They were here and might return
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They were here and might return
Journeying the realms of virtu-reality where wo-man strives to decipher the conundrum........Note that: 1) may contain content inappropriate or scary for children. 2)In my ken, all beings thought of being gods are entities from other dimensions with supernatural powers way beyond regular human capacity. This made many people who experienced their presence misconcept them as gods, demi-gods, and.....Things are going to change when proportion of us evolves into 'luminous'
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Astghik, Astghig, Asya, Astghik, Astlik

Astghik, Astghig, Asya, Astghik, Astlik | They were here and might return |

In the earliest prehistoric period Astghig, commonly referred to as Astlik, had been a patron for fertility, love, maidenly beauty, and water sources and springs....Later the skylight had been considered her personification, and she had been the wife or lover of Vahagn...

Her name is the diminutive of Armenian astġ, meaning "star", which through Proto-Indo-European *h₂stḗr is cognate to Sanskrit stṛ, Avestan star, Pahlavi star, Persian sitara´, Pashto storai, Latin and Italian stella and astro, French astre, Spanish astro, German stern, English star, etc...

Among all the Semitic beings which found their way into the Armenian pantheon, none attained the importance that was acquired by Astghik, especially in Tarauntis.

In spite of the presence of Anahit and Nana--two goddesses of her own type and therefore in rivalry with her--she knew how to hold her own and even to win the national god Vahagn as her lover.

It is now impossible to reconstruct the mythos that was at the basis of all this. It may be that we have here the intimate relation of a Syrian Ba'al to Astarte.

It may also be that the mythos is purely Greek and reflects the adventures of Ares with Aphrodite, for Astghik was called Aphrodite by Hellenizing Armenians...

Hoffman recognized in the Armenian name Astghik (which means "little star") a translation of the Syrian Kaukabhta, a late designation of Ashtart (Ishtar) both as a goddess and as the planet Venus. The latter is no more called Astghik by the Armenians, but Arusyak, "the little bride," which is an old title of Ishtar, "the veiled bride," and shows that the Armenians not only identified the planet Venus with their goddess Astghik, but were familiar with one of her most important titles...

In view of their essential identity it was natural that some confusion should arise between Astghik and Anahit.

Supportive Resources:

See Anahit:

See Ba'al:

See Ishtar:

See Ares:

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Tiddy Mun

Tiddy Mun | They were here and might return |


It is said that long before the Dutch drained the marshland in Lincolnshire (UK) known as the Carrs, through which the River Ancholme flows, a race of supernatural creatures  lived in the wetlands around places like Brigg, Broughton and Hibaldstow.


The Tiddy Mun dwelt deep down in the green water holes and came out at evening when the mists rose.


When he came out he came creeping like a limping lobelty with long white hair and a beard that was all matted and tangled all sheathed in grey so he could not easily be seen in the dark.


But his whistle could be heard like a peewit laughing into the wind.


He was not wicked like some of the others, but was eerie enough. But on wet seasons when the water rose to the people's doorsteps, the whole family would go out together and, shivering in the darkness, would call:


Tiddy Mun wi'out a name
Tha watter's thruff


And they would call this until the heard the whistling like a peewit across the marsh, and then they'd go home.


Next morning the waters would be down.


But then it was decided to drain the marshes, though the farmers would not have anything to do with it, for what would Tiddy Mun do then?


But ditches were dug and the land got drier and drier and Tiddy Mun grew angry.


Then the cattle began to die, and milk curdled and children pined and died in their mothers' arms. And they didn't know if it was the bogles or Tiddy Mun himself, so they all took a stoup each of water and came to the dyke edge and and poured the water out together chanting:

Tiddy Mun wi'out a name
Here's watter for thee, tak thy spell undone...




And every Full Moon they would go out with the stoups of water to say their rhyme.


While they did this Tiddy Mun stayed for a while longer.


But the land is all drained now and he has gone away.


And the land is empty...






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Bangpūtys | They were here and might return |


Bangpūtys, the god of waves and storms, who sails over the wild sea in a boat which has a golden anchor, in Lithuanian folklore...


According to the reconstructions, he is austere, unrelenting.


He has beard, wings and two faces. He has fish in left hand, utensil in right hand and rooster on the head.


His sons are gods of wind: Rytys, Pietys, Šiaurys and Vakaris (easterly, souther, norther and westerly).


Bangpūtys is very vindictive god. Once Auštaras (son of Aušrinė and Mėnulis, other god of easterly wind) was swimming in the sea and made a storm. Bangpūtys did not like and thus wanted to drown him.





See Posieidon:


See Neptune :


See Thor:


See Taranis:



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Verbti, Shën Verbti, Rmoria

Verbti, Shën Verbti, Rmoria | They were here and might return |


Verbti is the ancient Albanian god of fire and the northern wind whose name means 'the blind one'.


Although he cannot see, his hearing is perfect.


He has an aversion of obscene language and dirty business.


Some accounts demonise Verbti, and it was spread about that anyone who invoked him would go blind...






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Bre'r Rabbit, Brer Rabbit, Bruh Rabbit

Bre'r Rabbit, Brer Rabbit, Bruh Rabbit | They were here and might return |


Brer Rabbit is a trickster who outsmarts larger and stronger animals, such as Brer Fox and Brer Bear....


Brer Rabbit is perhaps related to the Hare trickster of Africa...


Many stories about Brer Rabbit originated in African folklore and were brought to America by slaves....


He is a mischievous figure appearing in various forms in the folktales and myythos of many different peoples...


Brer Rabbit was made famous by Joel Chandler Harris in his Uncle Remus tales. A tale that obviously owes something to a similar tale about the African trickster Ananse and a “Gum Doll” is that of Brer Rabbit and the tar baby.


