Japanese Folklore : Kappa

Posted by Privita_Tania


Kappa (河童, "river-child"), alternatively called Kawatarō (川太郎, "river-boy"), Komahiki (“horse puller”), or Kawako (川子, "river-child"), arelegendary creatures, a type of water sprite found in Japanese folklore. In Shintō they are considered to be one of many suijin (水神,“water deity”). A hair-covered variation of a Kappa is called a Hyōsube (ひょうすべ). There are more than eighty other names associated with the kappa in different regions which include Kawappa, Gawappa, Kōgo, Mizushi, Mizuchi, Enkō, Kawaso, Suitengu, and Dangame.
Kappa are similar to Finnish Näkki, Scandinavian/Germanic Näck/Neck, Slavian Vodník and Scottish Kelpie in that all have been used to scare children of dangers lurking in waters.
It has been suggested that the kappa legends are based on the Japanese giant salamander or "hanzaki", an aggressive salamander which grabs its prey with its powerful jaws.

 

Appearance

Kappa are typically depicted as roughly humanoid in form, and about the size of a child. Their scaly, reptilian skin ranges in color from green to yellow or blue. Kappa supposedly inhabit the ponds andrivers of Japan and have various features to aid them in this environment, such as webbed hands and feet. They are sometimes said to smell like fish, and they can certainly swim like them. The expression kappa-no-kawa-nagare ("a kappa drowning in a river") conveys the idea that even experts make mistakes. Although their appearance varies from region to region, the most consistent features are a carapace, a beak for a mouth, and the sara, an indentation on the top of their head that holds water which is regarded as the source of their power. This cavity must be full whenever a kappa is away from the water; if it spills, the kappa will be unable to move or even die in some legends. Another notable feature in some stories, is that the kappa's arms are said to be connected to each other through the torso and able to slide from one side to the other. While they are primarily water creatures, they do on occasion venture on to land. When they do, the sara can be covered with a metal cap for protection. In fact, in some incarnations, kappa will spend spring and summer in the water, and the rest of the year in the mountains as a Yama-no-Kami (山の神, “mountain deity”). Although they are reported to inhabit all of Japan, they are often said to be particular to Saga Prefecture.

Behavior

Kappa are usually seen as mischievous troublemakers or trickster figures. Their pranks range from the relatively innocent, such as loudly passing gas or looking up women's kimonos, to the malevolent, such as drowning people and animals, kidnapping children, and raping women.
As water monsters, kappa have been frequently blamed for drownings, and are often said to try to lure people to the water and pull them in with their great skill at wrestling. They are sometimes said to take their victims for the purpose of drinking their blood, eating their livers or gaining power by taking their shirikodama (尻子玉), a mythical ball said to contain their soul which is located inside the anus. Even today, signs warning about kappa appear by bodies of water in some Japanese towns and villages. Kappa are also said to victimize animals, especially horses and cows; the motif of the kappa trying to drown horses is found all over Japan. In these stories, if a kappa is caught in the act, it can be made to apologize, sometimes in writing. This usually takes place in the stable where the kappa attempted to attack the horse, which is considered the place where the kappa is most vulnerable.
Kappa are also known as ravishers of women. An 18th-century ukiyo-e image by Utamaro depicts kappa raping an ama diver underwater. In his Tōno MonogatariKunio Yanagita records a number of beliefs from the Tōno area about women being accosted and even impregnated by kappa. Their offspring were said to be repulsive yaller.

