snatches away the unwary. Creatures like the Tylwyth Teg reflect the deep connection between the Welsh people and the natural world, representing a more benign but equally mysterious side of the legend spectrum.

Narrative Roles

English folklore creatures often serve to impart morals, warn of danger, or exemplify heroism. Their stories are interwoven with the cultural fabric of Britain, each playing a distinctive role in folklore narratives.

Moral Lessons

Creatures within English folklore frequently embody moral lessons that reflect societal values and ethics. For example, pixies are often depicted as mischievous beings whose pranks on humans serve as a reminder of the importance of kindness and respect. The Green Man , a symbol of rebirth and natural cycles, quietly emphasizes the significance of living in harmony with nature.

Cautionary Tales

Many folklore beings are central to cautionary tales that are intended to instigate fear to dissuade people from reckless behavior. The tales of Black Annis , a witch-like creature with a penchant for eating children, have been told to generations of youngsters to discourage disobedience and wandering alone. Similarly, stories of the Black Dog forewarn of impending doom or death, discouraging individuals from venturing out at night and traversing dangerous paths.

Heroic Myths

Heroic myths in English folklore highlight the triumph of virtue and bravery. The legendary George and the Dragon is a pivotal story wherein Saint George slays a dragon to rescue a princess, symbolizing the victory of good over evil. Tales like the Lambton Worm also portray heroes overcoming great beasts, representing the overcoming of personal and communal challenges.

Cultural Impact

English folklore creatures have left an indelible mark on the cultural landscape of the nation. These beings punctuate various aspects of culture from literary works to the visual arts and community celebrations.

English folklore creatures like witches and fairies feature prominently in the realm of literature. They have been captured vividly by Shakespeare in his plays, which often reflect the superstitions and beliefs of English tradition. Modern literature continues to draw inspiration from these mythic figures, reinforcing their presence in the cultural psyche.

Music and Art

Creatures of folklore have influenced not only the stories English people tell but also the music they compose and the art they create. Artists have depicted scenes inspired by superstitions and legends, imbuing the country’s artistic heritage with a narrative depth tied to folklore. Similarly, traditional and contemporary music frequently alludes to tales of mythical beings, echoing the country’s rich mythological tapestry.

Festivals and Customs

Folklore creatures are at the heart of many English festivals and customs, cementing their role in cultural traditions. Annual events often celebrate these legends through pageantry and performance. Customs such as the well-known Jack in the Green Festival exemplify the enduring influence of folkloric entities, as communities come together to honor mythological heritage.

Modern Retellings

English folklore creatures continue to captivate audiences, finding new life and relevance through various media in the modern age. These retellings often preserve the essence of the myths while providing fresh perspectives or contemporary settings.

Film and Television

The screen has seen a resurgence of English folklore creatures, presenting them to global audiences. “Merlin” , a TV series, reimagines the legend of King Arthur with a focus on the wizard Merlin’s early life. Similarly, the film “The Hollow Crown” features interpretations of mythical characters from Shakespeare’s works, which are deeply rooted in English folklore.

Literature Update

Authors are increasingly weaving English folklore creatures into their narratives, bringing them to the forefront of today’s literary scene. For example, Neil Gaiman’s “Stardust” is a novel that revitalizes the tale of faeries and other mystical beings, making them relevant to modern readers. Another example includes Susanna Clarke’s “Jonathan Strange & Mr Norrell” , where magic and faerie lore intermingle with historical fiction.

Video Games

Video games provide an interactive platform to explore the realm of English folklore creatures. Titles such as “Fable” invite players to venture through a fantasy land steeped in folklore. In “Hellblade: Senua’s Sacrifice,” players encounter both Norse and Celtic myths, reflecting the dark and twisted narratives that are hallmarks of English legends.

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Unveiling Eons: Where Myths Breathe and Legends Live — Dive into the heart of ancient tales, explore mythology from across the world, and discover the legends that have shaped our past and continue to inspire our future.

The Mythical Creatures of Mayan Folklore

• Post author: MythologyWorldwide
• Post published: May 22, 2024
• Post category: Blog

Table of Contents

Introduction: Exploring the Enchantment of Mayan Mythology

The ancient Maya, with their profound knowledge of astronomy, mathematics, and art, left behind a rich legacy of mythology. Their myths, passed down through generations, provide a window into their beliefs, values, and understanding of the world around them. This captivating realm of Mayan folklore is filled with extraordinary creatures, each playing a unique role in shaping the narrative of their vibrant culture.

The Allure of Mayan Myths: A Glimpse into Ancient Beliefs

Mayan myths offer more than just captivating stories; they unveil the intricate tapestry of Mayan beliefs. These narratives served as a means to explain natural phenomena, guide moral conduct, and provide solace in the face of the unknown. Through these myths, the Maya explored their relationship with the cosmos, the delicate balance of nature, and the complexities of human existence.

The Rich Tapestry of Mayan Creatures: From Fearsome to Benevolent

The pantheon of Mayan creatures is as diverse as it is fascinating. From fearsome deities to benevolent protectors, each creature embodies specific characteristics and embodies profound symbolism. The jaguar, revered for its strength and prowess, symbolizes power and leadership. The feathered serpent, a celestial being, represents the connection between the earth and the heavens. These mythical figures played pivotal roles in shaping the cultural and spiritual landscape of the Maya.

The Importance of Animals in Mayan Culture: Symbols and Significance

Animals held immense significance in Mayan culture, often serving as intermediaries between the human and the divine. The quetzal, a resplendent bird with vibrant emerald plumage, was considered sacred, symbolizing freedom and spiritual enlightenment. The jaguar, with its stealth and power, was associated with royalty and the elite. Through their symbolic associations, animals played a crucial role in shaping Mayan rituals, art, and societal structures.

The Avian Guardians of the Sky: The Quetzal and Its Mystical Powers

The quetzal, with its iridescent green plumage and flowing tail feathers, was held in the highest regard by the Maya. This magnificent bird was believed to be a messenger between the gods and humans, carrying prayers and offerings to the heavens. Its association with the wind and the sky further cemented its mystical status. The quetzal's feathers, prized for their beauty and rarity, adorned the headdresses of rulers and priests, symbolizing their connection to the divine.

The Jaguar's Prowess: A Symbol of Strength and Majesty

The jaguar, with its sleek, muscular form and piercing gaze, commanded respect and awe in Mayan society. Revered as a symbol of power, strength, and royalty, the jaguar was often depicted in art, architecture, and mythology. Its association with the night and the underworld further enhanced its mystical aura.

The jaguar's prowess as a hunter earned it the admiration of the Maya, who saw in it a reflection of their own warrior spirit. Its ability to move silently and strike with lightning speed made it a formidable predator, inspiring both fear and respect. In Mayan mythology, the jaguar was often depicted as a companion or alter ego of powerful deities, such as the sun god and the god of war.

The Serpent's Enigmatic Presence: A Figure of Transformation and Knowledge

The serpent, with its serpentine form and capacity for shedding its skin, held a complex and multifaceted significance in Mayan culture. It symbolized transformation, rebirth, and the cyclical nature of life and death. The serpent was also associated with knowledge, wisdom, and fertility.

In Mayan mythology, the serpent played a prominent role in creation myths, often appearing as a primordial being or a guardian of the underworld. The feathered serpent, a hybrid creature with feathers and scales, was a particularly revered figure, representing the connection between the earth and the heavens. The serpent's ability to shed its skin was seen as a metaphor for spiritual renewal and the ability to transcend the limitations of the physical world.

Mythical Hybrids and Supernatural Beings: Blending the Earthly and the Divine

Mayan mythology is replete with fascinating hybrid creatures that blend the characteristics of different animals and supernatural beings. These creatures often served as intermediaries between the human and the divine, embodying the complex relationship between the natural world and the realm of the gods.

One notable example is the wayak, a mythical creature with the body of a monkey and the head of a human. The wayak was believed to be a mischievous trickster who inhabited the forests and played pranks on unsuspecting travelers. Another fascinating hybrid is the cipactli, a sea monster with the body of a crocodile and the head of a fish. The cipactli was associated with the primordial waters and the creation of the world.

Theories on the Origins of Mayan Myths: Unveiling the Enigmatic Past

The origins of Mayan myths remain shrouded in mystery, but scholars have proposed various theories to explain their emergence. Some believe that these myths evolved from the Maya's observations of the natural world, while others suggest that they were influenced by contact with other Mesoamerican cultures.

One theory posits that Mayan myths originated from the Maya's profound understanding of astronomy. The complex movements of celestial bodies, such as the sun, moon, and stars, may have inspired the creation of myths about deities associated with these celestial phenomena. Another theory suggests that Mayan myths were influenced by the agricultural practices of the Maya. The cyclical nature of planting, harvesting, and the changing seasons may have given rise to myths about gods associated with fertility and the underworld.

The Enduring Legacy of Mayan Folklore: Cultural Preservation and Inspiration

Mayan folklore continues to captivate and inspire people around the world, offering a glimpse into the rich cultural heritage of this ancient civilization. Through their myths, the Maya have left an enduring legacy that celebrates their connection to nature, their reverence for the divine, and their capacity for imagination.

Mayan myths have also played a crucial role in preserving the cultural identity of the Maya, who continue to draw inspiration from these stories in their art, music, and religious practices. The preservation of Mayan folklore is essential for understanding the complex history and worldview of this remarkable civilization.

What are some of the most famous Mayan myths?

• The Popol Vuh: The creation myth of the Maya, which tells the story of the gods' attempts to create humans.
• The Hero Twins: The story of two brothers who descend into the underworld to defeat the lords of Xibalba.
• The Maize God: The myth of the god who sacrificed himself to provide humans with maize, their staple food.

What are the main sources of Mayan myths?

• The Popol Vuh: The most important surviving text of Mayan mythology.
• The Dresden Codex: A pre-Columbian book that contains illustrations and hieroglyphic writing related to Mayan mythology.
• The Madrid Codex: Another pre-Columbian book that contains information about Mayan mythology and rituals.

How do Mayan myths reflect the beliefs and values of the Maya?

