Malevus

Category: Myth

This category embarks on a timeless journey through gods, heroes, and legends from both ancient and modern cultures.

  • Stronsay Beast: The Strange Carcass of a Sea Creature

    Stronsay Beast: The Strange Carcass of a Sea Creature

  • Sea Monster: Origin, History, and Examples

    Sea Monster: Origin, History, and Examples

    The term sea monsters refers to mythical creatures living in the water. Many descriptions of sea monsters relate to beings whose existence has not been proven so far. However, some accounts can be attributed to exaggerated descriptions of creatures such as whales, devil rays, giant squids, or colossal squids. In comparison to other marine creatures, these marine monsters are often depicted as exceptionally large and hostile towards sailors. Historical accounts portray huge creatures attacking ships, devouring sailors, or spewing water.

    Background of Sea Monsters

    The origin of sea monster myths is often unknown. However, there are a multitude of written traditions, mostly from sailors, describing encounters with presumed sea monsters. The Swedish clergyman Olaus Magnus illustrated numerous sea monsters in his works Carta Marina and Historia de gentibus septentrionalibus in 1555, and later authors adopted his descriptions. For instance, Magnus’s sea monsters can also be found in Conrad Gessner’s significant work, Historia Animalium.

    Some eyewitness reports of sea monsters can be traced back to exaggerated descriptions of real creatures such as whales or giant squids. Despite abundant and sometimes credible descriptions of creatures like sea serpents, their existence cannot be proven. Cadaver findings initially thought to be remnants of sea serpents were identified as the remains of giant sharks or oarfish.


    Cryptozoology explores evidence for the existence of unproven species, such as sea monsters.

    Historical Descriptions and Accounts of Sea Monsters

    A sea snake attacks a ship.
    A sea snake attacks a ship.

    Certain historical sea charts like Carta marina or medieval encyclopedic works like Liber Floridus were adorned with depictions of sea monsters and dragons.


    Reports from seafarers about such beings have persisted over long periods in different cultures.

    In the Old Testament, Jonah is swallowed by a large fish. Avienus reports in his work Ora maritima about the Carthaginian sailor Himilco encountering “monsters from the depths” (Ora maritima 117-29). In 1555, Olaus Magnus described in his work Historia de gentibus septentrionalibus the “largest and most monstrous creature of the Indian Ocean.” It was about 330 feet long and “extremely cruel.” It attacked ships by spewing large amounts of water onto the ship and crew. Additionally, it attempted to capsize ships by throwing itself onto the bow or stern.

    The crew of HMS Squirrel (1582) under Humphrey Gilbert allegedly sighted a lion-like monster with “glaring eyes” during their return from Newfoundland in 1583.

    The “Apostle of the Greenlanders” Hans Egede describes in Det gamle Grønlands nye Perlustration in 1729 a huge water-spouting sea serpent that was said to have claws and a shell-covered skin. The monster was supposed to be three to four times longer than the ship and capable of rising far out of the water with its ends.


    The Kraken wraps around a vessel with its tentacles.
    The Kraken wraps around a vessel with its tentacles.

    According to a captain’s letter published in 1852, the whaler Monongahela supposedly killed a giant sea serpent in the South Pacific. The creature was said to move through the water with undulating motions, be over 110 feet long, and have a long, flat head with sharp teeth. The remains of the described creature, along with the ship and crew, vanished without a trace.

    In a 1919 article for National Geographic, John Oliver La Gorce describes how a devil ray supposedly grabbed the anchor chain of a ship with its tentacle horns and pulled the anchor chain, anchor, and ship out to sea. The description is considered unbelievable and is likely attributed to the limited knowledge of devil rays at that time.

    Known Sea Monsters

    Sea Monsters

    • Cadborosaurus (“Caddy”)
    • Cetus from the Perseus legend
    • Leviathan
    • Midgard Serpent (Jörmungandr)
    • Giant Kraken
    • Sea Serpents
    • The Sirens from Homer’s Odyssey
    • Scylla and Charybdis in Homer’s Odyssey
    • Umibōzu

    Monsters in the Inland Waters

    Champ Lake Monster

    In the myths and legends of many people, marine monsters appear in lakes and occasionally in rivers. One of the most famous monsters in an inland water body is the Loch Ness Monster. Other lake monsters include:

    • Bessie
    • Champ
    • Igopogo
    • Kelpies
    • Kusshie
    • Lagarfljót Worm
    • Lariosauro, Lake Como
    • Manipogo
    • Morag
    • Mokele-Mbembe
    • Nahuelito
    • Ogopogo
    • Selma
    • Storsjöodjuret
    • Tota Lake Monster

    From Literature to Pop Culture

    • The Great White Shark
    • Godzilla
    • Moby-Dick
    • Beings from the Cthulhu Mythos

    Sea Monster: Fact or Fiction?

    It is possible to designate a real marine creature with a frightening appearance, such as a whale, giant squid, or fish from abyssal fauna, as a “sea monster” – especially when they are stranded and distorted by decay. However, sea monsters are primarily part of collective imaginations, and many of them are imaginary.

    Historically, the fear of sea monsters has gradually diminished with the emergence of marine biology, which identifies and studies marine organisms. Progress in this field has helped distinguish real species from fictitious ones, such as giant sea serpents, mermaids, water nymphs, etc.

    Nevertheless, the study of sea monsters is not limited to the issue of the reality of their existence.


    Disciplines like anthropology, mythology, and comparative mythology seek to contextualize these creatures within the broader framework of collective imaginations.

    They attempt to understand the place and role these creatures play in the culture of a particular community at a given time. A sea monster like the bishop-fish, for example, is linked to the Christian imagination prevalent in the Middle Ages and the Renaissance, while the serpent Jörmungandr cannot be understood independently of the imagination specific to the Norse mythology to which it belongs.

    Cryptozoology, a pseudo-science with highly contested value, focuses on the problem of the existence or non-existence of animals whose reality is not assured. This includes sea monsters like the famous Loch Ness Monster.

  • Skidbladnir: The Mysteries of Freyr’s Magical Ship

    Skidbladnir: The Mysteries of Freyr’s Magical Ship

  • Lono: The Hawaiian Deity and the Death of Captain Cook

    Lono: The Hawaiian Deity and the Death of Captain Cook

    In Hawaiian mythology, Lono is the deity associated with fertility and music, descending to Earth on a rainbow to marry Laka. In agricultural traditions, Lono is linked to rain and agricultural produce. He was one of the four pre-existing gods (along with Kū, Kāne, and his twin brother Kanaloa) before the creation of the world. Lono was also revered as the god of peace, and an annual grand festival called Makahiki was dedicated to him. During this period, from October to February, all unnecessary combat or tasks were considered kapu.

    The Legend of Lono

    The god Lono and his wahine (wife), Kaikilania-liiopuna, lived beneath a cliff in Kealakekua. One day, Lono overheard a man talking to Kaikilania-liiopuna about running away together. Filled with rage, Lono killed Kaikilania-liiopuna and carried her to the temple. After leaving Kaikilania-liiopuna’s body in the temple, he traveled through the islands of Hawaii, Maui, Molokai, Oahu, and Kauai, engaging in fights with anyone who crossed his path, claiming to be mad with love. Later, he departed on a paimalu (triangular canoe) for foreign lands. Kaikilania-liiopuna returned to life and set out in search of Lono in foreign lands.