The story reminds us that tricksters themselves sometimes become the victims of tricks.


In this tale, Brer Fox makes a life-size figure out of sticky tar and places it on the road.


Brer Rabbit greets the tar baby several times but gets no reply. Annoyed, he hits the tar baby and gets stuck in the tar.


Brer Fox seizes him and wonders about a punishment. Brer Rabbit begs him to do anything he wants except throw him into the briar patch.


Brer Fox, of course, does exactly that. Brer Rabbit, however, easily escapes because, as he says, "I was born and raised in the briar patch." Brer Rabbit is successful in tricking Brer Fox...



Many Native American cultures have oral traditions that involve animals that speak. Throughout eastern North America, it was typically the rabbit, which was the "trickster." However, the Uncle Remus Tales exactly match the ancient children's stories of the Creek Indians of Georgia, the Carolinas and Alabama...



Excerpted from:



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This image illustrates the lastest 'evolutionarised' appearance of the Brer Rabbit...


Old ancounters described him similar to the following:


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Sárkány | They were here and might return |


Sárkány is a Hungarian humanoid demon.


He has the power to turn people to stone in a gaze. 


His function is to control the weather and he can be seen riding his horse in the thunder clouds. 


In some versions he is regarded as a dragon. 


He is sometimes depicted with seven or nine heads on a human body; identified as Sárkány.


Instead of a hoard of gold, this dragon sleeps on a bed of diamonds and crystals...   






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Ashur, Assur, Aššur, A-šur, Aš-šùr

Ashur, Assur, Aššur, A-šur, Aš-šùr | They were here and might return |


In the ancient Near East, Ashur, assuming the role of Enlil (Sumerian) and Marduk (Babylonian), was originally the main god of the city of Ashur, the capital of Assyria.


The Assyrians saw him primarily as a warrior god and believed that he supported them against their enemies.


Ashur is represented as a winged disc enclosing a stretched bow, ready to let fly an arrow...

A winged disc with horns, enclosing four circles revolving round a middle circle; rippling rays fall down from either side of the disc; a circle or wheel, suspended from wings, and enclosing a warrior drawing his bow to discharge an arrow; the same circle; the warrior's bow, however, is carried in his left hand, while the right hand is uplifted as if to bless his worshipers.


Ashur's horned cap was like those of Anu and Enlil. His emblem, like that of Marduk, was the serpent-dragon. He is sometimes shown riding on a snake-dragon. He is pictured on Assyrian monuments, cliff reliefs and cylinder seals...


The popularity of Ashur is due to the military successes of the Assyrian armies; and it follows, with equal necessity, that Ashur, whatever he may originally have been, becomes purely a god of war, from the moment that Assyria enters upon what appeared to be her special mission.


All the titles given to Ashur by the kings may be said to follow from his rôle as the god who presides over the fortunes of the wars.


If he is the 'ruler of all the gods,' and their father, he is so simply by virtue of that same superior strength which makes him the 'law-giver' for mankind, and not because of any ancient traditions, nor as an expression of some nature-myth.


Ashur is the giver of crown and sceptre, and the kings of Assyria are the patesis of the god, his lieutenants. He is the god that embodies the spirit of Assyrian history, and as such he is the most characteristic personage of the Assyrian pantheon—in a certain sense the only characteristic personage.


Because the qualities of so many other gods were transferred to Ashur, he had little or no clear character or traditions of his own. More than anything, he was a symbol of the people and power of Assyria.





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Three-Legged Crow, The Tripedal Crow, Sanzuwu, Sānzúwū, Sam'zuk'wu, Sae tsoh u, Yatagarasu, Samjok-o

Three-Legged Crow, The Tripedal Crow,  Sanzuwu, Sānzúwū, Sam'zuk'wu, Sae tsoh u, Yatagarasu, Samjok-o | They were here and might return |


The three-legged (or tripedal) crow is a supernatural creature found in various parts of the world including Asia, Asia Minor, and North Africa.


It is believed by many cultures to inhabit and represent the sun.


This seems to vary depending on cultural folklore...


Some of the more common ones include:



The three-legged crow in Chinese folklore is called Sānzúwū.It dates back to the Zhou dynasty (11th to 3rd century BC), when it appeared as a decoration on formal imperial garments... 


The earliest known depiction of a three-legged crow appears in Neolithic pottery of the Yangshao culture... Sanzuwu is referred to as Sun crow, and usually depicted as red rather than black...

It is responsible for the sun’s passage across the sky. There are many legends of this bird, e.g.:

The Chinese sun goddess was the mother to ten child-suns. Every day one of the children would be carried to the top of a mulberry tree on the back of a crow, and then fly into the sky to be the sun for each day.


Each child took turns each day so there was light during the days.


It is said that one day, all ten child-suns ascended to the sky on the same day and scorched Earth to drought.


The emperor, who also happened to be their father, tried to convince the child-suns to ascend one at a time, but after they did not listen, he ordered an archer to shoot them down.


It just happened that one of the child-suns was visiting the underworld that day and hence was not killed.


Folklore says this three-legged crow now lives inside the sun...



In Japan the tripedal crow is called Yatagarasu. This great crow was sent from heaven as a guide for Emperor Jimmu on his initial journey from the region which would become Kumano to what would become Yamato.


It is generally accepted that Yatagarasu is an incarnation of Taketsunimi no mikoto...


The word Yatagarasu has been translated as “eight-span crow” (i.e. giant crow) or and deemed to mean Supreme (or Perfect) Divine Crow (the number ‘eight’ in Japanese numerology having the meanings of ‘many’ or ‘a multitude’, or ‘perfect’ or ‘supreme’) or just “large crow”.