Mayan myths reflect the Maya's beliefs about the origin of the universe, the nature of the gods, the importance of agriculture, and the role of humans in the cosmos. They also provide insights into Mayan values, such as the importance of courage, sacrifice, and respect for the natural world.

What is the significance of Mayan myths today?

Mayan myths continue to be an important part of Mayan culture and identity. They provide a source of inspiration for artists, writers, and musicians. They also help to connect the Maya to their ancestors and to their past.

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Mythical Creatures Essay

A very good morning to Pn. Nirmala and my dear friends. Today my partner, Kogilavani and myself, Elisha Yeo would like to give an aural presentation on mythical creatures. Mythical creatures have always been a subject of fascination and a topic that is discussed constantly throughout the ages in many different countries. Mythical creatures are almost always literary creatures that generated popularity out of literary circulation and story-telling.

They are legendary creatures that at one point were believed to be real beings, while some have their origin traced from literary myths.

Mythical creatures can be divided into two groups; the first group consists of creatures that everyone agrees to have existed or still exist today and the other group is composed of creatures in which not everybody agrees as to whether they have existed or not. While the first group is asserted only on literary works and word of mouth, its impact becomes stronger over time.

The tale becomes a legend, the legend becomes a history.

The other group is considered to be consisting of more elusive magical mythical creatures that still make people wonder if they are real or not. These creatures are more aggressively shown and described on articles, photographs, journals and movies.. The tale becomes a legend, the legend becomes a history. The other group is considered to be consisting of more elusive magical mythical creatures that still make people wonder if they are real or not.

Phoenix And Other Mythical Creatures

Some mythical creatures, such as the dragon and griffin have their origin in traditional mythology and have been believed to be real creatures.

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Others were based on real baby creatures, originating in garbled accounts of travelers’ tales; such as the Vegetable Lamb of Tartary, which supposedly grew tethered to the earth (and was actually a type of fern). Examples of the legendary creatures can be found in medieval bestiaries and old stories. Conversely, some creatures downplayed as just storytelling, have been ediscovered and found to be real in recent times, such as the Giant squid (the Kraken). In Africa, Natives of the Congo told European visitors of an animal that looked like a cross between a zebra and a giraffe. While the visitors assumed this is just a folk lore, a british scientist found the Okapi to be real. Often mythical creatures are hybrids, a combination of two or more animals. For example, centaur is a combination of a man and horse, the minotaur of a man and bull, and the mermaid, half woman and half fish.

These were not always intended to be understood as literal juxtapositions of parts from disparate species. Lacking a common morphological vocabularyclassical and medieval scholars and travelers would attempt to describe unusual animals by comparing them point-for-point with familiar: the giraffe, for example, was called camelopard, and thought of as a creature half-camel, and half-leopard. After reading through the list of mythical creatures I found the phoenix to be a very interesting creature.

The Phoenix has long been presented as a symbol of rebirth, immortality, and renewal. The phoenix originated in ancient mythology and has gone through a variety of representations in art/literature, ranging from being fully birdlike to having the head of a dog and suckling its young. Typically, it is considered benevolent, but some tales suggest that humans are not always safe around it. Further, many tales share elements with those of the phoenix.

Originally, the phoenix was identified by the Egyptians as a strork or heron-like bird called a benu, known from theBook of the Dead and other Egyptian texts as one of the sacred symbols of worship at Heliopolis, closely associated with the rising sun and the Egyptian sun-God Ra. The Greeks subsequently pictured the bird more like a peacock or an eagle and identified it with their own word phoenix (? ), meaning the color purple-red or crimson (cf. Phoenicia) or a palm tree. According to the Greek mythology the phoenix lived in Phoenicia next to a well.

At dawn, it bathed in the water of the well, and the Greek sun-god Helios stopped his chariot in order to listen to its song. Herodotus spoke about the unique capabity of the bird to be consumed in the flames and be reborn from the ashes. In China, the Fenghuang is a mythical bird superficially similar to the phoenix. It is the second most-respected legendary creature (second to the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese Dragon, traditionally seen as masculine or imperial.

The phoenix is considered the greatest and the leader of birds. In Russian folklore, the phoenix was called the firebird. The phoenix was featured in the flags of Alexander Ypsilantis and of many other captains during the Greek Revolution, symbolizing Greece’s rebirth. In addition, the first modern Greek currency bore the name of phoenix. Despite being replaced by a royal Coat of Arms, it remained a popular symbol. What do you think Kogilavani? Which mythical creature did you like best after going through the list of mythical creatures. I on the other hand find the dragon most interesting.

Dragons arelegendary creatures, typically with serpentine or otherwise reptilian traits, that feature in the myths of many cultures. There are two distinct cultural traditions of dragons: theEuropean Dragon, derived from European folk traditions and ultimately related to Greek and Middle Eastern mythologies, and the Chinese Dragon, with counterparts in Japan, Korea and other Asian countries. The two traditions may have evolved separately, but have influenced each to a certain extent, particularly with the cross-cultural contact of recent centuries. The English word”dragon

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August 4, 2008

Do Mythic Creatures Exist? Show Me the Body

Purported sightings of Bigfoot, Nessie and Ogopogo fire our imaginations. But anecdotes alone do not make a science

By Michael Shermer

Editor's Note: This story was originally published in the May 2003 issue of Scientific American.

The world lost the creators of two of its most celebrated biohoaxes recently: Douglas Herrick, father of the risibly ridiculous jackalope (half jackrabbit, half antelope), and Ray L. Wallace, paternal guardian of the less absurd Bigfoot. The jackalope enjoins laughter in response to such peripheral hokum as hunting licenses sold only to those whose IQs range between 50 and 72, bottles of the rare but rich jackalope milk, and additional evolutionary hybrids such as the jackapanda. Bigfoot, on the other hand, while occasionally eliciting an acerbic snicker, enjoys greater plausibility for a simple evolutionary reason: large hirsute apes currently roam the forests of Africa, and at least one species of a giant ape— Gigantopithecus — flourished some hundreds of thousands of years ago alongside our ancestors.

Is it possible that a real Bigfoot lives despite the posthumous confession by the Wallace family that it was just a practical joke? Certainly. After all, although Bigfoot proponents do not dispute the Wallace hoax, they correctly note that tales of the giant Yeti living in the Himalayas and Native American lore about Sasquatch wandering around the Pacific Northwest emerged long before Wallace pulled his prank in 1958.

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In point of fact, throughout much of the 20th century it was entirely reasonable to speculate about and search for Bigfoot, as it was for the creatures of Loch Ness, Lake Champlain and Lake Okanagan (Scotland’s Nessie, the northeastern U.S.’s Champ and British Columbia’s Ogopogo, respectively). Science traffics in the soluble, so for a time these other chimeras warranted our limited exploratory resources. Why don’t they now? The study of animals whose existence has yet to be proved is known as cryptozoology, a term coined in the late 1950s by Belgian zoologist Bernard Heuvelmans. Cryptids, or “hidden animals,” begin life as blurry photographs, grainy videos and countless stories about strange things that go bump in the night. Cryptids come in many forms, including the aforementioned giant pongid and lake monsters, as well as sea serpents, giant octopuses, snakes, birds and even living dinosaurs.

The reason cryptids merit our attention is that enough successful discoveries have been made by scientists based on local anecdotes and folklore that we cannot dismiss all claims a priori. The most famous examples include the gorilla in 1847 (and the mountain gorilla in 1902), the giant panda in 1869, the okapi (a short-necked relative of the giraffe) in 1901, the Komodo dragon in 1912, the bonobo (or pygmy chimpanzee) in 1929, the megamouth shark in 1976 and the giant gecko in 1984. Cryptozoologists are especially proud of the catch in 1938 of a coelacanth, an archaic-looking species of fish that had been thought to have gone extinct in the Cretaceous.

Although discoveries of previously unrecorded species of bugs and bacteria are routinely published in the annals of biology, these instances are startling because of their recency, size, and similarity to cryptid cousins Bigfoot, Nessie, et al. They also have in common—a body! In order to name a new species, one must have a type specimen—a holotype—from which a detailed description can be made, photographs taken, models cast and a professional scientific analysis prepared.

If such cryptids still survived in the hinterlands of North America and Asia, surely by now one would have turned up. So far all we have are the accounts. Anecdotes are a good place to begin an investigation—which by themselves cannot verify a new species. In fact, in the words of social scientist Frank J. Sulloway of the University of California at Berkeley—words that should be elevated to a maxim: “Anecdotes do not make a science. Ten anecdotes are no better than one, and a hundred anecdotes are no better than ten.”

I employ Sulloway’s maxim every time I encounter Bigfoot hunters and Nessie seekers. Their tales make for gripping narratives, but they do not make sound science. A century has been spent searching for these chimerical creatures. Until a body is produced, skepticism is the appropriate response.

Mythical Creatures Essays

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Legendary creature facts for kids

A legendary creature (also called a mythical or mythological creature ) is a type of fantasy entity, typically a hybrid, that has not been proven and that is described in folklore (including myths and legends ), but may be featured in historical accounts before modernity .

In the classical era , monstrous creatures such as the Cyclops and the Minotaur appear in heroic tales for the protagonist to destroy. Other creatures, such as the unicorn , were claimed in accounts of natural history by various scholars of antiquity. Some legendary creatures have their origin in traditional mythology and were believed to be real creatures, for example dragons , griffins , and unicorns. Others were based on real encounters, originating in garbled accounts of travellers' tales, such as the Vegetable Lamb of Tartary, which supposedly grew tethered to the earth.

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A variety of mythical animals appear in the art and stories of the classical era . For example, in the Odyssey , monstrous creatures include the Cyclops , Scylla and Charybdis for the hero Odysseus to confront. Other tales include Medusa to be defeated by Perseus , the (human/bull) Minotaur to be destroyed by Theseus , and the Hydra to be killed by Heracles , while Aeneas battles with the harpies. These monsters thus have the basic function of emphasizing the greatness of the heroes involved.

