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Verkäufer: sidewaysstairsco ✉️ (1.189) 100%, Artikelstandort: CA, US, Versand nach: US und viele andere Länder, Artikelnummer: 192891581582 HALLOWEEN GLÜHENDE FLASCHE ETIKETTEN Weinlikör Vampirblut Zombie Hexentrank SELTEN. (wikipedia.org). A newer theory is that the idea of "witchcraft" developed to explain strange misfortune, similar to ideas such as the 'evil eye'. Global film revival (2001–2008). Witchcraft and Satanism. Check out our other new & used items>>>>>HERE! (click me) FOR SALE: A rare set of Halloween-themed parody bottle labels PACK OF 8 "GLOW BOTTLE LABELS" BY MORBID ENTERPRISES DETAILS: These macabre and humorous bottle labels are perfect for parties! Ideal for bringing more Halloween spirit to your household. For Halloween parties, Halloween-themed item collectors & enthusiasts or those who prefer spooky home decor all year - just peel and stick! Fits most bottles! Use on liquor, wine, beer, glass soda bottles, etc. 8 unique, creepy, glow-in-the-dark designs! Pack includes the following label titles: . Black Crow Voodoo Potion . Astaroth Demon Essence (Arrogant Bastard Ale/ Stone Brewing Co. parody) . Death . Werewolf Blood . Poison . Vampire Blood . Wicked Witch Brew . Zombie's Brain Juice Label Dimensions: Height: 4 1/4" Width: 5 5/8" CONDITION: New in package. Packaging may have cut corner (not shown). Please see photos. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "Halloween or Hallowe'en (less commonly known as Allhalloween,[5] All Hallows' Eve,[6] or All Saints' Eve)[7] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Saints' Day. It begins the observance of Allhallowtide,[8] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[9][10][11][12] One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which are believed to have pagan roots.[13][14][15][16] Some go further and suggest that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[17] Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[18][19][20][21] Celebrated in Ireland and Scotland for centuries, Irish and Scottish immigrants took many Halloween customs to North America in the 19th century,[22][23] and then through American influence Halloween had spread to other countries by the late 20th and early 21st century.[24][25] Popular Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins or turnips into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.[26] Some people practice the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead,[27][28][29] although it is a secular celebration for others.[30][31][32] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.... Etymology "Halloween" (1785) by Scottish poet Robert Burns, recounts various legends of the holiday. The word Halloween or Hallowe'en ("Saints' evening"[37]) is of Christian origin;[38][39] a term equivalent to "All Hallows Eve" is attested in Old English.[40] The word hallowe[']en comes from the Scottish form of All Hallows' Eve (the evening before All Hallows' Day):[41] even is the Scots term for "eve" or "evening",[42] and is contracted to e'en or een;[43] (All) Hallow(s) E(v)en became Hallowe'en. History Christian origins and historic customs Halloween is thought to have influences from Christian beliefs and practices.[44][45] The English word 'Halloween' comes from "All Hallows' Eve", being the evening before the Christian holy days of All Hallows' Day (All Saints' Day) on 1 November and All Souls' Day on 2 November.[46] Since the time of the early Church,[47] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[48][44] These three days are collectively called Allhallowtide and are a time when Western Christians honour all saints and pray for recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[49] In 4th-century Roman Edessa it was held on 13 May, and on 13 May 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs".[50] This was the date of Lemuria, an ancient Roman festival of the dead.[51] In the 8th century, Pope Gregory III (731–741) founded an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[44][52] Some sources say it was dedicated on 1 November,[53] while others say it was on Palm Sunday in April 732.[54][55] By 800, there is evidence that churches in Ireland[56] and Northumbria were holding a feast commemorating all saints on 1 November.[57] Alcuin of Northumbria, a member of Charlemagne's court, may then have introduced this 1 November date in the Frankish Empire.[58] In 835, it became the official date in the Frankish Empire.[57] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[57] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[59] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[57][59] It is also suggested the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome's sultry summers.[60][44] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[61] Top: Christians in Bangladesh lighting candles on the headstone of a relative. Bottom: Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century, the celebration had become known as the holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory. It was also "customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls".[62] The Allhallowtide custom of baking and sharing soul cakes for all christened souls,[63] has been suggested as the origin of trick-or-treating.[64] The custom dates back at least as far as the 15th century[65] and was found in parts of England, Wales, Flanders, Bavaria and Austria.[66] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives. This was called "souling".[65][67][68] Soul cakes were also offered for the souls themselves to eat,[66] or the 'soulers' would act as their representatives.[69] As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.[70] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[71] While souling, Christians would carry "lanterns made of hollowed-out turnips", which could have originally represented souls of the dead;[72][73] jack-o'-lanterns were used to ward off evil spirits.[74][75] On All Saints' and All Souls' Day during the 19th century, candles were lit in homes in Ireland,[76] Flanders, Bavaria, and in Tyrol, where they were called "soul lights",[77] that served "to guide the souls back to visit their earthly homes".[78] In many of these places, candles were also lit at graves on All Souls' Day.[77] In Brittany, libations of milk were poured on the graves of kinfolk,[66] or food would be left overnight on the dinner table for the returning souls;[77] a custom also found in Tyrol and parts of Italy.[79][77] Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes".[80] In the Middle Ages, churches in Europe that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[81][82] Some Christians observe this custom at Halloween today.[83] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[84] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which was often depicted in church decoration.[85] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians "not to forget the end of all earthly things".[86] The danse macabre was sometimes enacted in European village pageants and court masques, with people "dressing up as corpses from various strata of society", and this may be the origin of Halloween costume parties.[87][88][89][72] In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a "popish" doctrine incompatible with the Calvinist doctrine of predestination. State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow's Day remained in the English liturgical calendar to "commemorate saints as godly human beings".[90] For some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; "souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits".[91] Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).[92] In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead;[46][93] the Anglican church eventually suppressed this bell-ringing.[94] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth".[95] After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night (5 November), which appropriated some of its customs.