Although there is no description in the ancient historical chronicles stating that the Yatagarasu was specifically three-legged,  the crow has been depicted as such at various shrine locations...

Shrine or temple traditions clearly state the crow is three-legged.



During the period of the Koguryo Kingdom, the Samjok-o was a highly regarded symbol of power, thought superior to both the dragon and the Korean phoenix...


The three-legged crow was one of several emblems under consideration to replace the phoenix in the Korean seal of state when its revision was considered in 2008...






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Jahaiyra Albert's curator insight, October 18, 2013 12:29 AM

this was so long it deserved to me scooped.

Shannon Bench's curator insight, October 18, 2013 9:12 PM

Great, NOW they worship birth defects... what the hell is wrong with this picture?

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Sedna, Sanna, Mother of the Sea. Mistress of the Sea, Arnapkapfaaluk, Takánakapsâluk, Takannaaluk

Sedna, Sanna, Mother of the Sea. Mistress of the Sea, Arnapkapfaaluk, Takánakapsâluk, Takannaaluk | They were here and might return |


The Inuit goddess Sedna 's story begins with a common theme—a beautiful young woman who is not impressed by any of her multiple suitors. 


Sedna's father, a widower, was constantly trying to marry her off, but she would have none of it. 


One fateful day a sea bird (a fulmar) promised to take her away to his “comfortable, luxurious” home. The impulsive young girl eloped with the fulmar. 


The “veritable palace” he had described turned out to be a filthy, smelly nest. And, to make matters worse, her new husband treated her like a slave. 


Sedna begged her father to come and take her back home, and he agreed...


But as they were heading across the waters, a flock of fulmars surrounded the boat.


The incessant flapping of their wings caused a tremendous storm to arise and their small vessel was being tossed from side to side. 


Fearing for his own safety, Sedna's father threw her into the ocean to appease the angry birds. 


When Sedna tried to climb back into the boat, he cut off her fingers.


As she struggled to use her mutilated hands to try again, he cut off her hands and threw her and her appendages into the water. 


As she sank to the bottom of the ocean, her dismembered limbs grew into fish, seals, whales, and all of the other sea mammals.


She descended to Adlivum (the Inuit Land of the Dead) where she  rules. 


 As Queen of the Adlivum, Sedna is responsible for sending food to the hunters. 


To ensure that she continues to feed the people, shamans must descend through many horrifying places to reach Sedna and soothe her....


The goddess Sedna teaches us that we must delve into the dark, cold places that we fear most if we are to find the riches that rest there...


Sedna reminds us that, in spite of all our infirmities (and foolish mistakes), we are still worthy of love and respect and have every right to expect, and even demand, that others treat us well....


If the hunters and shamans do not catch anything for a long time, the Shaman will transform himself into a fish. In this new form, he or she will swim down to the bottom of the ocean to appease Sedna the Sea goddess.


The Shaman will comb the tangles out of Sedna's hair and put it into braids.


This makes her happy and soothes her anger.


Perhaps it is because Sedna lost her fingers that she likes to have her hair combed and braided by someone else.


When she is happy, she allows her animals to make themselves available to the hunters.


Animals do not mind giving themselves up to provide food, clothes, and shelter for the Inuit...






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Nyx, Nox, Nyktos

Nyx, Nox, Nyktos | They were here and might return |


One of the ancient Protogenoi*, Nyx in Greek folklore, (Nox in Roman translation) is the primordial goddess of the night, and embodiment of the night...


A shadowy figure, Nyx is the mother of personified gods such as Hypnos (sleep) and Thánatos (death).


Her appearances in lore are sparse, but reveal her as a figure of exceptional power and beauty...


In Hesiod’s Theogony, Nyx is born of Chaos; her offspring are many, and telling.


With Erebus the deity of shadow and darkness, Nyx gives birth to Aether (atmosphere) and Hemera (day). Later, on her own, Nyx gives birth to Momus (blame), Ponos (toil), Moros (fate), Thanatos (death), Hypnos (sleep), Charon (the ferryman of Hades),the Oneiroi (dreams), the Hesperides, the Keres and Fates, Apate(deception), Philotes (friendship), Geras (age), and Eris (strife)...


Also deadly Night bore Nemesis Indignation to afflict mortal men, and after her, Deceit Apate and Friendship and hateful Age and hard-hearted Strife...


In Book 14 of Homer’s Iliad, there is a quote by Hypnos, the minor god of sleep, in which he reminds Hera of an old favor after she asks him to put Zeus to sleep.


He had once before put Zeus to sleep at the bidding of Hera, allowing her to cause Heracles (who was returning by sea from Laomedon’s Troy) great misfortune.


Zeus was furious and would have smitten Hypnos into the sea if he had not fled to Nyx, his mother, in fear.


Hypnos goes on to say that Zeus, fearing to anger Nyx, held his fury at bay, and in this way Hypnos escaped the wrath of Zeus.


Nyx took on an even more important role in several fragmentary poems attributed to Orpheus.


In them, Nyx, rather than Chaos, is the first principle. Nyx occupies a cave or adyton, in which she gives oracles. 


Kronos – who is chained within, asleep and drunk on honey – dreams and prophesises.


Outside the cave, Adrastea clashes cymbals and beats upon her tympanon, moving the entire universe in an ecstatic dance to the rhythm of Nyx’s chanting. Phanes – the strange, monstrous, hermaphrodite Orphic demiurge – was the child or father of Nyx.


Nyx is also the first principle in the opening chorus of Aristophanes’s Birds, which may be Orphic in inspiration. Here she is also the mother of Eros.