Some classical era creatures, such as the (horse/human) centaur , chimaera , Triton and the flying horse Pegasus , are found also in Indian art. Similarly, sphinxes appear as winged lions in Indian art and the Piasa Bird of North America.

In medieval art, animals, both real and mythical, played important roles. These included decorative forms as in medieval jewellery, sometimes with their limbs intricately interlaced. Animal forms were used to add humor or majesty to objects. In Christian art , animals carried symbolic meanings, where for example the lamb symbolized Christ, a dove indicated the Holy Spirit , and the classical griffin represented a guardian of the dead. Medieval bestiaries included animals regardless of biological reality; the basilisk represented the devil , while the manticore symbolised temptation.

One function of mythical animals in the Middle Ages was allegory . Unicorns, for example, were described as extraordinarily swift and uncatchable by traditional methods. It was believed that the only way for one to catch this beast was to lead a virgin to its dwelling. Then, the unicorn was supposed to leap into her lap and go to sleep, at which point a hunter could finally capture it. In terms of symbolism, the unicorn was a metaphor for Christ. Unicorns represented the idea of innocence and purity. In the King James Bible , Psalm 92:10 states, "My horn shalt thou exalt like the horn of a unicorn." This is because the translators of the King James erroneously translated the Hebrew word re'em as unicorn. Later versions translate this as wild ox. The unicorn's small size signifies the humility of Christ.

Another common legendary creature that served allegorical functions within the Middle Ages was the dragon . Dragons were identified with serpents, though their attributes were greatly intensified. The dragon was supposed to have been larger than all other animals. It was believed that the dragon had no harmful poison but was able to slay anything it embraced without any need for venom. Biblical scriptures speak of the dragon in reference to the devil, and they were used to denote sin in general during the Middle Ages. Dragons were said to have dwelled in places like Ethiopia and India, based on the idea that there was always heat present in these locations.

Physical detail was not the central focus of the artists depicting such animals, and medieval bestiaries were not conceived as biological categorizations. Creatures like the unicorn and griffin were not categorized in a separate "mythological" section in medieval bestiaries, as the symbolic implications were of primary importance. Animals we know to have existed were still presented with a fantastical approach. It seems the religious and moral implications of animals were far more significant than matching a physical likeness in these renderings. Nona C. Flores explains, "By the tenth century, artists were increasingly bound by allegorical interpretation, and abandoned naturalistic depictions."

• Jabberwocky

In classical mythology, the Minotaur was defeated by the hero Theseus .

• Fearsome critters
• Lists of legendary creatures
• List of legendary creatures by type
• List of cryptids
• Non-physical entity
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African mythical creatures: a guide to folklore monsters.

African mythology is a rich tapestry woven with diverse tales of mythical creatures and folklore monsters , each embodying the continent's profound cultural heritage and storytelling traditions.

These entities, ranging from benevolent guardians to fearsome beasts, play pivotal roles in explaining natural phenomena, teaching moral lessons, and entertaining listeners across generations.

This article delves into the heart of African lore, shedding light on the significance of these mythical beings within various communities. It offers a glimpse into how these stories reflect societal values, fears, and aspirations while highlighting the creativity and depth of African narratives.

Key Takeaways

• African mythical creatures and folklore monsters showcase the continent's rich cultural diversity and deep-rooted beliefs, reflecting the unique environments and societies from which they originate.
• Geographical factors play a significant role in shaping African mythology, with creatures often embodying the fears, challenges, and characteristics of their local landscapes.
• West African myths , such as those involving the Tokoloshe, highlight the interconnectedness of the spiritual and physical worlds in African culture.
• Creatures like the Kholomodumo, Abada, and Inkanyamba demonstrate the variety of African mythological beings, ranging from fearsome dragons to benevolent unicorns and monstrous eels.
• The themes present in African folklore, including protection, morality, and the natural world, offer valuable insights into the values and worldviews of African societies.
• Understanding African mythical creatures can enrich our appreciation of global mythology and folklore, revealing the universal human fascination with the mysterious and supernatural.

The Diversity of African Mythical Creatures

Benevolent spirits.

African mythical creatures are not all scary. Some are friendly and helpful. These benevolent spirits often protect people or nature.

Many cultures across Africa have tales of guardian spirits. They watch over forests, rivers, and communities. For example, the Mami Wata are water spirits believed to bring good fortune in West Africa.

These positive beings show how diverse African mythology is. Not all mythical creatures want to harm humans. Many want to help or guide us.

Malevolent Monsters

However, there are also terrifying monsters in these stories. They represent fears and dangers present within different environments.

The Ninki Nanka is a feared creature from West African folklore. It's said to live in swamps and rivers, causing illness or death to those who see it.

Such malevolent beings serve as warnings or lessons within their cultures' narratives.

Ecosystem Influence

The variety of ecosystems across Africa shapes its mythological creatures too.

• Rainforests
• Mountains Each environment has unique myths tied to it.

In the Sahara Desert, legends speak of giant serpents guarding precious treasures. Meanwhile, Central African rainforests are home to stories about Mokele-mbembe, a dinosaur-like beast. This shows how local landscapes influence mythical tales.

Cultural Impact

Africa's rich tapestry of languages and cultures also plays a role in its folklore diversity.

• Over 2,000 languages spoken
• Numerous ethnic groups Each group contributes its own myths and legendary creatures.

For instance:

• Egypt's ancient civilization brought us gods with animal heads.
• The Yoruba people from Nigeria tell stories about shape-shifting witches known as Aje .

This cultural mix makes African mythology incredibly varied and fascinating.

Geographical Influence on African Mythology

Desert myths.

African deserts, vast and harsh, are home to unique mythical creatures. These beings have adapted to the extreme conditions. They often possess abilities that help them survive in such a dry environment.

One popular desert myth involves creatures that can go without water for months. They also navigate the endless sands with ease. Some tales tell of giant serpents guarding precious oases, hidden from the unwise traveler.

Desert myths serve as cautionary tales too. They teach respect for nature's power and scarcity of resources.

River Legends

Rivers are lifelines in Africa, surrounded by folklore rich in water-dwelling entities. These stories vary widely across different cultures and regions.

In riverine myths, creatures often embody the dual nature of water: life-giving yet dangerous. For instance, Mami Wata is a well-known figure across many African cultures, revered and feared for her beauty and power.

These legends highlight community values around rivers as sources of sustenance but also potential peril.

Mountain Lore

The mountains of Africa are not just physical landmarks; they're storied peaks where sky-high dwellers reside according to local lore.

Legends speak of gods living atop these heights, overseeing their lands below. There are also tales about fierce protectors or guardians who ensure the mountains remain undisturbed by humans.

Mountainous areas inspire awe and reverence through these stories. They remind people of nature's majesty and mystery.

West African Mythical Creatures Explored

Mami Wata is a powerful water spirit in West African folklore. She symbolizes wealth, beauty, and the mysterious power of the sea. People believe she can bring fortune to those who worship her. However, she also demands respect and can be vengeful if ignored.

Stories describe Mami Wata as half-human and half-fish, similar to mermaids in Western tales. She is often depicted with long hair, holding a mirror or comb. These objects signify her vanity and connection to the physical world.

Anansi the Spider

Anansi is one of the most famous characters in West African stories. He's a spider known for his intelligence and cunning nature. Anansi uses his wit to outsmart others, sometimes for good reasons but other times for his own gain.

His tales were so captivating that they spread across continents through oral tradition during the slave trade era. Today, Anansi stories are part of many cultures worldwide.

Anansi represents wisdom and survival instincts . His ability to turn situations around using clever tactics teaches important life lessons about problem-solving.

Adze Vampire

The Adze is a terrifying creature from Ewe folklore found in Togo and Ghana regions of West Africa. By day it appears as an ordinary human being but by night turns into a firefly-like entity preying on unsuspecting victims.

Unlike traditional vampires that suck blood directly from their victims' necks, an Adze feeds off people's life force when it transforms into its insect form making it nearly undetectable while causing harm.

This creature embodies fear among communities regarding unseen dangers lurking within familiar surroundings.

The Cultural Significance Behind African Creatures

Moral lessons.

African mythical creatures and folklore monsters often teach important life lessons. These stories are passed down through generations. They highlight virtues like honesty, bravery, and wisdom.

For example, Anansi the Spider from West African folklore uses his wit to achieve goals. But his tales also warn against greed and deceit. Children learn these values by listening to the stories.

Another creature is the Tokoloshe from Southern Africa. It teaches about the consequences of evil actions in a very visual way.

Natural Phenomena

Many African myths explain natural events or phenomena that people didn't understand long ago. Before science could explain things like weather changes or eclipses, myths filled in the gaps.

The Mami Wata spirits represent water bodies' mysteries across various African cultures. They embody both generosity and wrath, much like rivers can be both life-giving and dangerous.

In East Africa, tales of dragons might have been inspired by dinosaur fossils found there before people knew what they were.

Rituals Importance

Folklore monsters and creatures play big roles in rituals too. These ceremonies connect communities with their history and environment.

In Egypt, the ancient god Anubis guided souls to the afterlife during funeral rites. This showed how deeply mythology was woven into daily life even during times of grief.

The Zulu nation has a strong tradition of invoking ancestors' spirits for protection or guidance. This practice involves recounting tales where mythical beings interact with humans directly.

Kholomodumo and Tokoloshe Unveiled

Kholomodumo monster.

Kholomodumo has its roots deep in the folklore of the Sotho people. Its name literally translates to "the swallower," hinting at its monstrous appetite.

This monster is said to have been born from the blood and meat of victims devoured by a demon. According to legend, this demon was summoned by Thakáne, a woman scorned by her family and society. It's described as having a grotesque body that expands with every victim it consumes.

Interestingly enough, it's believed that this monster can change its form at will. This ability allows it to lure unsuspecting prey into its trap before revealing its true form.

Tokoloshe Sprite

Tokoloshe is another fascinating figure from African mythology . It resembles a dwarf but has connections to water spirits.

It's known for causing mischief rather than harm, making it quite different from Kholomodumo. People believe that placing bricks under one’s bed can protect them from Tokoloshe, as it keeps them elevated above the ground where this sprite roams.