[96] In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th–19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[97] There was a similar custom in Hertfordshire, and the lighting of 'tindle' fires in Derbyshire.[98] Some suggested these 'tindles' were originally lit to "guide the poor souls back to earth".[99] In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they "were important to the life cycle and rites of passage of local communities" and curbing them would have been difficult.[22] In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.[79] In 19th-century Italy, churches staged "theatrical re-enactments of scenes from the lives of the saints" on All Hallow's Day, with "participants represented by realistic wax figures".[79] In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.[79] In the same country, "parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night".[79] In Spain, they continue to bake special pastries called "bones of the holy" (Spanish: Huesos de Santo) and set them on graves.[100] At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all night vigil.[101] In 19th-century San Sebastián, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who "appeal[ed] to the tender recollectons of one's deceased relations and friends" for sympathy.[102] Gaelic folk influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[103] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[104] The origins of Halloween customs are typically linked to the Gaelic festival Samhain.[105] Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated on 31 October – 1 November[106] in Ireland, Scotland and the Isle of Man.[107][108] A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival begins the evening before 1 November by modern reckoning.[109] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[110] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland.[111] Samhain marked the end of the harvest season and beginning of winter or the 'darker half' of the year.[112][113] It was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[114][115] Most scholars see them as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[116] They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[117][118] At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for them.[119][120][121] The souls of the dead were also said to revisit their homes seeking hospitality.[122] Places were set at the dinner table and by the fire to welcome them.[123] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.[66] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[124] Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one's future, especially regarding death and marriage.[125] Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[126] Special bonfires were lit and there were rituals involving them. Their flames, smoke, and ashes were deemed to have protective and cleansing powers.[112] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[110] It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.[123][127][128] They were also used for divination and to ward off evil spirits.[74] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[129] In Wales, bonfires were also lit to "prevent the souls of the dead from falling to earth".[130] Later, these bonfires "kept away the devil".[131] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[132] From at least the 16th century,[133] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[134] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to 'souling'. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[135] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[136] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[134] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.[133] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[134] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[134] Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[134] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.[134] Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.[134] By those who made them, the lanterns were variously said to represent the spirits,[134] or used to ward off evil spirits.[137][138] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[134] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of Britain and became generally known as jack-o'-lanterns.[134] Spread to North America The annual New York Halloween Parade in Greenwich Village, Manhattan, is the world's largest Halloween parade, with millions of spectators annually, and has its roots in New York’s queer community.[139] Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[140][141] although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.[142] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[22] It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.[22] Most American Halloween traditions were inherited from the Irish and Scots,[23][143] though "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[144] Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.[145] Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe and some parts of the Far East.[24][25][146] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including skeletons, ghosts, cobwebs, headstones, and scary looking witches. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[73][147] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[148] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[149] On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[150] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[151][152] but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip.[151] The American tradition of carving pumpkins is recorded in 1837[153] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[154] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein; or, The Modern Prometheus and Dracula) and classic horror films such as Frankenstein (1931) and The Mummy (1932).[155][156] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[157] skulls have therefore been commonplace in Halloween, which touches on this theme.[158] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[159] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "bogles" (ghosts),[160] influencing Robert Burns' "Halloween" (1785).[161] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[162] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[163] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[64] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[164] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[165] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[166][167] Mumming practiced in Germany, Scandinavia and other parts of Europe,[168] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[169] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising was first recorded in North America In England, from the medieval period,[170] up until the 1930s,[171] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[93] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[67] In the Philippines, the practice of souling is called Pangangaluluwa and is practiced on All Hallow's Eve among children in rural areas.[26] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[26] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[172] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[152][173] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[172] The practice of guising at Halloween in North America was first recorded in 1911, where a newspaper in Kingston, Ontario, Canada, reported children going "guising" around the neighborhood.[174] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[175] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[176] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[177] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[178] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[179] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[180] and the first use in a national publication occurring in 1939.