It was believed that if confronted with a kappa there were a few means of escape: Kappa, for one reason or another, obsess over being polite, so if a person were to gesture a deep bow to a kappa it would more than likely return it. In doing so, the water kept in the lilypad-like bowl on their head would spill out and the kappa would be rendered unable to leave the bowed position until the bowl was refilled with water from the river in which it lived. If a human were to refill it, it was believed the kappa would serve them for all eternity. A similar weakness of the kappa in some tales are their arms, which can be easily pulled from their body. If their arm is detached, they will perform favors or share knowledge in exchange for its return. Once the kappa is in possession of its arm it can then be reattached. Another method of defeat involves the kappa and their known love of shogi or sumo wrestling. They will sometimes challenge those they encounter to wrestle or other various tests of skill. This tendency is easily used against them just as with the bow, by encouraging them to spill the water from their sara. They will also accept challenges put to them, such as in the tale of the farmer's daughter who was promised to a kappa in marriage by her father in return for the creature irrigating his land. She challenged it to submerge several gourds in water and when it failed in its task, it retreated and she was saved from the promised marriage. Kappa have also been driven away using their aversion to variously, iron, sesame, or ginger.
Kappa are not entirely antagonistic to humankind, however. They are curious of human civilization, and they can understand and speak Japanese. They may even befriend human beings in exchange for gifts and offerings such as nasu (茄子, "Japanese eggplant"), soba (そば or 蕎麦, “buckwheat noodles”) nattō (なっとう or 納豆, "fermented soybeans"), or kabocha (カボチャ, 南瓜, “winter squash”), but especially cucumbers, the only food kappa are known to enjoy more than human children. Japanese parents sometimes write the names of their children (or themselves) on cucumbers and toss them into waters believed to be infested with kappa in order to mollify the creatures and allow the family to bathe. In some regions, it is encouraged to eat cucumbers before swimming as protection, but in others it is warned this act is said to guarantee an attack. There is even a kind of cucumber-filled sushi roll named for the kappa, the kappamaki. Once befriended, kappa have been known to perform any number of tasks for human beings, such as helping farmers irrigate their land. Sometimes, they will bring the occasional gift of fresh fish, which is regarded as a mark of good fortune for the family that receives it. They are also highly knowledgeable of medicine, and legend states that they taught the art of bone setting to humankind. Due to these benevolent aspects, some shrines are dedicated to the worship of particularly helpful kappa. There were also festivals meant to placate the kappa in hopes of receiving a good harvest, some of which still take place today. These festivals generally took place during the two equinoxes of the year when the kappa traveled from the rivers to the mountains and vice versa. Kappa may also be tricked into helping people. Their deep sense of decorum will not allow them to break an oath, for example; so if a human being can dupe a kappa into promising to help him, the kappa has no choice but to follow through.



(from http://en.wikipedia.org/wiki/Kappa_(folklore) )


Egypt Mythology : Anubis

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Anubis ( /əˈnbəs/ or /əˈnjbəs/; Ancient Greek: Ἄνουβις) is the Greek name for a jackal-headed god associated with mummification and the afterlife in ancient Egyptian religion. He is the son of Nephthys and Set according to the Egyptian mythology. According to the Akkadian transcription in the Amarna letters, Anubis' name was vocalized in Egyptian as Anapa. The oldest known mention of Anubis is in the Old Kingdom pyramid texts, where he is associated with the burial of the pharaoh. At this time, Anubis was the most important god of the dead but he was replaced during the Middle Kingdom by Osiris.
He takes names in connection with his funerary role, such as He who is upon his mountain, which underscores his importance as a protector of the deceased and their tombs, and the title He who is in the place of embalming, associating him with the process of mummification. Like many ancient Egyptian deities, Anubis assumes different roles in various contexts.
Anubis also attends the weighing scale in the Afterlife during the "Weighing Of The Heart".
Anubis' wife is a goddess called Anput. His daughter is the goddess Kebechet.

Portrayal

Anubis was associated with the mummification and protection of the dead for their journey into the afterlife. He was usually portrayed as a half human, half jackal, or in full jackal form wearing a ribbon and holding a flail in the crook of its arm. The jackal was strongly associated with cemeteries in ancient Egypt, since it was a scavenger which threatened to uncover human bodies and eat their flesh. The distinctive black color of Anubis "did not have to do with the jackal [per se] but with the color of rotting flesh and with the black soil of the Nile valley, symbolizing rebirth."
Anubis is depicted in funerary contexts where he is shown attending to the mummies of the deceased or sitting atop a tomb protecting it. In fact, during embalming, the "head embalmer" wore an Anubis costume. The critical weighing of the heart scene in the Book of the Dead also shows Anubis performing the measurement that determined the worthiness of the deceased to enter the realm of the dead (the underworld, known as Duat). New Kingdom tomb-seals also depict Anubis sitting atop the nine bows that symbolize his domination over the enemies of Egypt.