Despite its mischievous nature, some see the Tokoloshe as a protector against evil spirits.

Both these creatures showcase the diversity of African mythical beings :

• Kholomodumo represents fearsome power and unstoppable destruction.
• Tokoloshe , on the other hand, embodies trickery and protection in an unusual form.

They both hold lessons about facing our fears:

• Bravery can overcome even the most daunting challenges.
• Wisdom and caution are necessary to navigate life's tricky paths.

These stories have been passed down for generations, enriching Africa's cultural tapestry with tales of bravery, wisdom, and supernatural powers.

Abada the Unicorn in African Folklore

Magical abilities.

The Abada is unlike any creature you've heard of before. It's smaller than a typical horse and has two horns instead of one. These aren't just for show, though. The horns have special powers.

People believe these horns can stop poison from harming anyone. Imagine drinking something bad, but then being okay because of the Abada's horn! This makes the Abada very important in stories and beliefs.

The Abada stands for more than just its magical abilities. It is a symbol of purity and protection in many tales.

Because it can neutralize poison, people see it as a protector against evil or harm. Its presence means safety and peace to those who believe in its power.

The Cockerel-Crowing Snake and Ninki Nanka

Cockerel-crowing snake.

The Cockerel-Crowing Snake is a creature wrapped in mystery. It is said to bring warnings of danger or even death. This snake stands out because it makes a sound similar to a cockerel's crow. People believe hearing this sound means something bad will happen.

Many stories describe the snake as elusive, rarely seen but often heard at dawn or dusk. Its unique call sends shivers down the spine of those who hear it, reminding them of the thin line between life and death.

Ninki Nanka

On the other hand, the Ninki Nanka presents another facet of African mythical creatures. It resembles a dragon and is known for causing illness to those who encounter it or even just see it from afar.

Legends say that seeing the Ninki Nanka can result in severe sickness or misfortune, making people extremely cautious about venturing into areas where it might live. Despite numerous accounts, its exact appearance remains unknown, adding layers to its mystique.

Both these creatures share common ground with Abada, introduced earlier as an African unicorn offering protection against poisons and evil spirits. Unlike Abada’s benevolent nature, however, both the Cockerel-Crowing Snake and Ninki Nanka are feared for their ominous associations.

• Common Traits:
• Mystery surrounds them.
• Associated with negative outcomes (danger/death/illness).
• Rarely seen but deeply ingrained in folklore.
• Differences:
• Abada offers protection; these creatures herald harm.
• They occupy different spaces within African mythology's spectrum from benign to malevolent entities.

These tales reflect not just fear but also respect for nature's power and mysteries within African cultures. They serve as reminders of unseen forces around us—some protective like Abada while others perilous like our subjects here.

Inkanyamba The Carnivorous Eel

Mythical origins.

The Inkanyamba is a legendary serpent, deeply rooted in South African folklore. It's said to dwell in lakes, emerging only to feed or mate. Unlike the Cockerel-Crowing Snake and Ninki Nanka from previous tales, this creature leans more towards aquatic mystery.

Legends describe it as massive, easily mistaken for a giant eel. Its size alone sparks fear among those who know of it. The Zulu and Xhosa people have passed down stories of its sightings for generations. These tales often emphasize its connection to water bodies.

Storms and Seasons

Inkanyamba is not just any mythical beast ; it holds power over nature itself. Believed to influence weather patterns, this creature is particularly linked with storms and seasonal changes.

During mating season, its destructive potential skyrockets. Villagers living near lakes where Inkanyamba is rumored to reside report increased storm activity during these periods. Such events are seen as omens or warnings by locals.

It's fascinating how this one creature can embody both physical might and control over elements like weather.

Fear Among Locals

For people living close to lakes believed to be homes of the Inkanyamba, life includes respect mixed with fear for this entity.

They avoid certain areas at times thought to be significant for the creature’s mating rituals. This precaution stems from fears of provoking its wrath or becoming unintended victims of its fury.

Stories circulate about sudden whirlpools or unexplained waves on otherwise calm waters—each attributed to movements of the lurking giant below.

Comparisons

Drawing parallels between the Inkanyamba and other creatures discussed previously reveals diverse beliefs across cultures regarding mythical beings connected with natural phenomena.

• Inkanyamba: Associated with water bodies; influences storms
• Cockerel-Crowing Snake: Known for unique sound; symbolizes warning
• Ninki Nanka: Brings illness; feared yet elusive

Each tale reflects societal attempts at explaining uncontrolled aspects of their world through personified forces.

Kongamato The Flying Monster

Creature description.

Kongamato is often described as a creature straight out of prehistoric times. It resembles pterosaurs , with large wings and a beak full of sharp teeth. Its most striking feature might be its glowing red eyes that pierce through the darkness.

People say they have seen this beast soaring above rivers at dusk. They describe it as having leathery wings spanning several feet across. This image aligns closely with ancient reptiles known from fossils.

Habitat Mysteries

The deep caves along riverbanks in Zambia, Angola, and Congo are believed to be the home of Kongamato. These areas are remote and largely unexplored by humans. This has allowed myths about various creatures to flourish.

Locals avoid these caves for fear of encountering Kongamato or disturbing its rest. The belief is strong that these caves serve as gateways to realms filled with African mythical creatures and folklore monsters.

Attacks on Humans

There are tales of Kongamato attacking boats and people near rivers at twilight. Witnesses claim this creature dives down suddenly from the sky, causing chaos among those below.

Such attacks add an eerie layer to evening activities around these rivers. People now take precautions when they need to approach water bodies after sunset.

Kongamato holds a significant place in local legends alongside other African mythical creatures like Inkanyamba.

• Both are feared yet respected.
• Their stories pass down through generations.

These tales not only entertain but also teach respect for nature's mysteries.

Impundulu The Lightning Bird

Supernatural powers.

The Impundulu Lightning Bird is a fascinating creature. It holds the power to summon thunderstorms. This bird is not just an ordinary bird, it has supernatural abilities.

When it flaps its wings, lightning flashes across the sky. Its cry heralds the coming of rain. People believe it can call upon storms at will.

Another intriguing aspect of this mythical creature is its ability to transform into a human being . This transformation adds a mysterious layer to its existence.

Witchcraft Association

Many associate the Impundulu Lightning Bird with witchcraft and omens. It's believed that witches can control these birds.

They use them as messengers or spies. The presence of an Impundulu often signals bad luck or misfortune looming over someone or something.

Omens & Beliefs

People regard sightings of the Impundulu as significant omens.

• If seen flying overhead, disaster might strike.
• A cry heard at night could mean an ill omen for someone in the community.

These beliefs instill fear but also respect towards nature’s mysteries among locals.

Comparing this with Kongamato , another African mythical creature discussed earlier, we find interesting parallels and contrasts in how different cultures perceive mythical creatures as part of their folklore narrative—each serving distinct roles within their respective mythologies yet both deeply rooted in natural phenomena like storms and rivers.

Popobawa The One-eyed Bat Monster

Night attacks.

The Popobawa is feared for its nocturnal attacks . This creature preys on communities under the cover of darkness. Its presence brings terror to those who believe in its existence.

People report waking up to a feeling of an ominous presence in their homes at night. The fear is so intense that some individuals refuse to sleep alone during periods when the Popobawa is said to be active. They gather in groups, hoping there's safety in numbers.

Shape-shifting Ability

One of the most unsettling aspects of the Popobawa is its ability to shape-shift into human form. This beast can transform itself, making it hard for people to trust even those they know.

There are stories where the Popobawa appeared as an old woman , tricking villagers into letting their guard down. Other tales describe it taking on a more humanoid appearance, blending seamlessly with humans until choosing to reveal its true nature.

Mass Hysteria

Sightings of the Popobawa often lead to episodes of mass hysteria within communities. The mere rumor of its presence can cause widespread panic and fear.

In some cases, entire villages have been consumed by frenzy, with residents staying awake all night and sharing stories about encounters with this fearsome creature. The psychological impact cannot be understated; it disrupts daily life and instills a profound sense of unease among those affected.

Ammit The Demon

Demon origin.

Ammit was not just any creature. She combined traits of a crocodile, lion, and hippopotamus. These animals were among the most dangerous in ancient times.

The people saw her as a powerful demon. They believed she lived near the scales of justice in the afterlife. Here, she had a crucial role.

Afterlife Judge

Her main job was scary but important. She devoured the hearts of those who failed their judgment after death.

This made her a symbol of ultimate punishment. If someone's heart was heavy with wrongdoings, Ammit would eat it.

Ammit's appearance scared many people. It reminded them to live right or face consequences after death.

She stood for balance and fairness too. Only those who did wrong feared her.

Unlike Popobawa, Ammit didn't attack living humans directly. Popobawa hunted at night while Ammit waited in the afterlife. Both creatures taught lessons about morality through fear.

Themes Among African Mythological Creatures

Good vs evil.

African myths often showcase a battle between good and evil . This is not just about heroes fighting villains. It's deeper. Many creatures embody these conflicts within themselves, showing that everyone has both light and dark sides.

For example, consider Ammit from Egyptian mythology. She wasn't purely evil despite her fearsome role in the afterlife. Her existence was crucial for maintaining balance and order. This teaches us that what might appear malevolent at first glance can have an essential place in the world's harmony.

Another tale involves Anansi, the spider from Akan folklore. He often blurs the lines between right and wrong through his actions, demonstrating how wisdom and cunning can serve both noble and selfish ends.

Power of Nature

Nature plays a significant role in African folklore, with many creatures symbolizing its dominance over humanity.

The Mngwa or "the strange one" from Tanzania is a great example. Described as a massive feline beast, it reminds people of nature's unpredictability and power. Such stories were likely inspired by real encounters with animals in the wild, emphasizing respect for nature’s sovereignty.

Similarly, the South African Inkanyamba is said to be a huge serpent-like creature inhabiting lakes. Its mood affects weather patterns—calm when pleased but capable of unleashing storms when angered. These tales highlight how deeply interconnected humans are with natural forces around them.