[181] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[100][182] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[183] such as those of children's literature, movies, scripture, and job roles.[184] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[185][186] Costumes Main article: Halloween costume Halloween costumes were traditionally modeled after figures such as vampires, ghosts, skeletons, scary looking witches, and devils.[64] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[152] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[173] In Ireland and Scotland, the masks are known as 'false faces',[38][187] a term recorded in Ayr, Scotland in 1890 by a Scot describing guisers: "I had mind it was Halloween . . . the wee callans were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand)".[38] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[178][188] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[189][190] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[64] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[191][192] The yearly New York's Village Halloween Parade was begun in 1974; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[193] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[194] Such and other potentially offensive costumes have been met with increasing public disapproval.[195][196] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.[197] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[198] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[125] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[199] Some also suggest that they derive from Roman practices in celebration of Pomona.[64] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[200] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[201] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[202][203] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[204][205] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[206] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[207] The custom was widespread enough to be commemorated on greeting cards[208] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[209][210][211][212] The game features prominently in the James Joyce short story "Clay" (1914).[213][214][215] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[216] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[110] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[217] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[218][219] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[220] The haunted house as an American cultural icon can be attributed to the opening of the Haunted Mansion in Disneyland on 12 August 1969.[221] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[222] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[223] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[224] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[225] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[226] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[227][228] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[229][230][231] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[232] The theme park haunts are by far the largest, both in scale and attendance.[233] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[234] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[235] While there is evidence of such incidents,[236] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[237] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[238] It is considered fortunate to be the lucky one who finds it.[238] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween: Barmbrack (Ireland) Bonfire toffee (Great Britain) Candy apples/toffee apples (Great Britain and Ireland) Candy apples, candy corn, candy pumpkins (North America) Chocolate Monkey nuts (peanuts in their shells) (Ireland and Scotland) Caramel apples Caramel corn Colcannon (Ireland; see below) Halloween cake Sweets/candy Novelty candy shaped like skulls, pumpkins, bats, worms, etc. Roasted pumpkin seeds Roasted sweet corn Soul cakes Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[239] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day and serving pancakes or colcannon instead.[240] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[241] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[242] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[243][244] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[245][246] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[247][248] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[249] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[250][251] Some of these practices include praying, fasting and attending worship services.[1][2][3] O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[252] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[253] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[254] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[255] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[256] Others order Halloween-themed Scripture Candy to pass out to children on this day.[257][258] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[259] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[260] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[261] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[262] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[263] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[264][265] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[266] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[267] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[268] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[269] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[270] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[271] Purim has sometimes been compared to Halloween, in part due to some observants wearing costumes, especially of Biblical figures described in the Purim narrative.[272] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[273] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[274][275] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[276] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[277] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[278] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[279] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[280] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[281] and "avoid Halloween, because of the interruptions from trick or treaters".[282] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[280] Geography Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[172][283][284] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[285] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[172] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Brazil, Ecuador, Chile,[286] Australia,[287] New Zealand,[288] (most) continental Europe, Finland,[289] Japan, and other parts of East Asia." (wikipedia.org) "Stone Brewing (formerly Stone Brewing Co.) is a brewery headquartered in Escondido, California, USA. Founded in 1996 in San Marcos, California,[3] it is the largest brewery in Southern California.[5] Based on 2020 sales volume it is the ninth largest craft brewery in the United States.[6] The brewery's first beer was Stone Pale Ale,[7] which was considered to be its flagship ale[8] until it was retired in 2015.[9] The company's best known brand is Arrogant Bastard Ale, which has been described as a "watershed beer" that "put San Diego on the craft brew map."[10] Most of Stone's beers are characteristic of west-coast craft brews, meaning that they have a high hop content. Compared to the macro-produced lagers, many Stone brews feature alcohol percentages that are well above average, ranging from 4.8% to 13%.[11] Stone Brewing is rated as a "world class brewery" by the two largest beer enthusiast websites, RateBeer and BeerAdvocate.[12][13] Stone Brewing has been voted by the readers of Beer Advocate as the #1 "All Time Top Brewery on Planet Earth."