Alternative Names: Aschenklas, Bûr, Bullerclås, De hêle Christ (“The Holy Christ” in Mittelmark). Farmhand Robert, Farmhand Rupert, Hans Ruprecht, Rumpknecht, Servant Robert, Servant Rupert, Rû Clås, Ru Klaus (“Rough Nicholas”), Pelz Nicholas (“Fur Nicholas”)
The figure of Knecht Ruprecht is another character who appears within the wintertime, Christmas, and Yule traditions as another companion of Saint Nicholas in Germany.
Knecht Ruprecht is known for wearing black or brown robes with a pointed hood and walking with a limp from a childhood injury. Due to this limp, Ruprecht carries a long staff, he also has a bag of ashes, a whip, a stick, a sack for hauling away naughty children, and sometimes small bells on his clothing. Further details are that he may be shown riding a white horse or that he may be accompanied by fairies or by men dressed as old women with blackened faces.
The Devil You Know
In Germanic folklore, Ruprecht is the German name for the English Robert and a common name for the devil.
In this respect, Reprecht is a lot like the earlier forms of Zwarte Piet as the devil. This fits those traditions with figures like Krampus and Zwarte Piet where Saint Nicholas is to have chained and enslaved the devil.
This devil figure is then who punishes misbehaving children with whippings, handing them a switch or coal.
When it comes to Germany, several various dark figures lend themselves to the wintertime, Saint Nicholas Day, and Christmas traditions. At first glance, it’s easy to distinguish all of them as they all have different names and appearances. Then when you get into the various traditions surrounding each figure, they do hold similar roles. Some folklorists will state that the different names are regional variations of the same figure.
Maybe, but some of them like Krampus, Belsnickel, Knecht Ruprecht and Hans Trapp are way too distinct in their descriptions and frequently their origins to really see them all as being the same being. And maybe there is some comfort in seeing only one Christmastime bogeyman to be afraid of instead of several.
With variations in names, some of them do end up blending Knecht Ruprecht with Saint Nicholas so he is known as Ru Klaus or “Rough Nicholas” or Pelz Nicholas or “Fur Nicholas.” As Pelz Nicholas, we see Knecht Ruprecht get blended with the figure of Belsnickel. Even further names are Aschenklas or “Ash Nicholas” in reference to the bag of ash that Knecht Ruprecht carries. There a couple sources that give alternate names of Pelzmartin or “Fur Martin” when the figures of Knecht Ruprecht and Saint Martin are blended together.
Knecht Ruprecht is a dark helper and companion with a similar role to those of Krampus and Zwart Piet. It’s essentially a good cop, bad cop routine they share where Saint Nicholas is the gift giver who rewards while Knecht Ruprecht and others threaten punishment in the form of either thrashings or kidnapping.
Belsnickel – Knecht Ruprecht has also been identified as just another name for this gift-giving companion of Saint Nicholas in Germany. The two are frequently confused and identified with each other.
Kobolds – Jacob Grimm in his “Deutsche Mythologie” says that Knecht Ruprecht and other punishing type companions are like Kobolds who could be either helpful or not so helpful.
So, what’s a kobold? Those are a type of household spirit in pre-Christian beliefs that could be either beneficial or malicious depending on how they were treated. After the arrival of Christianity, these types of spirits were said to be more mischievous when they weren’t helping or not properly given respect.
Robin Goodfellow – Jacob Grimm also goes on to say that this is the same person as Knecht Ruprecht and just another name that all these house spirits are known as.
Crime & Punishment
On December 6th, Saint Nicholas Day, Knecht Ruprecht will ask children if they are able to pray. If the child demonstrates that they can, they are rewarded with gifts of apples, nuts, and gingerbread. If the child is not able to recite a prayer, Knecht Ruprecht will hit them with his bag of ashes.
Particularly naughty children will be given lumps of coal, sticks, and stones while good children receive sweets from Saint Nicholas in their shoes that they leave out. The absolute worst would be tied up in a sack and thrown into a river.
Nuremberg Christmas Procession
Knecht Ruprecht makes his first appearance in the 17th century during the Nuremberg Christmas Procession where he is a companion to Santa Claus. This is the first concrete documentation of this figure and their association with Saint Nicholas and the Christmas traditions.
According to traditions and stories, Ruprecht is either a farmhand or in other stories, a foundling that Saint Nicholas finds and raises as his own son. The German philosopher Alexander Tille has commented that Knecht Ruprecht represents the archetypical manservant much like stock characters Junker Hanns and Bauer Michel who represent the Nobility and are defined by their social rankings with no individuality.
In the High Alps, Knecht Ruprecht takes on more of the role of Saint Nicholas’ assistant, keeping an eye out for the Saint’s arrival. This is where both Knecht Ruprecht and Saint Nicholas can get blended together to be known as Ru Klaus as both are accompanied by troops of the goat-like creatures known as Krampus who will terrorize any misbehaving children.
Knecht Ruprecht has been the subject of a piano piece by the German composer Robert Schumann in 1848. The German poet and novelist, Theodor Storm wrote a poem called “Knecht Ruprecht” in 1862
For Knecht Ruprecht, not really. He’s much newer compared to the figures of Krampus and Perchta. However, as a collective whole with Zwarte Piet and Belsnickel, then yes, there is an argument to be made with connecting Knecht Ruprecht to older pagan traditions for the dangerous time that Winter can be. So, it’s fair to say we can see the ever-evolving Christian influence to try and tame the more wilder, dangerous Yuletide figures and monsters. Connecting him to the Norse Odin seems more of a stretch as I’ll give that one more to Saint Nicholas.
Saint Martin’s Day
Or Martinmas, which is sometimes also called Old Halloween or Old Hallowmas Eve and was celebrated on November 11th to mark the end of the harvest season and the start of winter. Traditions involve feasting on the Martinmas goose or Martinmas beef, drinking wine, bonfires, mummery, and Saint Martin going around on horseback to bestow gifts of apples, nuts, cakes, and other sweets to children who hung their stockings with hay for Saint Martin’s horse.
Saint Martin is also sometimes called Pelzmartin or “Fur Martin” and seems to be a figure similar to Saint Nicholas in their gift-giving roles. As a result, Knecht Ruprecht is said to sometimes be a companion to Saint Martin.
With the growing Christian influence in Germany, Knecht Ruprecht is also known to accompany Saint Peter, Saint Rupert, and even the Christkindel, or “Christ Child” during their gift-giving journey on Christmas.
Credit – Spiderbrick 2099
Etymology: “Great One”
Alternate Spellings & Other Names: Taueret, Tauret, Taurt, Apet, Ipet, Ipy, Opet, Reret, Rertrertu, Thoueris (Greek), Thoeris (Greek), Toeris (Greek), Ta-uret (Greek)
Other Names and Epithets: “Lady of Heaven,” Nebetakhet “The Mistress of the Horizon,” “She Who Removes Water,” “Mistress of Pure Water,” “The One Who is in the Waters of Nun,” and “Lady of the Birth House”
In ancient Egypt or Khemet, Taweret is the hippopotamus goddess of fertility, protection, and childbirth. She was a rather popular goddess whose image could be found in homes on beds and pillows rather than in any formal temple. Because of her fearsome chimeric appearance, some sources and translations will refer to Taweret as a demon.
Color: Blue, Green
Gemstones: (Hippopotamus) Ivory, Turquoise
Patron of: Child, Mothers
Sphere of Influence: Childbirth, Fertility, Motherhood, Pregnancy, Protection
Symbols: Ivory Dagger, Sa symbol, Wand
Taweret is shown in Egyptian art as being a chimeric deity having the head and body of a hippopotamus, the arms and legs of a lion, a crocodile’s tail and human breasts, and swollen belly of someone pregnant. She wears a flat, cylindrical headdress called a modius that sits on top of her hair or wig. These chimeric aspects show Taweret being both a fertility goddess and a protective deity and how nature can be bountiful while dangerous at the same time if not properly respected. The images where Taweret is shown with a crocodile on her back represent her connection to Sobek.
Later images show Taweret with the sun disc that’s associated with the goddesses Hathor and Isis. Taweret is often shown holding a Sa amulet, a symbol for protection and it wasn’t just protective amulets, as a household deity, Taweret’s image could be found on a wide variety of objects. Household furniture from chairs to stools and headrests. Vessels holding liquid were made with Taweret’s image with openings on the nipples, thought to purify any liquid being poured out. These vessels were very popular during the New Kingdom era. Towards the Middle Kingdom era, apotropaic objects such as wands and knives would bear Taweret’s image during both funerary rituals and pregnancy and birthing rituals. These objects have been shown in tomb paintings.
What’s In A Name
Taweret’s name means either “She who is great” or “Great One” and is the type of name or epitaph given to a potentially dangerous deity or entity so as not to provoke their wrath.
Taweret is a domestic deity in that she usually didn’t have any temples dedicated to her. Instead, you could find images of her in people’s homes on beds and pillows.
However, statues of hippopotamus goddesses can be found in tombs and temples to help the deceased be successfully reborn into the afterlife. Plus, during the time of the Middle Kingdome between 2,055 and 1,650 B.C.E., Taweret became more prominent with her image appearing on more apotropaic objects, the most common being a “wand” or “knife” carved from hippopotamus ivory used in rituals for the birth and protection of infants. These same images would also appear on children’s feeding cups.
Interestingly enough, during the Middle Kingdom era, Taweret would also become a funerary deity and hippopotami images would appear alongside the marsh flora décor in tombs and temples. This imagery connects Taweret as a goddess of rebirth into the afterlife, not just earthly births.
During the New Kingdom (1,550 to 1,069 B.C.E.), Taweret along with other household deities would become even more prominent. Taweret’s image would appear on a number of household items. Despite the ruling of the Eighteenth Dynasty pharaoh Akhenaten to alter Egypt from polytheism to henotheistic religion and a focus on the sun disc, Aten banned the worship of many deities, Taweret persisted due to her influence on daily life and her connection as a funerary deity.
During the Ptolemaic and Roman periods between 332 B.C.E. and 390 C.E., Taweret continued to have the main role in day-to-day Egyptian life. Either during the Late Period 664 B.C.E. to 332 B.C.E., a temple was built for Ipet, a similar hippopotamus goddess in Karnak. This temple was believed to be the place of the sun god, Amun-Re’s daily birth, and several goddesses like Taweret were connected to him as a divine mother.
Crete – In the Minoan religion of ancient Crete, Taweret is known as the Minoan Genius. All thanks to contact and trade of ideas with Levant who in turn, got them from Egypt. Taweret’s image continued to be used on protective amulets, though in a more Minoan style, and would find their way even to mainland Greece.
Levant – Taweret was adopted into Levantine religions, taking a maternal goddess role in their pantheon.
Nubia – Taweret even found favor with the Nubian empire and became part of their pantheon during the lat Middle Kingdom era in Egypt. Evidence has been found of Taweret appearing in royal rituals in Kerma, the capital of Nubia.
Parentage & Family
Given how fluid Egyptian myths can be, who’s related to who can vary by era.
Taweret has been paired up with a few different gods.
Aha – Or Bes, the dwarf god, Taweret is sometimes paired with him.
Apep – An Egyptian snake god of chaos who is sometimes paired with Taweret.
Seth – Or Set, according to Plutarch, is Taweret’s spouse.