    -> See also: Christmas in Hawaii: Traditions, Celebrations, and History

    The Celebration of Lono

    Lono
    Lono (©Malevus)

    The Makahiki celebration is dedicated to the god Lono. It most often occurs annually at the end of October or early November and lasts for four months, starting on the first full moon after the appearance of the Pleiades stars (a star cluster in Taurus). In times past, when the period of celebrations for Lono arrived, the kahunas (priests) would roam the island dressed in white Kapa, announcing that it was a time of peace and wars were prohibited.

    The temples of the god Ku were to be closed during this period. It was a time for the people to rest and celebrate. The kahunas offered prayers to Lono for rain and a good harvest, and ho’okupu (offerings) were collected from the maka’āinana (citizens), which could be products of the land or kino lau (symbols) of Lono. There was a procession through the districts where offerings were accepted, and the plantations were blessed.

    Lono and the Death of Captain Cook

    Some Hawaiians believed that Captain James Cook was the returning Lono, potentially contributing to Cook’s eventual demise (refer to James Cook’s Third Voyage (1776–1799)). However, it remains unclear whether Cook was mistaken for the god Lono or for one of several historical or legendary figures also referenced as Lono-i-ka-Makahiki.

    According to Beckwith, there was a tradition suggesting a human manifestation of the god Lono, who instituted games and perhaps the annual tribute, before departing to “Kahiki,” promising to return “by the sea in the ʻAuwaʻalalua canoes,” as per the gloss. “A Spanish man-of-war” is the queen’s translation, alluding to the tradition of a Spanish galleon straying off course in the early Pacific exploration; Pukui provides a more literal translation for ʻAu[hau]-waʻa-l[o]a-lua, “a huge double canoe.” Keawe’s son, born during the Makahiki, was named Lono-i-ka-Makahiki by his mother, possibly considering the child a symbol of the god’s promised return (Beckwith 1951).

    “There is another earlier Lono-i-ka-makahiki, from the ʻUmi line of ruling chiefs of Hawaiʻi, more renowned in Hawaiian legendary history. This Lono was born and raised not far from where Keawe’s remains and those of his descendants were interwoven in a kind of basket with their ancestors since the times of Liloa, near the site of Captain Cook’s tomb. The tomb is a monument to a brave but excessively despotic visitor from an aristocratic race like the Polynesians. This Lono cultivated the arts of war and word, was famed for dodging arrows and was skilled in riddles. He may have also contributed to the skill contests held during the Makahiki ceremony” (Beckwith 1951).

    Lono figure.
    Lono figure.

    However, it is unlikely that any of these late rulers from the ʻUmi line were the Lono, whose departure was commemorated in the Makahiki festival, eagerly anticipated by the priests of the Lono cult in Hawai’i. Both were born in Hawai’i, and their legends make no mention of a promise to return. A more plausible candidate for the divine personification is the legendary Laʻa-mai-Kahiki, “The Sacred One from Tahiti,” who belongs to a period several hundred years earlier, before relations were severed with southern groups. Laʻa arrived as a younger member of the Moikeha family from northern Tahiti, some of whose elder members had already settled within the Hawaiian group. He brought with him the small drum and flute used in the hula dance.

    The Legacy of Lono

    As his canoe passed along the coast, people heard the sound of the flute and the rhythm of the new drum, exclaiming, “It is the god Kupulupulu!” and presenting offerings. Kupulupulu is Laka, revered as the hula god in the form of the blooming lehua tree and also embraced as the god of fertility for wild plants, which sustained the early settlers and continued to some extent during the cold winter months before the harvest of staple foods. This Laʻa-mai-kahiki took wives in various districts, notably in Oahu, a stronghold of the Lono cult, claimed by some present-day families as their ancestry.

    It appears he returned to Tahiti at least once before his final departure. The stay of this traveler, from a large family from the south who arrived as a god, enriched the New Year festival with games and performances, likely establishing the collection of tributes following the southern model. His departure left behind a legend of divine personification, suggesting a much earlier appearance of the Lono of the Makahiki, in whose name the Kumulipo chant was dedicated to the infant heir of Keawe (Beckwith 1951).

    The Story of James Cook and Lono

    The Death of Captain James Cook.
    The Death of Captain James Cook.

    Captain James Cook served as the commander of the HMS Resolution and Discovery, which explored the Hawaiian Islands between 1778 and 1779. Cook anchored in Kealakekua Bay on the western side of Hawaii during the natives’ Makahiki celebration in December 1778. Hawaiians believed Cook to be their god Lono, as there was a belief that Lono would return to Kahiki and celebrate Makahiki with them. The natives welcomed Cook with offerings such as pigs, coconuts, rare feathers, and red kapa cloth. Priest Koa received him, and the natives revered him, dancing and singing.

    During Cook and his sailors’ stay in Kealakekua Bay, non-divine behaviors and events were observed by the natives, such as on February 1, 1779. On this day, due to the need for firewood, Cook proposed to Koa to purchase wood from a fallen fence near the temple. Koa offered it for free. When Cook’s sailors went to get the wood, they stole sacred idols from the temple, made of wood, and burned them in the fire as firewood. Another event was the death of William Watman from the HMS Resolution, caused by a stroke.

    For Hawaiians, gods were considered immortal. Shortly after Watman’s death, Cook left Kealakekua Bay but had to return due to a broken mast. The natives did not accept them back, and the sailors reacted by shooting and stealing Pa’alea’s canoe, a minor leader in the village. The natives responded by throwing stones, but Pa’alea intervened, urging calm.

    During the night, Pa’alea went to the ship and stole a boat in retaliation. Upon learning of the theft, Cook decided to bring one of the leaders aboard to convince him to reimburse the damage. A group of sailors went to capture one of the leaders and ended up killing a high-ranking leader. At that moment, Cook was with the village chief, and upon hearing of the leader’s death, the natives killed Captain Cook.

  • Ask and Embla: The First Humans in Norse Mythology

    Ask and Embla: The First Humans in Norse Mythology

    In Norse mythology, Ask and Embla stand as the inaugural human beings, shaped by the divine hands of Odin, Vili, and Vé from two pieces of wood. As the forebears of all humanity and the inhabitants of Midgard—the realm of mortals—their tale intertwines with the Norse creation myth.

    Ask and Embla: Mythological Origins

    The Poetic Edda is a collection of Old Norse poems that preserve the ancient oral traditions of the Norse people. One of these poems, called Völuspá, tells the story of the creation of the world and the beings that inhabit it from the perspective of a seeress who reveals the past, present, and future to Odin. In this poem, the seeress says that three gods, Odin, Hoenir, and Lodurr, found Ask and Embla on the shore, without life, breath, or fate. The gods gave them these gifts, along with blood, movement, speech, hearing, and sight. The names Ask and Embla mean ‘ash’ and ‘elm’, respectively, suggesting that they were made from these types of wood.