Lessons Learned

Many African mythical creatures teach important life lessons on morality, bravery, and wisdom through their stories.

• Morality : The story of Adze from Ewe folklore warns against envy and greed by depicting Adze as a vampire-like being that preys on those who harbor such feelings.
• Bravery : The legend of Nyami Nyami represents courage amidst adversity; this Zambezi River god helped his people overcome challenges during times of separation.
• Wisdom : Anansi’s tales again come into play here; they often conclude with morals about using intellect over brute strength to solve problems.

These themes aren’t just ancient history—they continue to influence modern culture across Africa today.

Impact of Myths on Modern Culture

Literature influence.

African mythical creatures and folklore monsters have deeply influenced contemporary literature . Authors weave these beings into their stories, giving readers a taste of Africa's rich cultural heritage. This not only entertains but educates about African traditions.

Books like "Children of Blood and Bone" by Tomi Adeyemi draw heavily from African myths. They bring to life the tales that have been passed down through generations. Such literature helps in preserving these stories for future generations.

Movie Magic

The movie industry has also embraced African folklore, creating films that highlight mythical creatures from the continent. These movies often blend traditional beliefs with modern storytelling techniques.

For example, "Black Panther" showcases Wakanda, a fictional African country rich in culture and mythology. The film introduces viewers worldwide to elements inspired by various African cultures and mythologies, making it a global phenomenon.

Artistic Expressions

Art forms beyond literature and movies find inspiration in African myths too. Paintings, sculptures, and digital art depict characters and narratives from these ancient stories.

Artists use their creativity to interpret myths in new ways. This keeps the folklore alive while allowing contemporary audiences to connect with it visually.

Festival Revivals

Festivals celebrating African heritage are pivotal in reviving interest in mythical creatures and folklore monsters. These events often include storytelling sessions where elders share tales with younger generations.

Such festivals help maintain a link between past and present societal norms while honoring cultural roots.

Storytelling Inspiration

Modern storytellers look to Africa’s vast array of myths for fresh narrative ideas. They borrow structures or themes from these tales to craft compelling content across different media platforms.

In doing so, they contribute to keeping this aspect of culture relevant today. This shows how adaptable traditional narratives can be when integrated into current perceptions.

By embracing the richness found within African mythical creatures and folklore monsters, modern culture finds endless possibilities for innovation. These ancient narratives continue shaping our world, providing valuable insights into human nature and society's evolution over time.

Learning from African Mythological Stories

Respect for nature.

African mythical creatures and folklore monsters often embody the forces of nature. These tales teach us to respect these forces. They show how powerful and unpredictable nature can be.

Many stories feature characters who must learn to coexist with their environment. For example, a tale might tell of a village that angers a river spirit. The villagers face floods until they learn to respect the river's power. Such stories are not just entertainment. They carry deep moral lessons about living in harmony with the world around us.

These narratives also highlight how our actions can impact nature. They encourage us to think before we act, reminding us of our responsibility towards Earth.

Cultural Heritage

The oral traditions of Africa are rich with legends and tales passed down through generations. These stories are vital pieces of cultural heritage.

They offer insights into past ways of life, beliefs, and values. By preserving these tales, we keep alive the wisdom of ancestors for future generations.

Understanding mythology helps appreciate different cultures' complexities and diversities better.

It fosters respect for traditions different from our own, promoting multicultural understanding.

Human Behavior Insights

Mythology often explores themes related to human behavior and morality.

Through allegorical tales featuring mythical creatures or monsters, listeners learn about virtues like bravery, honesty, and kindness.

For instance, a story may revolve around a hero facing a fearsome monster representing greed or envy.

By overcoming this challenge through courage or wit, the hero teaches listeners valuable lessons about overcoming negative traits within themselves.

• Moral Lessons: Many myths serve as cautionary tales warning against hubris or selfishness.
• Natural Phenomena: Some myths explain natural events like storms or eclipses through narrative devices involving gods or supernatural beings.

The exploration of African mythical creatures and folklore monsters reveals a rich tapestry of stories that reflect the continent's diverse cultures, histories, and environments. These tales, ranging from the protective Abada to the ominous Popobawa, serve not only as entertainment but also as vehicles for imparting moral lessons and understanding natural phenomena.

They highlight the deep connection between the people and their land, showcasing how geography and cultural beliefs shape the mythology that permeates African societies.

The significance of these myths extends beyond mere folklore; they contribute to the identity and heritage of communities, influencing modern culture and offering insights into ancient wisdom. Readers are encouraged to delve deeper into these stories, fostering an appreciation for the complexity and beauty of African mythology.

Frequently Asked Questions

What are some common themes among african mythical creatures.

African mythical creatures often embody natural elements and moral lessons, highlighting the interconnectedness of humans with nature and the consequences of moral actions.

How does geography influence African mythology?

Geography shapes African mythology by integrating local fauna, landscapes, and climate into the folklore, making each region's myths unique to its environment.

Can you name a mythical creature from West Africa?

The Tokoloshe is a notable West African mythical creature. It is believed to cause mischief and harm unless appeased or warded off.

What significance do mythical creatures hold in African cultures?

In African cultures, mythical creatures serve as symbols for societal values, fears, and aspirations. They play crucial roles in teaching morals and explaining natural phenomena.

Who is Kholomodumo in African folklore?

Kholomodumo is depicted as a massive beast that consumes everything in its path. It symbolizes insatiable greed and the dangers it poses to society.

Is there an equivalent of a unicorn in African folklore?

Yes, the Abada is considered the unicorn of African folklore. Unlike its Western counterpart, it has two crooked horns instead of one straight horn but shares similar purity attributes.

How do myths impact modern culture in Africa today?

Myths continue to shape cultural identities, artistic expressions, and spiritual practices across Africa. They also offer valuable insights into traditional beliefs for younger generations.

About the Author

With over 20 years of experience in various narrative mediums, Gil Santos is the singular mind behind Culture Bay. His journey began as a lyricist and web developer, later expanding into crafting dynamic conference presentations and engaging YouTube sketches. This diverse background has allowed him to hone his storytelling skills across different fields. Santos' lifelong passion for sci-fi and fantasy, combined with his knack for interactive storytelling, culminate in Culture Bay - a fusion of innovative ideas and engaging narratives intended for all to enjoy.

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Mythical Creatures Essay Example

• Pages: 9 (2439 words)
• Published: March 8, 2017
• Type: Essay

Bungisngis is a one-eyed giant that is found in Philippine folklore. This giant lives in Meluz,Orion,Bataan. Bungisngis is described as a one eyed giant who is always laughing. [1] The literal meaning of the name Bungingis is derived from the Tagalog word ngisi which means "to giggle". [2] The Bungisngis has a humanoid shape. It has large teeth which are always showing, and its upper lip covers its face when it is thrown back. Two long tusks project from the side of its mouth. The giant only has one eye, which is found in the middle of its forehead,[1] but this is compensated by its strong sense of hearing.

It has also displays unusual strength. In the Filipino tale "The Three Friends - The Monkey, The Dog and The Carabao, The giant is able to lift the carabao and throw it with s

uch force that it ends knee-deep in the ground. [3] However, despite its strength, the bungisngis is easily outwitted and quickly panics. [4][5] In the tale of the Three Friends, Monkey's tricks led him to his death. [3] Duwende are goblins, hobgoblins, elves or dwarfs (Spanish: duende "golbin, elf, charm" ; "duen de (casa)", owner of the house).

They are little creatures who can provide good fortune or bad fate to humans. 1] In the Philippines, duwendes frequently live in houses, in trees, underground, termite like mound or hill, and in rural areas. They are known to be either good or mischievous, depending on how homeowners treat them. They usually come out at 12 noon for an hour and during the night. Filipinos always mutter words ("tabi-tabi po" or "bari-bari apo ma ka ilabas kam

apo") asking them to excuse themselves for bothering the Duwendes. Filipinos would leave food on the floor, so that the duwende residing (or guarding) the house would not be angry with them.

They also take your things,and laugh at you when you try to find it. They give it back when they feel like it,or when you tell them to please give it back. Ekek Ekek are creatures who are bird-like humans. They are winged-humans who at night search for victims. They hunger for flesh and blood. In American Literature, it is like a vampire. In Philippine mythology, Ekek (or Ek Ek) are creatures who are bird-like humans. They are winged-humans who search for victims at night. They hunger for flesh and blood.

They are usually described by old folks as flying creatures that look like the Manananggal but are unable to divide or split their body. Apart from the Manananggal, they are also associated to the Wak Wak because of some similar characteristics. The only difference between a Wak Wak and Ekek is that Ekek has a bill like birds whereas the Wak Wak has none. [1] The Ekek can transform into a huge bird/bat at night and prowls. Similar to the Manananggal, the Ekek looks for sleeping pregnant women. Then it extends a very long proboscis into the womb and kills the fetus by draining its blood.

It is said that while this is taking place, a "ek-ek-ek" sound is often heard. The Ekek fools people into thinking it is far by producing a faint sound when it is actually near. [2] Mambabarang (summoner) is a witch who uses insects and spirits to enter the body

of any person they hate. [citation needed] A Mambabarang is a kind of a mangkukulam. Mambabarangs are ordinary human beings with black magic who torture and later kill their victims by infesting their bodies with insects. They are different from Mangkukulams - the latter only inflict pain or illness.

Mambabarangs use a strand of hair from their chosen victim and tie it to the bugs or worms which they will use as a medium. When they prick the bug, the victim immediately experiences the intended effect. Manananggal is an aswang that can fly after separating itself from the lower half of its body. It eats babies and fetuses from a mothers womb. It eats babies by means of passing their long tongue through a small hole from the roof of a house. The sharp end of the tongue touches the mother's navel to suck the blood of the fetus or unborn child. 7]

This creature's name was derived from the Filipino word, tanggal, which means "to separate" because of the manananggal's ability to separate itself from its lower body. [1] A manananggal can also be a sorceress that visits villages and barrios. To feed, the self-segmenter chooses an isolated place where she will leave her lower torso while she hunts at night. When she separates from her lower torso, she then gains her ability to fly. She then goes off in search of houses where pregnant women reside. Upon choosing a suitable victim, the Manananggal alights on the house and inserts her tongue through the roof.