Sobek – The crocodile god of chaos, Taweret is paired with him.
In Thebes, Taweret is regarded as the mother of Osiris and thus linked to the sky goddess Nut. Taweret is to have given birth to Osiris in Karnak.
Amun-Re in Ptolemaic traditions and accounts when he becomes the supreme god instead of Ra. Under this mythic tradition, numerous maternal goddesses were seen as Amun-Re’s divine mother. They were all just different names for the same Divine Mother.
The Egyptians were very fluid in their theology and how the gods were depicted. Different deities were known to merge for a specific reason or to emerge and split away, becoming their own entity. Given the thousands of years, the Egyptian Dynasties lasted, it’s not surprising in many ways for the myths to be fluid and change with the times. It was no problem for the Egyptians who saw such myths as complimentary and not contradictory.
At different points in the continuing development of Egyptian mythology, Taweret has had her roles become associated with other goddesses or have roles added. For the ancient Egyptians, they often saw their deities as just being different aspects of the same Goddess. Taweret goes from not just a goddess who protects children and the birth process but one who protects and purifies those moving to the afterlife. Which, makes sense, death being a form of rebirth to the next life and what comes after.
Other examples of this are the goddess of Isis, Hathor, and Mut all having protective roles and aspects that would later be absorbed by Taweret.
Egyptian Astronomy – The Mistress of the Horizon
Taweret’s image is often used to represent a northern constellation in the zodiacs where she is known as Nebetakhet (“The Mistress of the Horizon”). This same image can be found in many astronomical tomb paintings, even the Theban tombs of Tharwas, Senemut tomb, and the Pharoah Seti I in the Valley of the Kings. In this aspect, Taweret is thought to keep the heavens free of evil preventing those not worthy from passing by.
We see the image of the astral Taweret again, almost exclusively on the Sethian foreleg of a bull. This image later comes to represent the never-setting circumpolar constellations of Ursa Major and Draco and has associations with the Egyptian god of Chaos, Seth. The seven stars that line down Taweret’s form are from Ursa Minor.
In the Book of Day & Night, a mythological text dating from the Twentieth Dynasty (1186-1069 B.C.E.), it’s commented that this foreleg of Seth’s in the northern sky is tied down to two mooring posts of flint by gold chains. Isis in the form of a hippopotamus guards these posts.
This specific example of mentioning Isis and not Taweret is part of the fluidity of Egyptian cosmology and beliefs where the aspects of one goddess could be absorbed by another or split off for other deities.
The cosmic, astral imagery for Taweret is even found in later Ptolemaic and Roman eras such as the Book of Faiyum where Taweret is shown in her usual image with a crocodile on her back and a small upright crocodile in her right hand. Another section of Faiyum papyrus shows her near Lake Moeris. The Faiyum shows the solar journey that the sun god Ra takes with Lake Moeris being where the sun god is believed to descend during his nightly journey to the underworld of Amduat.
Taweret is represented in connection with Lake Moeris as a well-known constellation where she is a protective divine mother to Sobek-Re during his daily, solar journeys. In this respect, Taweret is like Neith the primary divine mother to Sobek. This aspect of Taweret is known as “Neith the Great, who protects her son.”
Protector of Pregnancy & Motherhood
This is perhaps Taweret’s best-known role as a goddess of protection. Her role and domain is over pregnancy and childbirth to ensure safe and healthy births. Magic by way of charms, amulets, and the use of special apotropaic wands and ivory-handled knives to ward off evil. 75% of all apotropaic wands have been found with Taweret’s image on them. Practitioners using these would draw a circle on the ground around the sleeping, expectant mother.
As a protective goddess of childbirth, Taweret would often be shown with the dwarf god, Bes who also has a similar protection role.
It should go without saying that pregnancy and childbirth were and still can be a dangerous time. Advanced as Egyptian medical knowledge was, they weren’t above invoking Taweret’s aid and help to ensure a successful birth with incantations that hoped and prayed for a son to carry on a patriarchal line for the household.
Metternich Stela – In this later myth, Isis tells Horus that he was raised by a “sow and a dwarf.” The sow refers to a female hippopotamus and thus Taweret while the dwarf is a reference to Bes.
The Death Of Osiris – Plutarch says that Taweret is a concubine of Set who changed her ways to become a follower of Horus and his order of law. This links Taweret to Isis as the goddess kept Set on a chain to control his forces of chaos. One version of this myth has Taweret holding Set down while Horus slays him.
Motherhood – Later myths quickly connect Taweret as a divine mother, namely the one who fiercely protects her children, much like lions and hippopotamuses are known to.
Pregnancy – Modern folk magic in Egypt still sees women who desire to become pregnant going to the Egyptian Museum in Cairo to rub the belly of Taweret’s statue. To the point that a glass vitrine now shields the statue from the constant rubbing and wear. That doesn’t stop women from going to visit the statue in efforts and hopes of becoming pregnant.
The Sa symbol is the hieroglyph for protection and with Taweret, this protective amulet is used during pregnancy and childbirth to ensure the baby’s health and safety. Pregnant women frequently wore these Sa amulets or those with Taweret’s image on them.
Plutarch’s Notes – Plutarch mentions in his writings that in the central myth of Isis and Osiris, Taweret is a concubine to Seth, the god of chaos and murderer of Osiris. Taweret rebels against Seth in order to join Horus and his forces of order.
To the Egyptian mind, this one makes sense, as you’re born into the mortal life, so too do you undergo a similar rebirth into the afterlife with death. Who else will be there, none other than Taweret to act as a sort of psychopomp to purify the soul as you move on.
Taweret’s image would also be placed outside of temples dedicated to other Egyptian gods where it was believed she would protect and keep away harmful, chaotic spirits.
The Eye Of Ra
This story has been found engraved on one of the shrines in Tutankhamun’s tomb and in “The Book of the Heavenly Cow.”
In this story, Hathor, as the Eye of Ra, turns into Sakhmet. How this came about is that Hathor’s father Ra, having grown old, was beginning to fall out of worship. Angry about this, Ra speaks to his daughter who turns into Sakhment and goes out to punish humanity.
As Sakhmet, she was very efficient and nearly wiped out everyone. Realizing that if she continued killing everyone, there would be none left at all to worship the gods, Ra decided that there has been enough killing and told her to stop. Only now she can’t quit, Sekhmet’s become so full of bloodlust.
Seeking the guidance of the ever-wise Thoth, he and Ra get large vats or barrels of beer that have been dyed and colored red to look like blood. In some versions of the story, they flood the land with the blood-red beer, and in others; Thoth has a hallucinogenic like poppies put into the beer.
Regardless of the final version told, Sekhmet on seeing all this beer drinks it up, getting so drunk, she forgets about her reason for coming to the earth, her great blood lust, and forgets all about killing anyone. When Sekhmet returns to Ra, he embraces her and Sekhmet turns back into Taweret. Granted, the other version I have mentioned before sees Sekhmet turn back into Hathor.
With Taweret’s rise and popularity, this version and change of the story is meant to showcase Taweret’s role as a fertility goddess and one of renewal or rejuvenation. This version of the story is why Taweret has the epithet of “Mistress of Pure Water.” By taking the form of a giant hippopotamus that brings the flooding of the Nile River.
Mistress of Pure Water – Fertility Goddess
The above story places Taweret in a position as a goddess of fertility, which makes sense, she is already the goddess responsible for watching over the birth process. Since hippopotami are associated with the Nile River, it’s easy to equate them with the annual flooding that brings much-needed life, rejuvenation, and renewal, especially near Jabal al-Silsila. Just as Tawerret would bring rejuvenation and fertility, she was also associated with the harvest.
Another myth has the god Amun-Re as being born from Taweret as Ipet to ensure the cycle of renewal and regeneration.
Archeological finds have found that hippopotami lived in the Nile River long before the rise of dynastic Egypt around 3,000 B.C.E. Among the Egyptians, male hippopotami were viewed as dark, negative creatures allied with Set, the god of chaos. There would be royal hunting parties that would prove the divine power and might of the pharaoh.
As for female hippopotami, they were seen in a more favorable light as they were seen to represent Taweret. This frightful appearance was to frighten away any negative spirits that would harm a child, especially during labor and childbirth. Given the protective nature of female hippopotami with their young, they were easily adopted as protective symbols. Protective amulets with female hippopotami have been found dating back to between 3,000 to 2,686 B.C.E. up to the Ptolemaic and Roman eras between 332 B.C.E. and 390 C.E.
More Than One Hippo Goddess!?!
Taweret isn’t the only protective hippopotamus goddess. There is also Ipet, Reret, and Hedjet. Some scholars have put forward the idea that all these goddesses are merely different aspects of the same goddess as they’re all protective household goddesses.
We know already that Taweret means “Great One.” Ipet’s name means “the Nurse” and refers to her connection with birth, child rearing, and caretaking. Reret’s name means “the Sow” and it does connect to an erroneous classification of calling hippopotami as water pigs. Hedjet’s name means “the White One” and the meaning for this name isn’t clear. Depending on the source and era, all three goddesses were regarded as different names and aspects of Taweret or she absorbs them.
There is evidence of a hippopotamus goddesses’ cult during the time of the Old Kingdom between 2,686 and 2,181 B.C.E. found on Ancient Egyptian funerary papyrus known as the Pyramid Texts. Ipet is mentioned in Spell 269 of the Pyramid Texts of how the deceased Pharoah will suck on the goddess’ “white, dazzling, sweet milk” when he ascends to the heavens. Maternal goddesses, these hippopotami goddesses protected not just those of royal lineage but those of non-royal lineages as well.
Not To Be Confused With Ammit!
While Taweret and the other hippopotamus goddesses all share similar roles with protection, fertility, and childbirth. There is another hippopotamus goddess, Ammit who should not be confused with Taweret or her fellow hippopotamus goddesses. Why? Because Ammit is the only hippopotamus goddess who is destructive, she is known for eating the souls of the unjust before they go to the afterlife.
Hathor – An Egyptian goddess, it should come as no surprise that at some point in the ever-evolving and changing Egyptian cosmology, that at some point Taweret would be equated with Hathor or share, take over many of the same attributes and even a myth or two while we’re at it.
Mut – A mother goddess in ancient Egypt, married to Amun-Re and often equated with Taweret.
Persephone – A Greek goddess of fertility and the underworld, those attributes seem to be the most like Taweret.
Also Known As: Benec, Vėlinas (Baltic, Lithuanian),Volos, Volusu, Volusu, Vyeles, Ganyklos (Lithuanian), Vlas (Russian), Walgino, Weles
Epitaphs: King of Bears, Lord of all Wolves, Master of the Forest, “Skotiybog“ (God of Cattle)
Etymology: “Uel-“ to see, fields, spirits of the dead. Also likely from the proto-Indo-European word “wel-“ wool
In Slavic beliefs, folklore, and mythology, Veles is a god of many things from storms and trickery to God of the underworld and domestic animals as well as the god of the earth and water. Veles is indeed a significant and major supernatural force within Slavic mythology and beliefs. Depending upon your source, some of it can seem rather contradictory.