    Then from the throng | did three come forth,
From the home of the gods, | the mighty and gracious;
Two without fate | on the land they found,
Ask and Embla, | empty of might.
Soul they had not, | sense they had not,
Heat nor motion, | nor goodly hue;
Soul gave Othin, | sense gave Hönir,
Heat gave Lothur | and goodly hue.
    Poetic Edda

    The Prose Edda is a handbook (Gylfaginning) of Old Norse mythology and poetics, written by the Icelandic scholar and poet Snorri Sturluson in the 13th century. It is based on the Poetic Edda and other sources but also adds some explanations and interpretations of its own. In the Prose Edda, Snorri says that the three gods who created Ask and Embla were Odin and his brothers, Vili and Vé. They found two pieces of wood on the beach and shaped them into human forms. They gave them life, sense, and appearance, as well as clothes and names. Snorri also says that Ask and Embla were given a home within the walls of Midgard, the world of humans, which was made from the eyebrows of the giant Ymir, whose body was used to create the rest of the world. One of the nine realms that Yggdrasil, the world tree that supports the cosmos, connects to is Midgard.

    Then said Gangleri: “Much indeed they had accomplished then, methinks, when earth and heaven were made, and the sun and the constellations of heaven were fixed, and division was made of days; now whence come the men that people the world?” And Hárr answered: ‘When the sons of Borr were walking along the sea-strand, they found two trees, and took up the trees and shaped men of them: the first gave them spirit and life; the second, wit and feeling; the third, form, speech, hearing, and sight. They gave them clothing and names: the male was called Askr, and the female Embla, and of them was mankind begotten, which received a dwelling-place under Midgard.

    Next they made for themselves in the middle of the world a city which is called Ásgard; men call it Troy. There dwelt the gods and their kindred; and many tidings and tales of it have come to pass both on earth and aloft. There is one abode called Hlidskjálf, and when Allfather sat in the high-seat there, he looked out over the whole world and saw every man’s acts, and knew all things which he saw.

    His wife was called Frigg daughter of Fjörgvinn; and of their blood is come that kindred which we call the races of the Æsir, that have peopled the Elder Ásgard, and those kingdoms which pertain to it; and that is a divine race. For this reason must he be called Allfather: because he is father of all the gods and of men, and of all that was fulfilled of him and of his might. The Earth was his daughter and his wife; on her he begot the first son, which is Ása-Thor: strength and prowess attend him, wherewith he overcometh all living things.

    Missouri State

    Symbolism and Meaning

    Faroese postage stamp entitled The First Human Beings, depicting Ask and Embla.
    Faroese postage stamp entitled The First Human Beings, depicting Ask and Embla.

    Ask, the first man, represents the masculine principle of creation, action, and rationality. His name means ‘ash’, which is a type of wood that is strong, flexible, and resilient. Ash wood was used to make weapons, tools, and ships in the Norse culture. Ash is also the name of the first letter of the runic alphabet, which was used for writing, magic, and divination. Ask’s gifts from the gods include life, sense, blood, movement, and sight, which imply vitality, intelligence, courage, agility, and vision. Ask’s role in Norse mythology is to be the progenitor of the human race, along with Embla, and to live in harmony with the natural and supernatural forces of the world.

    Embla, the first woman, represents the feminine principles of creation, receptivity, and emotion. Her name is uncertain, but it may mean ‘elm’, ‘vine’, or ‘busy’. In Norse culture, elm wood was used to make bows, furniture, and coffins. Elm is also associated with dreams, death, and rebirth. Vine is a type of plant that grows on trees, producing grapes and wine. Vine is also related to fertility, joy, and intoxication.

    Busy is a word that describes someone who is active, diligent, and productive. Embla’s gifts from the gods include breath, speech, hearing, and appearance, which imply spirit, communication, listening, and beauty. Embla’s role in Norse mythology is to be the partner of Ask, the mother of the human race, and the source of inspiration and love.

    Ask and Embla, as a couple, symbolize the union of opposites, the balance of forces, and the harmony of life. Complementary and interdependent, each brings something unique and valuable to the relationship. Moreover, they serve as the link between the gods and humans, bridging the gap between the divine and the mundane, the spiritual and the material. Representing the first and the last, the beginning and the end, they encompass the alpha and omega of human existence.

    Connection to Human Existence

    Ask and Embla’s story raises some fundamental questions about human existence, such as: Where do we come from? What are we made of? What is our destiny? How do we live in this world? According to Norse mythology, the gods created humans out of natural elements but also endowed them with divine attributes like life, sense, and breath. Humans are part of the cosmic order, but they also have free will and choice. Humans have a predetermined fate, but they also have the power to shape their own destiny. Humans live in a world that is full of wonders and dangers, but they also have the courage and wisdom to face them.

    Ask and Embla’s story also reflects the Norse worldview and values, which are influenced by their environment, culture, and history. The Norse people lived in a harsh and unpredictable climate, where they had to adapt and survive. They also faced constant threats from enemies, both human and supernatural. They valued strength, honor, loyalty, and bravery, but also generosity, hospitality, and justice.

    They believed in a complex and dynamic cosmology where the gods, the giants, the elves, the dwarves, and the humans coexisted and interacted. They also believed in a cyclical and tragic view of history, where the world was doomed to end in a cataclysmic battle, called Ragnarök, but also to be reborn in a new and better form.

    Comparative Mythology

    Ask and Embla statue from 1948 by Stig Blomberg. Sölvesborg, Sweden.
    Ask and Embla statue from 1948 by Stig Blomberg. Sölvesborg, Sweden. Image: Henrik Sendelbach.

    Ask and Embla’s story has some similarities and differences with other creation myths from around the world. For instance, in the biblical account of Genesis, God created Adam and Eve, the first human couple, from the dust of the ground and a rib of Adam, respectively.

    He also gives them life, sense, and breath and places them in the Garden of Eden, where they have everything they need except the knowledge of good and evil. However, the serpent tempts them to eat from the forbidden tree, which leads to their expulsion from paradise and a curse of mortality, suffering, and labor.

    Another example is the ancient Egyptian myth of Atum, the creator god, who emerges from the primordial waters of Nun and creates himself by masturbating. He then spits out Shu, the god of air, and Tefnut, the goddess of moisture, who are his first children. They produce Geb, the god of earth, and Nut, the goddess of the sky, who are the parents of Osiris, Isis, Seth, and Nephthys, the first human-like gods.

    Osiris and Isis are the first divine couple to rule over the land of Egypt and teach humans the arts of civilization. However, they are also the victims of Seth’s jealousy and violence, which leads to Osiris’ death and resurrection and the birth of Horus, the god of kingship.

    These examples show that Ask and Embla’s story shares some common themes and motifs with other creation myths, such as the divine origin of humans, the gifts of the gods, the role of the first couple, and the conflict between good and evil. However, it also has some unique features and variations, such as the use of wood as the material of creation, the absence of a paradise or a fall, the importance of fate and freedom, and the presence of a world tree and a world serpent.

    These differences may reflect the different cultural and historical contexts of the Norse people, as well as their interactions and exchanges with other peoples and traditions.

    Featured Image: Malevus.com

  • 136 Greek Mythology Figures Behind Asteroid Names

    136 Greek Mythology Figures Behind Asteroid Names

  • Erigone: The Daughter of Icarius

    Erigone: The Daughter of Icarius

    In Greek mythology, Erigone (in Ancient Greek Ἠριγόνη) is the daughter of the Athenian Icarius, who introduced the worship of Dionysus (Bacchus) into his lands. She was loved by the god, who, to seduce her, transformed into false grapes. In this way, the god taught her the art of vine cultivation. Upon learning of her father’s death, murdered by drunken shepherds, she hung herself in despair. To reward her filial piety, Zeus placed her in the constellation of Virgo.