Embalmer

One of the roles of Anubis was "Guardian of the Scales". Deciding the weight of "truth" by weighing the Heart against Ma'at, who was often depicted as an ostrich feather, Anubis dictated the fate of souls. In this manner, he was a Lord of the Underworld, only usurped by Osiris.
Anubis is a son of Ra in early myths, but later he became known as son of Osiris and Nephthys, and in this role he helped Isis mummify his dead father. Indeed, when the Myth of Osiris and Isis emerged, it was said that when Osiris had been killed by Set, Osiris' organs were given to Anubis as a gift. With this connection, Anubis became the patron god of embalmers: during the funerary rites of mummification, illustrations from the Book of the Dead often show a priest wearing the jackal mask supporting the upright mummy. Anubis' half-brother is Horus the Child, son of Osiris and Isis.

Perceptions outside Egypt

In later times, during the Ptolemaic period, Anubis was merged with the Greek god Hermes, becoming Hermanubis. The centre of this cult was in uten-ha/Sa-ka/ Cynopolis, a place whose Greek name simply means "city of dogs". In Book XI of "The Golden Ass" by Apuleius, we find evidence that the worship of this god was maintained in Rome at least up to the 2nd century. Indeed, Hermanubis also appears in the alchemical and hermetical literature of the Middle Ages and the Renaissance.
Although the Greeks and Romans typically scorned Egypt's animal-headed gods as bizarre and primitive (Anubis was known to be mockingly called "Barker" by the Greeks), Anubis was sometimes associated with Sirius in the heavens, and Cerberus in Hades. In his dialogues (e.g. Republic 399e, 592a), Plato has Socrates utter, "by the dog" (kai me ton kuna), "by the dog of Egypt", "by the dog, the god of the Egyptians" (Gorgias, 482b), for emphasis. Anubis is also known as the god of mummification and death. Instead like other jackals Anubis' head was black to resemble the god of death.

Birth

Anubis was the son of Nephthys, and his father was Osiris. One myth says that Nephthys got Osiris drunk and the resultant seduction brought forth Anubis. Yet another says she disguised herself as Isis and seduced Osiris and subsequently gave birth to Anubis. Usually, Anubis is portrayed as the son of Nephthys and Set, Osiris' brother and the god of the desert and darkness.


(from : http://en.wikipedia.org/wiki/Anubis)



Japanese Myth : Yuki-onna (The Snow Woman)

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Yuki Onna (雪女, snow woman) is a spirit or yōkai in Japanese folklore. She is a popular figure in Japanese literature, manga, and animation.
She may also go by such names as yuki-musume snow girl, yuki-onago "snow wench", yukijorō "snow harlot", yuki anesa "snow sis'", yuki-omba "snow granny or snow nanny", yukinba "snow hag"(Ehime, yukifuri-baba "snowfall hag"(Nagano).

Appearance

Yuki-onna appears on snowy nights as a tall, beautiful woman with long black hair and blue lips. Her inhumanly pale or even transparent skin makes her blend into the snowy landscape (as famously described in Lafcadio Hearn's Kwaidan: Stories and Studies of Strange Things). She sometimes wears a white kimono, but other legends describe her as nude, with only her face and hair standing out against the snow. Despite her inhuman beauty, her eyes can strike terror into mortals. She floats across the snow, leaving no footprints (in fact, some tales say she has no feet, a feature of many Japanese ghosts), and she can transform into a cloud of mist or snow if threatened.

 

Behavior

Some legends say the Yuki-onna, being associated with winter and snowstorms, is the spirit of someone who perished in the snow. She is at the same time beautiful and serene, yet ruthless in killing unsuspecting mortals. Until the 18th century, she was almost uniformly portrayed as evil. Today, however, stories often color her as more human, emphasizing her ghost-like nature and ephemeral beauty.
In many stories, Yuki-onna appears to travelers trapped in snowstorms, and uses her icy breath to leave them as frost-coated corpses. Other legends say she leads them astray so they simply die of exposure. Other times, she manifests holding a child. When a well-intentioned soul takes the "child" from her, they are frozen in place. Parents searching for lost children are particularly susceptible to this tactic. Other legends make Yuki-onna much more aggressive. In these stories, she often invades homes, blowing in the door with a gust of wind to kill residents in their sleep (some legends require her to be invited inside first).
What Yuki-onna is after varies from tale to tale. Sometimes she is simply satisfied to see a victim die. Other times, she is more vampiric, draining her victims' blood or "life force." She occasionally takes on a succubus-like manner, preying on weak-willed men to drain or freeze them through sex or a kiss.
Like the snow and winter weather she represents, Yuki-onna has a softer side. She sometimes lets would-be victims go for various reasons. In one popular Yuki-onna legend, for example, she sets a young boy free because of his beauty and age. She makes him promise never to speak of her, but later in life, he tells the story to his wife who reveals herself to be the snow woman. She reviles him for breaking his promise, but spares him again, this time out of concern for their children (but if he dares mistreat their children, she will return with no mercy. Luckily for him, he is a loving father). In a similar legend, Yuki-onna melts away once her husband discovers her true nature. In some versions, she chose not to kill him because he told her, which she did not treat as a broken promise (technically, Yuki-Onna herself is not a human, and thus did not count). However, she parts to the afterlife afterward the same way.