[14] In June 2022, Stone and Sapporo Breweries announced that they had reached an agreement for Sapporo to purchase Stone Brewing, with the purchase expected to close in August 2022. ... History Stone opened in San Marcos in 1996 at the location currently home to Port Brewing Company and The Lost Abbey.[7] Local designer/illustrator Thomas K. Matthews created the original gargoyle in 1996. He also drew the Arrogant Bastard Ale, Stone Ruination IPA, and Stone Levitation Ale gargoyles, as well as barley and hops motifs. Since 1999, the company has also operated its own distribution arm called Stone Distributing Company which services Southern California and represents more than 40 craft beer, cider and kombucha brands.[15] A tour of the Escondido, California location in 2009. In 2006, Stone relocated from the original brewery to a new, custom-designed facility in Escondido. In 2013, the company opened a packaging hall just south of the brewery which houses the bottling and keg lines. The brewery in Escondido produced 325,645 US beer barrels in 2015. The site is also home to a restaurant, Stone Brewing World Bistro & Gardens - Escondido, an 8,500-square-foot (790 m2) restaurant with a large outdoor patio and 1 acre (4,000 m2) of gardens. The brewery also houses a Stone Company Store which sells Stone merchandise as well as 1- and 2-liter growlers and 40-ounce and can that can be filled with Stone's year-round beers and special releases.[16] In May 2013 a second Stone Brewing World Bistro and Gardens opened in the Liberty Station development in the Point Loma neighborhood of San Diego. The 23,500-square-foot (2,180 m2) facility cost $8 million and can seat 700 patrons. It is housed in the former mess hall and several other historic buildings of the former Naval Training Center San Diego.[17] In 2013 Stone opened a location in Terminal 2 of the San Diego International Airport. In addition to the locations at Escondido and Liberty Station, there are Stone Company Stores in Oceanside, Pasadena, and in San Diego's Little Italy community. The stores sell beer in bottles, kegs and growlers.[5] In June 2008, Stone Brewing covered the roof of the brewery with solar panels, cutting their energy costs nearly in half. The 1,561 roof-mounted solar modules will offset more than 538,000 pounds (244,000 kg) of carbon emissions over its lifetime, which is equivalent to planting 204 acres (0.83 km2) of trees.[18] In Summer 2014, the company announced plans to open Stone Brewing Berlin in the German capital.[19] A 100 hectoliter brewery with onsite can filling in Berlin Mariendorf went into operation in June 2016. At that time, Stone Berlin began distributing Stone IPA and Arrogant Bastard Ale to Austria, the Baltics, Denmark, Finland, France, Ireland, Italy, Netherlands, Northern Ireland, Poland, Spain, Sweden, Switzerland, and the United Kingdom. In 2016 a corner of Stone Brewing Berlin opened as a full restaurant and gardens, Stone Brewing World Bistro & Gardens - Berlin. In April 2019 the entire Stone Brewing - Berlin operation was sold to Scotland-based BrewDog.[20] On October 8, 2014, sources indicated Stone Brewing had chosen Richmond, VA as the site for its first brewery in the eastern United States. The other two finalists for the brewery were Columbus, Ohio, and Norfolk, VA. Virginia Governor Terry McAuliffe made the formal announcement about the new brewery on October 9, 2014.[21] The brewery held the opening of the Stone Company Store Richmond in March 2016 and began brewing, kegging and bottling Stone IPA in July 2016. The second story bar at Stone Brewing Company in Napa, California In May 2016, the company announced plans to open a tap room and 10-barrel brewing system in Napa, California, the heart of California's Wine Country. The facility is housed in the historic Borrero building in downtown Napa and opened in May 2018.[22][23] On February 12, 2018, Stone filed a lawsuit against MillerCoors, the makers of Keystone beer, alleging that they were attempting to co-opt their name after a brand revamp that emphasizes the word "Stone" on the sides of their products.[24] Beginning in 2018, Stone's legal representatives systematically alleged trademark infringement against any organization that used the word Stone or Bastard in the name of the company or product. Many of the companies are unrelated to the beer industry. Over 90 objections have been filed to date.[25] In June 2022, Stone and Sapporo Breweries announced that they had reached an agreement for Sapporo to purchase Stone Brewing for $168 million, with the purchase expected to close in August 2022. The sale did not include Stone Distributing, which is set to become its own independent company.[26][27] Locations Stone Brewing World Bistro & Gardens – Escondido Stone Brewing World Bistro & Gardens – Liberty Station Stone Brewing Richmond Stone Brewing Tap Room – Oceanside Stone Brewing Tap Room – Pasadena Stone Brewing Tap Room – Kettner Awards Stone has won several awards at major international beer competitions.[28][29] Name Style Honors Double Bastard Ale Strong Ale 2005 Great American Beer Festival Silver Levitation Ale Amber Ale 2007 Great American Beer Festival Gold Old Guardian Barley Wine 2000 Great American Beer Festival Silver Pale Ale ESB 2008 World Beer Cup Bronze, 2006 Great American Beer Festival Bronze Ruination India Pale Ale 2006 World Beer Cup Bronze Smoked Porter With Chipotle Chile-spiced beer 2010 Great American Beer Festival Silver Sublimely Self-Righteous Ale Black India Pale Ale 2010 Great American Beer Festival Bronze Imperial Russian Stout Imperial Stout 2014 U.S. Open Beer Championship Gold Go To IPA Sessions Beer 2014 U.S. Open Beer Championship Gold Witty Moron Other Belgian Style Ale 2014 and 2017 Great American Beer Festival Gold Delicious IPA Near Gluten Free 2016 U.S. Open Beer Championship Gold Tropic of Thunder India Pale Lager 2019 U.S. Open Beer Championship Bronze Stone IPA West Coast IPA 2021 U.S. Open Beer Championship Gold" (wikipedia.org) "A costume party (American English) or fancy dress party (other varieties of English) is a type of party, common in contemporary Western culture, in which many of the guests are dressed in costume, usually depicting a fictional or stock character, or historical figure. Such parties are popular in the United States, United Kingdom, Canada, Australia, Ireland and New Zealand, especially during Halloween.... By country Australia Australian fancy dress parties typically follow the style of the United States, and Halloween costume parties have been common since the early 1990s, even though Halloween has not historically been a celebrated event in Australia. Typical events for Australians that involve dressing up are the Sydney Gay and Lesbian Mardi Gras, the staff Christmas party and cricket matches. One of the oldest examples of fancy dress being worn in Australia is on display at the Western Australia Museum. It was a child's fancy dress costume worn by Rita Lloyd, aged nine, to the ‘Lord Mayor’s Juvenile Fancy Dress Ball’ at Mansion House in Perth on 8 January 1909. Iraq It is a tradition to have a costume party at a university graduation.[1] United Kingdom Nineteenth century Manchester fancy dress ball of 1828, painting by Arthur Perigal The origins of fancy dress parties in the United Kingdom can in some respects be traced to masked balls of the 18th century period. In the period to 1850, fancy dress balls were a typical part of the social life of music festivals.[2] Common costumes of the period were specific historical characters, generic historical or regional clothing, abstract concepts (such as "winter", "starlight" or "night"), and objects (such as "champagne bottle" or "aquarium"). Popular characters included Marie Antoinette and Elizabeth I for women and Napoleon and Robin Hood for men.[3] Twentieth century Notable amongst early events in the 20th century was the Chelsea Arts Club ball. Such events were often elaborate affairs and for the most part confined to those with considerable means.