    Erigone in the Myths

    Beloved by Dionysus

    Erigone was the daughter of the Athenian Icarius who was an Attic farmer. He entertained the god Dionysus to whom Dionysus had taught the art of vine cultivation as a thank you and whose region he had introduced his worship. She was loved by the god, who, to seduce her, transformed into a bunch of grapes. The god also taught her the art of vine cultivation.

    Ovid mentions the myth of Erigone in the sixth book of his Metamorphoses:

    Dionysus ensnared Erigone with delusive grapes.

    Metamorphoses Book VI (A. S. Kline’s Version)

    Death of Erigone

    One day, worried about her father’s absence, she set out with her faithful dog Maera to find him. Maera led Erigone to her father’s body, massacred by drunken shepherds (according to Pseudo-Plutarch by stoning, according to Hyginus by beating) who believed he had poisoned them with this new intoxicating drink. They buried him under a tree.

    Both were so desperate that Erigone hung herself above the tomb, and Maera, to atone for his guilt, threw himself into a well named “Anigro” (or jumped from a cliff). Dionysus, furious, cast a curse on the land, causing all the young girls of Athens, driven mad, to hang themselves in turn. The god’s anger only subsided when a cult to Icarius and Erigone was established.

    The Constellation of Virgo

    According to different versions, the gods placed Icarios, Erigone, and Maira among the stars. Either Zeus, to reward her filial piety, or Dionysus placed Erigone in the sky in the form of the constellation Virgo. The god also turned Icarius into the constellation Boötes and Maera into the star Procyon, which he placed in the constellation Canis Minor (or Major).

    Cult of Erigone

    Satyr swinging a woman during the Aiora swing festival. 440 BC.
    Satyr swinging a woman during the Aiora swing festival. 440 BC. ArchaiOptix, cc by sa 4.0.

    As punishment for this, Dionysus caused the daughters of the Athenians to behave in the same way. It is said that Erigone herself prayed for the same fate for them as for herself before she killed herself. Thus, after Erigone hanged herself, an epidemic of madness broke out in Athens, which led to young Athenian women hanging themselves.

    The Athenians consulted the oracle of Delphi and when they inquired of Apollo about the cause of the suicides, they received an answer of their disregard for the fate of Icarius and Erigone. They were advised to honor Icarius, Erigone and Maera through annual sacrifices. Therefore, the Greek swing festival (Aiora) was established in the city. This festival was later known in Rome as oscilla.

    Thus began the annual celebration of hanging dolls from trees and offering drinking offerings in memory of the two. During this festival, small images were hung on trees, and small fruit sacrifices were made. The story of Erigone may have aimed to explain the origin of this cult practice.

    Every year in Athens, the Anthesteria festival took place, during which Ikarius and Erigone were celebrated as heroes. On the second day of the festival, known as Choes (Χόες, “swinging day”), girls swung on swings adorned with flowers. Swinging was done in honor of Aletes (“day”) or Aiora (ancient Greek: Ἐώρα “swing,” Αἰώρα “breeze”).

    References

    The fate of the Erigone is described in a poem by the Greek polymath Eratosthenes of Cyrene from the 3rd century BC, which has survived only in a few fragments. Although the legend is older, all known versions ultimately go back to the version poetically designed by Eratosthenes which he named “Erigone.”

    Former Deputy of the Kingdom of Italy, politician, and poet Gabriele d’Annunzio used the material in his stage play Le Martyre de saint Sébastien, a musical mystery play that premiered in 1911. “163 Erigone” (discovered in 1876) is the name of an asteroid. Erigone is also the name of a species of spider.

  • Einherjar: Warriors of Valhalla

    Einherjar: Warriors of Valhalla

    Einherjar are the spirits of warriors who died in battle and were brought to Valhalla by valkyries. The word einherjar means “those who fight alone” or “lone fighters” in Old Norse. They are the elite army of Odin, the chief god of Norse mythology.

    The Einherjar are the honored and chosen warriors who reside in Valhalla, a majestic hall in Asgard. They are part of the divine army that will fight alongside the Aesir gods during Ragnarök.

    Historical and Mythological Context

    Einherjar are part of the Norse cosmology, which consists of nine realms connected by the world tree Yggdrasil. These mythical beings are part of the Germanic people’s history and legends, most notably the Vikings, representing the values and beliefs of Norse culture that embrace courage, honor, loyalty, and glory.

    In Norse culture, Einherjar epitomizes the ideal warrior. They receive the highest reward for dying bravely in battle: a seat in Valhalla, where they feast and prepare for Ragnarok. They are symbols of hope and resilience for the Norse people, who encountered numerous difficulties and foes throughout their history.

    A Day in the Life of an Einherjar

    Einherjar are endowed with supernatural strength, speed, and endurance. They are skilled in various weapons and combat techniques, such as swords, axes, spears, shields, bows, and horses. They are also proficient in magic, poetry, and strategy, as they learn from Odin and other gods in Valhalla.

    Valkyries are the female servants of Odin, who fly over the battlefields and choose the slain warriors who are worthy of becoming Einherjar. They escort the einherjar to Valhalla, where they serve them mead and food. They also act as their lovers and companions, as some of them are married or betrothed to einherjar.

    Each morning, the rooster Gullinkambi awakens the warriors of Odin, who then proceed to the sizable field of Iðavöllr in the middle of Asgard to engage in merry and lethal combat with one another. The lovely Valkyries feast on everyone who has gathered at Odin’s banquet as dusk falls, bringing the dead back to life and healing the wounded.

    They partake in the mead flowing from the udders of the goat Heidrun, perched on the roof of Valhöll. Andhrímnir, the gods’ cook, prepares a meal in the cauldron Eldhrímnir with the flesh of the boar Sæhrímnir. The gods’ animals all have names, underscoring the significance they attribute to their companions. They are so concerned about their well-being that they even resurrect them when consumed.

    Thus, the generous boar Sæhrímnir comes back to life every morning to be consumed each evening. Thor, on occasion, has preserved the bones of one of his goats that he was compelled to eat in order to bring it back to life as quickly as possible.

    Recruitment and Selection

    Valkyries are the ones who decide who among the fallen warriors are worthy of becoming einherjar. They look for qualities such as bravery, skill, honor, and loyalty in the warriors. They also consider the fate and destiny of the warriors, as determined by the Norns, the goddesses of fate. They sometimes intervene in the battles, either to protect or to kill the warriors, depending on Odin’s will and their own preferences.

    The main criterion for becoming an einherjar is to die in battle, either by the weapon of an enemy or by one’s own hand. The warriors must also die with honor, meaning they must not flee, surrender, or betray their comrades. The warriors must also have faith in Odin and the gods, and follow their laws and customs.

    The Norse society was based on a warrior culture, where fighting and dying in battle was considered the highest honor and duty. The warriors belonged to different social classes, such as kings, nobles, freemen, and slaves, but they all shared the same aspiration of becoming einherjar. The warriors followed a code of conduct, known as the Viking Age laws, which regulated their behavior in war and peace, such as the rules of dueling, raiding, and revenge.

    Training and Preparation

    Einherjar undergo rigorous training regimens in Valhalla, where they practice their combat skills and learn new ones. They fight with each other every day, using real weapons and inflicting real wounds. They do not fear death, as they know they will be healed and revived every night. They also train with the gods, such as Odin, Thor, Tyr, and Freyr, who teach them the secrets of magic, poetry, and strategy.