Given the nature of Slavic beliefs, there isn’t much concrete documentation. There is still a lot of oral history and traditions about Veles found in Czechoslovakia, Poland, and Russia. All of this can get very confusing as for the longest time, first with the arrival of Christianity, a lot of local Slavic pagan beliefs were done away with and made to be seen as aspects of evil and the devil. Then later, when that’s no longer so prominent, there just isn’t a lot that has been documented and what survives has been by oral tradition and that, can vary widely by local, regional traditions that have managed to get passed on. We also hit on several dubious sources that over time have proven not to be reliable.
Naturally, this will be where I’ve got some mistakes and expect I Veles to be a post I will come back to correct several times and update.
Animal: Bear, Cattle, Crows, Dragons, Owl, Ravens, Rooster, Serpents, Wolf
Colors: Black, Blue, Green, Red
Day of the Week: Sunday
Directions: North, West
Element: Earth, Water
Gemstones: Bloodstone, Garnet, Jasper, Jet, Obsidian, Onyx
Incense: Cedar, Clove, Ginger, Wormwood
Month: February, March
Plant: Cedar, Hawthorne, Holly, Ivy, Mistletoe, Pine, Wheat, Willow
Sphere of Influence: Cattle, Commerce, Divination, Fertility, Magic, Medicine, Music, Pastures, Underworld, Wealth, Wildlife
Symbols: Cattle, Horns, Serpents, Wool
Tarot: Cups, Pentacles
In some sources, Veles is described as a wolf-headed god. In other sources, Veles is described as a large serpent with horns that lives in the water or is pictured at the bottom of the Slavic World Tree with Perun in his eagle form at the top. Frequently, Veles is depicted as an elderly man with a gray beard and hair. As a shapeshifter, Veles often takes on the traits of those animals favored or associated with him such as horns and bear fur.
When in the form of a bear, Veles is regarded as the King of Bears. As a wolf, among the southern Slavs, Veles is the lord of all wolves.
Velinas – In the Balto-Slavic regions, a description is given that describes him as being a one-eyed god with a gift for divination and leader of the Wild Hunt, lord of the dead, and to whom people sacrificed to were killed with a spear. This version of Veles warrants having its own post as one source found, discusses Velinas as similar to, yet clearly different from Veles. Taking a look at the Mediterranean region among the Greek and Roman cultures, there were other culture groups like the Etruscans, the Dacians, Phrygians who have their own local deities who were similar to those of the Greek and Roman deities and would frequently be absorbed into the Greco-Roman pantheons and survive as epitaphs for the local region.
What’s In A Name?
According to the linguist Roman Jakobson, the name Veles comes from the word “uel-“ and “esu-“ while the name Volos comes from another root word for where “-el” changes to “olo.” The root word “uel” or “wel-“ can have variable meanings and refer to any number of words such as “to die,” “grass,” “to see,” “to want,” “to turn,” “to cull,” “tepid”, “hair,” “wool,” “forest,” and “deception” as in magical deceptions. The book “The Mythology of All Races” published in 1918 says that Veles’ name comes from “weles” for wolf.
The root word “uel” is also related to the proto-Germanic word “walaz” that is also seen in the old Norse “valr,” “valkyria,” and “Valholl” all words related to the Norse god Odin who is known too by the name “Valfǫðr.” In the Baltic dialects and language, we see this reflected in the word “vėlės/veļi” for the “spirits of the dead,” “shade of the deceased,” and “shadow of death.”. This is reflected in the Baltic god’s names of Vėlinas, Velnias, and Velns. A connection of the word “uel” from “ṷélsu-“ for meadow or pasture has been made with the Greek Elysium, the fields of the blessed dead.
Where “uel-“ relates with “to see,” there is a connection in the name of the seeress Veleda. Going off this, in Norse mythology there is a “Völva,” a seeress connected to water and foretelling known as “Völuspa.” The word “Völuspa” is connected to spinning or braiding the Thread of Fate of those whose futures have been seen. “Völva” is also the cognate for a “Wheel” or “Spinning Wheel.”
In the proto-Indo-European language, etymologists have found the root word “wel-“ meaning wool and likely where the English word “wool” comes from. The Russian word for “hair” is “volos.” As a god of horned cattle and other livestock, this makes sense.
First off, “The Primary Chronicle” is the main source and historical record that provides us with evidence for Veles’ importance and worship. Veles is one of the Slavic gods that can be concretely confirmed while there are several others that have been disproved or there’s still information being gathered to confirm them.
Veles is worshiped in two distinct forms. One as Veles and one as Volos. This makes sense as that can be a way to break down all the aspects of what Veles is a god of and the domains he presides over. Scholars and etymologists suggest that Veles and Volos are two different gods being referred to. However, that does make sense for a need to see two different deities once the Slavic regions began to be Christianized and there’s a split of Veles’ dualistic nature.
Cocks or Roosters would be sacrificed to Veles at the rivers or lakes sacred to him.
During the later 10th century, Vladimir I, the Prince of Kiev erected seven statues in his city, of which Veles was one of them. However, Veles’ statue is the only one that didn’t stand up on the hill next to the other statues and castle. Instead, Veles’ statue could be found in the city in the marketplace. This placement indicates strongly Veles’ importance to commerce. Plus, it also shows that the worship of Perun and Veles needed to be kept separate as Perun’s shrines and worship were to be conducted up high with Veles’ place down in the lowlands. Among the Southern Slavs, Veles’ name is often found in place names.
Triglav – Veles was worshipped as an aspect of the three-headed Slavic god Triglav and the Slavic trinity consisting of Perun, Veles, and Svarog.
With the arrival of Christianity in the Slavic regions and countries, the aspect of Veles has largely been suppressed, at least the aspects connecting him to the Underworld and as a trickster. He has been equated with the Devil with his name becoming the same word for ghosts and devils. There is a record of Czech’s referring to Veles as a devil in the 16th century. An idol was thrown in the Pocayna River. Veles is used frequently in medieval curses from Bohemia.
Due to Veles’ dualistic nature, we see a split in his name with Veles and Volos. The name Veles under Christian influence holding a more negative connotations and associations. Whereas with Volos, he is held more benignly, and this aspect survives, becoming associated with different Saints.
St. Blaise – Or Saint Vlas, Saint Vlaho, St. Blaz, or St. Vlasiy, he is connected more to the aspect of Volos, he is a shepherd and patron saint cattle and domestic animals. Icons of St. Vlas were placed in cattle sheds for their protection. The Saint’s name day is February 12th and, on this day, cattle are treated to a special feed to eat. In Yaroslavl, the church built on the site of Vele’s shrine was dedicated to St. Blaise.
St. Nicholas – Veles is associated with this saint who is a patron of merchants, fishermen, and mariners. There is also this connection due to the association with water and being a snake who is slain by St. George, a motif similar to the enmity between Perun and Veles.
Parentage and Family
Father – Rod, the creator god in Slavic beliefs.
Mother – Zemun, a divine or celestial cow.
Sometimes Veles’ parents are given as Svarog and Lada.
Perun and Dażbóg
Depending on the region or the source cited, Veles is married either to Mokosh, the goddess of the earth, or to Devana, a goddess of the wilds and hunt.
Mokosh – She is somewhat conflicting as in other stories Mokosh is the wife to Perun and whom Veles kidnaps in their never-ending feud.
Devana – Or Dziewanna was forced to marry Veles after she rebelled against Perun.
Jarilo – A fertility god raised by Veles after being kidnapped. So he may not really count.
The struggle against Chaos; this is a familiar motif found throughout the world in many different regions and mythologies of a culture hero or God going up against a creature of chaos. This creature is often shown as and takes the form of a great serpent or dragon. This is the familiar Knight slaying the Dragon seen in many European mythologies. Parallels to this concept are even found in other cultures.
This aspect is seen in the descriptions of Veles where he is a serpent with horns and the battle that he has with Perun. It’s a dragon or serpent-slaying motif seen with the story of Saint George slaying the dragon.
Storm Myth – Battle With Perun, the Storm God
As previously mentioned above under Chaoskampf, this story is perhaps the best-known Slavic story, especially as it fits into the Christian ideas of a hero slaying the dragon or evil or order triumphing over chaos.
Russian scholars and philologists Vyacheslav Vsevolodovich Ivanov and Vladimir Toporov have reconstructed this mythical battle of Perun and Veles with comparative studies to various Indo-European myths, Slavic folk tales, and songs.
Perun, the god of thunder battles against Veles in his dragon form. Depending on the story, Veles has stolen either Perun’s son, wife, or cattle which leads to their conflict.
As a challenge, in the shape of a huge serpent, Veles comes up from the underworld of Nav and wind his way up the Slave World Tree towards the heavens and Perun’s domain. Naturally, Perun responds by sending lightning bolts so that Veles flees back down and turns himself into various animals, people, and even trees to escape from or ambush Perun as they battle it out.
In the end, Veles is slain by Perun and the person or thing that Veles is to have stolen is released from within his body and it comes out in the form of falling rain from the heavens.
Scholars have commented that this “Storm Myth” is probably how the ancient Slavs would explain the changing of the seasons throughout the year. Any dry periods would be seen as Veles’ theft with the storms and lightning being interpreted as a divine battle up in the heavens and Perun’s ultimate triumph over Veles with the arrival of rain and Perun establishing order over chaos.
The Slavs have a saying that wherever lighting strikes, that is Perun attacking Veles.
Variation 1 – In the stories where Veles kidnaps Perun’s son, it is Jarilo, the tenth son who is stolen. Veles then raises Jarilo as his own son, who when he is older, becomes a god of fertility and heralds the arrival of spring when he returns to the lands of the living.
Variation 2 – It is Perun who is stolen as an infant and raised in the underworld. Once Perun is grown, he battles many creatures in order to fight his way back up to the mortal world.
Since the “Storm Myth” is cyclical and repeats every year. It connects Veles as a god of fertility and a god who dies and then is resurrected. The snake or serpent aspect of Veles would be him shedding his old skin or old life to be reborn as the year changes.
The “Storm Myth” and battle with Perun places Veles in a more negative role as one who brings chaos. Certainly, change is chaotic, but there is a pattern that emerges and soon you can make sense of that pattern and bring about a certain order to things so it doesn’t get destructive.
For the ancient Slavs, Veles wasn’t evil, he was the god of the wilds and nature which can appear to be very unpredictable if you’re not careful or respectful.
Later Christian influences will place him as evil and why in so many places Veles’ name does become synonymous with the devil and evil. But we do see where Veles appears as a Saint such as Saint Nicholas to save a poor farmer’s cattle from the destructiveness of St. Elias, a representative of Perun.
While Perun is more associated with agriculture, there is a Russian custom during harvest season to cut the first ear of wheat and tie it into an amulet that would protect crops from evil spirits. This was known as “tying the beard of Veles” which meant to invoke good fortune and wealth.
Duality – Ultimately the conflict of Perun and Veles is the duality in the clash of good and evil and the cyclical nature of the passing of the seasons and year. Veles represents the earth, water, and physical world and Perun represents fire, the heavens, and spirit.
Marriage To Devana
Also known as Dziewanna, she is a goddess of the wilds and hunt. As punishment, Devana found herself forced to marry Veles after she rebelled against Perun. Wanting to be wild and free, Devana didn’t initially love Veles at first despite the two having a domain that’s very similar to each other. After a bit of thought, Veles managed to win Devana over when he changed into a basil flower and calmed her. While they’re still not really in love, together they do watch over the lowlands of the wilds and are a force not to be taken lightly.