In other texts she may be the mother of Charon (with Erebus), and Phthonus “envy” (with Dionysus?).


The theme of Nyx’s cave or house, beyond the ocean (as in Hesiod) or somewhere at the edge of the cosmos (as in later Orphism) may be echoed in the philosophical poem of Parmenides.


The classical scholar Walter Burkert has speculated that the house of the goddess to which the philosopher is transported is the palace of Nyx; this hypothesis, however, must remain tentative.


There is also rumor that Nyx gave birth to her reincarnation, a son whose name would also be Nyx.


But she gave birth to twins, having a daughter as well, who was named Hemera, “Day”.


The text implied that Hemera was not the sister of Aether, but the sister of Nyx’s reincarnation...



Tartarus, the Residence of Nyx:

Nyx resided in a gloomy house located in Tartarus, in the depths of Hades' Underworld.


Nyx was sharing her residence with her daughter Hemera, the embodiment of the Day, without the two of them ever meeting each other at home.



The Transition from Day to Night:

Nyx used to reside in her home all day long, taking care of her dark spirited children.


But when the evening set in, Nyx was leaving her home to set off for her nightly journey.


On her way she met Hemera, the Day, who was returning home from her daily trip and they were greeting each other peacefully.




In the Greek folklore the name Protogenoi (pl.; Gr. Πρωτογενοι, sing. Protogenos) means First Born or Primeval and are a group of beings who were born in the beginning of our universe.


The Protogenoi are the first entities or beings that come into existence. They form the very fabric of our universe and as such are immortal.






See Hypnos:


See Hera:


See Hades:


See Dionysos:

See Kharon:



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Tom Hickathrift and the Ogre of the Smeeth

Tom Hickathrift and the Ogre of the Smeeth | They were here and might return |


The Ogre of the Smeeth is a terrible giant from the folklore of England. He had a bad temper and was quick to anger. The Giant lived in a cave near the East Anglian town of Wisbech during the 11th century...


Everyone avoided going near his territory and would sometimes take twice as long to travel to their destination to avoid this aggressive beast.


Tom Hickathrift was a giant of a man.


As a child, he ate as much as five ordinary men could in one sitting and, by the time he was ten years old, he was already eight feet tall! Tom was well known for having supernatural strength but boy, was he lazy.


He wasn't that smart either - until one day, when he came face to face with the Ogre of the Smeeth. One day, his elderly mother sent Tom to a local farmer for straw.


He amazed everyone by using a cart-rope to gather together more than twenty hundredweight of straw and believe me, that's a lot of straw! The farmer laughed and called Tom a fool.


"Do you really think you can carry such a heavy load? " jeered the farmer.


Tom flung the load over his shoulder, as if it was as light as a feather.


The farmer and his men stood by, speechless.


Once his incredible strength became known, Tom's lazy days were over.


No more could he sit in the chimney corner doing as little as possible, as everyone wanted to hire him for work.


Tom soon found that work brought its own reward and he became very merry, taking delight in company, going to fairs and meetings and he had many Adventures.


Tom's fame soon spread to a wealthy brewer at King's Lynn.


Wanting a good strong man to carry his beer to Wisbech, he hired Tom.


The brewer was very careful to tell Tom the route he must take around the Smeeth, an area of boggy marshland between the two towns, for a fearsome and terrible Ogre lived in a cave there.


Ogres in general are not very pleasant and this one was worse than most. He had a monstrous appetite for eating passers-by!


Unfortunately, avoiding the Ogre meant taking the long route - over twenty miles - around the great common, which belonged to the seven villages of the marshland; a very long detour for one so naturally lazy.


It was a scorching hot summer's day, as Tom wearily hauled his cart of beer barrels along the winding path.


Weary of the long trek, he foolishly decided to take a short cut through the Smeeth - into the Ogre's territory.


The first sign that this was a mistake was the sight of human skulls hanging from every tree along his path.


The second sign was even more obvious, the Ogre stood silently on the path before him!


If you thought Tom was big, you should have seen the Ogre!


He was twelve feet tall and six feet around the waist, a large Ogre indeed.


"Who gave you authority to come this way? " he roared.


"I'll make an example of you - see how many heads hang on yonder tree?

Yours shall hang higher than all the rest. "


Suddenly, Tom realised he had no weapon!


For once in his life, Tom thought quickly and, without hesitation, he ripped an axle and a wheel off his cart.


He bravely faced the slavering Ogre with these for sword and shield.


The fight was long and terrible, the sound of the mighty blows echoed across the marshland.


The Ogre was strong and rained down heavy blows on Tom, but Tom gave as good as he got and was quicker and lighter on his feet.


A well aimed blow to the side of the Ogre's head sent him reeling.


Knowing that he was weakening, the Ogre tried a trick and asked Tom for a drink.


Tom would have none of it; his dim days were behind him.


"Oh no," he said, "my mother taught me better than that; who'd be a fool then? "


Using all his strength, Tom felled the Ogre with one last crushing blow.


His head rolled and stopped at Tom's feet. The Ogre was dead.


Exhausted but curious, Tom looked inside the Ogre's cave and was amazed and astonished by what he saw. Gold, silver and jewels lay everywhere!






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Ourea, Oúrea, Ouros, Oros

Ourea, Oúrea, Ouros, Oros | They were here and might return |


The Ourea were the Protogenoi* (primeval gods) or rustic Daimones** (spirits) of the mountains. They are children of Gaea. .


Each and every Mountain was said to have its own ancient bearded god.


Mountains were occasionally depicted in classical art as bearded old men rising up from between their craggy peaks.