Sphinx

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A sphinx (Greek: Σφίγξ /sphinx, Bœotian: Φίξ /Phix) is a mythical creature with a lion's body and a human head or a cat head.
In Greek tradition, it has the haunches of a lion, the wings of a great bird, and the face of a woman. She is mythicised as treacherous and merciless. Those who cannot answer her riddle suffer a fate typical in such mythological stories, as they are killed and eaten by this ravenous monster. Unlike the Greek sphinx which was a woman, the Egyptian sphinx is typically shown as a man (an androsphinx). In addition, the Egyptian sphinx was viewed as benevolent in contrast to the malevolent Greek version and was thought of as a guardian often flanking the entrances to temples.
In European decorative art, the sphinx enjoyed a major revival during the Renaissance. Later, the sphinx image, something very similar to the original Ancient Egyptian concept, was exported into many other cultures, albeit often interpreted quite differently due to translations of descriptions of the originals and the evolution of the concept in relation to other cultural traditions.
Generally the role of sphinxes is associated with architectural structures such as royal tombs or religious temples. The oldest known sphinx was found near Gobekli Tepe at another site, Nevali Çori, or possibly 120 miles to the east at Kortik Tepe, Turkey and was dated to 9,500 BC.

Egyptian Sphinx
The sphinx is located in the north and below the pyramids. What names their builders gave to these statues is not known. At the Great Sphinx site, the inscription on a stele by Thutmose IV in 1400 BCE, lists the names of three aspects of the local sun deity of that period, KheperaAtum. The inclusion of these figures in tomb and temple complexes quickly became traditional and many pharaohs had their heads carved atop the guardian statues for their tombs to show their close relationship with the powerful solar deity, Sekhmet, a lioness. Other famous Egyptian sphinxes include one bearing the head of the pharaoh Hatshepsut, with her likeness carved in granite, which is now in the Metropolitan Museum of Art in New York, and the alabaster sphinx of Memphis, Memphis, Egypt, currently located within the open-air museum at that site. The theme was expanded to form great avenues of guardian sphinxes lining the approaches to tombs and temples as well as serving as details atop the posts of flights of stairs to very grand complexes. Nine hundred with ram heads, representing Amon, were built in Thebes, where his cult was strongest.
Perhaps the first sphinx in Egypt was one depicting Queen Hetepheres II, of the fourth dynasty that lasted from 2723 to 2563 BC. She was one of the longest-lived members of the royal family of that dynasty.
The largest and most famous is the Great Sphinx of Giza, Arabic: أبو الهول, sited at the Giza Plateau on the west bank of the Nile River and facing due east. It is also from the same dynasty. Although the date of its construction is uncertain, the head of the Great Sphinx now is believed to be that of the pharaoh Khafra.
The Great Sphinx has become an emblem of Egypt, frequently appearing on its stamps, coins, and official documents.