God of Mischief
Like Loki, Veles is considered a god of mischief and trickery. This ties strongly to the association of Veles’ use of magic, shapeshifting, and the arts. This aspect holds where Veles is seen as a god of chaos and a disruption during any long periods of dryness, or no rain as primarily seen in the “Storm Myth.”
Magic & The Arts
In this aspect, we see Veles the god of divination, magic, music, poetry, the earth, and water. Oaths would be sworn in Veles’ name. Traveling musicians, skalds, bards, and poets were known to pray to Veles for his protection as they traveled.
As a god of poetry, divination, and the arts, Veles has been equated with the Norse Odin. There is a 12th-century Russian epic, “The Tale of Igor’s Campaign,” where the character Boyan the wizard is referred to as Vele’s grandson. Poetry, music, and magic were closely linked in both Nordic and Slavic beliefs.
Veles is regarded as a protector of traveling musicians. Up into the 20th century, in some wedding ceremonies held in northern Croatia, the music won’t begin playing unless the groom while making a toast, spills some of the wine onto the ground, especially near the roots of a tree. This tradition would be musicians making a toast to their patron deity.
The Slavic magician-priests were called: volhov, volchvi, vlъsvi and volъsvi. They were not priests of an elite religion like those belonging to Perun. Rather, these magician-priests were known to be seers, soothsayers, poets, magicians and sorcerers as well as healers and herbalists. It is thought the etymology of volchys connects them to Volos.
God of the Underworld
Veles is a god of the Underworld, in charge of the spirits of the dead whom he would send out as his messengers. In his connection to the earth, Veles is also a god of all the bounties and riches of the earth, growing above and found below.
Nav – Also known as Nawia, this is Veles’ abode in the underworld. Incidentally, the word nav could also refer to the spirits or souls of the deceased who had premature deaths or poor deaths such as drowning, or being murdered, or if you were a murderer or warlock, these were all spirits that would come back as demons to afflict the living. The navias could take the form of birds. In Bulgaria, there is folklore that says twelve navias could suck the blood from a pregnant woman. The navias were also the demonic representation of the 1092 plague in Polotsk, Belarus.
Very similar to Norse beliefs, the Slavs also believed a huge world tree connected the mortal world to the heavens and the underworld. The roots of the world tree formed the roof of the underworld as they stretched out.
Where Perun was seen as either a hawk or eagle sitting in the branches of the world tree looking out over the heavens, Veles was seen as a huge serpent coiled around the roots ruling over the underworld.
Unlike descriptions of other underworlds, Nav was viewed as a beautiful place in folktales as a place where it’s forever Spring with green, grassy plains and plenty of water. Many fantastical creatures could be found here, not just the spirits of the dead who watched over Veles’ herds of cattle.
For the Slavs, Nav was described as being somewhere “across the sea” and was the place where migrating birds would go to every winter. In folktales, we find a different name, Virey or Iriv and that Jarilo, the god of fertility and vegetation lived here during winter and would return when it was time for spring. Jarilo would cross the seas, returning to the lands of the living bringing spring and birds back.
The Separation Of The Human World & Underworld
This story concerns the separation and boundary separating the mortal, living world with that of the underworld and lands of the dead. A shepherd pledged to Veles to sacrifice his best cow and to keep the god’s prohibitions. From this, Veles divides the human world and the underworld with either a furrow that he plows or groove over the road that the shepherd carves with a knife to prevent evil or negative powers from crossing.
God of Cattle
As Volos, he is known as “skotiybog,“ the god of cattle who watches over and protects flocks, cattle and all domestic animals, keeping them from harm. The name skotnyi bog is also the name for livestock in general. This aspect of Veles survives and continued under Christian influence well into the 18th century as Saint Blaise where he is a protector of shepherds and their flocks or cattle.
It must be noted too that it isn’t just domestic animals that Volos watches over, but all wild animals, connecting him to the image of him as a horned serpent and thus, horned gods like Pan or Cernunnos who watch over the forests and animals. In addition to the horns associated with either a bull or ram, there is also sheep’s wool that is used as a symbol for Veles.
The Koledari would sing that they come to “weaving black wool.” There is some folklore involving wool and the expressions, “presti vunu” meaning weaving wool, and “crnu vunu presti” meaning the weaving of black wool. These are illusions to magical crafts and Veles’ role as a god of magic.
God of Commerce & Wealth
Given how cattle were regarded as a sign of wealth and influence, it’s not hard to see Volos become the god and patron of commerce, business, prosperity, trade, and wealth. Merchants would seal their agreements by swearing Volos’ name and even legal documents would sometimes have oaths to him. If you broke an oath, you could be sure of Volos’ punishment and retribution.
A Rus-Byzantine Treaty of 971 is the earliest record we have where signers swore by Vele’s name with violators being warned of a punishment. They would be killed by their own weapons that would become “yellow as gold.” It is thought that this meant they would be cursed with a disease.
Veles’ Feast Day
Or the Festival of Veles, this festival is celebrated either February 11th or 24th for the observance of midwinter. In Christian folk rituals, this festival corresponds with Saint Blaise’s feast day. In the Orthodox traditions, St. Blaise as the protector of cattle is said to have defeated Winter or Morana. Among Catholic traditions, St. Blaise is the patron of throat diseases and apples and candles are blessed to provide protection from those diseases. In Catholic tradition, St. Blaise’s feast day is February 3rd and apples would be sacrificed to him by feeding them to cattle.
Prayers would be offered to Veles for the protection of livestock and their health by sacrificing milk. The festival would be held near a place of worship. During this time, it is forbidden to eat veal. The food eaten during this time is groats seasoned with fat. Ritual fights would also be held during this festival.
The best part is knowing that this held close to Valentine’s Day and Lupercalia!
The Great Night, in Slavic beliefs, following a lunar calendar, the first day of the New Year would begin on what corresponds with the Gregorian calendar of March 1st to celebrate the end of Winter and return of Spring. This festival could last from Christmas all the way to the end of February. After the arrival and Christianization of many Slavic countries, for those Slavs falling under the Orthodox Churches, this day came to be known as Velik Dan or the Great Day. For the Catholic Slavs, this day became Velika Noc, still the Great Night. Both names correspond with the day or the week in which Easter is observed.
In pre-Christian worship, Velja Noc is the night that the spirits of the dead walk the earth and would enter villages and homes to celebrate the New Year with their living relatives. It is believed that Veles, as the god of the underworld would send out the souls of the dead to the living world to act as his messengers. One tradition has young men known as koledari or vucari would dress up in long coats of sheep wool and wear grotesque masks as they went around the villages making a lot of noise and singing songs. They would be wet and muddy to symbolize the wet underworld of Nav and the ghosts of the dead. In the koledari traditions, they would visit different homes and people presented them with gifts as if they were messengers from Veles to gain his favor for wealth and fortune in the following year.
Which I find very fascinating as this all sounds very much like the Irish celebration of Samhain and Halloween with spirits of the dead passing over to the world of the living and dressing up in costume. Plus, the spirits visiting living relatives is a lot like celebrations of Día de Los Muertos in Mexico and Kalan Goañv in Brittany, France.
Apsat – A Georgian or Sarmatian deity and god of cattle and herds who has been equated with Velese.
Cernunnos – A god of the druids in Celtic myth, he is symbolized as a horned snake and god of nature and horned animals.
Hermes – A trickster god and messenger of the Greek pantheon, Veles has been compared to them.
Loki – Veles has been compared to the trickster god Loki from Norse mythology.
Mercury – The trickster and messenger god of the Roman pantheon.
Odin – Some descriptions of Veles also sound just like Odin with his one-eye and gift of prophecy.
Triglav – A three-headed underworld god worshiped by the Pomeranians and some of the Polabian Slavs in Szczecin, Wolin and Brandenburg. It was a short-lived cult confirmed by St. Otto of Bamberg in his biographies.
Vala – A demon who opposes the thunder god Indra in the Vedas.
Vėlinas – A Baltic deity who is very similar in appearance to the Norse Odin and not just Veles.
Also Known As: La Catrina, Catrina La Calavera Garbancera
Etymology: “Dapper Skeleton” or “Elegant Skull”
Images of La Calavera Catrina are common during the Mexican festival of Dia de los Muertos. Elegant and beautiful skeletons adorn many murals, statues, sugar skulls, and other art. Images of La Calavera Catrina and her male counterparts show her being dressed in bright, colorful clothes during a time to honor, remember and revere one’s ancestors and loved ones who have passed on.
The La Calavera Catrina got her start as part of a 1910 to 1913 zinc etching by Mexican printmaker, cartoonist, and lithographer José Guadalupe Posada. La Catrina’s popularity took off from 1946 to 1947 when the artist Diego Rivera completed his mural “Sueño de una Tarde Dominical en la Alameda Central” (“Dream of a Sunday afternoon along Central Alameda”) to commemorate 400 years of Mexican history. This work is also where La Catrina would get her name. Since then, La Catrina has become an iconic image for the Mexican Dia de los Muertos, or Day of the Dead.
La Calavera Catrina was first created by Posada as part of a series of satirical lithographs commenting on social and political issues.
The figure of La Catrina is dressed elegantly as a reference to high society’s obsession with European fashions, customs, and excessiveness. By extension, it was also a commentary on the then-ruling dictator Porfirio Diaz. While Diaz had modernized Mexico in the late 18th century and brought financial stability, 1910 would see the Mexican Rebellion removing Diaz from power a year later in 1911 due to government corruption. Images of La Catrina circulating around this time would help fuel that rebellion.
La Calavera Garbancera – This is the name of the leaflet that Posada’s La Calavera Catrina appeared in. This name and term of La Calavera Garbancera is a bit derogatory as it referred to a person ashamed of their indigenous origins who would dress in the French style of the times and wear a lot of makeup in order to make their skin look whiter.
La Calavera del Cólera Morbo – “the calavera of the morbid cholera.” 1910 was also a time of the cholera plague. This art piece by Posada depicted a fantastical humanoid figure with the body of a snake and surrounded by a dozen skulls all representing a variety of occupations such as jewelers, tailors, blacksmiths, clerks, and judges. This piece represented that regardless of one’s station, death comes for everyone.
Painted between the years 1946 and 1947, this mural helped to popularize the image of La Calavera Catrina and cement her place in festivals for Dia de los Muertos. It is the principal or prime work of art at the Museo Mural Diego Rivera next to the Alameda at the historic center in Mexico City. The mural even survived an earthquake in 1985, it would get moved across the street to the Museo Mural Diego Rivera for display.
Fun Fact – Diego Rivera considered Posada to be his artistic father. Rivera was also married to the famous Mexican painter Frida Kahlo.
Día de los Muertos
Now La Catrina is found in her more traditional form from hand-drawn art to sculptures, paper- mâché, and pottery. In some of these, La Catrina will be coupled with a male skeleton. Many people will also dress as La Catrina on Dia de los Muertos. Candy skulls will also be decorated in her likeness.
La Catrina has become a familiar part of the Dia de los Muertos celebrations as Mexicans gather with their families to remember their loved ones who have passed on and to leave offerings of food on the ofrendas for them.
In her modern form, La Catrina is a reminder to live life beautifully. Death does come for everyone, and it isn’t and shouldn’t be something to fear.
Syno-Deities & Entities
Grim Reaper – It’s easy to see a similarity between the Grim Reaper’s skeletal image and how close the two holidays of Halloween and Dia de Los Muertos are. Unlike the Grim Reaper, La Catrina wears bright, colorful clothing.