    Einherjar use various weapons and combat skills, depending on their personal preference and the situation. The most common weapons are swords, axes, spears, and shields, which are made of metal and wood. Some of them also use bows, daggers, and clubs. The most common combat skills are close-range fighting, throwing, and riding, which are based on strength, speed, and agility. Some of them also use magic, stealth, and deception.

    Einherjar also undergo spiritual and mental conditioning in Valhalla, where they develop their faith and loyalty to Odin and the gods. They participate in rituals and ceremonies, such as sacrifices, prayers, and oaths, which bind them to the divine will and the cosmic order. They also cultivate their courage and wisdom, which enable them to face any challenge and overcome any fear.

    Role in Ragnarök

    Einherjar are destined to participate in the final battle of Ragnarök, the doom of the gods and the world. They will fight alongside Odin and the gods against the forces of chaos, such as the giants, the monsters, and the traitors. They will face their enemies with valor and honor, knowing that they will die but also that they will fulfill their destiny.

    Einherjar are the loyal sons and followers of Odin, the king and father of the gods. They share a bond of blood and spirit with Odin, who gave them a place in Valhalla and a role in Ragnarök. They will fight for Odin and Valhalla, the symbols of order and glory, against the enemies of the gods and the world.

    Einherjar are the symbols of the Norse eschatology, the worldview and beliefs about the end of the world and the afterlife. They represent the cycle of death and rebirth, as they die in battle and are resurrected in Valhalla, and as they die in Ragnarök and are reborn in the new world. They also represent the balance of chaos and order, as they fight against the forces of chaos in Ragnarök, but also cause the destruction of the world and the gods.

    Attestations

    Einherjar is mentioned in several texts, both ancient and modern, that deal with Norse mythology and culture. Some of the most important texts are:

    • The Poetic Edda, a collection of Old Norse poems from the 13th century, contains many references to the einherjar and their role in Valhalla and Ragnarok. Some of the poems that mention the einherjar are Vafþrúðnismál, Grímnismál, Helgakviða Hundingsbana I, and Eiríksmál.
    • The Prose Edda, a manual of Norse mythology and poetics written by the Icelandic scholar Snorri Sturluson in the 13th century, describes the einherjar as the adopted sons of Odin and the valkyries as their choosers and companions. The Prose Edda also gives a list of valkyrie names and their meanings.
    • Heimskringla, a history of the Norwegian kings written by Snorri Sturluson in the 13th century, contains a poem called Hákonarmál, composed by the skald Eyvindr skáldaspillir in honor of King Hákon the Good, who died in battle and was welcomed by the einherjar and the valkyries in Valhalla.

    Ragnarök in Christian Texts

    Christian authors, often identified as euhemerist, systematically reinterpreted all Nordic pagan texts. They sought to diminish and denigrate the pagan gods, transforming them into mere mortals, Asian magicians originating from Troy.

    The expedient approach was to dispose of pagan gods by reducing them to ordinary mortals. Christian clerics asserted, in sagas either written or rewritten (palimpsests) centuries after the Viking era, that the Einherjar were preparing for a final and fatal battle against the Nordic gods.

    Numerous historical sources affirm that Ragnarök is a Christian invention—an amalgamation of a pagan foundation manipulated by Christians. Historians cast doubt on the sincerity of the Ragnarök authors, who aimed to eradicate pagan beliefs and gods. R. Boyer advocates for the rediscovery of the authentic pagan text beneath Christian reinterpretations, suggesting that the text most likely obscured is that of the eternal battle.

    The Grímnismál details Valhöll, specifying that this palace possesses 640 doors. Each door accommodates 800 warriors walking abreast, with the term “hundrað” in Old Norse possibly denoting either 100 or 120.

    Legacy and Influence

    Einherjar are widely represented in the literature and art of the Norse and other Germanic peoples, as they are the subjects and themes of many works. They appear in the poetic and prose eddas, the sagas, the skaldic poetry, and the runic inscriptions, which are the main sources of Norse mythology and history. They also appear in the visual and decorative arts, such as the carvings, paintings, sculptures, and jewelry, which are the expressions of Norse culture and identity.

    Einherjar have many contemporary references and adaptations, as they are popular and relevant in modern culture and media. They are featured in various genres and forms of entertainment, such as novels, comics, movies, games, and music, which are inspired by or based on Norse mythology and history. They are also used as symbols and metaphors in various fields and contexts, such as politics, sports, and spirituality, which are related to or influenced by Norse culture and identity.

  • How Did Odin Lose His Eye?

    How Did Odin Lose His Eye?

  • Tuatha Dé Danann: Celtic Pantheon Spotlight

    Tuatha Dé Danann: Celtic Pantheon Spotlight

  • 13 Yule Lads and Each of Their Stories

    13 Yule Lads and Each of Their Stories

    The Yule Lads, or the Jólasveinarnir in Icelandic, are legendary figures that are said to reside in the mountains and make an appearance in the town 13 nights before Yule. They are all named after things that describe how they like to cause trouble. They put presents in the shoes that kids have left on the windows, but if the kid has been bad, they put a spoiled potato in there instead.

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    Iceland passed a law outlawing the transmission of terrifying tales about the Yule Lads to youngsters in 1746.
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    Therefore, these characters have evolved into more sympathetic characters throughout the years and become the children of the witch Grýla and his husband Leppalúði, two other mischief figures.

    Family of the Yule Lads

    The Yule Lads were originally monsters who ate disobedient children and naughty animals that left presents at night. In recent times, they have taken on greater charitable responsibilities. The 13 Yule Lads are shown as living inside a cave together as a family:

    1. Grýla is a giant who eats mischievous children cooked in a cauldron.
    2. Leppalúði is her husband who is sluggish and spends most of his time in the cave.
    3. Yule Cat or Jólakötturinn is a gigantic and evil cat that lurks in homes during Yule and eats anyone who hasn’t gotten clothes as a gift before Yule.
    4. The Yule Lads are the offspring of Grýla and Leppalúði. They are a group of trolls causing mischief to the population during Yule. In the thirteen nights leading up to Yule, they make their way to town one by one each day to either deliver gifts or punishment for the children.

    Originating in the 17th century, the specifics of these Yule tales changed with the times and places they were told. Their tales are now meant to inspire good conduct. Translations of the poem by Hallberg Hallmundsson served as a source for the English names of Yule Lads.

    List of Yule Lads

    13 Yule Lads
    ©Malevus

    The Yule Lads come into town on December 12 and depart in the same order (beginning on December 25); hence, each boy stays for thirteen days. This happens on each of the thirteen nights leading up to Yule Day. The thirteen Yule Lads are listed below according to the sequence in which they come and go.