There are 10 total and each mountain has its own god:
Aitna: The volcano of Sikelia (Sicily in Italy) and its goddess.


Athos: A Mountain of Thrake (North of Greece) and its god.


Helikon: A Mountain of Boiotia (in Central Greece) and its god. He entered a singing contest with the neighbouring Mount Kithairon.


Kithairon: A Mountain of Boiotia (in Central Greece) and its god. He entered a singing contest with the neighbouring Mount Helikon.


Nysos: A Mountain of Boiotia? (in Central Greece) and its god. He was the nurse of the god Dionysos.


Olympos1: A mountain in Thessalia (northern Greece), the home of the gods, and its god.


Olympos 2: A Mountain of Phrygia (in Anatolia) and its god.


Oreios: The Mountain-God of Mount Othrys in Malis (central Greece).


Parnes: A Mountain of Boiotia and Attika (in Centra Greece) and its god.


Tmolos: A Mountain of Lydia (in Anatolia) and its god. He was the judge of a musical contest between Apollon and Pan.



"And she brought forth long hills, graceful haunts
of the goddess Nymphs who dwell amongst the glens of the hills..."

Hesiod, Theogony, 129–131; Argonautica, 1.498.



The primeval gods or "Protogenoi" of Greek mythology were the basic components of the universe which were emerged at creation.

They included Earth, Air, Sea, Sky, Fresh Water, Underworld, Darkness, Night, Light, Day, Procreation and Time.




The "Theoi Nomioi" were the gods of the countryside, the pastures and wild forests.

They fell under the dominion of three gods : Hermes the lord of the herds, Dionysos the god of wild vegetation, and Artemis queen of the beasts.




Tmolos and the Musical Contest between Apollo and Marsyas; A Punishment Story


The Satyr Marsyas was a famous flutist from Phrygia, in today's Central Turkey, who boasted that he could play the double flute better than Apollo.


When Apollo found out, he challenged the Satyr to a musical contest.


The victor of the contest would do whatever he wished with the loser and the judges of the contest would be the Muses.

First played Marsyas on his flute and the melody was wonderful. Then it was Apollo's turn. Apollo played notes full of harmony with his lyre and his voice was heavenly spellbinding everything around him.


Then Apollo played with his lyre upside down and told Marsyas to do the same, but Marsyas was unable to.


So Apollo was declared as the winner of the contest... and the punishment he chose for Marsyas was harsh: Apollo hang Marsyas over a pine tree and flayed him alive...


It is said that Tmolos was supposedly the judge of the musical contest between Apollo and the satyr...



See Gaea:


See Dionysus:


See Apollon:


See Satyr:






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Meili | They were here and might return |


Meili, old Norse "the lovely one or mile-stepper, is son of Odin and brother of Thor, in old Germanic folklore...


It is proposed that Meili's mother is Jörð, a goddess and the personified Earth... In the Harbaardzljod from the Poetic Edda, Thor told Harbard (Odin in disguise as a ferryman) that he had brother named Meili.


Thor spake:

"My name indeed shall I tell,

| though in danger I am,

And all my race; 

I am Othin's son,

Meili's brother,

and Magni's father."


But, Meili is not mentioned elsewhere despite his apparent importance to Thor!!!


Another theory advocates that Baldr and Meili are one and the same...


Only very little is known about Meili...


His name  as mile-stepper, if accurate, could mean that he was a Norse god of travel.


Given the importance of travel in Norse culture, Meili would then have been an important figure in the Norse pantheon, but no first-hand accounts of his status are known to exist, so his rank and function among the Æsir* remains a point of conjecture...



*Æsir: (Aesir are warrior deities of the sky who lived in Asgard**).


** Asgard: The Aesir lived in a heavenly realm ruled by Odin called Asgard. This place, which contained the great hall known as Valhalla, was separated from Jotunheim below, the place of the gods known as the Vanir, by a bridge, Bifrost (perhaps the Milky Way), guarded by Heimdall.






See Odin:


See Thor:


See Heimdall:



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Gargoyles | They were here and might return |

The term originates from the French gargouille, originally "throat" or "gullet"; cf. Latin gurgulio, gula, gargula ("gullet" or "throat") and similar words derived from the root gar, "to swallow", which represented the gurgling sound of water (e.g., Spanish garganta, "throat"; Spanish g‡rgola, "gargoyle").

It is also connected to the French verb gargariser, which means "to gargle."

The Italian word for gargoyle is doccione o gronda sporgente, an architecturally precise phrase which means "protruding gutter."

The German word for gargoyle is Wasserspeier, which means "water spewer."

The Dutch word for gargoyle is waterspuwer, which means "water spitter" or "water vomiter."

A building that has gargoyles on it is "gargoyled."

Gargoyles, many of them appear with wings, are said to scare off and protect from any evil or harmful spirits.

In Ancient Egyptian architecture, gargoyles showed little variation, typically in the form of a lion's head.

Similar lion-mouthed water spouts were also seen on Greek temples, carved or modeled in the marble or terracotta cymatium of the cornice.

Many medieval cathedrals included gargoyles and chimeras. The most famous examples are those of Notre Dame de Paris.

Although most have grotesque features, the term gargoyle has come to include all types of images.

Some gargoyles were depicted as monks, or combinations of real animals and people, many of which were humorous.

Both ornamented and unornamented water spouts projecting from roofs at parapet level were a common device used to shed rainwater from buildings until the early eighteenth century.

From that time, more and more buildings employed downpipes to carry the water from the guttering at roof level to the ground and only very few buildings using gargoyles were constructed.

In 1724, the London Building Act passed by the Parliament of Great Britain made the use of downpipes compulsory on all new construction.