Mictecacihuatl – There are very noted, strong similarities between the imagery of the Aztec goddess of death and La Calavera Catrina. So much so, that there are many will say that La Calavera Catrina is a continuation of Mictecacihuatl’s worship and how she once presided over the festivals honoring the dead.
San La Muerte – A similar male skeletal figure worshiped as a folk saint found in Paraguay.
San Pascualito – A similar male skeletal figure worshiped as a folk saint.
Santa Muerte – A Mexican folk saint, the imagery of Santa Muerte has been compared to La Calavera Catrina.
Also Known As: Angel of Death, Death, The Reaper, The Grim Spectre of Death, der Tod (German), Kosač (Slavic), La Muerte (Latin), La Mort (Latin), La Calaca (in Mexico), Pietje de Dood (Dutch), Smrt (Slavic)
“Only two things are certain in life, death and taxes.”
- Benjamin Franklin
In the modern, Western mindset, the Grim Reaper is either a personification of Death, an angel, spirit, or psychopomp who comes to take the souls of the recently deceased to the afterlife.
Since the earliest times, there are numerous stories showing death being a part of life. Even modern literature and media will show that death happens and that the figure of the Grim Reaper is frequently one who’s there to guide people on to the next life.
One can rightfully argue that the concept and personification of the Grim Reaper have existed for a very long time. Even before their modern appearance, numerous cultures have some variation of a Death deity or psychopomp. Prominent deities are the Greek Thanatos, God of Death, and more recently from Brittany, France the Ankou who bears a striking resemblance to the modern Grim Reaper, it’s easy to see them as both the same entity doing the same job.
From European history, it’s easy to see a personification of Death taking on the skeletal visage they have during the fourteenth century when the Black Death plague is sweeping through, with so many people dying and bodies piling up. Artists would paint images of skeletons with weapons or scythes, riding on white horses through the streets with wagons full of bodies. From all of this would eventually come the dark figure dressed in black robes and carrying a scythe.
As for the name “Grim Reaper,” that wouldn’t come until 1847 when the name “Grim” was a popular name for Death that can be traced to the thirteenth century.
The Grim Reaper is often described as a skeleton dressed in black robes with a hood pulled up and carrying a scythe. In Europe, the Grim Reaper or Death may be dressed in white, a traditional color worn during funerals in some cultures.
During the Medieval Ages, the Grim Reaper was thought of as a decaying corpse before becoming the more familiar skeletal figure.
The Grim Reaper is a familiar figure who appears in numerous media and literature and can appear as either his familiar robed figure or as an ordinary person, male or female going about doing their job.
Scythe – It should go without saying, the scythe represents a harvester’s tool for bringing in the grain. So does the scythe representing harvesting a person’s soul or spirit when they did. Depending on the story, the Grim Reaper doesn’t have to use their scythe, just their mere presence and arrival is enough to signify that a person’s time has come.
Hourglass – Some depictions of the Grim Reaper have them with an hourglass representing the ticking off the sands of time and moment of death.
White Horse – When connected as a Horseman of the Apocalypse, the Grim Reaper or Death as they are then known is seen riding a white horse or possibly, riding in a chariot pulled by white horses.
Regardless of the description of the Grim Reaper that you go by or calling them Death, the Angel of Death, their job is that of a psychopomp, an entity that guides and takes the souls of the deceased to the afterlife.
While researching the Grim Reaper, I came across numerous articles that break down and go into all the myriad personifications of Death around the world, either as a deity, angel, or psychopomp. Including dozens of examples of the Grim Reaper in modern media where they are still a very active figure who is simply doing their job.
Or the “Dance of Death” is a medieval French allegory for how death unites everyone, regardless of age or social status in life. The Danse Macabre has been shown in various forms of the arts beginning as theatre plays and poems, wall paintings, and drawings. The majority of these come from the 15th century, an era of numerous famines, plagues, and wars. All things that people associated with the Four Horsemen of the Apocalypse.
The imagery invoked is Death summoning the spirits of the dead to come and dance along their graves. The more commonly used figures would be the pope, a king, the young, old, and the laborer to remind the audience watching that death is an inevitable part of life and the Danse would highlight those too attached to worldly possessions.
The French believed the Grim Reaper would arise every year in the local cemetery at midnight, the Witching Hour. The Grim Reaper would then play a fiddle, summoning all the skeletons and ghosts of the dead to come dance until dawn, and the rising sun would force them back to their graves. This belief inspired Henri Casalis’ poem “Danse Macabre” which would be made into a musical piece by French composer Camille Saint-Saëns in 1874.
Kalan Goañv – A Breton festival occurring on October 31st and similar to Halloween and Samhain. Similar to the tradition in the Mexican Dio Los Muertos, the Bretons would feed the Ankou, a figure similar to the Grim Reaper with milk, cider, and crepes. The tombstones in cemeteries across Brittany have small cup-like holders where offerings for the dead can be left.
Looking at the Grim Reaper through the lens of Christianity, the Grim Reaper is the angel of death sent by God to do his bidding. This is the angel who is to have smote some 185,000 Assyrians in their camp. The same destroying angel who killed the firstborn of the Egyptians. Just about any time that an angel of death or destroying angels is mentioned, there’s a connection made to the Grim Reaper. With this connection, the Grim Reaper’s name is Azrael. The Talmud will connect him to Samael. In Eastern Orthodox beliefs, Death is one of the three enemies of humanity, with the other two being sin and the devil.
Getting into the Biblical Book of Revelation, particularly in chapter six, there are four horsemen who appear, each signaling another sign of the end of the world and Judgement Day. The four horsemen are said to be Pestilence, Famine, War, and Death. It is the figure of Death, the only one outright named, riding a pale horse that has many connecting the imagery of the Grim Reaper. Many modern depictions of the horseman Death will show him being dressed and looking like the Grim Reaper too.
In the Major Arcana of the tarot cards, death is one of the cards that can turn up. Depending on the specific deck in use, the death card may depict the familiar robed figure of the Grim Reaper.
The modern imagery of the Grim Reaper and how he or she appears varies wildly depending on the media in which the figure appears. From the traditional skeletal figure dressed in robes with a scythe to a very ordinary-looking human woman or man just doing their job. But they almost always appear in some capacity to release the soul of the recently deceased and guide them to the afterlife. For some characters, they’re ready to go, for others they are scared and don’t want to go and try to find a way to cheat death, claiming a false death, one more chance, unfinished business before some stories have the character realize they can’t beat the inevitable and that it’s time.
Playing Games With Death – This has been a popular motif used and spoofed in many media and literature. The Swedish director Ingmar Bergman first brought this concept in his 1957 movie “The Seventh Seal” where a medieval knight plays a game of chess against Death. Since then, many movies and shows have spoofed or made use of this idea later. One of my personal favorites is in Bill & Ted’s Bogus Journey.
“(Don’t Fear) The Reaper” – This is a song from 1976 by Blue Oyster Cult found on their album Agents of Fortune. The lyrics to the song encourage listeners to not fear death, but rather instead to see it as symbolizing eternal love. Author Stephen King found inspiration from it for his novel The Stand and the song features in the opening of the 1994 miniseries adaptation and again in the end of the fifth episode for the 2020-2021 miniseries adaptation. Plus, if you want a song with more cowbell, this is for you.
The Adventures of Baron Munchausen – In the 1988 movie, Baron Munchausen is constantly being pursued by Death, shown as a skeletal angel with raven wings and wielding a scythe and hourglass. At the end of the film, Death takes Munchausen’s soul with Munchausen is given a lavish funeral where Munchausen then boldly states that this was “one of the many times I faced Death” before the movie finally comes to an end.
The Sandman – This graphic novel series and recent Netflix adaptation show Death as an immortal and one of Morpheus’ siblings. In the comics, she is shown as a Goth Girl and in the live-action, she is dressed casually. The episode featuring Death shows her appearing to a person at the time of their death and guiding them on.
I could keep going on with all the various appearances of Death or the Grim Reaper. Suffice to say they are still a rather active figure and one who is truly timeless whose motifs will always fascinate people and seek to explore.
Father Time’s Age-Old Companion
It’s notable how the imagery for both Father Time and the Grim Reaper are very similar in appearance. Both wear a robe, and both carry a scythe. One just happens to be an old man while the other is a skeleton. Despite how similar the two look in certain details, they are not the same being.
Syno-Deities & Entities
As a psychopomp and representation of Death, the Grim Reaper has numerous counterparts around the world. Many of the more European-based figures will certainly share similarities in their depictions while other cultures are likely to have different appearances. They do share in common, either being the guide to the afterlife or the one that greets spirits on arrival.
Ah Puch – The Mayan god or lord of death.
Ankou – Essentially, the Grim Reaper and Ankou are largely the same entity, both wear black robes and carry a scythe. The Grim Reaper is very much the modern Ankou, appearing in several various media and literature.
Arawn – The Celtic god of the Dead, the Ankou is sometimes equated with him.
Azrael – The Angel of Death in Jewish traditions. More accurately, they are the Angel of Light and Darkness from the Talmud.
Azrail – The Angel of Death in Islamic beliefs. He, along with many angels under him will guide and take souls to the afterlife.
Bag an Noz – The Boat of Night, those who live along the seashore in Brittany tell of how the last person to drown in the year, will roam the seas at night to collect the souls of the drowned and guide them to the Afterlife, just as the Ankou does on land. It is a ghost ship that appears whenever something bad is about to happen and disappears when people come too close. The crew of this boat is said to call out soul-wrenching sounds.
Charon – The Greek ferryman of the dead has also been equated with the Grim Reaper due to similar garb and taking souls to the Afterlife.
Church Grim – Or the Grim, in English and Scandinavian lore it is a black dog that has been killed and buried in the graveyard at either the beginning or end of the year in order to protect the church and graveyard. Other animals such as lambs, boars or horses.
Crom Dubh – This one is a bit of a stretch. Crom Dubh was an ancient Celtic fertility god who demanded human sacrifices every year, of which, the preferred method was decapitation. Eventually the god fell out of favor and somehow this god becomes a spirit seekings corpses and eventually becoming the Dullahan.
Death Coach – A general Northern European, especially in Ireland where it is called the Cóiste Bodhar. The Death Coach is known for arriving to collect the soul of a deceased person. Once it arrives on earth to collect a soul, it will not leave empty. It is a black coach or carriage that is driven or led by a headless horseman who is often identified with the Dullahan.
The Dullahan – also known as Dulachán means “dark man” or “without a head.” This being is a headless fairy often seen dressed in black and riding a black headless horse while carrying his head under an arm or inner thigh. The Dullahan is armed with a whip made from a human spine. Death occurs wherever the Dullahan ceases riding and when it calls out a name, the person called dies. Death can also come if the Dullahan tosses a bucket of blood at a person who has been watching it.
In other versions, the Dullahan rides a black carriage. Sometimes they are accompanied by a banshee. Nothing can stop the Dullahan from claiming a victim save the payment of gold.
Giltinė – The Lithuanian personification of Death. She was depicted as an ugly, old woman with a long blue nose and poisonous tongue.
Gwyn ap Nudd – The Welsh god of the Dead, in some later folklore, he leads the Wild Hunt, especially on Halloween to guide and take wayward souls to the afterlife in Arawn.