    Yule LadsMeaningWhat He DoesArrivesLeaves
    StekkjarstaurSheep-Cote ClodCauses trouble for sheep but faces hindrance due to his wooden legs.12 December25 December
    GiljagaurGully GawkLurks in gullies, patiently awaiting a chance to slip into the cowshed and steal milk.13 December26 December
    StúfurStubbyUnusually small in stature. Steals pans to consume the remnants of crust left on them.14 December27 December
    ÞvörusleikirSpoon-LickerSnatches and licks wooden spoons. Extremely thin as a consequence of malnutrition.15 December28 December
    PottaskefillPot-ScraperSteals remnants from cooking pots.16 December29 December
    AskasleikirBowl-LickerLurks beneath beds, anticipating the moment someone sets down their askur (a bowl with a lid), which he proceeds to steal.17 December30 December
    HurðaskellirDoor-SlammerEnjoys shutting doors during the night to wake people up.18 December31 December
    SkyrgámurSkyr-GobblerEnjoys skyr (similar to yogurt) a lot.19 December1 January
    BjúgnakrækirSausage-SwiperConceals itself in the rafters and grabs smoked sausages.20 December2 January
    GluggagægirWindow-PeeperAn intruder who peeks through windows, searching for items to steal.21 December3 January
    GáttaþefurDoorway-SnifferPossesses a large nose and a keen sense of smell just to locate leaf bread (laufabrauð).22 December4 January
    KetkrókurMeat-HookUtilizes a hook to pilfer meat.23 December5 January
    KertasníkirCandle-StealerChases after children to take their candles, which were once made of tallow and thus edible.24 December6 January

    Origin of Yule Lads

    The 17th-century Poem of Grýla was the initial reference to the Yule Lads. Grýla, previously a troll in tales, had no prior association with Yule.

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    She serves as the fearsome mother of the Yule Lads, posing a threat to children. Initially, various types of Yule Lads existed, with descriptions ranging from harmless pranksters to child-devouring monsters, depending on the region. Similar to the boogeyman, they aimed to encourage good behavior.

    However, in 1746, King Christian VI of Denmark (1699–1746) opposed the use of these tales as a form of punishment. This apparently small decision in the last year of his life changed the course of the history of a national folklore story. In the late 18th century, a poem featuring thirteen Yule Lads emerged. Inspired by the Brothers Grimm, Icelandic folklorist Jón Árnason began collecting tales in the 19th century, introducing the Yule Lads in his 1862 anthology. Icelandic poet Jóhannes úr Kötlum included the Yule Lads poem in his widely-known 1932 collection, “Jólin Koma” (Yule is Coming) which has cemented the identities, names, and the thirteen canonical Yule Lads.

  • Hyakki Yagyo: The Night Parade of One Hundred Demons

    Hyakki Yagyo: The Night Parade of One Hundred Demons

    The term “Hyakki Yagyo” in Japanese folklore refers to the phenomenon where a multitude of demons and supernatural creatures roam about during summer nights. Encountering the Hyakki Yagyo was feared, as it was believed to lead to death or abduction. This phenomenon is a recurring theme in Japanese literature and art, inspiring various works. This article will delve into the origin, legends, and artistic representations of the Hyakki Yagyo.

    —> The Hyakki Yagyo includes a diverse array of supernatural creatures, such as Tengu (bird-like creatures), Kappa (water imps), Kitsune (fox spirits), Yurei (ghosts), and many others. Each creature has its own role and characteristics in the night parade.

    Origin of the Hyakki Yagyo

    "Hyakki Yagyō" by Kawanabe Kyōsai
    “Hyakki Yagyō” by Kawanabe Kyōsai.

    The origin of the Hyakki Yagyo is believed to stem from the story of “Bai Gui Ye Xing,” found in the ancient Chinese classic “Liezi.” According to this tale in “Liezi,” a person walking on a road at night encounters a procession of one hundred different kinds of demons. This narrative made its way to Japan, evolving into a term used to describe the wandering of demons and supernatural beings.

    Furthermore, the Hyakki Yagyo is linked to the Japanese calendar. The twelve zodiac signs in Japan were used to determine specific days in each month. These days were referred to as “Night Parade of One Hundred Demons Days,” believed to be when the Hyakki Yagyo would occur. The following is a list of these days:

    • January-February – Rat (Ne) days
    • March-April – Horse (Uma) days
    • May-June – Snake (Mi) days
    • July-August – Dog (Inu) days
    • September-October – Sheep (Hitsuji) days
    • November-December – Dragon (Tatsu) days

    On the Hyakki Yagyo, nobility and others refrained from nighttime outings and recited sutras to ward off the harm associated with the Hyakki Yagyo. One particularly well-known sutra was “Katashihaya, Ekasenikurini, Tamerusake, Teehi, Ashiehi, Wareshikonikeri,” signifying that the recipient is intoxicated with alcohol. Being intoxicated was considered distasteful to demons and supernatural beings.

    The Legend of the Hyakki Yagyo

    The legend of the Night Parade of One Hundred Demons is frequently described in Japanese folktales and collections. Here are representative accounts from various sources:

    In the “Konjaku Monogatari” (Anthology of Tales from the Past), during the Jogan era (859–877), Fujiwara no Yoshisuke, the eldest son of the Right Minister, and Dainagon Sadaijin Fujiwara no Tsuneyuki, while on his way to his lover’s place, encountered a group of about a hundred demons walking from the direction of the Tohdai-ji Temple along the eastern road near Mifuku Gate. Wearing a garment stitched with the sacred Shingon Buddhist mantra (Sanskrit: Dharani) that Yoshisuke’s wet nurse had obtained from an ascetic, the demons noticed and fled.

    The “Jiang Tanchao” recounts an incident when the poets Ono no Takamura and Fujiwara no Takayasu were traveling together. Takamura quickly perceived the presence of the Night Parade of One Hundred Demons. Though Takayasu himself was unaware, the Dharani was sewn into his attire. Anticipating this, Takamura deliberately led the group into the path of the demons. Takamura sarcastically remarked to Takayasu, “I have respectfully introduced you,” after the Dharani’s power drove back the Night Parade.

    In the “Uji Shui Monogatari” (Tales of Uji Gathered), a certain ascetic encountered a group of a hundred supernatural beings near the Ryuusen-ji Temple in Settsu. By praying to Fudo Myoo, he escaped unharmed.

    The “Kohon Setsuwa Shu” (Collection of Old Tales) narrates an event in the tenth year of Tenryaku (956), where Fujiwara no Morosuke encountered a procession of the deceased who held resentment against the Fujiwara clan, led by Soga no Iruka. Reciting the Shingon Buddhist mantra, Morosuke avoided harm.

    In these tales, the protective power of the Shingon Buddhist mantra, particularly the Shingon Dharani, played a crucial role in averting danger during encounters with the Night Parade of One Hundred Demons.

    —> The Hyakki Yagyo has been a popular theme in Japanese art and literature for centuries. It has been depicted in paintings, ukiyo-e prints, literature, and other forms of artistic expression, showcasing the creativity and imagination of Japanese artists.

    Works of Hyakki Yagyo

    Yuki-onna (ja:雪女)
    Yuki-onna (ja:雪女).
    Kappa (河童) Sekien's comments: It is also called kawatarō. (川太郎ともいふ。)
    Kappa (河童).

    The Hyakki Yagyo is depicted in many works of Japanese art. The most ancient and famous example is the 16th-century handscroll painting called the “Hyakki Yagyō-zu,” mistakenly attributed to Tosa Mitsunobu. This scroll is housed in the Shajuan Collection at Daikoku-ji Temple. There are several other handscrolls known as “Hyakki Yagyō Emaki,” each depicting various yokai or supernatural creatures.

    During the Edo period, Toriyama Sekien published a yokai illustration book titled “Gazu Hyakki Yagyō” (The Illustrated Night Parade of One Hundred Demons). Despite its title, the work individually introduces yokai without depicting them in a procession. Nevertheless, Sekien’s depictions had a significant influence on shaping the image of the Night Parade of One Hundred Demons.