[4] Amongst the general population, costume parties also occurred with increasing frequency from the late 1940s onward; for the most part the costumes were simple affairs until the mid-1970s. Prior to the late 1990s, most costumes were either hired or constructed at home. Although 'accessory' items had been available for some time, retail purchased costumes are, in respect of the U.K., largely since in the late 1990s. Many materials and costumes being imported from the Far East (with cost savings in labour and bulk orders) had increased in volume at that time. This has seen the price of purchased costumes becoming more and more affordable. Coupled with the modern trend in costume parties, 'retro' fashion as a costume theme (such as a 1970s or 1980s fancy dress) is also popular, the costumes to some extent parodying or pastiching the fashions of earlier decades. Amongst the most popular parodied costumes are: Audrey Hepburn (as Holly Golightly), Madonna in her classic stage outfits, and more recently Lady Gaga. Fancy dress parties are popular year round in the United Kingdom. The 1996 novel Bridget Jones's Diary features the classic British costume party theme "Tarts and Vicars" at which the women wear sexually provocative ("tart") costumes, while the men dress as Anglican priests ("vicars"). Fancy dress parties have been held by the British Royal Family. Prince William, heir to the British Throne, celebrated his 21st birthday with an "Out of Africa" theme, Princess Beatrice of York chose an 1888 themed party for her 18th birthday, and Lord Frederick ("Freddie") Windsor and his sister Lady Gabriella Windsor, celebrated a joint birthday party with a pre-French Revolution courtly theme.[5] United States Contestants line up for a "best costume" competition at a Halloween party in the United States. Nineteenth century In late nineteenth century New York, costume parties were popular amongst the affluent. Costumes were typically historical European aristocracy. Authenticity was important, even extending to using actual period elements. For example, Cornelia Bradley-Martin attended her own party, the notorious Bradley-Martin Ball, dressed as Marie Antoinette, wearing jewellery actually owned and worn by Antoinette herself. The choice of aristocratic costume allowed rich Americans, with relatively limited family history, to assume some element of history and legitimacy.[6] This coincides with the celebration of Halloween in the United States during the late nineteenth century. As a reaction to Halloween pranks and vandalism brought to the country by Celtic immigrants, women's magazines introduced a new, middle-class rendition of the holiday that would come to assert women as the dominant celebrants of Halloween throughout the coming decades. It sought to enforce the ideals of white Anglo-Saxon Protestants by encouraging young people to partake in tame, preferably indoor, activities instead, often with a focus on romance. While the middle and upper classes shifted their Halloween celebrations toward these new actives, including costume parties, the poor and immigrant populations of the United States continued to celebrate in the ways that they always had, demonstrating the effect that class differences had on costume parties during this time.[7] Twentieth century Costume parties are especially popular in the United States around Halloween, when teenagers and adults who may be considered too old for trick-or-treating attend a costume party instead. Costume parties are also popular during the carnival season, such as at Mardi Gras. Attendees occasionally dress in costume for popular science fiction and fantasy events, movie openings and book releases. Web site theonering.net held a The Lord of the Rings dress Oscar party that was attended by Peter Jackson. Star Wars parties were held to celebrate the opening of Star Wars: Episode I – The Phantom Menace. Many bookstores have held Harry Potter themed parties to celebrate the releases of the series' later novels, and some movie theaters have had Potter-themed celebrations as the movie adaptations have been released. Larger scale 'parties' are often related to organised societies or conventions.[8] Fan costuming The hobby of fan costuming and modern cosplay largely developed from the World Science Fiction Conventions (Worldcons), starting with the first in New York in 1939 when two attendees, Forrest J Ackerman and Myrtle R. Douglas, wore "futuristicostumes".[9] From the 2nd World Science Fiction Convention (1940) in Chicago, masquerade balls were a traditional feature of the convention.[9] Conventions Fan conventions, often abbreviated to "cons", of various descriptions have followed the example of the Worldcons with many attendees wearing costumes representing fictional characters. Some conventions feature costume competitions and other scheduled costuming events. Several well-known conventions that feature costuming include the San Diego Comic-Con International, New York Comic Con, and Atlanta's Dragon Con. Cosplay Cosplay (a blend of "costume" and "play" via the Japanese kosupure (コスプレ)) was coined by Nobuyuki Takahashi in reporting on the 42nd World Science Fiction Convention for Japanese magazine My Anime.[10][11] It is a performance art in which participants called cosplayers wear costumes, wigs and fashion accessories to represent a specific character. Cosplay is popular at conventions across the world. An example of a major cosplay convention in the United States would be Anime Expo, held annually in Los Angeles, California.[12] Events and themes There are many annual events that generate the chance to dress up in fancy dress costumes; Christmas, New Year, birthdays, Hen and Stag parties, and Book Day, amongst others. Halloween is the most popular costume or fancy dress event of the year in western society. Halloween originated centuries ago, the Celts believed that on 31 October the line between the living and the dead became distorted, condemned souls would come back to wreak havoc for the night. In defense, the Celts would dress up in ghoulish costumes to scare evil spirits away. Within many fancy dress events, a theme is usually present, and with fancy dress outfits often from Hollywood films such as Star Wars, Grease, James Bond, and Spider-Man. Themes are also extremely popular with fundraising events, such as the Great Gorilla Run, where 1,000 people dressed as gorillas in London in aid for Great Gorillas, a charity that focuses on the endangered species.[citation needed] Some costume parties are themed around 80s fashion. The most popular costumes researched for such fancy dress are the Madonna Look, punk fashion and neon-colored clothing. Some of the easiest and cheapest 1980s costumes include Rambo, Samantha Fox, and Tom Cruise from Risky Business or Top Gun. Alternative eighties costumes include dresses, prom dresses and denim from the period, including high waisted pants and stone wash denim. Fans sometimes attend sporting events in a costume as a sign of support of their favored team. Some sporting events have large numbers of fans attending in fancy dress costume. Examples include Wellington Rugby Sevens, where almost every fan who attends wears some sort of costume, and San Jose Bike Party, where each month's ride has a different theme encouraging riders to come in costume. " (wikipedia.org) "A potion (from Latin potio 'drink') is a liquid "that contains medicine, poison, or something that is supposed to have magic powers.”[1] It derives from the Latin word potus which referred to a drink or drinking.[2] The term philtre is also used, often specifically for a love potion, a potion that is supposed to create feelings of love or attraction in the one who drinks it.[3] Throughout history there have been several types of potions for a range of purposes.[4] Reasons for taking potions ranged from curing an illness, to securing immortality to trying to induce love. These potions, while often ineffective or poisonous, occasionally had some degree of medicinal success depending on what they sought to fix and the type and amount of ingredients used.