Greek Sphinx
From the Bronze Age, the Hellenes had trade and cultural contacts with Egypt. Before the time that Alexander the Great occupied Egypt, the Greek name, sphinx, was already applied to these statues. The historians and geographers of Greece wrote extensively about Egyptian culture. Heredotus called the ram-headed sphinxes, criosphinges, and the hawk-headed ones, hieracosphinges.
The word sphinx comes from the Greek Σφίγξ, apparently from the verb σφίγγω (sphíngō), meaning "to squeeze", "to tighten up". This name may be derived from the fact that the hunters for a pride of lions are the lionesses, and kill their prey by strangulation, biting the throat of prey and holding them down until they die. The word sphincter derives from the same root. However, the historian Susan Wise Bauer suggests that the word "sphinx" was instead, a Greek corruption of the Egyptian name "shesepankh," which meant "living image," and referred rather to the statue of the sphinx, which was carved out of "living rock" (rock that was present at the construction site, not harvested and brought from another location), than to the beast itself.
There was a single sphinx in Greek mythology, a unique demon of destruction and bad luck. According to Hesiod, she was a daughter of Orthus and either Echidna or the Chimera, or perhaps even Ceto; according to others, she was a daughter of Echidna and Typhon. All of these are chthonic figures from the earliest of Greek myths, before the Olympians ruled the Greek pantheon. The Sphinx is called Phix (Φίξ) by Hesiod in line 326 of the Theogony, the proper name for the Sphinx noted by Pierre Grimal's The Penguin Dictionary of Classical Mythology.
In Greek mythology, a sphinx is represented as a monster with a head of a woman, the body of a lioness, the wings of an eagle, and a serpent headed tail.
The sphinx was the emblem of the ancient city-state of Chios, and appeared on seals and the obverse side of coins from the 6th century BC until the 3rd century AD.
Athena appears in the middle of the upper-half of the middle of a sarcophagus found in the middle pyramid of Giza, with two sphinxes at her side.


The Riddle of the Sphinx

The Sphinx is said to have guarded the entrance to the Greek city of Thebes, and to have asked a riddle of travellers to allow them passage. The exact riddle asked by the Sphinx was not specified by early tellers of the stories, and was not standardized as the one given below until late in Greek history.
It was said in late lore that Hera or Ares sent the Sphinx from her Ethiopian homeland (the Greeks always remembered the foreign origin of the Sphinx) to Thebes in Greece where she asks all passersby the most famous riddle in history: "Which creature walks on four legs in the morning, two legs in the afternoon, and three legs in the evening?" She strangled and devoured anyone unable to answer. Oedipus solved the riddle by answering: Man—who crawls on all fours as a baby, then walks on two feet as an adult, and then walks with a cane in old age. By some accounts (but much more rarely), there was a second riddle: "There are two sisters: one gives birth to the other and she, in turn, gives birth to the first. Who are the two sisters?" The answer is "day and night" (both words are feminine in Greek).
Bested at last, the tale continues, the Sphinx then threw herself from her high rock and died. An alternative version tells that she devoured herself. Thus Oedipus can be recognized as a "liminal" or threshold figure, helping effect the transition between the old religious practices, represented by the death of the Sphinx, and the rise of the new, Olympian gods.
In Jean Cocteau's retelling of the Oedipus legend, The Infernal Machine, the Sphinx tells Oedipus the answer to the riddle, to kill herself so that she did not have to kill anymore, and also to make him love her. He leaves without ever thanking her for giving him the answer to the riddle. The scene ends when the Sphinx and Anubis, who is there to kill the victims who cannot answer the riddle, ascend back to the heavens.
There are mythic, anthropological, psychoanalytic, and parodic interpretations of the Riddle of the Sphinx, and of Oedipus's answer to it. Numerous riddle books use the Sphinx in their title or illustrations.

Sphinxes in South and South-East Asia



A composite mythological being with the body of a lion and the head of a human being is present in the traditions, mythology and art of South and South-East Asia. Variously known as purushamriga (Sanskrit, "man-beast"), purushamirugam (Tamil, "man-beast"), naravirala (Sanskrit, "man-cat") in India, or as nara-simha (Sanskrit, "man-lion") in Sri Lanka, manusiha or manuthiha (Pali, "man-lion") in Myanmar, and nora nair or thepnorasingh in Thailand.
In contrast to the sphinx in Egypt, Mesopotamia, and Greece, where the traditions largely have been lost due to the discontinuity of the civilization, the traditions of the "Asian sphinx" are very much alive today. The earliest artistic depictions of "sphinxes" from the South Asian subcontinent are to some extent influenced by Hellenistic art and writings. These hail from the period when Buddhist art underwent a phase of Hellenistic influence.
In South India, the "sphinx" is known as purushamriga (Sanskrit) or purushamirugam (Tamil), meaning "Human-Beast". It is found depicted in sculptural art in temples and palaces where it serves an apotropaic purpose, just as the "sphinxes" in other parts of the ancient world. It is said by the tradition, to take away the sins of the devotees when they enter a temple and to ward off evil in general. It is therefore often found in a strategic position on the gopuram or temple gateway, or near the entrance of the Sanctum Sanctorum.