    The theme of the Hyakki Yagyo also appears in contemporary literature and manga. For instance, Natsuhiko Kyogoku’s novel series “Hyakki Yagyō Series” revolves around a detective solving cases related to the Night Parade of One Hundred Demons. Kazuko Inoue’s manga “Hyakki Yagyō Shō” portrays the daily lives of the leader of the Night Parade of One Hundred Demons, Nura Rikuo, and his companions. Yuki Midorikawa’s manga “Natsume’s Book of Friends” features the Hyakki Yagyo as well.

    What Kind of Yokai Are There in Hyakki Yagyo?

    The Bakemono Tsukushi Emaki, author unknown (late Edo period)
    Kitsunebi.
    Hitotsume-kozō
    Hitotsume-kozō.

    In the Hyakki Yagyo or the Night Parade of One Hundred Demons, various types of yokai, supernatural creatures in Japanese folklore, are said to participate. For example, the following yokai are believed to be part of the Night Parade:

    1. Tengu: A yokai that resides in the mountains, taking the form of a bird or a human. It is said to possess high abilities and knowledge.
    2. Kappa: A yokai with a turtle-like appearance that resides in rivers, with a dish on its head. It has a preference for water and may attack humans or animals.
    3. Nekomata: A yokai that is said to be a transformed cat that has lived for a long time, characterized by a forked tail. It can transform into a human, breathe fire, and exhibit other supernatural abilities.
    4. Kitsunebi: A yokai in the form of a fox’s transformed fireball, which deceives humans on night paths.
    5. Yuki-onna: A beautiful female yokai that appears in the snow, known for seducing or freezing human males.
    6. Nurarihyon: Considered the leader of yokai, it takes on the appearance of an elderly man. It is immortal and can transform into various other yokai.
    7. Hitotsume-kozō: A yokai with just one eye in the center of its face. It is said to have originated in China.
    8. Nuppeppō: A yokai with the appearance of an obese woman who appears in bathhouses and attacks humans.
  • Fragarach: The Irish Sword of Nuada That Creates Wind

    Fragarach: The Irish Sword of Nuada That Creates Wind

    Fragarach is a legendary sword from Irish mythology. The sword is known by many names such as “The Whisperer”, “The Answerer”, or “The Retaliator.” Legend has it that the gods crafted it for Nuada, the first high king. The sword was meant to be wielded atop the Lia Fail (“Stone of Destiny”), and as it was, the Fragarach whispered to the Lia Fail’s roars. Fragarach got its name “Answerer” since it was believed that with it at their neck, no one could move or lie. This sword could summon the wind at will and pierce through any man-made barrier, leaving injuries from which no man could ever fully heal.

    -> See also: Carnwennan: King Arthur’s Dagger With a Special Power

    FactDescription
    Also Known AsThe Whisperer, The Answerer, The Retaliator
    OriginIrish Mythology
    OwnerNuada, the first high king
    Forged byThe gods
    PowersAt its throat, no one could move or tell a lie. It could command the wind and cut through any shield or wall. Its wounds were always fatal.
    SignificanceIt was meant to be wielded only by those who stood above the stone of destiny (the Lia Fail), which roared while the sword whispered in response.

    Fragarach in Mythology

    Nuada, the first high king in Irish mythology, holding his sword Fragarach.
    Nuada, the first high king in Irish mythology, holding his sword Fragarach. ©Malevus

    According to Irish mythology, Nuada was the Tuatha Dé Danann‘s—an Irish supernatural race—first king. His epithet Airgetlám meant “silver hand/arm”. The most famous story about Nuada is the one in which Dian Cécht—an Irish god of healing—mysteriously heals him after he loses an arm in battle, along with his kingdom.

    When Nuada lost an arm in the First Battle of Mag Tuired, this rendered him unfit for the position of high king. Nuada appointed the skillful warrior Lugh, also a member of the Tuatha Dé Danann, as the de facto monarch in preparation for the Second Battle of Mag Tuired.

    A warrior, deity, and king of the Otherworld in Irish mythology, the sea god Manannan Mac Lir gave Lugh a spear and a sling, which he used to vanquish the Fomorians and their ruler Balor. Depicted as sea raiders and giants, Fomorians were direct opponents to the Tuatha Dé Danann since they were also a supernatural race, although certain members of both species had children.

    At some point during the fight, Nuada bestowed his sword Fragarach on Lugh. It is unclear from the poetry and the Lebor Gabála Érenn (a collection of Irish poems) whether Lugh used the Fragarach throughout the conflict. Lugh was allegedly the adoptive son of Manannan.

    The Importance of the Fragarach

    Forged by the gods, Fragarach was one of the Four Treasures of Ireland. They were supposedly transported to Ireland by Tuatha Dé Danann from the four island towns of Murias, Falias, Gorias, and Findias. These four treasures of the Tuatha Dé Danann are magical artifacts mentioned in the mythological cycle of early Irish literature.

    The Irish sea god Manannan Mac Lir.
    The Irish sea god Manannan Mac Lir. ©Malevus

    The sword was eventually entrusted to the Ulster hero, Cú Chulainn, by Lugh himself. Later, it ends up in the hands of Conn of the Hundred Battles, the semi-legendary High King of Ireland. Among the mortals adored by the Irish, Cú Chulainn was a hero and a fighter whose stories (including the Fragarach) were revived by the Gaelic poet Sechan Torpeist in the seventh century.

    Also known as the “Sun God,” Lugh possessed many magical items like Fragarach according to Middle Irish redactions of the Lebor Gabála. Along with the sword, the sea deity Manannán bestows upon him things like the horse Enbarr, the boat Scuabtuinne (“Wave-Sweeper”), his armor, and his helmet in the late narrative Fate of the Children of Tuireann.

    According to one theory, looking at the way the name “Fragnarach” reads, it could potentially allude to the Norse apocalypse, Ragnarök.

    What is Lia Fail?

    The Fragarach was meant to be wielded atop the Lia Fail (“Stone of Destiny”), and as it was, the Lia Fail roared, and the sword whispered. Lia Fáil is a relic in Irish mythology, located in County Meath on the Hill of Tara. This stone was used to crown the King of Tara, who was also known as the High King of Ireland. When a monarch who was determined by fate sat upon the stone, it was said to sing or roar.

    According to legend, the stone would howl with delight whenever the legitimate High King of Ireland placed his foot on it, confirming the stone’s magical properties. Up until Muirchertach mac Muiredaig, who reigned circa 500 AD, the stone was used to crown every king of Ireland. The ancient High Kings of Ireland’s coronation ceremony relied heavily on the stone.

    Characteristics of Fragarach

    The Fragarach is said to have several powers:

    1. Once drawn, it had the power to drain the strength of all those against whom it was raised, leaving them weak and vulnerable.
    2. When given a mental command, it moved from the scabbard to the user’s hand on its own.
    3. When pointed at someone’s throat, they would be compelled to speak the truth (hence the sword’s name “She Who Gives Answers”).
    4. Capable of penetrating any type of armor with a single blow.
    5. Fragarach has the ability to calm the winds according to the user’s desire.
    6. It also seems that the sword had a curse or poison that would cause its victims to die quickly after being even slightly injured.