The tongue is long, hollow and extremely flexible. She uses it to puncture the womb of the sleeping woman and to suck

out the fetus. At other times, she seduces men with her beauty and lures them to a private place before eating them alive. She usually eats the insides, like the heart, stomach or the liver. Sunlight is deadly to the Manananggal when she is in her monstrous form. Should her two halves still be separate with the coming of dawn, she will be destroyed. According to legend, to destroy the Manananggal, one should search for the lower torso that she leaves behind during her nightly hunts.

Salt, ash, and/or garlic should then be placed on the exposed flesh, preventing the monster from combining again and leaving it vulnerable to sunlight. Small containers of salt, ash and raw rice, and the smell of burning rubber are said to deter the Manananggal from approaching one's house. Mangkukulam or bruha (from Spanish: bruja, "witch") are witches, wizards, bruho (Spanish:brujo, "wizard, male witch"), or sorcerers who cast evil spells to humans. This bewitcher is also called manggagaway. [1] The Mangkukulam uses dark magic.

The difference between a mambabarang and a mangkukulam is that the mambabarang uses magical insects to bring harm to his victims. These insects are released after incantations, when they will search for their supposed victim and burrow under the skin, impregnating her. After some time, matruculans return to the house to kill the pregnant mother, open her abdomen, and eat the growing fetus. Mangkukulam From WikiPilipinas: The Hip 'n Free Philippine Encyclopedia Jump to: navigation, search The Mangkukulam is the Filipino equivalent of a western witch or sorcerer, the name deriving from the word kulam.

Another term is brujo ('bruho' for warlocks), bruja ('bruha' for witches ). The verb

kulamin (/koo-lah-min/) means "to place a hex". And a curse in Filipino is a sumpa (/soom-pah/). Activities Mangkukulam uses “black magic” to do harm to others. He/she starts the ritual with a spell, incantations or prayer. With the use of manyika (doll or in other call are antiqrwa)this doll is said to be powerful and this is use in ancient filipino, afrikan and carraibian and needles by pricking the dolls body causes the victim to feel immense pain in the part of the body which has been pricked.

To kill a victim, the mangkukulam pricks the doll in the heart or on certain vital organs. In order for a kulam to be effective, one must obtain a certain personal body parts or belongings of the person you want to cause pain to (e. g. hair). Usually, one can get the service of a mangkukulam by bribing. Superstitious folks still attribute certain illnesses or diseases to kulam. This most often happens in the provinces, where an herbal doctor, albularyo (/al-boo-lar-yoh/), treats them. In some rural areas, people completely rely on tSample spell To summon rain: “ |Mamumuo ang ulap, didilim ang kalawakan; sa kapangyarihan ng tatlong ulit na espiritu luluha ang sangkatauhan. |” | Clouds will form, the sky will blacken; with the power of the three spirits the people of the earth shall wail. to stop the rain: "hindi na mamumuo ang ulap, liliwanag na ang kalawakan; sa kapangyarihan ng tatlong ulit na espiritu hindi na luluha ang sangkatauhan. " he albularyo to reverse the witches' spell. Multo, the Tagalog word for ghost, comes from the Spanish word muerto, which means "dead". Superstitious Filipinos believe that

some kind of multo, often a spirit of their former kin, regularly visits them.

Nuno sa punso (literally, goblin of the mound) are goblins or elves who live within mysterious lumps of soil (ant hills). They can provide a person who steps on their shelter with good luck or misfortune. [1] Superstitious Filipinos, when passing by a mound, will ask the resident nuno's permission to let them pass with the phrase, "Tabi-tabi po". Strange and sudden illnesses that befall a person are sometimes attributed to nunos. [edit] Pasatsat Pasatsat is word rooted on the Pangasinense word satsat, meaning "to stab". Pasatsats are ghosts of people who died or were killed in the Second World War.

Coffins during the time were so expensive, so the families of the dead wrapped the corpses in reed mats or icamen. The dead were buried in places other than cemeteries because tomb robberies were rampant during that era of extreme poverty. These ghosts usually show up in solitary paths and block passersby. To get rid of such a ghost, one needs to stab (hence pasatsat) the reed mat and unravel it, but doing so will show no presence of a corpse, although the mat will emit a noxious odor, much like that of putrid flesh The Santelmo (St. Elmo's Fire) is a creature of Philippine mythology.

The term santelmo is the shortened form of the Tagalog words"Apoy ni San Elmo "-"St. Elmo's Fire". St. Elmo's Fire has long served as an omen of heavenly intervention to sailors. The ancient Greeks termed a single jet of the fire, Helena, and a double jet, Castor and Pollux. It has also been known by the names

St. Nicholas and St. Hermes, corpusante and Corpus Santos. The name of St. Elmo is attributed to an Italian derivation of Sant 'Ermo or St. Erasmus (circa 300), the patron saint of the early Mediterranean sailors challenging the powers of storm and sea in small sailing vessels. 1] St. Elmo's Fire have ranged from a ghostly dancing flame to natural fireworks. It usually is of a blue or bluish-white colour attached to fixed, grounded conductors and has a lifetime of minutes. The flame is heatless and non-consuming, occasionally accompanied by a hissing sound.

These latter properties promote the myths of spiritual presence. The biblical burning bush that was not consumed may have been displaying one form of St. Elmo's Fire Sirena is a mermaid, a sea creature with a human upper body and a fish tail instead of lower extremities. They attract fishermen and tourists. 1] Sirenas are reportedly often seen ashore by fishermen, especially in the towns bordering the Pacific Ocean. [edit] Siyokoy Main article: Siyokoy (Philippine Mythology) Siyokoy are mermen, sea creatures that have a human form and scaled bodies. The Siyokoy is the male counterpart of the Sirena. The lower extremities of a Philippine merman can either be a fishtail or scaled legs and webbed feet. They could also have long, green tentacles. They drown mortals for food. [citation needed] Siyokoys have gill slits, are colored brown or green, and have scaly skin, comparable to that of a fish.

Tikbalang or tigbalang (demon horse) is a half-man and half-horse creature. It has a horse's head, the body of a human but with the feet of the horse. It travels at night to rape female

mortals. The raped women will then give birth to more tikbalang. They are also believed to cause travelers to lose their way particularly in mountainous or forest areas. [1] Tikbalangs are very playful with people, and they usually make a person imagine things that aren't real. Sometimes a Tikbalang will drive a person crazy. Legends say that when rain falls while the sun is shining, a pair of Tikbalangs are being wed.

Since horses only arrived in the Philippine archipelago during the Spanish colonization (thus, the borrowed term 'kabayo'), there is a theory that the image of a half-horse, half-man creature was propagated by the conquistadors to keep the natives afraid of the night. There are stories claiming that the Tikbalang are actually half-bird, half-man creatures, much like the Japanese tengu. Tiyanak Main article: Tiyanak Tiyanak or impakto are babies who died before receiving baptism rites. After death, they go to a place known as Limbo, a chamber of Hell where unbaptized dead people fall into, and transformed into evil spirits.

These phantasms return into the mortal realm in the form of goblins to eat living victims. The tiyanak can also be the offspring of a woman and a demon. It can also be the aborted fetus, which comes to life to take revenge on its mother. Most Tiyanaks are said to live in forests. If they see a human, they transform into what looks like a normal baby. When the person notices the Tiyanak and comes near to take a look at it, that's when the Tiyanak changes back to its true form and eats its prey. Wakwak Witch or night bird belonging to a witch.

Also said to be a vampire like creature who can take the form of a night bird.

In Philippine mythology, a Diwata or Lambana is a mythological figure similar to fairies or nymphs, although this trivializes the importance of diawata in pre-colonial Philippine culture. 400+ years ago, diawata were seen as gods and goddesses. They were benevolent or neutral and could be called upon ritually for positive crop growth, health, and fortune; however, they also caused illness or misfortune if not given proper respect[1]. They are said to reside in large trees, such as acacia and balete and are the guardian spirits of nature, casting blessings or curses upon those who bring benefits or harm to the forests and mountains.

They have their origin in the Hindu Devata, with the term Diwata originating from the Indonesian Dewata. The term "diwata" has taken on various levels of meaning since its concept's being assimilated into the mythology of the pre-colonial Filipinos. It is sometimes loosely used to refer to a generic type of beings much like "elf" or "fairy," or very specific ones as mentioned above. It has been noted that the term "diwata" is synonymous to "anito," and that the usage of the word "diwata" is more prevalent in the Southern Philippines, while "anito" takes its place in the Northern areas.

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From habitat protection and anti-cruelty laws to discourse about hunting and veganism, animals seem to get a lot of consideration in 21st-century Western culture.

Yet we actually understand many animals far less than our ancestors did, argues Mackenzie Cooley , a doctoral candidate in history who studies how living creatures were collected, designed, bred and trained in Renaissance-era Europe.

Having pets as our only reference to the animal kingdom “sentimentalizes our view of animals and thus impedes our appreciation and stewardship of the natural world,” Cooley argues.

Unlike past eras of European history, including the early modern period Cooley studies, contemporary Western societies afford most people little exposure to animals, except as pets. Cooley’s research explores how the changing ways in which people have viewed animals – from wild to domesticated – “offer vital lessons for mindful interaction with the natural world on both a personal and a public level.”

“We need to stop thinking of nature through the lens of our dog or cat,” an animal “bred to be sympathetic to us,” Cooley observes.

While Cooley says modern animal stewardship efforts may not restore a perfect state of nature, a more active understanding about the “history behind the way we consume, interact with and imagine animals can help us think carefully about future choices.”

As Cooley found by tracing manuscript correspondence and printed treatises in Italian, Spanish, French and Latin from the 16th century, “animals have provided people with ways of imagining their own place in the world, as well as the resources to make the world their own.”