The purushamriga plays a significant role in daily as well as yearly ritual of South Indian Shaiva temples. In the shodhasha-upakaara (or sixteen honors) ritual, performed between one to six times at significant sacred moments through the day, it decorates one of the lamps of the diparadhana or lamp ceremony. And in several temples the purushamriga is also one of the vahana or vehicles of the deity during the processions of the Brahmotsava or festival.
In Kanya Kumari district, in the southernmost tip of the Indian subcontinent, during the night of Shiva Ratri, devotees run 75 kilometres while visiting and worshiping at twelve Shiva temples. This Shiva Ottam (or Run for Shiva) is performed in commemoration of the story of the race between the Sphinx and Bhima, one of the heroes of the epic Mahabharata.
The Indian conception of a sphinx that comes closest to the classic Greek idea, is in the concept of the Sharabha, a mythical creature, part lion, part man and part bird, and the form of Sharabha that god Shiva took on to counter Narasimha's violence.
In Philippines, the sphinx is known as nicolonia. It is depicted as part man and part eagle that is known to ask riddles to wanderers who trespass in the Bicol region. Anyone who fails to answer its riddle is said to be carried off to the Mayon Volcano where they are said to be offered to the volcano god, Gev'ra, to appease his anger.
In Sri Lanka, the sphinx is known as narasimha or man-lion. As a sphinx, it has the body of a lion and the head of a human being, and is not to be confused with Narasimha, the fourth reincarnation of the deity Vishnu; this avatar or incarnation is depicted with a human body and the head of a lion. The "sphinx" narasimha is part of the Buddhist tradition and functions as a guardian of the northern direction and also was depicted on banners.
In Burma, the sphinx is known as manussiha (manuthiha). It is depicted on the corners of Buddhist stupas, and its legends tell how it was created by Buddhist monks to protect a new-born royal baby from being devoured by ogresses.
Nora Nair and Thep Norasingh are two of the names under which the "sphinx" is known in Thailand. They are depicted as upright walking beings with the lower body of a lion or deer, and the upper body of a human. Often they are found as female-male pairs. Here, too, the sphinx serves a protective function. It also is enumerated among the mythological creatures that inhabit the ranges of the sacred mountain Himapan.


Revived sphinxes in Europe

The revived Mannerist sphinx of the 16th century is sometimes thought of as the French sphinx. Her coiffed head is erect and she has the breasts of a young woman. Often she wears ear drops and pearls as ornaments. Her body is naturalistically rendered as a recumbent lioness. Such sphinxes were revived when the grottesche or "grotesque" decorations of the unearthed "Golden House" (Domus Aurea) of Nero were brought to light in late 15th century Rome, and she was incorporated into the classical vocabulary of arabesque designs that spread throughout Europe in engravings during the 16th and 17th centuries. Sphinxes were included in the decoration of the loggia of the Vatican Palace by the workshop of Raphael (1515–20), which updated the vocabulary of the Roman grottesche.
The first appearances of sphinxes in French art are in the School of Fontainebleau in the 1520s and 1530s and she continues into the Late Baroque style of the French Régence (1715–1723).
From France, she spread throughout Europe, becoming a regular feature of the outdoors decorative sculpture of 18th-century palace gardens, as in the Upper Belvedere Palace in Vienna, Sanssouci Park in Potsdam, La Granja in Spain, Branicki Palace in Białystok, or the late Rococo examples in the grounds of the Portuguese Queluz National Palace (of perhaps the 1760s), with ruffs and clothed chests ending with a little cape.
Sphinxes are a feature of the neoclassical interior decorations of Robert Adam and his followers, returning closer to the undressed style of the grottesche. They had an equal appeal to artists and designers of the romantic, and later symbolism movements in the 19th century. Most of these sphinxes alluded to the Greek sphinx, rather than the Egyptian, although they may not have wings.

Sphinxes in Freemasonry

The sphinx image also has been adopted into Masonic architecture. Among the Egyptians, sphinxes were placed at the entrance of the temple to guard the mysteries, by warning those who penetrated within, that they should conceal a knowledge of them from the uninitiated. Champollion says that the sphinx became successively the symbol of each of the gods, by which portal suggests that the priests intended to express the idea that all the gods were hidden from the people, and that the knowledge of them, guarded in the sanctuaries, was revealed to the initiates only. As a Masonic emblem, the sphinx has been adopted in its Egyptian character as a symbol of mystery, and as such often is found as a decoration sculptured in front of Masonic temples, or engraved at the head of Masonic documents. It cannot, however, be properly called an ancient, recognized symbol of the order. Its introduction has been of comparatively recent date, and rather as a symbolic decoration than as a symbol of any particular dogma.