Hel – In Norse mythology from Scandinavia, she is the goddess of the Dead and rules over a realm with the same name.
Hermes – This is the Greek god sometimes known to guide souls down to the Underworld where Charon, the Ferryman would receive them for the next part of the journey to Hades.
La Calavera Catrina – A popular figure to see in Mexican culture and during Dia De Los Muertos.
Jeoseungsaja – Or Saja is the Korean version of the Grimm Reaper who escorts souls to the afterlife.
Magere Hein – Also known as Pietje de Dood, this is the personification of Death in the Netherlands and Belgium.
Maweth – In Hebraic scriptures, Death or Maweth is the personification of either the angel of death or a devil.
Memitim – A name for a class of angels in biblical lore that presides over those dying whom a Guardian Angel was no longer protecting.
Mercury – The Roman version of the Grecian Hermes, he too is a psychopomp that guides souls to Avernus, a crater in Italy thought to be the entrance to the underworld.
Mictecacihuatl – The Aztec goddess of death
Mictlantecutli – The Aztec god of death
Morana – The Slavic goddess of winter, death, and rebirth.
Mot – The Canaanite personification and god of Death.
Omolu – The Brazilian spirits known to bring death, disease, and even healing.
Pesta – Meaning the “plague hag,” in Scandinavia, during the Black Plague, she was depicted as an old woman wearing a black hood. Pesta would come into town carrying either a rake or broom. If she brought the rake, it meant some people would survive the plague. If she brought the broom, it meant that everyone would die.
Samael – This the name for another angel in Jewish tradition who does the Lord’s bidding as his executioner.
San La Muerte – A similar figure found in South America, mainly Argentina, Brazil, and Paraguay.
Santa Muerte – The female version of the Grim Reaper. Her imagery is very similar in appearance to the Ankou and Grim Reaper wearing robes and wielding a scythe. Santa Muerte is worshiped primarily among many Hispanics & Latinos, especially in places like Mexico.
San Pascualito – A folk saint of Death found in Guatemala and Mexico.
Śmierć – This figure of Death is female and comes from Poland where instead of dressing in black like the Grim Reaper, they dress in white.
Shinigami – These are the Japanese gods of Death.
Thanatos – The Greek god of Death.
Valkyries – The “choosers of the slain” and warrior maidens in Norse mythology, they would escort the souls of the dead with half going to Odin’s realm in Valhalla and the other half going to Freya’s Hall of Folkvangr.
Yama – The Hindu god of death, as well as the judge of souls in the afterlife.
Yanluo – From Chinese mythology, Yanluo is the god of the dead and ruler of Di Yu.
And if I have done nothing else, let death be greeted as an old friend instead of something to be feared…
Etymology: Faceless Monk, From the Japanese word “nopperi” meaning “featureless”
Japanese Kanji & Kana: 野箆坊, のっぺらぼう
Other Spellings: Nopperabo, Noppera-Bo
Also Called: Faceless Ghost, No-Face, Mujina, Nupperiho, and Zunberabo
In Japanese folklore and mythology, the Noppera-bō is a faceless ghost or yokai of which there are several different tales and stories surrounding them.
The Noppera-bō is a ghost or yurei in Japanese who at first glance appears to be human. They will sometimes appear to be someone the person knows. It’s not until a person gets closer or during interactions with them, that the Noppera-bō reveals, having no face and is just blank, featureless smooth skin where a face should be.
This is usually the goal and tactic of a Noppera-bō, scare the ever-living daylights out of a person for a good jump scare and send them running in fear. For added effect, some Noppera-Bō work in teams of at least two where the first scares their victim, and that person runs off to tell someone else what happened, only for that person to reveal a featureless face too. Otherwise, this spirit is rather harmless and really more prone to mischief.
A couple sources have said that the noppera-bō isn’t a ghost at all, but a Yokai; a broad category of supernatural entities and spirits in Japanese folklore. Narrowing it down from there, noppera-bō belongs to a category known as obake or “changed creature” referring to those yokai that are shapeshifters. Since other shape-shifting yokai could be mistaken for a noppera-bō, it’s sometimes not always clear which entity is being seen.
There are several stories of noppera-bō, a story of a young woman rescued from bandits by a samurai who finds that her face disappears, stories of nobles going to a tryst only to find that the courtesan in question they’re to meet turns out to be a noppera-bō.
There are two main stories involving noppera-bō.
The Noppera-bō & The Koi Pond
This story involves a lazy fisherman who decided to go fishing at the imperial koi ponds near Heian-Kyo Palace. The man’s wife warned him not to go as the pond is sacred and near a graveyard. Despite this, the fisherman ignores his wife and heads off anyways.
While on his way to the pond, the man is warned by another fisherman not to go to there. Again, the man ignores his fellow. Then, at the koi pond, a beautiful young woman pleads with the man not to fish. Once again, the man ignores them.
This time, the young woman wipes her face off, frightening the fisherman. Fleeing home in terror, he sees who at first looks like his wife. As the wife is scolding the man, she too wipes her face off.
When Is A Ghost Not A Ghost?
When it’s a mujina.
The word mujina is an old Japanese term for a badger or raccoon dog also known as a tanuki. As shapeshifters, the mujina were known to transform into noppera-bō in order to scare humans. Sometimes kitsune and tanuki are known to impersonate noppera-bō as well.
The Mujina of the Akasaka Road
This is the second of two well-known stories concerning the noppera-bō. This story is found in Lafcadio Hearn’s book “Kwaidan: Stories and Studies of Strange Things.”
A man was once traveling along the Akasaka road towards Edo when he came upon a young woman in a remote area near Kunizaka hill crying. The man attempted to comfort and console the young woman when she turned to face him, revealing a blank, featureless face. Frightened, the man took off down the road until he came to a soba vendor. Thinking he was safe; the man began to relate what had happened to him. The vendor then stroked his face as it changed to the featureless of a noppera-bō.
A similar retelling of this story is seen in the Studio Ghibli movie Pom Poko.
Modern Ghost Stories
Most stories of noppera-bō lean more historical and there aren’t very many reported sightings in the 20th or 21st centuries.
There is a story from 1959 in Honolulu there is a report of a sighting of mujina at the Waialae Drive-In Theatre in Kahala where a witness says they saw a woman combing her hair in the restroom. When the woman turned, she revealed a featureless face. The witness was also reported as having been admitted to the hospital for a nervous breakdown.
The Hawaiian historian, folklorist, and author Glen Grant tried to dismiss the story in 1981 during a radio interview only to have the witness call herself, giving more details about the story such as the mujina having red hair. The drive-in in question has long since been torn down. Noppera-bō or mujina sightings do continue in Hawaii where a number of Japanese have immigrated to.
Alternative Names: Apu Punchaur, Apu-punchau, Giver of Life, Inti-Wawqi (Brother of the Sun)
In the Quechua and primarily Incan cultures of what is now modern-day Peru, Inti is a god of the sun and war. Inti was second in importance only to Viracocha, the creator god. Inti is generally perceived as a benevolent deity much of the time, bringing the heat of the sun for crops to grow. In the same vein, Inti could show displeasure through solar eclipses in which sacrifices would need to be made to soothe his anger. Rulers of the Inca saw themselves as descendants of Inti, the patron of their empire and military might.
The Incan Empire once spanned from Chile to Colombia and had covered most of Peru and Ecuador in its heyday. The Incan people were an advanced culture with sophisticated records, astronomy, art, and wealth. The Inca originated from the Lake Titicaca region in the Andes. Like any empire, the Incas expanded, conquering other tribes and cultures. That is, until the arrival of the Spaniards who came looking for gold and their own conquests in 1533. Smallpox devastated many of the local populations, making it easy for the Spanish and other Europeans to come in and with it, the fall of the Incan empire.
Animals: Cougars, Snakes
Patron of: Creation
Sphere of Influence: Crops, Fertility
What’s In A Name?
Surprisingly, the word inti isn’t a Quechuan word but is instead a loanword from the Puquina language. Looking at the language groups of Aymara, Mapuche, and Quechua in the region shows why all these languages have a similar word for the sun. The Mapuche people have a similar sun deity known as Antu, the names for their spouses, and the Moon goddess are different from Quilla and Cuven.
In art, Inti would be represented as a golden disc with a human face. In the minds of the Incan people, Inti has a human form.
Gold – This metal was particularly associated with Inti as it was thought to be the sweat of the sun. There is a record of a gold statue to represent Inti. Within Inti’s temple in Cuzco, the interiors were lined with 700 half-meter panels of beaten gold. Outside the temple was a life-sized scene of a field of corn with llamas and shepherds all made of gold and silver. This statue represented Inti as a young boy known as Punchao or the Day and Midday Sun. From the statue’s head and shoulders, the sun’s rays shone forth. He was wearing a royal headband and had snakes and cougars coming out of his body. The stomach of the statue was hollow and would hold the ashes of the previous Incan rulers’ vital organs. This statue would be brought out every day into the open air and returned to the temple at night. When the Spanish arrived, the statue was taken to a place of safety, but eventually, it was found in about 1572 C.E. and has since disappeared from history where it was likely melted down for the gold along with so many other Incan artifacts.
Inti Masks – These masks were made of thinly beaten sheets of gold to form and represent the rays of the sun coming out of Inti’s head. The rays were often cut in a zig-zag design and some were known to end with small human faces or a figure. The most well-known mask was the one on display at the Coricancha temple.
Temples & Solar Constructions
Temples were often elaborately decorated with gold and jewels with intricate designs. This added a lot of prestige for those worshiping within, to offer something so abundant and plentiful to Inti to magnify the glory of the sun.
Coricancha Temple – (“House of the Sun”) and Sacsahuaman were sacred districts in the Incan capital of Cuzco. These are thought to have been built during Pachacuti’ reign. The High Priest of the Sun or Villac Umu presided over rites dedicated to Inti. They would be assisted by acllas or acyllyaconas (young virgin priestesses). Priests in other parts of the empire would carry out ceremonies and rites locally in those places.
Gateway of the Sun – This monolith located in Tiahuanaco by the Tiwanaku culture is thought to have a figure representing Inti while other sources will claim that it is Viracocha. The Sun Gate is also important as it shows the position of the sun on the days of the solstices and equinoxes.
Intihuatana – Or “hitching post of the sun” are solar astronomical stones (similar to a sundial but more sophisticated) that would be set at the highest point of a sacred precinct. They were used during the solstices to track the sun and connect it to the earth with a special cord or rope. Other astronomical observations for the sun and perhaps other celestial bodies would also be tracked with them. The most familiar and famous example is the one found at Machu Picchu. Other places are Pisac in north-eastern Cuzco, Ingapirca in Ecuador, and the Island of the Sun on Lake Titicaca where Incan rulers would make a pilgrimage to once a year.
Sucanga – These were a series of twelve pillars arranged around the city of Cusco used in the Incan solar calendar. Each pillar was arranged so that each month, it would indicate where the sun would set and rise. Farmers used them to rely on their planting and harvests. In the Incan Solar Calendar, the year was divided into 12 moons with 30 days. Each moon corresponded with its festivities and daily activities.
This isn’t that much of a stretch, Inti is the Sun god, the sun way up in the sky is seen as him. It’s not that hard to see the sun as sacred, especially when needing crops to grow and bring light to the world.