    Modern References to the Fragarach

    In Literary

    • In “The Riders of the Sidhe” by Kenneth C. Flint, Manannán Mac Lir wields the sword Fragarach, acknowledging with Lugh Lamhfada that he took it “on loan” and awaits its rightful owner faithfully.
    • Fragarach is featured in the science fiction series “The Keltiad” by Patricia Kennealy Morrison, wielded by several main characters.
    • In the visual novel “Fate/hollow ataraxia” and the manga “Fate/kaleid liner Prisma Illya,” the sword is wielded by the character Bazett Fraga McRemitz. If the opponent starts their attack, the sword turns back time, and the enemy is killed before the attack.
    • In the novel “A Wizard Abroad” by Diane Duane (part of the Young Wizards series), Annie Callahan uses Fragarach during the reconstruction of the Second Battle of Magh Tuireadh. In addition to its common use, Fragarach can open gateways to alternate realities, where the Fomorians and the Tuatha De Danaan reside.
    • The sword is also featured in “The Iron Druid Chronicles” series.

    In Games

    • In Dungeons and Dragons, specifically in the module “The Temple of Elemental Evil,” Fragarach appears as a sword that never misses any ranged attack and responds to each blow with a counter of its own. It reappears in the 4th edition as a sword crafted by Thrombolg, a powerful Fomorian lord, for the purpose of killing.
    • In the game Mabinogi, Fragarach is a primary weapon used by Lugh Lamhfada and Morgant. It has three different perspectives.
    • In the game Vindictus, a prequel to Mabinogi, the sword was initially wielded by Lugh Lamhfada, but the player acquires it after his death, occasionally appearing on the battlefield as a Deus ex machina.
    • In the PS3 game Folklore (2007), a weapon named ‘Answerer’ can be obtained in the fourth altar, ‘Endless Corridor.’

    In TV Shows and Movies

    • In the manga Project ARMS, characters Keith Green and his genetic clone, Takashi Takatsuki/James Huang, use a spatial cutting technique called “Answerer.”
    • In the Digimon series, Fragarach is a greatsword wielded by Slayerdramon, a Mega-level Dragon Man Digimon.
  • Hræsvelgr: The Originator of Winds in Norse Mythology

    Hræsvelgr: The Originator of Winds in Norse Mythology

  • Lugh: The Celtic Sun King with a Long Arm

    Lugh: The Celtic Sun King with a Long Arm

    Lugh is one of the most important and revered deities in Celtic mythology. His name translates to “the luminous” or “the brilliant,” and he is associated with the sun, light, fire, lightning, and magic. Lugh is the master of all arts and skills, possessing great power and wisdom. He is the god of war, sovereignty, travel, trade, currency, craftsmen, poets, musicians, physicians, and druids. Lugh is the protector of his people, the Tuatha Dé Danann, and the leader of the gods in the battle against the Fomorians, the monstrous enemies of the Celts.

    —> “Lugh” refers to a prominent figure in Celtic mythology, often associated with the epithet “Lugh Lamfada,” meaning Lugh of the Long Arm.

    Lugh is a pan-Celtic deity, present in all Celtic pantheons, from Ireland to Gaul, through Britain, Spain, and other regions. His worship spread across Europe and merged with that of other deities, such as Roman Mercury, Norse Balder, or Gallic Lugus. His presence can be traced in numerous place names, like Lugdunum (Lyon), Londinium (London), Lugo, Lugones, Llugás, or Ligüerre. His festival, Lughnasadh (Lughnasa or Lúnasa), is celebrated on August 1st, marking the beginning of the harvest and the end of summer.

    A druid foretold that Lugh would be born to Cian, a Tuatha Dé Danann prince, and Ethniu, Balor’s daughter and the king of the Fomorians. The prophecy foretold that Cian and Ethniu’s son would kill Balor and free the Tuatha Dé Danann from the Fomorians. Balor imprisoned his daughter in a crystal tower, with twelve maidens on duty to prevent this. However, Cian managed to bypass the vigilance and impregnate Ethniu with Lugh. Learning of this, Balor ordered the child to be cast into the sea, but the baby was rescued by his maternal grandfather, the sea god Manannán mac Lir, who raised and instructed him in the secrets of magic.

    Lugh grew into a handsome, intelligent, and brave young man, gifted in all talents. Proficient in weapons, musical instruments, poems, healing, craftsmanship, negotiation, and rituals, his favorite weapon was a magical spear that never missed its target and returned to his hand after being thrown. His symbol was a crow, accompanying him on all his adventures, while his sacred animal was the dog, representing fidelity and courage.

    —> The Spear of Lugh is a legendary weapon associated with Lugh. It is said to have magical properties and is sometimes considered one of the treasures of the Tuatha Dé Danann.

    When Lugh arrived at the Tuatha Dé Danann court, where King Nuada presided over the people after losing an arm in a conflict with the Fomorians and having the tyrant Bres, a mix of both races, take his place, Lugh offered to serve Nuada. Demonstrating proficiency in any occupation or art, Lugh became Nuada’s advisor, earning the title of Samildanach (equally skilled in all the arts), skilled in multiple arts. Lugh organized the resistance against the Fomorians, rallying heroes and gods, including Cú Chulainn, the great warrior and Lugh’s son known for his combat prowess and fury.

    Lugh encountered his grandfather on the battlefield while leading the Tuatha Dé Danann in the Battle of Mag Tuired against the Balor-led Fomorians. He hurled his magical spear, piercing Balor’s eye and killing him. With Balor’s death, the Fomorians were demoralized and fled, pursued, and annihilated by the Tuatha Dé Danann. Lugh became the hero and savior of his people and he was proclaimed the king of the gods. Under his reign, the Tuatha Dé Danann experienced an era of peace, prosperity, and happiness.

    Representation and Symbolism of Lugh

    The Irish deity Lugh possesses or utilizes several magical objects:

    • The yew wood spear called Gae Assail (Spear of Assal), or Ar-éadbair (Areadbhair).
    • The sling-shot called cloich tabaill, or lía tailm, or Tathlum.
    • The hound Failinis.
    • The sword Freagarthach or Fragaragh, lent by Manannan Mac Lir.
    • The horse Aenbharr (Enbarr), also lent by Manannan Mac Lir.
    • The boat Scuabtuinne or Sguaba Tuinne, also lent by Manannan Mac Lir.

    He is also symbolized with a harp (as he is a harpist at the banquet at Tara), a boar, a hand, or an oversized arm—depicted on coins—due to being called lamfada “with the long arm” or Llaw Gyffes “with the skillful hand.”

    Lugh is likely the deity associated by the ancient Celts in their iconography with a tree of life guarded by two dragons, a warrior emblem that spread throughout Celtic Europe in the 4th and 3rd centuries.

    —> In Welsh Celtic mythology, Lugh is referred to as Lleu Llaw Gyffes, translating to “the fair-haired one with the skillful hand.” He is featured in the Mabinogion tales. Llefelys (Llevelys), also known as “Lugus with honeyed words,” plays the role of advising and assisting his brother Lludd Llaw Eraint in restoring order to his threatened kingdom.

    In the Culture

    Lug is one of the numerous gods mentioned in the Asterix comic book series. Lug served as inspiration for the legendary Pokémon Lugia. In the 2017 album “Evocation II: Pantheon” by the Swiss folk metal group Eluveitie, which invokes several Gaulish gods, Lug is featured in a dedicated track titled “Lugus.”

    In the second season of the TV series “American Gods,” it is revealed that the leprechaun Mad Sweeney was formerly King Lúg, a deity associated with the sun. Pablo Schreiber portrays Mad Sweeney.