Greek Mythology : Nereids

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In Greek mythology, the Nereids (/ˈnɪəriɪdz/ neer-ee-idz; Ancient Greek: Νηρηΐδες) are sea nymphs (distinct from the mermaid-like sirens), the fifty daughters of Nereus and Doris, sisters to Nerites. They often accompany Poseidon and can be friendly and helpful to sailors fighting perilous storms. They are particularly associated with the Aegean Sea, where they dwelt with their father in the depths within a silvery cave. The most notable of them are Thetis, wife of Peleus and mother of Achilles; Amphitrite, wife of Poseidon; and Galatea, love of the Cyclops Polyphemus.
In Iliad XVIII, when Thetis cries out in sympathy for the grief of Achilles for the slain Patroclus,

There gathered round her every goddess, every Nereid that was in the deep salt sea. Glauce was there and Thaleia and Cymodoce; Nesaea, Speio, Thoe and ox-eyed Halie; Cymothoe, Actaee and Limnoreia; Melite, Iaera, Amphithoe and Agaue; Doto, Proto, Pherusa and Dynamene; Dexamene, Amphinome and Callianeira; Doris, Panope and far-sung Galatea; Nemertes, Apseudes and Callianassa. Clymene came too, with Ianeira, Ianassa, Maera, Oreithuia, Amatheia of the lovely locks, and other Nereids of the salt sea depths. The silvery cave was full of nymphs.
(E.V. Rieu, translator)
The Nereids are the namesake of one of the moons of the planet Neptune.
The nymph Opis is mentioned in Virgil's Aeneid. She is called on by the goddess Diana to avenge the death of the Amazon-like female warrior Camilla. Diana gives Opis magical weapons with which to take revenge on Camilla's killer, the Etruscan Arruns. Opis sees and laments Camilla's death and shoots Arruns in revenge as directed by Diana. This information is from 'Virgil, his life and times' by Peter Levi, Duckworth, 1998.


Names of the Nereids

 

  1. Actaea
  2. Agave
  3. Amathia
  4. Amphinome
  5. Amphithoe
  6. Amphitrite
  7. Apseudes
  8. Arethusa
  9. Asia
  10. Autonoe
  11. Beroe
  12. Callianassa
  13. Callianira
  14. Calypso
  15. Ceto
  16. Clio
  17. Clymene
  18. Cranto
  19. Creneis
  20. Cydippe
  21. Cymo
  22. Cymatolege
  23. Cymodoce
  24. Cymothoe
  25. Deiopea
  26. Dero
  27. Dexamene
  28. Dione
  29. Doris
  30. Doto
  31. Drymo
  32. Dynamene
  33. Eione
  34. Ephyra
  35. Erato
  36. Eucrante
  37. Eudore
  38. Eulimene
  39. Eumolpe
  40. Eunice
  41. Eupompe
  42. Eurydice
  43. Evagore
  44. Evarne
  45. Galene
  46. Galatea
  47. Glauce
  48. Glauconome
  49. Halie
  50. Halimede
  51. Hipponoe
  52. Hippothoe
  53. Iaera
  54. Ianassa
  55. Ianeira
  56. Ione
  57. Iphianassa
  58. Laomedeia
  59. Leiagore
  60. Leucothoe
  61. Ligea
  62. Limnoria
  63. Lycorias
  64. Lysianassa
  65. Maera
  66. Melite
  67. Menippe
  68. Nausithoe
  69. Neaera
  70. Nemertes
  71. Neomeris
  72. Nesaea
  73. Neso
  74. Opis
  75. Orithyia
  76. Panopea (Panope)
  77. Pasithea
  78. Pherusa
  79. Phyllodoce
  80. Plexaure
  81. Ploto
  82. Polynome
  83. Pontomedusa
  84. Pontoporeia
  85. Poulunoe
  86. Pronoe
  87. Proto
  88. Protomedeia
  89. Psamathe
  90. Sao
  91. Speio
  92. Thaleia
  93. Themisto
  94. Thetis
  95. Thoe
  96. Xantho
In modern Greek folklore, the term "nereid" (νεράϊδα, neráïda) has come to be used of all nymphs, or fairies, or mermaids, not merely nymphs of the sea.

(from