Among the Inca, they began worshiping before the dawn. The emperor, his family, and everyone would head down to the main square of Cusco and wait silently for the rising of the sun. Once the sun rose, everyone would rejoice and kneel as the priests offered up a chicha to Inti in a silver bowl.
From there, the people would march to Coricancha to relight the sacred fire using mirrors to direct the sun’s rays.
The sun worship also included dances, sacrifices of grain, flowers, and animals that would be burned on bonfires.
Parentage and Family
Father – Viracocha, the creator god
Mother – Mama Qucha
Sometimes Pachamama, the earth goddess is Inti’s mother and in yet other myths, Inti will become Pachamama’s second husband.
Mama Quilla – The goddess of the Moon.
Pachamama – An Earth goddess
Siblings – Imahmana, Mama Killa, Mama Quilla, Pachamama, Tocapo
Inca Manco Capac I and Mama Oello
Through Inca Manco Capac I, Inti is essentially the progenitor of all the Incan people. Other myths will place Manco Capac as the son of Viracocha.
Ancestor & Protector Deity
Inti is noted as being an ancestor of the Incan people through his son Inca Manco Capac I. In this capacity, Inti is also the state protector of the Incan peoples. Inti taught both Manco Capac and his daughter Mama Ocllo the arts of civilization.
The ruling elite of the Inca were all seen as representatives or avatars of Inti on earth. A similar concept is found in ancient Egypt where the Pharoah was seen an avatar of Ra in the flesh. Every member of the Incan people, especially the nobles to see themselves as representing Inti when they traveled and that they needed to holy when entering certain cities within the empire.
Incan myths say that Inti is the founder of their culture and empire. Inti taught his children Manco Capac and Mama Ocollo the arts of civilization before sending them to the Earth to pass these skills on to humankind. Inti ordered his children to build the capital of the Incan empire where a golden wedge hit the ground. This city is often regarded as being the city of Cusco and had been founded by the Ayar.
Worship – Inti was regarded as the head of the state cult and his worship was enforced throughout the Incan empire. The Incan leader, Pachacuti is who is often credited for the spread of the Inca Sun Cult.
The High Priest or Willaq Umu placed this position as the second most important person in the Incan culture. The Willaq Umu was directly beneath the Sapa Inca and were often brothers as both were held to be descended from Inti.
In Incan beliefs, Inti and his sister, Mama Quilla, the Moon goddess are regarded as being benevolent. Inti is also to have married his older sister Mama Killa who bore him two children. Within Inti’s court, he and Mama Quilla are served by the Rainbow, the Pleiades, Venus, and other celestial bodies.
Where many will identify Inti as a sun god, he is more accurately viewed as a series of solar aspects, specifically the stages of the sun as it passes throughout the day.
Incan Astronomy – In Incan cosmology, the sun has three phases it goes through during the day. The first is known as Apu Inti, the “supreme Inti” and represents the father and is sometimes known as “The Lord Sun.” The next is Churi Init or “Son Inti” which represents the son of Inti and is known as “Daylight.” The last is Inti Wawqi, the “Sun Brother”. The name is also spelt Inti- Inti-Guauqui and Inti-Huaoqui. Inti Wawqi represents the sun god in his role as the founding father of Incan rule and ancestor of the Incan people.
The aspects of Apu Inti and Churi Inti are separated cosmically as they each represent the Summer and Winter Solstices. Inti Wawqi is not associated with any astronomical spot.
The other idea in Incan cosmology is that these different aspects of Inti involved different duties they undertook. One of the suns represented the actual sun giving heat and light to the earth. Another of the sun was in the sky during the day much like the moon is out at night. And that the last sun was responsible for the growth of plants and agriculture.
Eclipses – Like many cultures, eclipses were seen as a sign of ill omen, and with the Inca, that Inti was somehow displeased. The Inca couldn’t predict a solar eclipse, part of what led to beliefs in an angry sun deity. The priests would seek to find ways to divine and figure out what had caused Inti’s wrath and then figure out which sacrifices needed to be made. With an eclipse, this is when the Inca would resort to human sacrifice to appease Inti’s anger. In addition, the ruling Inca would withdraw to fast for several days before returning to their duties.
Creation Myth – One of the interpretations of this myth has a conflict between Viracocha and Inti over the Sun’s creation and if it meant it should be worshiped as a separate entity.
Agriculture – As a Sun god, Inti is also instrumental as an agricultural deity. Especially in the highlands of Peru where the sun’s heat was thought to be the cause of rain. The correlation makes sense when during the rainy season, the sun is hotter and during the dry season, the sun feels cooler. Without that rain, the production of crops for maize and other grains would be more difficult.
Each province of the Inca empire would dedicate a third of their land and herds to Inti. Each major province would have a Sun Temple where priests and priestesses would serve.
Inti-Raymi – Meaning “Sun Festival,” this is an annual festival held during the time for the start of a new planting season. In the Quechua language, the name Inti Raymi means “resurrection of the sun” or “the path of the sun.”
The festival began with three days of fasting, no fires lit and people abstaining from sex, the sacrificing of 100 brown llamas. Once the festival began, it would last nine days during which time people consumed a lot of food and drink. There would be ritual dances, chanting from sunrise to sunset with animal sacrifices throughout the day all dedicated to celebrating Inti. Other sacrifices to Inti included simple prayers, food, coca leaves, and woven cloth. At the conclusion of the festival, people would leave with permission.
Sacrifices – Oftentimes animals of various livestock would be given. The most common sacrifices to Inti were white llamas. Any human sacrifices were done during a special ceremonial occasion or in the event of an event such as an earthquake, solar eclipse, or a death in the royal family. Such sacrifices and ceremonies were conducted to ensure the continuation of the Incan empire for its people and harvests.
There is one particular story of an eagle being attacked by buzzards and falling from the sky during a ceremony to Inti in roughly 1526 C.E. This was seen as an omen or portent for the collapse of the Inca empire. This would also coincide with the arrival of smallpox brought by Spanish Conquistadors from Europe. The smallpox epidemic would devastate numerous populations throughout the Americas and in the case of the Inca, it weakened them to conquered by the Spanish.
After the arrival of the Spanish Conquistadors, this festival would be changed to May or June to coincide with the feast of Corpus Christi. Of course, incoming invaders and conquerors saw the festival of Inti-Raymi as being too pagan and would try to replace it with Christian observances.
The Inti-Raymi festival has seen a revival and tourists are known to come to Cusco, the capital of the Incan Empire to observe it. Inti Raymi occurs during the Southern Hemisphere’s Winter Solstice, the shortest day of the year, and June 24th by modern Calendar dates. And of course, no human sacrifices in the modern day.
With the arrival of Spanish Conquistadors, came also the arrival of Catholicism and Christianity. The incoming Christian priests saw any religion other than themselves as being Pagan. The Sun Worship observed among the Incans was no exception and quickly equated with paganism and thus evil. This religious zeal, fueled by Spanish greed led to many temples being destroyed along with many religious artifacts meeting the same fate.
It is known that the Spanish Conquistadors seized a huge golden disk that represented Inti in 1571. It was sent back to Spain and given to the pope. Since then, this artifact and religious icon have been lost and there is speculation it may have been melted down to bullion.
Nowadays, in the 20th and 21st centuries, Inti is equated with the Christian god by the Quechua people.
Apollo – A Greek god of the sun also worshiped by the Romans.
Arinna – A Hittite goddess of the sun and light.
Helios – An ancient Greek sun god.
Huitzilopochtli – The Aztec god of the sun.
Kinich Ahau – The Mayan sun god.
Lugh – The Celtic sun god and fierce warrior.
Mithra – The Persian god of the sun.
Ra – A solar god worshiped among the ancient Egyptians.
Sol – The name of the Roman personification of the sun.
Sunna – Or Sol, one of the few sun goddesses and venerated by the Norse.
Surya – The Hindi god of the sun.
Tawa – The Sun Kachina in Hopi beliefs.
Stories abound in the folklore and myths of numerous cultures around the world of Little People. Places such as Ireland, Hawaii, Greece, the Philippines, New Zealand, and Flores Island all have their own stories and legends.
This article post will focus on the Little People of Native American beliefs and folklore.
Some stories describe the Little People as “hairy-faced dwarfs.” In other places, petroglyphs depict them with horns on their head. They often travel in groups of five to seven, sometimes on land or by canoe on waterways.
Legends told by the Cherokee say the Little People love music, especially drumming, singing, and dancing. Sometimes a person will hear their drums in the mountains. It is, however, unsafe and unwise to follow that sound. The Little People are known too to put a spell or enchantment on a person, causing them confusion and getting lost. Even after a person makes it back to their settlement, they will remain in a daze forever. Any item or trinket such as a knife found in the forest, a person must ask the Little People if they can have it. If permission isn’t asked, the least of a person’s worries is to have rocks thrown at them on the way home.
Legends of Little People say that they live in the woods near sandy hills and rocks alongside large bodies of water like the Great Lakes. If the Little People were known to live in caves, those places would be avoided so as not to disturb those living there.
Several Native American legends speak of the Little People as pranksters. Some will sing and then hide when someone comes looking. Any type of distraction or mischief. The Little People are known to love children and take them away from abusive parents or if the child is out left alone. If an adult was encountered, the Little People would plead for their existence not to be spoken of and reward or aid their family in times of need.
All of this varies from tribe to tribe as to who and what the Little People are like if they were friendly or considered evil and best avoided. Some tribes would leave a gift for the Little People to try and stay on their good side.
Reality Behind The Myths?
When you get out to the parts of the United States for Montana and Wyoming, there are legends about the remains of the Little People having been found. Descriptions often state that these remains are “perfectly formed” and dwarf-sized, etc.
Archeologist Lawrence L. Loendorf comments that such remains and burials are sent to a local university for study. Loendorf further comments that two mummies found were of anencephalic infants in the first half of the twentieth century and that the deformities would cause people to believe those were adults and contribute to a belief of a group of small or tiny people from prehistoric times.
Lewis & Clark – These early explorers recorded in their journals that the Native Americans living near Spirit Mound, South Dakota believed that Little People lived within and refused to go near it for fear of them, citing they were dangerous.
Coshocton County, Ohio – In the 1830s a graveyard was unearthed and believed to hold the skeletons of a pygmy race. The graves were noted to be approximately three long were “bone burials” where several bent or disarticulated bones were packed together.
Pryor Mountains, Montana & Wyoming – The Pryor Mountains are known for their “fairy rings” much like in Irish and Celtic folklore and for stories where strange things happen.
Pedro Mountain Mummy
This is an interesting one. Like many Native American tribes, the oral traditions of those like the Arapaho, Cheyenne, Crow, Shoshone, and Sioux all tell of the “little people” who stand anywhere from just 20 inches up to three feet tall. Some of the tribes will call these little people “tiny people eaters.” Other tribes have referred to the little people as spirits or healers. Plus, long before the arrival of Europeans, there are many stories of encounters with the Little People that are like those of Celtic fairy lore.
Proof of these beings appears to come with the discovery of a 14” fully formed mummy found in 1932. It was found by two men prospecting for gold in the San Pedro Mountains. While blasting a section of the mountain, it opened up a small cavern about 15 feet long and 4 feet high and it had previously been sealed off. Inside, the men discovered the small fully formed mummy in a sitting position with brown wrinkled skin. The forehead was low and flat with a flat nose and heavy lidded-eyes, a wide mouth, and thin lips. Overall, the mummy looked like an old man and was remarkably well preserved.