As the curator of the “Beasts & Books” exhibit at Stanford’s Cecil H. Green Library, Cooley aims to reveal the wonder and diversity of our historical relationship to animals via rare books and manuscripts from Stanford collections. The exhibit is on view from April 6 to August 22 in the library’s Peterson Gallery and Munger Rotunda.

“‘Beasts & Books’ expands viewers’ horizons by retracing Western culture’s engagement with animals as sources of power, sustenance, knowledge and status,” Cooley says.

The exhibition was prepared in collaboration with Stanford undergraduates from Cooley’s fall 2014 class, History 29S/Feminist, Gender, and Sexuality Studies 29S: The Animal Other: Humans and Animals in Western History.

Gathered with the help of her students, through books on myth and fable, literature and natural science; on hunting, horsemanship and animal breeding, “Beasts & Books” traces Western culture’s use of animals to explain the world and shape it to human needs.

“How can we understand the needs and logic of those beings outside the pet realm?” Cooley asks. For her and her students, the history of natural history as preserved in books yields an answer.

Mythical animal forces

Cooley and her students examined such issues as vivisection, hunting, animal rights and the foundational role animal husbandry played in the development of natural science. Students published their investigations in the “Beasts & Books” accompanying catalogue, produced with a grant from Stanford’s Program in History and Philosophy of Science .

Albrecht Dürer’s fantastical and iconic woodcut of a rhinoceros, from Conrad Gesner’s Historiae Animalium. (Image credit: Stanford Libraries’ Special Collections)

For centuries, books were themselves animal products, evidence, Cooley notes, of humanity’s utter dependence on animals. The pages were made of vellum, or processed animal skin; the ink was often derived from tree galls, growths caused by insect infestations; book bindings were of leather.

“People in the early modern era lived in close proximity to animals, and our language preserves relics of that time,” she says. We repeat sayings that Renaissance books repeated from ancient times, that foxes are sly and crows are greedy. Cooley notes that we still may observe that “an elephant never forgets,” despite not having knowledge either of elephants or of the first-century writer Pliny the Elder, who first wrote the aphorism down.

In fact, Pliny coined the term “natural history” for his encyclopedic book of that name, and “Beasts & Books” exhibits two copies from Stanford’s Barchas and Rare Book collections, from 1469 and 1582 respectively.

“In 2007, almost 2,000 years after Pliny wrote that elephants are afraid of mice, MythBusters still felt the need to test the persistent rumor,” notes student collaborator Beatrice Garrard.

The rumor’s persistence, Cooley believes, stems from our continuing desire to have animals as powerful, even mythical, forces in human life.

“Beasts & Books” also finds respect for animals in the literature and practice of hunting through the ages.

Items on exhibit include Pauline Hemingway’s handwritten journal of her African hunting safari with husband Ernest Hemingway, whose writing uses the hunt as metaphor for the human pursuit of greatness.

Ernest Hemingway’s writing on the hunt conveys a respect for animals’ power and danger that is hard to glean from today’s pet culture.

Even if we no longer believe in myth, even if we choose not to hunt, Cooley argues that exploring the powerful ways in which people have related to animals restores depth and nuance to our view of nature.

The animal rights debate

A competitive equestrian through her undergraduate career at Cornell University, Cooley’s own connection to animals drew her to horsemanship in literature, particularly since she sees the activity as a prime example of man manipulating animal.

“Beasts & Books” demonstrates, through Denis Diderot’s 1751 Encyclopédie and other texts, horsemanship’s ties to martial and courtly ritual.

For example, “Beasts & Books” exhibits the 1771 The Art of Horsemanship by English courtier Richard Berenger, who warned of overuse of the bit to hyperextend a horse’s neck in quest of the desired shape. Is such manipulation of equine form a perfection of the animal’s inherent qualities, or an imposition of foreign ones? The debate touches not only on animal rights but on the moral limits of humans’ manipulation of the natural world.

Embedded in the molding of a horse to the human will is a debate between human and animal rights that later writers continued.

Anna Sewell’s 1877 Black Beauty, also on view, is considered a classic children’s story, purportedly the autobiography of a horse. Yet Cooley and undergraduate Josiah Paye note that it, too, is an animal rights endeavor. Sewell wrote it as a manual for groomsmen, to encourage them to treat their equine charges humanely. “It’s an Uncle Tom’s Cabin for horses,” Cooley notes.

Romantic poet Percy Bysshe Shelley and antiquary Joseph Ritson also argued for animal rights in their works, on exhibit in “Beasts & Books.” Both vegetarians, they argued that animals can feel and therefore that they should have rights. Shelley’s 1813 essay “A Vindication of Natural Diet,” represented in the exhibit by an 1884 copy, equates consumption of meat with Eve’s eating from the “tree of evil” in Eden. Shelley found the biblical tale of the Fall to be an allegory of the “stress and crime that have flowed from an unnatural diet.”

Ultimately, the texts on exhibit in “Beasts & Books” raise the possibility that animals are fundamentally different than us and thus perhaps beyond human understanding, no matter how advanced our pursuit of knowledge becomes. This, Cooley argues, is in itself an important step in our understanding of “the animal other.”

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Corrie Goldman, Director of Humanities Communication: (650) 724-8156, [email protected]

• Culture , Mythology

Seven Mythical Creatures of India

• October 31, 2022

Move over, werewolves and vampires. There’s a big, richly imaginative and extremely spooky world of desi ghosts, monsters and mythical creatures just waiting to devour…er to be discovered and given their rightful place in popular culture. Some of them can be found crawling through the pages of ancient texts, some adorn temple walls, while the stories of others are told through whispers and hushed songs, their forms changing and twisting with each narration. There are thousands of mythical creatures of Indian origin, but in the interest of space, attention span and potential Halloween costumes, we’ve prepared a list of seven fantastic creatures and where to find them (but hopefully you won’t go looking for them).

The tale of the tekhumiavi or the were-tiger is popular among the Angami tribe of Nagaland. Unlike werewolves, were-tigers don’t transform from human to animal completely. Instead, only the soul of the human shifts to a tiger’s body, while the human body functions normally, albeit soulless for the time being. While in this form, the human behaves just like a tiger, and the human body experiences everything the tiger body does – somewhat like what happens in the Matrix. 

Now, how does one tell a tekhumiavi from a regular tiger? Simple – the were-tiger has five claws instead of four, so you can tell from the pugmarks. So, here’s something to look out for when you’re exploring the hills of Nagaland. 

Penchapenchi

This monster out of Bengali folklore looks like an owl – yes, the dispenser of wisdom in animal stories – but it doesn’t exactly behave like one. A penchapenchi preys on forest dwellers, especially the ones who are foolish to wander off alone. Once the penchapenchi is sure that help is far away, it strikes down its prey and then drains their blood. Whether the victim turns into a penchapenchi (like in the case of a vampire bite) or not is yet to be confirmed.

Navagunjara

A mash-up of nine different animals, the navagunjara makes a special appearance in an Odia retelling of the Mahabharata as a manifestation of Vishnu. Story goes that when Arjuna, one of the Pandava princes, was in the middle of a penance, a strange creature appeared before him. Arjuna’s instinctive reaction, because he was terrified, was of course to point an arrow at it. The creature had the neck and head of a peacock, the hump of a bull, the waist of a lion, and the tail of a snake, and it stood on three different kinds of feet – an elephant’s, a horse or a deer’s and a tiger’s. Its fourth limb was human, which held a lotus. Before he let the arrow fly, Arjuna saw the lotus and realised what the creature truly represented. 

An urban legend, mostly based in Karnataka, demands that the words Naale ba or ‘come tomorrow’ be painted outside houses (with no spelling mistakes, mind) to ward off a witch, who likes knocking on doors at night and murdering whoever’s unlucky enough to open them. Thankfully, the witch’s kryptonite seems to be her own politeness.

Monsters really do have a thing for lone travellers, don’t they? The nishi, found mostly in the forests of Bengal, Bihar and Jharkhand, are particularly vicious because they call out to their potential victims in the voice of their loved ones. Once the victims are lured into a well and truly secluded place, the nishi proceeds to kill them. Because they always appear in the distance, the only description we have of them is that they are shadowy creatures. Fortunately,  there is a way to identify these crafty creatures. If you hear the call thrice, you can rest assured that it’s not a nishi, because the ghost can, well, only be bothered to call out twice. The next time a loved one fondly calls out to you twice, there is no need to respond; flee.

Gandeberunda

You probably already know the story of Narasimha, Vishnu’s hybrid avatar. Evil demon Hiranyakashipu gets a boon from Brahma that makes him practically invincible, which in turn gives him the licence to terrorize everyone. But when he tries to murder his own son, Vishnu decides that enough is enough and vanquishes Hiranyakashipu in the most creative way (you see, all boons come with loopholes) in his Narasimha avatar.

The story doesn’t end there though. Even with Hiranyakashipu out of the picture, Narasimha is still really, really angry, and afraid that his anger issues would destroy the world, the gods beseech Shiva to do something. Of course, the only way to tackle a powerful mythical creature is to turn into a powerful mythical creature yourself. Shiva becomes Sharabha – a half-lion (to match Narasimha, understandably) and half- bird form (the OG Angry Bird) – and manages to subdue Narasimha. The story is still not over, because Narasimha becomes Angrier Bird – taking on the form of Gandeberunda, a gigantic two-headed bird with Hulk-like strength. Sharabha, thankfully, calls it quits after 18 days of fighting and Gandeberunda also finally calms down. This powerful bird happens to be the state emblem of Karnataka, and the Gandeberunda motif can be found in many places in India, including temple architecture.

Bhoota Vahana Yantra

It appears that robots are quite ancient. According to an 11 th -century text, when Buddha died, it fell to King Ajatashatru of Magadha to protect his sacred relics. Ajatashatru concealed the relics in a secret underground chamber in his capital, Pataliputra (now Patna in Bihar). And the warriors who stood guard were automatons, but not just any automatons though. Bhoota Vahana Yantra literally means ‘spirit movement machine’, so these robots had spirits inside them that were responsible for their movements. Needless to say, these robots made excellent guards. 