Gargoyles were viewed two ways by the church throughout history:

Often gargoyles were used to assist the Church in conveying messages to the common people.

Due to literacy being uncommon, images were the best way to constantly convey ideas.

Gargoyles were used as a representation of evil. It is thought that they were used to scare people into coming to church, reminding them that the end of days is near.

It is also thought that their presence assured congregants that evil is kept outside of the churchÕs walls.

However, some medieval clergy viewed gargoyles as a form of idolatry.

Animal Gargoyles:

The ancient Egyptians, Greeks, Etruscans and Romans all used animal-shaped waterspouts.

During the 12th century, when gargoyles appeared in Europe, the Roman Catholic Church was growing stronger and converting many new people.

Some animals (such as the rhinoceros and the hippopotamus) were unknown in western Europe during the Middle Ages so gargoyles of these species (such as the ones at Laon Cathedral) are modern gargoyles and therefore did not have symbolic meaning in Medieval times.

Below is a list of some animals commonly used as gargoyles:

Lion, Dog, Wolf, Eagle, Snake, ....., Goat, Monkey, ...

19th and 20th Centuries

Although not designed to drain water and therefore technically not gargoyles, the grotesques on modern structures are still considered by most people to be gargoyles.

Gargoyles can be found on many churches and other buildings.

One extensive collection of modern gargoyles can be found in Washington National Cathedral in Washington, DC. The cathedral, begun in 1908, is encrusted with the limestone demons. This collection also includes Darth Vader, a crooked politician, robots and many other modern spins on the ancient tradition.

The 20th Century collegiate form of the Gothic Revival produced many modern gargoyles, notably at Princeton University, Washington University in St. Louis, Duke University, and the University of Chicago.


Grotesques are often confused with gargoyles, but the distinction is that gargoyles are figures that contain a water spout through the mouth, while grotesques do not.

This type of sculpture is also called a chimera. Used correctly, the term gargoyle refers to mostly eerie figures carved specifically as terminations to spouts which convey water away from the sides of buildings.

In the Middle Ages, the term babewyn was used to refer to both gargoyles and grotesques. This word is derived from the Italian word babuino, which means "baboon".


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Mhd.Shadi Khudr's insight:

"The gargoyle often makes his perch
On a cathedral or a church
Where, mid eclesiastic style
He smiles an early Gothic smile"

Oliver Herford

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Februus | They were here and might return |

Februus is the Roman god from whose purification rites the month of February takes its name...

Hence the month of February was also sacred to Juno, the goddess of marriage, and she was therefore surnamed Februata, or Februtis. (Fest. s. v. Februarius; Arnob. iii. 30.)...

For the Etruscans, Februus was also the god of riches (money/gold) and death, both connected to the underworld in the same natural manner as with the better-known Roman god Pluto...

The name Februus is connected with februare (to purify), and februae (purifications). 

Another feature in the character of this god, which is however intimately connected with the idea of purification, is, that he was also regarded as a god of the lower world, for the festival of the dead (Feralia) was likewise celebrated in February...


See Juno:

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Mhd.Shadi Khudr's comment, February 12, 2014 6:05 PM
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Perses, Persês, Persaios, Persaeus

Perses, Persês, Persaios, Persaeus | They were here and might return |


Perses, son of the Titans Crius and Eurybia, is the Titan god of destruction. Not to be confused with the son of Andromeda and Perseus, or the son of Helios and brother of Aeetes.


Perses is the father of Hekate (Hecate) --his one and only child--by the goddess Asteria ("the Starry One").


It is argued that Perses was probably imprisoned with the other Titans, for participating in the war against Zeus and the Olympians...






See Asteria:


See Hēlios:


See Andromeda:



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Erlang Shen, Er-lang Shen, Erlan, Yang Jian, 二郎神, 杨戬

Erlang Shen, Er-lang Shen, Erlan, Yang Jian, 二郎神, 杨戬 | They were here and might return |


Erlang Shen has a third truth-seeing eye in the middle of his forehead.


Chinese myths portray Erlang Shen, as a powerful god who has a magical third eye in the middle of his forehead that sees truth.


Er Lang Shen was also able to use his eyes as a weapon.


In Buddhism he is considered a protective deity and the second son of the Northern Heavenly King Vaishravana.


He is warring deity... he carries a three-pronged, two-edged polearm and has a Heavenly Dog that follows him around...


Er Lang has access to and is conversant with theThree-Point Double-Blade Knife. According to the legends of the old tradition at Shaolin this weapon was called: Fang Tian Ji (Chin.: 方天戟) or "Four Directions Heaven Lance" In ancient times...


The Fang Tian Lance was considered a sacred weapon.


In the book Feng Shen Bang (Canonization by the gods) Er Lang Shen used this weapon.


This weapon could be extended or shortened at will. Extended, one could use it as a ruler to measure the universe and heavens...


It is said that during the early 10th century CE, Er Lang appeared as Guankou Shen, an incarnation of the famous Li Bing of Qin prefecture (modern-day Sichuan) who was celebrated as a hero for quelling the Minjiang River and building the famous Dujiangyan---waterworks of the third century BCE.


He then was identified with the second son of Li Bing. He was recognized by the Song emperors.


Another tales states that throughout the course of Erlang's duel with Sun Wukong, Erlang had been the stronger adversary.


After many transformations that were performed in their duel (Sun Wukong fleeing as a fish; Erlang and Sun Wukong becoming larger birds, and so forth).


Near the conclusion of the battle, he managed to see through Sun Wukong's disguise (as a temple) using his third-eye.


He eventually defeated Wukong through teamwork with several other gods; Lao Tzu personally had dropped his refined golden ring that had hit Sun Wukong on the head, giving Erlang a chance to bring him down, and Erlang's dog bit him in the leg.