[5] Some popular ingredients used in potions across history include Spanish fly,[6] nightshade plants, cannabis and opium.[7] During the 17th to 19th century, it was common in Europe to see peddlers offering potions for ailments ranging from heartbreak to the plague. These were eventually dismissed as quackery.[8] Prostitutes, courtesans, enchanters and midwives were also known to distribute potions.... Etymology The word potion has its origins in the Latin word potus an irregular past participle of potare which meant "to drink.” This evolved to the word potionem (nominative potio) meaning either "a potion, a drinking” or a "poisonous draught, magic potion."[2] In Ancient Greek, the word for both drugs and potions was “pharmaka” or “pharmakon.”[10] In the 12th century, the French had the word pocion meaning "potion, draught, medicine." By the 13th century, this word became pocioun meaning "medicinal drink, dose of liquid medicine or poison". The word potion can also be sourced from the Spanish words pocion meaning "potion," and ponzoña meaning "poison." The Italian's also had a word pozione meaning "potion". The word pozione is the same word for poison in Italian. By the early 15th century in Italy potion began to be known specifically as a magical or enchanted drink.[2] Administrators of potions The practice of administering potions has had a long history of being illegalised. Despite these laws, there have been several different administrators of potions across history.[5] Quacks A quack doctor selling potions from his caravan in 19th century Ireland Quacks or charlatans refer to people who sell “medical methods that do not work and are only intended to make money”.[11] In Europe in the 15th century it was also common to see long-distance peddlers, who sold supposedly magical healing potions and elixirs.[9] During the Great Plague of London in the 17th century, quacks sold many fake potions promising either cures or immunity.[12] Because pills looked less trustworthy to the public, potions were often the top sellers of quacks.[13] These potions often included bizarre ingredients such as floral pomanders and the smoke of fragrant woods.[14] The well known Wessex quack Vilbert was known to sell love potions made of pigeon hearts.[5] By the 18th century in England, it was common for middle class households to stock potions that claimed to solve a variety of ailments. Quackery grew to its height in the 19th century.[8] Pharmacists In 18th and 19th century Britain, pharmacies or apothecaries were often a cheaper, more accessible option for medical treatment than doctors.[15] Potions distributed by chemists for illnesses were often derived from herbs and plants, and based on old beliefs and remedies.[16] Prior to The Pharmacy Act 1868 anybody could become a pharmacist or chemist. Since the practice was unregulated, potions were often made from scratch.[17] Potions were additionally used to cure illness in livestock. One potion found in a 19th-century pharmacist's recipe book was to be used for “lambs of about 7 years old” and contains chalk, pomegranate and opium.[17] The role of women in distributing potions 1773 painting of a witch reciting a spell over a cauldron There was a strict hierarchy in the medical community of Europe during the 12th to 15th centuries. Male doctors were the most respected and paid followed by female apothecaries, barber-surgeons and surgeons.[18] Women were often the main way that individuals who could not afford doctors or apothecaries could gain medical treatment[citation needed] Potions, in addition to calming teas or soup, were a common homemade treatment made by women. When unable to go to a female house member, early modern people would often go to the wise women of their village.[citation needed] Wise women (who were often supposed witches) were knowledgeable in health care[19] and could administer potions, lotions or salves in addition to performing prayers or chants. This was often free of charge or significantly less expensive than the potions of apothecaries.[citation needed] The limited jobs available to women during the 17th to 18th century in Europe often involved a knowledge of potions as an additional way to gain a financial income.[20] Jobs that often involved the selling of love potions included prostitutes, courtesans, enchanters and midwives.[20] These practices varied by region. In Rome, up until the period of the civil wars, the only physicians were drug-sellers, enchanters and midwives.[21] In Greece, retired courtesans often both created potions and worked as midwives.[22] Prostitutes in Europe were often expected to be an expert in magic and administer love potions.[21] Self-administration In the Middle Ages and the early modern period using potions to induce sterility and abortion was widely practiced in Europe. The majority of abortive potions were made using emmenagogue herbs (herbs used to stimulate menstruation) which were intended to cause a period and end a pregnancy.[23] Additionally abortive potions could also be prepared by infusion of a herb or tree. The willow tree was a common ingredient in these potions, as it was fabled to cause sterility.[24] Several key theological and legal literature of the time condemned this practice, including Visigothic law and the Church.[24] Many herbal potions containing emmenagogues did not contain abortifacients (substances that induce abortion) and were instead used to cure amenorrhoea (a lack of period). There are several different types of literature in the humoral tradition that propose the use of herbal potions or suppositories to provoke menstruation.[23] Famous potion makers Giulia Tofana and Gironima Spana Giulia Tofana (1581-1651) was an Italian poisoner, known as the inventor of the famous poison Aqua Tofana. Born in Sicily, she invented and started to sell the poison in Palermo in Sicily.[25] She later established herself in Rome, where she continued the business, specialising in selling to women in abusive marriages who wanted to become widows.[25] She died peacefully in 1651 and left the business to her stepdaughter Gironima Spana, who expanded it to a substantial business in the 1650s. The organization was exposed in 1659 and resulted in the famous Spana Prosecution, which became a subject of sensationalistic mythologization for centuries.[25] Paula de Eguiluz Paula de Eguiluz was born into slavery in Santo Domingo, Dominican Republic in the 17th Century. Within the area in which she lived, sickness and disease ravaged the towns and major cities. Paula de Eguiluz decided to research and find her own cures to these maladies. Because of this, she is widely known for being involved in health care and healing. Once her healing and health care practice took off, she started to sell potions and serums to clients. de Eguiluz's business attracted a following and slowly got her into a bit of trouble. Due to Paula's healing accomplishments, she was arrested approximately 3 times. During these inquisitions, she was forced to tell the jury that she performed witchcraft. In response to these false confessions, she was imprisoned and whipped several times. Catherine Monvoisin Contemporary portrait engraving of 17th century sorceress and poisoner Catherine Monvoison "La Voisin" - Guillaume Chasteau after Antoine Coypel Catherine Monvoisin, better known to some as La Voisin, was born within the year 1640 in France. Catherine Monvoisin married Antoine Monvoisin who was a jeweler in Paris. His business plummeted and Catherine had to find work in order for her and her family to survive. She had a knack for reading people very accurately coupled with chiromancy and utilized her skills in order to make money. La Voisin would read people's horoscopes and perform abortions, but she also sold potions and poisons to her clients. Her work quickly became well known throughout France and people would quickly become her clients. Around the year 1665, her fortune telling was questioned by Saint Vincent de Paul's Order, but she was quick to dismiss the allegations of witchcraft. Catherine would then begin making potions whether it be for love, murder, or everyday life. Her love potion consisted of bones, the teeth of moles, human blood, Spanish fly beetles, and even small amounts of human remains. Her predecessor and major influence was Giulia Tofana. On March 12, 1679, Catherine was arrested Notre- Dame Bonne- Nouvelle due to a string of incidents involving her and her potions. She confessed her crimes of murder and told authorities a majority of everything they needed to know about the people she knowingly murdered. On February 22, 1680, La Voisin was sentenced to a public death wherein she was to be burned as the stake for witchcraft. Jacqueline Felicie Jacqueline Felice de Almania was tried in Italy in 1322 for the unlicensed practice of medicine. She was mainly accused of doing a learned male physicians job and accepting a fee.