Storytrails

• Varuna and his vahana, a Makara (cover image) – Public Domain, via Wikimedia Commons
• Tekhumiavi – From rawpixel.com, Public Domain
• Penchapenchi – By Nikhilmore nimo, CC BY-SA 4.0 < https://creativecommons.org/licenses/by-sa/4.0 >, via Wikimedia Commons < https://commons.wikimedia.org/w/index.php?curid=120238575 >
• Navagunjara – By juggadery, CC BY-SA 2.0 < https://creativecommons.org/licenses/by-sa/2.0 >, via Wikimedia Commons < https://commons.wikimedia.org/w/index.php?curid=76531729 >
• Naale Ba – From Pixabay.com 
• Nishi – By kjpargeter, https://www.freepik.com/free-photo/spooky-foggy-forest_936262.htm#query=haunted%20forest&position=0&from_view=keyword >, on Freepik
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Heilbrunn Timeline of Art History Essays

Charles james (1906–1978).

Evening dress

Charles James

"La Sirène"

Wedding dress

Dinner suit

"Clover Leaf"

Jan Glier Reeder The Costume Institute, The Metropolitan Museum of Art

Anglo-American designer Charles James was recognized even in his heyday as a genius in the art of sculpting fabric into inventive fashions. While he produced fewer than a thousand garments over the forty-year span of his career, today he holds cult status in fashion circles, as much for his legacy of unforgettable clothes as for the magnetic force of his complex personality and his unorthodox creative process. Never having had formal dressmaking training, he developed his own methodology based on mathematical, architectural, and sculptural concepts as they relate to the human body. His venturesome and wholly original methods inspired and fascinated his contemporaries as well as the generations of designers and admirers of his fashions who followed.

Early Life and London Career A contemporary of American designers Gilbert Adrian, Norman Norell, and, on the other side of the Atlantic, Christian Dior , James was born in 1906 in Surrey, England, of English and American parentage. His mother hailed from a socially prominent Chicago family and his father was a British military officer. Raised and educated in England, he initiated his design career in 1926, at the age of nineteen, as a milliner in Chicago using the name “Boucheron.” Two years later, he set up a fledgling dressmaking business in New York, where one of his first commissions was to design sporting togs for the actress Gertrude Lawrence. Returning to his British roots in 1929, he began to establish ties with influential figures in London and Paris, which, after several failed attempts, led by the mid-1930s to a viable dressmaking business conducted from 15 Bruton Street, London, and the Lancaster Hotel in Paris. Recognized for his iconoclastic approach to dressmaking, he traveled in circles orbited by artistic and creative luminaries such as Cecil Beaton, Stephen Tennant, Pavel Tchelitchew, Jean Cocteau, and Salvador Dalí. Couturiers Paul Poiret , Elsa Schiaparelli , Cristobal Balenciaga , and Christian Dior were also among his acquaintances and early supporters. Dior in fact attributed his New Look designs to a James idea. These associations profoundly affected James’ artistic development and, on a more practical level, provided the contacts he needed to develop relationships with sartorially adventuresome women from English society. Among these were Mary St. John Hutchinson, writer and mistress of Bloomsbury artist Clive Bell; Anne, countess of Rosse, sister of the set designer Oliver Messel; the dancer Tilly Losch; and the then-debutante Marit Guinness Aschan, who later became a renowned enamelist. During the London/Paris years, James developed a lifelong fascination with complex cut and seaming, creating key design elements and forms that he would use throughout his career—the wrapover trouser skirt, the body-hugging “Sirène” dress, ribbon capes and dresses, spiral-cut garments, front-point drapery, and poufs, examples of which are shown here.

New York Career James left London and moved permanently to New York in late 1939. By 1945, after briefly working for Elizabeth Arden, whose showroom he designed, James had gained sufficient recognition to open his own workroom and salon at 699 Madison Avenue. From there he worked in the pure couture tradition , custom-designing, fitting, and creating new forms for America’s most prominent and stylish women, among them the style-setting heiress Millicent Rogers; the art patron Dominique de Menil; Austine McDonnell Hearst, journalist and wife of publisher William Randolph Hearst Jr.; and the entertainer Gypsy Rose Lee. Although his artistic perfectionism and conflicted psychological makeup led him to behave erratically and irresponsibly in all areas of his life, his clients clamored to be dressed by him and went to great lengths to support him artistically and financially. In a 1957 letter held in the Brooklyn Museum archives, Dominique de Menil wrote to Director Edgar C. Schenck: “My husband and I consider Charles James to be one of the most original and universal designers of this period and in this country. . . . Traveling as we do . . . we are amazed to see how many dresses from the Paris Couture actually can be traced back to Charles James.”

James was at the height of his popularity and productivity in the early 1950s. The culminating design of his dressmaking career was, in his opinion, a 1953 ball gown with an undulating four-lobed skirt known as the “Abstract,” or “Four-Leaf Clover.” Created initially for Austine McDonnell Hearst to wear to the Eisenhower inaugural ball, it merged James’ skills as a sculptor, architect, and engineer in one spectacular statement. Perhaps buoyed by this achievement, he went on to design several equally memorable models in the following two years—the “Butterfly,” “Tree,” and “Swan” gowns, each having profusions of multicolored tulle, and the spare, body-hugging “Diamond,” the structural and formal opposite of the others. Aside from his ball gowns, the outstanding designs of the early 1950s were his innovative sculptural coats produced in association with the manufacturers William S. Popper and Dressmaker Casuals. These associations, like several others, were, however, short-lived, as James’ perfectionism and difficult artistic temperament ran counter to the demands of the ready-to-wear environment. He received prestigious awards from his peers in the fashion industry, including two Coty awards in 1950 and 1954, which cited his masterful skills as a colorist, draper, and sculptor. Neiman-Marcus as well bestowed acknowledgment for his outstanding contributions to the fashion industry in 1953.

In 1952, James expanded his business, moving from his cramped quarters at 699 Madison Avenue to two locations—a workroom at 716 Madison Avenue, where he instituted wholesale manufacturing along with custom work, and a showroom at the highly prestigious address 12 East 57th Street. Despite this success, his reputation began to wane mid-decade as economic woes, brought on by a lifelong pattern of fiscal irresponsibility, endless litigation, and an inability to work within the mainstream fashion industry, engulfed him. He vacated his workshop and showroom in 1958, but continued to work in reduced circumstances, tirelessly perfecting former designs and formulating new ones, and, most significantly, developing projects that would preserve his legacy. The last fourteen years of his life were spent in rooms at the Chelsea Hotel on West 23rd Street, New York’s legendary haven for artists down on their luck. There he maintained a coterie of devoted clients, friends, and admirers with whom he worked and held court until his death.

Summary of Styles and Techniques James’ oeuvre is diverse and complex, the result of a restless creative force that was constantly pushing the boundaries of convention and his own previous accomplishments. Because his designs took many forms with countless variations, they are hard to characterize or classify. Some are elegant and timeless, while others are odd and controversial, having insectlike, vertebral, or other biomorphic features. Some incorporate the essence of modernity, while still others are updated versions of Victorian fashions.

One of James’ credos was that there are a limited number of shapes and silhouettes but innumerable variations on them. He followed this tenet throughout his career by reusing and reworking forms and components once he had developed them, but always in different combinations, a method that resulted in wholly new compositions. No matter what type of garment or shape he was creating, James used the female body as the point of reference rather than the defining factor of his formulation. Some of his designs cleave to the body, relying solely on cut, seams, and inventive ways of manipulating the fabric to achieve style and fit; others enhance and idealize its natural form with interior padding, corsetlike boning, and exterior drapery; and still others reshape the body into fantastic silhouettes that stand away from it. In these latter instances, he used one of two methods to achieve the effect: rigid, confining understructures, often modeled on Victorian prototypes such as the corset, bustle, and crinoline ; or, conversely, perfectly calibrated cut, fabric choice, and variations in placement of grain and seams based on geometric principles . He considered the space between the body and the fabric to be the crucial design focus when planning these standaway shapes. Within all of this diversity there are also constants: James’ offbeat yet sublime color sense, his artistry with combining fabrics having different surfaces and textures, and the exhilarating tracery of seams that follow the curves of the body, dissect it like a knife, or taper into infinity at the end of a dart.

Because they are the epitome of elegance and originality, as much sculpture as glamorous raiment, the incomparable evening dresses James produced between 1947 and 1955 are the designs for which he is best remembered. Yet his tailored suits, coats, and more understated daywear are equal objects of admiration. In these, his methods of achieving precise fit and resolving volumetric and proportional challenges, as well as his seemingly endless variations on collars, lapels, and sleeves, are most apparent, further signifiers of the range and perfectionism of his art.

Formation of the Charles James Collection at the Brooklyn Museum Drawn to the Brooklyn Museum’s reputation for teaching and inspiring new design through accessibility to the collections, James selected it to document his career and care for his legacy. Using his prodigious powers of persuasion, he convinced his most important clients and benefactors—Hearst, Rogers, and de Menil among them—to donate and, in some instances, purchase significant designs representing what he referred to as the “corpus” of his work. He is thereby largely responsible for the museum’s definitive holdings—nearly 200 garments and 600 related materials such as patterns, full sewn muslins, dress forms, and sketches. With the transfer of the Brooklyn Museum’s costume collection to The Metropolitan Museum of Art, this extraordinarily rich trove is now part of The Costume Institute ’s collection.

Reeder, Jan Glier. “Charles James (1906–1978).” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/cjam/hd_cjam.htm (March 2012)

Further Reading

Coleman, Elizabeth Ann. The Genius of Charles James . New York: Holt, Rinehart & Winston, 1982.

Long, Timothy A. Charles James: Genius Deconstructed . Chicago: Chicago History Museum, 2011.

Martin, Richard. Charles James . London: Thames & Hudson, 1997.

Reeder, Jan Glier. High Style: Masterpieces from the Brooklyn Museum Costume Collection at the Metropolitan Museum of Art . New Haven: Yale University Press, 2010.

Additional Essays by Jan Glier Reeder

• Reeder, Jan Glier. “ Elsa Schiaparelli (1890–1973) .” (May 2011)

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