After Sun Wukong had been captured (to which Sun Wukong retorts that they are cowards for attacking from behind), he and his heavenly soldiers would burn random areas of the Bloom Mountains.


Erlang would once again be seen far later into the novel, in which he would assist Sun Wukong through chance by fighting against a certain ancient Dragon King and his allies...


Another legend tells of Li Erlang suppressing a fire dragon that lived in the mountains north of Dujiangyan by climbing to the top of Mount Yulei, turning into a giant and building a dam with 66 mountains then filling it with water from Dragon Pacifying Pool.


Yuan drama and Ming vernacular fiction reconstructed the god's image and created new tales, which contributed to the popularity of another identity of Erlang Shen---Yang Jian, who monopolizes the image of Erlang Shen in popular literature.


It is argued that Erlang's father is the scholar Lau Yin Cheung a scholar and his mother is the Holy Mother of Mount Hua.


She was admonished by the Jade Emperor for this unlawful human-deity union and imprisoned under Mt Hua.


When Erlang came of age, he split the mountain with an axe to free his mother...






See Sun Wukong:



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Nemean Lion, Léōn tēs Neméas, Leo Nemaeus, Leo Nemeum

Nemean Lion, Léōn tēs Neméas, Leo Nemaeus, Leo Nemeum | They were here and might return |

The Nemean lion plagued the district of Nemea in the Argolis. King Eurystheus commanded Herakles to destroy the beast as the first of his twelve Labours.

The first labor for the hero Heracles, was to rid the Nemean plain of the wild, enormous and extremely ferocious beast known as the Nemean Lion.

The hero cornered the lion in its cave and seizing it by the neck wrestled it to death. He then skinned its hide to make a lion-skin cape, one of his most distinctive attributes.

Seeing Hercules dressed in the lion's pelt, Eurystheus was so frightened that he ordered him to leave all his future trophies outside the city's gates.

He then had a large, bronze jar forged and buried in the earth. Thereafter, whenever Hercules approached, the cowardly Eurystheus hid in this jar and had a messenger relay his next orders to the hero.

Hera afterwards placed the lion amongst the stars as the constellation Leo.

This huge creature was the son of the monsters Typhon (who had 100 heads) and Echidna (half maiden - half serpent), and brother of the Theban Sphinx, or alternatively born of the Chimera, in some legends it is said that the Nemean lion was suckled by Selene the goddess of the moon, other versions say that it was nursed by the goddess Hera...

The Nemean Lion’s fur is impervious to harm from normal weapons...


See Selene :

See Hera:

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Almaqah, Ilumquh, Ilmuqah, Almouqah

Almaqah, Ilumquh, Ilmuqah, Almouqah | They were here and might return |


A moon-god and tutelary god of the ancient South Arabian kingdom of Saba, Yemen...


The members of the tribe of Saba called themselves 'the children of Almaqah.'


He is symbolised by a cluster of lightning flashes and a weapon which looks similar to the letter S...


However, on Almaqah being the sun god scholar Jacques Ryckmans states; "Almaqah was until recently considered a moon god, but Garbini and Pirenne have shown that the bull's head and the vine motif associated with him are solar and dionysiac attributes.


He was therefore a sun god, the male counterpart of the sun goddess Šams, who was also venerated in Saba, but as a tutelary goddess of the royal dynasty."







Bronze plaque dedicated to the god Almaqah



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Taranis, Taranos, Taranus, Taranoos, Taranucnos; seldom Taran

Taranis, Taranos, Taranus, Taranoos, Taranucnos; seldom Taran | They were here and might return |


Taranis is the god of thunder in Celtic folklore, in the Iberian penninsula of the Gallaeci, and possibly the earlier Celtiberians, as well as of the Gauls, but also in the Rhineland and Danube regions, amongst others.


He was associated, as was the cyclops Brontes ("thunder") in Greek lore, with the wheel... i.e. the wheel of time. Apparently he controlled this by way of ritual matings with Diur, or the oak tree.


Taranis’ name and attributes are likely related to those of Thor, the Norse thunder god.


Many representations of a bearded god with a thunderbolt in one hand and a wheel in the other have been recovered from Gaul, where this deity apparently came to be syncretised with Jupiter.


Taranis was said to infiltrate the sky with thunderous energy when he became inebriated after drinking too much Celtic mead. As mead was often a constant during celebrations of marriage and battle victories, Taranis was a good-humored god and served as a figure of whole-hearted joy and zeal.



Some Roman sources associate Taranis with the Roman war god, Mars.


Taranis is commonly seen riding across the heavens in a chariot, his horses very much a part of his power – their galloping hooves would usually produce the crack of thunder and sparks of lightening in the skies...






See Jupiter:


See Thor:


See Mars:


See Bangpūtys:



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Pyrausta, Pyrallis, Pyragones

Pyrausta, Pyrallis, Pyragones | They were here and might return |


A four-legged winged beast that dwells in the copper smelting furnaces in Cyprus.


It is percieved as a cross between a dragon and an insect.


Pyrausta has been seen flying through the air over the furnaces.


Similar to the Salmander, the Pyrallis cannot fly too far away from fire otherwise it will quickly die.


As such, the Pyraustae are demonic fire lizards from the lower planes, doubtlessly related to the salamander.

They embody the senseless, destructive and devouring aspect of fire, which they represent perfectly.


The Pyragones all come flying from the conflagration, breathing the toxic fumes as if they were the purest air.

They roar, burn and destroying everything in their path, hissing frantically as they do.

The Pyrausta is constantly surrounded by a flowing halo of fire and smoke...