When they found it, the men took the mummy to Casper, Wyoming where scientists from all over the nation came to look at it. Tests and x-rays showed the mummy to be real, that it had been killed violently by a blow to the head, explaining a damaged spine and broken collarbone. An odd thing noted about the mummy is that the teeth were overly pointed and had a complete set of canines. Scientists judged the mummy to have been 65 at the time of death.
Accounts vary on who did the testing and examinations. The American Museum of Natural History was certified as genuine by the Anthropology Department of Harvard University. The University of Wyoming however gave another report, stating the remains were that of an anencephalic infant after Dr. George Gill, a professor of anthropology, was given a set of X-Rays in 1979 to examine.
The mummy was on display in sideshows for years before getting bought by a Casper businessman, Ivan T. Goodman. Later, in 1950 after Goodman died, the mummy was passed on to Leonard Walder, a businessman from New York. In 1980, the mummy disappeared after Walder passed away and its location is currently unknown.
Other Mummys & Skeletal Remains
There have been other skeletons of “Little People” found in other places in the United States. Places such as Coshocton, Ohio have a burial ground where numerous remains of a small, pygmy race standing around three feet tall have been found.
Another graveyard was found in 1876 in Coffee County, Tennessee. The remains of thousands of small, dwarf-like people were found and said to be buried there.
There are still people who insist that the remains of other “Little People” have been found in caves in Idaho, Montana, and Wyoming. Some of these may have been infants with anencephaly. Others persist that any testing on these mummified remains has been kept secret and that these mummies disappear after they’re turned over to authorities. One conspiracy theory claims the Smithsonian Institute will hide or destroy these remains.
Occam’s Razor says that any remains were likely returned to the tribes for reburial, especially with infant remains.
By Any Other Name…
Given the numerous different cultures and tribes of the various Native Americans, there are bound to be just as many different names. For comparative folklore, going into Celtic or Irish fairy lore, there are numerous different types of Fae that would be collectively referred to as the Little People so as not to invite their attention or offend them.
So whether we’re seeing different names for them in different languages or different types of Little People can be hard to say as it varies by region.
Some tribes like the Ojibwe have stories of the Memegwaans, or Memegwaanswag who are shy of adult humans but love children.
Another tribe, the Crow see the Little People as spirits of their ancestors and will leave an offering for them when entering an area.
- Alux – Maya
- Canotila – Lakota
- Chaneque – Aztec
- Geow-lud-mo-sis-eg – Maliseet
- Ircinraq – Yup’ik
- Ishigaq – Inuit
- Jogahoh – Iroquois
- Makiawisug – Mohegan
- Mannegishi – Cree
- Memegwesi/Memegawensi/Memengweshii/Pa’iins – Anishinaabe
- Nimerigar – Shoshone
- Nirumbee or Awwakkulé – Crow
- Nunnupi – Comanche
- Popo-li or Kowi Anukasha
- Pukwudgie – Wampanoag
- Yehasuri – Catawba
- Yunwi Tsunsdi – Cherokee
- Canotila – Lakota
- Popo-li or Kowi Anukasha – Choctaw
Etymology: Kamuy (god), Bears and Mountains
Also Known As: キムンカムイ, Metotush Kamuy, Nuparikor Kamuy
Alternate Spellings: Kim-un Kamui, Metotush Kamui, Nuparikor Kamui
Among the Ainu people of ancient Japan, Kim-Un-Kamuy is the god of bears and mountains.
In the Ainu language, the kamuy is a spiritual or divine being in Ainu beliefs and mythology. This term refers to any supernatural entity made of or having spiritual energy.
It should be noted that bears hold a very prominent place in Ainu beliefs and mythology. Among the Ainu, bears were seen as very benevolent.
Ritual Sacrifice – One important ritual held by every village is that they would go out and capture a bear cub. This cub would be fed and taken care of as well as the village could for the period of a year. At this time, a ceremony would be performed in which this bear would be shot to death with arrows. The flesh of this ritually slain bear would be eaten, this would free the bear’s spirit so it could return to the heavens where it would tell Kim-un Kamuy of the humans’ piety in gratitude.
Many of the stories that follow all share a commonality of the bear being killed and eaten so its spirit could return to the heavens.
There are exceptions to the rule, there are stories of Ararush or monstrous bears that do appear.
One story tells of a bear maiden who was particularly mean and went to a human village and killed a woman. The bear maiden was punished by the Kamuy Fuchi and restored the human woman back to life. The bear maiden was to then entertain the villagers before leaving her earthly body behind as she returned to the spirit world with gifts of wine and inau. The bear maiden told of the human’s generosity and villagers feasted on the flesh of her earthly form.
First Story –
This story explains the origin and purpose of the Ainu’s bear ritual.
One day, the bear god, Kim-un Kamuy is told by Crow that his wife has left the heavens to go down to a human village and hasn’t returned. Alarmed, Kim-un Kamuy rushes home to collect up his child and hurry to the human village.
There, Kim-un Kamuy is greeted by Kamuy Paseguru, the goddess of the hunt. She invites Kim-un Kamuy to visit the goddess of the hearth, Kamuy Fuchi. As they are talking, a fox comes in, bewitching Kim-un Kamuy and Kamuy Paseguru seizes the chance to knock him out.
When Kim-un Kamuy comes to, he is hanging up high in the branches of a tree. Below him, Kim-un Kamuy can see the body of an old bear laying down and its cub playing close by. As he watched, he saw humans come to worship the dead bear and make offerings of wine, dumplings, and inau (sacred rods). Eventually, they took the bear meat and the cub back to their village.
Back in the village, the people give the cub more offerings. Kim-un Kamuy finds his wife at the human village sitting near the hearth. They spend several days feasting with Kamuy Fuchi before returning back home to feast with the other kamuy. Kim-un Kamuy’s cub returned a year later with gifts of wine and inau when another feast would be held.
Second Story –
In this story, a young mother is out with her baby collecting herbs and forest bulbs. When the mother was down at the river washing the bulbs, she began to sing and attracted the attention of a bear.
Frightened, the young mother jumped up, leaving her baby and clothes behind as she ran. Disappointed that the woman had run away and ceased her singing, the bear went over to investigate the pile of clothing and found the baby. The bear cared for the baby for several days, feeding it the saliva from its mouth.
The men from the woman’s village came down to the river and found the baby still alive. They were convinced that the bear had been none other than Kim-un Kamuy. The men followed the bear’s tracks and proceeded to shoot it dead. After that, the men then held a feast of the bear’s meat and raised the bear’s head up on a stand offering it wine and inau. By holding this ritual, the men freed the bear’s ramat or spirit to return to the heavens.
Third Story –
Once, in ancient times, there was a couple, husband and wife. One day the husband fell ill and shortly after, died, leaving no children.
As the case was, there had been a decree made that the woman would bear a son at some future date. When that day drew close, the people of the woman’s village began to talk among themselves that surely the woman had married again while others said the husband had risen from the dead.
The woman herself said it was a miracle and related how one evening, when she had been sitting there alone in her home, a man came to her, dressed all in black. When the man turned toward her, he said that he was the god of the mountain, Kim-un Kamuy. That he had come to her in mortal form to let her know, with her husband gone, she would bear a child. That this would be his gift to her and when her son had grown, he would be great, eloquent, and wealthy.
After this, Kim-un Kamuy left her and the woman bore a son. In time, when the child had grown, he became a mighty hunter and indeed a great, eloquent, and wealthy man. He also went on to become the father of many children. Many of the Ainu who live among the mountains claim to be descended from a bear. This bear clan is called Kimun Kamui sanikir, the “descendants of the bear.”
Members of Kimun Kamui sanikir are proud to declare: “As for me, I am a child of the god of the mountains; I am descended from the divine one who rules the mountains.”
Also Known As: Rey Pascual, El Rey San Pascual, King of the Graveyard, King of the Underworld, and San Pascualito Muerte
San Pascualito is a folk saint found in Guatemala and the Mexican state of Chiapas. Given the skeletal nature of his appearance, he is a figure that bears a strong resemblance to San La Muerte and Santa Muerte.
Warning – San Pascualito’s imagery causes him not to be acknowledged by the Catholic Church. Having a skeleton iconography puts San Pascualito in the same vein as Santa Muerte and San La Muerte and associations with death and crime. Due to not being as well known either outside of where he is venerated, there is still an air of unease among Catholic and other Christian sects.
Color: Black, Red, White
Month: May (17th Feast Day)
Patron of: Curing Diseases, Cures, Death, Healings, Love, Graveyards, Vengeance
Sphere of Influence: Death, Healing
Symbols: Skeleton, Cape, Crown, Wheeled Cart
San Pascualito is shown as a skeleton wearing a cape and crown.
Tradition holds that San Pascualito’s veneration very likely originates with a Pre-Columbian Death God. As a folk saint, he is strongly associated with Saint Paschal Baylon, a Spanish friar. Though traditions surrounding San Pascualito strongly lean towards a Pre-Columbian death god.
As the historian Francisco Antonio de Fuentes y Guzmán relates, in 1650, an indigenous Guatemalan man in San Antonio Aguacaliente (now modern-day Ciudad Vieja) was dying of an epidemic fever known as cucumatz in the Kaqchikel language. As the man received his last rites, he had a vision of a tall skeleton dressed in glowing robes appear before him. This figure introduced themselves as “Saint Paschal Baylon.” At this time, Baylon would not be canonized by the Catholic church until 1690, though he had been beatified earlier in 1618.
The figure promised the dying man to intercede and end the cucumatz if he were to be adopted by the community as their patron saint and honor his image. For proof of his identity, the figure predicted that the man receiving the vision would die in nine days, at which time the epidemic would end.
When the appointed time came and the man died, the story of the vision began to spread, and people began putting up images of San Pascualito despite prohibition from the Spanish Inquisition.
San Pascualito’s major center of worship and veneration is in Guatemala and the Mexican state of Chiapas. There is a major shrine dedicated to him in Olintepeque, Guatemala. In the Church of San Pascualito in Tuxtla Gutierrez in Chiapas, there is a version of San Pascualito as a seated skeleton in a cart. Devotees of San Pascualito will leave thank you notes, offerings of capes, or burn candles.
The color of the candle determines the intent of the request. Red is for love, Pink for health, Yellow for protection, Green for business, Blue for work, Light Blue for money, Purple for help overcoming vices or temptation, White for the protection of children, and Black for revenge.
King Of The Graveyard
One of San Pascualito’s epitaphs or names, King of the Graveyard does link him to being a potential death cult. Unlike other such cults, San Pascualito is more concerned with curing diseases, ya’ know, staving off death. Not yet.
As a Folk Saint, San Pascualito’s Feast Day is held on May 17th, the same feast day as Saint Paschal Baylon.
Ah Puch – The Mayan god or lord of death.
Grim Reaper – The imagery of the Grim Reaper and San Pascualito are remarkably similar.
Mictlantecutli – There are very noted, strong similarities between the imagery of the Aztec god of death and San La Muerte.
San La Muerte – A similar figure to San Pascualito found in South America, mainly Argentina, Brazil, and Paraguay.
Santa Muerte – A similar female counterpart found in Mexico and southern parts of the United States.