See the Salamander:



The image is of a pyrallis which evolved to feed on nectar!!!


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Amala, Smoke hole, Very Dirty

Amala, Smoke hole, Very Dirty | They were here and might return |


Amala is the Atlas-like giant of theTsimshian, Nass, Skidegate, Kaigani, Massett, and Tlingit Native American folklore.


According to a number of tribes, this culture hero, the world originally supported by an old man who took the weight on a pole balanced on his chest.


Amala was the youngest of several brothers, dirty and lazy but phenomenally strong.


The name Amala refers to his being very dirty and literally means “smoke hole.”


When the old man was dying, he sent for Amala who then took over the job of supporting the world-pole on his chest while it spins...


Once a year, a servant applies duck-oil to his muscles to relieve him.


The Tsimshian apocalypse tale tells of a time when all ducks will have been hunted to extinction.


At that time the servant will not appear to relieve Amala who will let the world fall from the pole and be destroyed...



There is a similarity between Cinderella and Amala in that both sleep in ashes and both are abused by their tribe or family.


The storyline of Amala - the despised member of the tribe who overcomes adversity and rises to be a hero among his people, may be a combination of elements of the downtrodden and derided hero or heroine, such as Cinderella, and the hero of the Atlas-type who dwells in the underworld...



Suppportive Resources:



See the Greek Atlas:



This image is for Amala, whils he is trying to carry the blue plent prior to adjusting it on an axis:



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Cardea, Carda

Cardea, Carda | They were here and might return |


Caedea, a huntress and the mother of Proca by Janus, is the goddess of thresholds and especially door-pivots (cardo "door-pivot"), health (akin to Carna), and family in Roman folklore.


Cardea is the protectress of little children against the attacks of vampire-witches. 


It is said that she used to be seen as a two-faced goddess perhaps indicating a dual nature...


She obtained the office from Janus in exchange for her personal favors. She lured Janus into a cave and tried to run away but he saw her with his other face and caught her.


She was given the power to repel demons and bore a son, Proca. However, this story is also told of the nymph Carna.


Some identify Cardea with Eurynome, others with Artemis, Carna, Carnea or Rhea...






See Rhea:



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Axex | They were here and might return |


The Axex, in ancient Egyptian folklore, is a legendary creature with a hawk's head on a quadruped body (possibly feline).


The muscular torso of the Axex is winged and bulky.


The skull of the Axex is adorned with three curved appendages which some researchers have suggested this to bear more than a passing resemblance to the crest of a rooster...


The Axex is often associated with the more well known Griffin...



Supportive: ; ;



See the Gryphon:



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Simurgh, Simorgh, Simurg, Simoorg, Simourv, Angha, Kerkés, Semrug, Semurg, Samran, Samruk

Simurgh, Simorgh, Simurg, Simoorg, Simourv, Angha, Kerkés, Semrug, Semurg, Samran, Samruk | They were here and might return |


The Simurgh is a Griffin-like gigantic bird creature in Persian literature, art and culture.


It is also evident in the iconography of medieval Armenia, the Byzantine empire, and other regions that were within the sphere of Persian cultural influence...


The Simurgh is also found in the folklore of the Turkic peoples of Central Asia...


The Persian legend describes the Simurgh is a gigantic, fabulous, benevolent, winged monster in the shape of a bird; a kind of peacock with the head of a dog and the claws of a lion. Its natural habitat is a place with plenty of water. In some legends, the Simurgh can actually purify water from poisons and encourage fertility... 


The Simurgh is thought to have originally roosted in Gaokerena, the Tree of Life, which stood in the middle of the world sea, Vounukhasa.


The tree was said to house the seeds of all plant life on earth and when the Simorgh took flight from its branches its leaves shook causing the seeds of these plant to fall out.


These seeds were then said to have floated around the world on the winds of Vayu-Vata and the rains of Tishtrya, eventually taking root to become the many forms of plant life we know today...


This fabulous bird is said to have the gift of human speech.

 As for the simurgh, in the Shahnama, the great 11th century Iranian epic poem of Ferdowsi, Prince Zal, the son of Saam was born an albino, so his father considered him the spawn of the devil and abandoned him to die.


But he didn’t die because he was adopted by the simurgh and taken to her nest where she raised him. 


Years later, Saam regretted what he had done and when he learned his son was still alive, he called him back. As Zal left the simurgh’s nest, she gave him some of her feathers to burn if he ever needed help.


 Zal eventually became shah of Iran and fathered Rustam, the great hero of the Shah-nama.... 


The simurgh is best described in a 13th century Persian book known as “The Conference of the Birds.” In it the author, Farid ad-Din ‘Attar (d. 1230), described how 30 of the birds (si means 30 in Persian, murgh is bird) decided to seek out their leader, the simurgh, the legendary bird... 


They had to pass through seven valleys which represent the spiritual way before they reached the simurgh.


There they meditated and then asked the simurgh what was the secret of the mystery of the unity and plurality of beings. The answer was to annihilate themselves in the simurgh because there they would find themselves. 


In other words, this was one of the earliest examples of an allegorical journey in Middle Eastern mysticism. Mevlana Celaleddin Rumi (d. 1273) is supposed to have been greatly influenced by ‘Attar’s work...

In another example, the physician Hypocrates has mounted a simurgh and is off to the Kaf Mountains, presumably to obtain medicine... 


The Simurgh is sometimes compared to a Phoenix...


 According to a legend, this creature is so old that it has seen the world destroyed three times over. In all that time, Simurgh has learned so much that it is thought to possess the knowledge of all ages...



Excerpted from the following Resources:



See the Gryphon:



See the Phoenix:



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