[26] This job involved “examining urine by its physical appearance; touching the body; and prescribing potions, digestives, and laxatives.”[18] Eight witnesses testified to her medical experience and wisdom. However, as she had not attended university, her knowledge was dismissed. Jacqueline Felice was then found guilty and fined and excommunicated from the church.[18] Popular types of potions Emotions such as anger, fear and sadness are universal[27] and as such potions have been created across history and cultures in response to these human emotions.[4] Love potion A young man buying a potion to induce falling in love from a street medicine vendor Love Potions have been used throughout history and cultures.[6] Scandinavians often used love-philtres, which is documented in the Norse poem The Lay of Gudrun.[5] In 17th century Cartagena, Afro-Mexican curer (curanderos/as) and other Indigenous healers could gain an income and status from selling spells and love potions to women trying to secure men and financial stability.[28] These love potions were sold to women of all social classes, who often wished to gain sexual agency.[28] Restorative potion Confectio Alchermes In the early ninth century, Arab physician Yuhanna ̄ Ibn Masawaih used the dye kermes to create a potion called Confectio Alchermes. The potion was “intended for the caliph and his court and not for commoners.”[29] The potion was intended to cure heart palpitations, restore strength and cure madness and depression.[29] During the Renaissance in Europe, Confectio Alchermes was used widely. Recipes for the potion appeared in the work of the popular English apothecary Nicholas Culpeper and the official pharmacopoeia handbooks of London and Amsterdam. Queen Elizabeth’s French ambassador was even treated with the remedy; however, the recipe was altered to include a “unicorn’s horn” (possibly a ground-up narwhal tusk) in addition to the traditional ingredients.[29] The ingredients for the potion mainly included ambergris, cinnamon, aloes, gold leaf, musk, pulverized lapis lazuli and white pearls.[29] St Paul's potion St Paul's Potion was intended to cure epilepsy, catalepsy and stomach problems. Many ingredients used in the potion had medicinal value. According to Toni Mount the list of ingredients included “liquorice, sage, willow, roses, fennel, cinnamon, ginger, cloves, cormorant blood, mandrake, dragon’s blood and three kinds of pepper”.[30] Many of these ingredients still have medicinal value in the 21st century. Liquorice can be used to treat coughs and bronchitis. Sage can help memory and improve blood flow to the brain. Willow contains salicylic acid, which is a component of aspirin. Fennel, cinnamon and ginger are all carminatives, which help relieve gas in the intestines. The cormorant blood adds iron to treat anemia. If used in small doses, Mandrake is a good sleeping draught (though in large doses Mandrake can be poisonous.) Dragon's blood refers to the bright red resin of the tree Dracaena draco. According to Toni Mount “it has antiseptic, antibiotic, anti-viral and wound-healing properties, and it is still used in some parts of the world to treat dysentery.”[30] Immortality potion Creating a potion for immortality, was a common pursuit of alchemists throughout history.[31] The Elixir of Life is a famous potion that aimed to create eternal youth.[32] During the Chinese dynasties, this elixir of life was often recreated and drunk by emperors, nobles and officials.[citation needed] In India, there is a myth of the potion amrita, a drink of immortality made out of nectar.[33] Hallucinogenic potions Ayahuasca Ayahuasca, is a hallucinogenic plant-based potion used in many parts of the world. It was first created by indigenous South Americans from the Amazon basin as a spiritual medicine.[34] The potion was often administered by a shaman during a ceremony. The potion contains the boiled stems of the ayahuasca vine and leaves from the chacruna plant. Chacruna contains dimethyltryptamine (also known as DMT), a psychedelic drug. The potion caused users to vomit or 'purge' and induced hallucinations.[35] Folklore [icon] This section needs expansion. You can help by adding to it. (December 2019) Potions or mixtures are common within many of local mythologies. In particular, references to love potions are common in many cultures.[36] Yusufzai witches, for example, would bathe a recently deceased leatherworker and sell the water to those seeking a male partner; this practice is said to exist in a modified form in modern times.[36] Famous potions in literature The Love Potion by Evelyn De Morgan. Potions have played a critical role in many pieces of literature. Shakespeare wrote potions into many of his plays including a love potion in A Midsummer Night’s Dream, poison in Hamlet, and Juliet takes a potion to fake her death in Romeo and Juliet.[37] In the Harry Potter series, potions also play a main role. The students are required to attend potion classes and knowledge of potions often becomes a factor for many of the characters. In the fairytale "The Little Mermaid" by Hans Christian Andersen, the Little Mermaid wishes to become human and have an immortal soul. She visits the Sea Witch who sells her a potion, in exchange for which she cuts out the Little Mermaid's tongue. The Sea Witch makes the potion using her own blood that she cuts from her breast. She warns the Little Mermaid that it will feel as if she had been cut with a sword when her fin becomes legs, that she will never be able to become a mermaid again, and risks turning into seafoam and not having an immortal soul if she fails to win the Prince's love. The Little Mermaid decides to take the potion which successfully turns her into a human so that she can try to win the love of the Prince and an immortal soul.[38] In the novella The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, Dr. Henry Jekyll creates a potion that transforms him into an evil version of himself called Edward Hyde. Dr. Jekyll does not explain how he created this potion because he felt his “discoveries were incomplete,” he only indicates that it requires a “particular salt.” He uses the potion successfully to go back and forth between his normal self, Dr. Jekyll, and his evil self, Mr. Hyde. " (wikipedia.org) "A zombie (Haitian French: zombi, Haitian Creole: zonbi) is a mythological undead corporeal revenant created through the reanimation of a corpse. Zombies are most commonly found in horror and fantasy genre works. The term comes from Haitian folklore, in which a zombie is a dead body reanimated through various methods, most commonly magic like voodoo. Modern media depictions of the reanimation of the dead often do not involve magic but rather science fictional methods such as carriers, radiation, mental diseases, vectors, pathogens, parasites, scientific accidents, etc.[1][2] The English word "zombie" was first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi".[3] The Oxford English Dictionary gives the word's origin as Central African and compares it to the Kongo words nzambi (god) and zumbi or nzumbi (fetish). Some authors also compare it to the Kongo word vumbi (mvumbi) (ghost, revenant, corpse that still retains the soul), (nvumbi) (body without a soul).[4][5] A Kimbundu-to-Portuguese dictionary from 1903 defines the related word nzumbi as soul,[6] while a later Kimbundu–Portuguese dictionary defines it as being a "spirit that is supposed to wander the earth to torment the living".[7] One of the first books to expose Western culture to the concept of the voodoo zombie was W. B. Seabrook's The Magic Island (1929), the account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls. A new version of the zombie, distinct from that described in Haitian folklore, emerged in popular culture during the latter half of the 20th century. This interpretation of the zombie is drawn largely from George A. Romero's film Night of the Living Dead (1968),[1] which was partly inspired by Richard Matheson's novel I Am Legend (1954).[8][9] The word zombie is not used in Night of the Living Dead, but was applied later by fans.[10] After zombie films such as Dawn of the Dead (1978) and Michael Jackson's music video Thriller (1983), the genre waned for some years. An evolution of the zombie archetype came with the video games Resident Evil and The House of the Dead in the late 1990s, with their more scientific and action-oriented approach and their introduction of fast-running zombies, leading to a resurgence of zombies in popular culture. These games were initially followed by a wave of low-budget Asian zombie films such as the zombie comedy Bio Zombie (1998) and action film Versus (2000), and then a new wave of popular Western zombie films in the early 2000s, including films featuring fast-running zombies—such as 28 Days Later (2002), the Resident Evil and House of the Dead films, and the 2004 Dawn of the Dead remake—and the British zombie comedy Shaun of the Dead (2004). The "zombie apocalypse" concept, in which the civilized world is brought low by a global zombie infestation, has since become a staple of modern popular art, seen in such media as The Walking Dead franchise. The late 2000s and 2010s saw the humanization and romanticization of the zombie archetype, with the zombies increasingly portrayed as friends and love interests for humans. Notable examples of the latter include movies Warm Bodies and Zombies, novels American Gods by Neil Gaiman, Generation Dead by Daniel Waters, and Bone Song by John Meaney, animated movie Corpse Bride, TV series Pushing Daisies and iZombie, and manga/novel/anime series Sankarea: Undying Love and Is This a Zombie? In this context, zombies are often seen as stand-ins for discriminated groups struggling for equality, and the human–zombie romantic relationship is interpreted as a metaphor for sexual liberation and taboo breaking (given that zombies are subject to wild desires and free from social conventions).... Etymology The English word "zombie" is first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi", actually referring to the Afro-Brazilian rebel leader named Zumbi and the etymology of his name in "nzambi".[3] The Oxford English Dictionary gives the origin of the word as Central African and compares it to the Kongo words "nzambi" (god) and "zumbi" (fetish). In Haitian folklore, a zombie (Haitian French: zombi, Haitian Creole: zonbi) is an animated corpse raised by magical means, such as witchcraft.[15] The concept has been popularly associated with the religion of voodoo, but it plays no part in that faith's formal practices.[citation needed] How the creatures in contemporary zombie films came to be called "zombies" is not fully clear. The film Night of the Living Dead made no spoken reference to its undead antagonists as "zombies", describing them instead as "ghouls" (though ghouls, which derive from Arabic folklore, are demons, not undead). Although George Romero used the term "ghoul" in his original scripts, in later interviews he used the term "zombie". The word "zombie" is used exclusively by Romero in his script for his sequel Dawn of the Dead (1978),[16] including once in dialog. According to George Romero, film critics were influential in associating the term "zombie" to his creatures, and especially the French magazine Cahiers du Cinéma. He eventually accepted this linkage, even though he remained convinced at the time that "zombies" corresponded to the undead slaves of Haitian voodoo as depicted in White Zombie with Bela Lugosi.[17] Folk beliefs Haiti A depiction of a zombie at twilight in a field of sugar cane Zombies are featured widely in Haitian rural folklore as dead persons physically revived by the act of necromancy of a bokor, a sorcerer or witch. The bokor is opposed by the houngan (priest) and the mambo (priestess) of the formal voodoo religion. A zombie remains under the control of the bokor as a personal slave, having no will of its own. The Haitian tradition also includes an incorporeal type of zombie, the "zombie astral", which is a part of the human soul. A bokor can capture a zombie astral to enhance his spiritual power. A zombie astral can also be sealed inside a specially decorated bottle by a bokor and sold to a client to bring luck, healing, or business success. It is believed that God eventually will reclaim the zombie's soul, so the zombie is a temporary spiritual entity.[18] The two types of zombie reflect soul dualism, a belief of Haitian voodoo. Each type of legendary zombie is therefore missing one half of its soul (the flesh or the spirit).[19] The zombie belief has its roots in traditions brought to Haiti by enslaved Africans and their subsequent experiences in the New World. It was thought that the voodoo deity Baron Samedi would gather them from their grave to bring them to a heavenly afterlife in Africa ("Guinea"), unless they had offended him in some way, in which case they would be forever a slave after death, as a zombie. A zombie could also be saved by feeding them salt. English professor Amy Wilentz has written that the modern concept of Zombies was strongly influenced by Haitian slavery. Slave drivers on the plantations, who were usually slaves themselves and sometimes voodoo priests, used the fear of zombification to discourage slaves from committing suicide.[20][21] While most scholars have associated the Haitian zombie with African cultures, a connection has also been suggested to the island's indigenous Taíno people, partly based on an early account of native shamanist practices written by the Hieronymite monk Ramón Pané (Spanish-language article – English translation via Google Translate), a companion of Christopher Columbus.[22][23][24] The Haitian zombie phenomenon first attracted widespread international attention during the United States occupation of Haiti (1915–1934), when a number of case histories of purported "zombies" began to emerge. The first popular book covering the topic was William Seabrook's The Magic Island (1929). Seabrooke cited Article 246 of the Haitian criminal code, which was passed in 1864, asserting that it was an official recognition of zombies. This passage was later used in promotional materials for the 1932 film White Zombie.[25] Also shall be qualified as attempted murder the employment which may be made by any person of substances which, without causing actual death, produce a lethargic coma more or less prolonged. If, after the administering of such substances, the person has been buried, the act shall be considered murder no matter what result follows. — Code pénal[26] In 1937, while researching folklore in Haiti, Zora Neale Hurston encountered the case of a woman who appeared in a village. A family claimed that she was Felicia Felix-Mentor, a relative, who had died and been buried in 1907 at the age of 29. The woman was examined by a doctor; X-rays indicated that she did not have a leg fracture that Felix-Mentor was known to have had.[27] Hurston pursued rumors that affected persons were given a powerful psychoactive drug, but she was unable to locate individuals willing to offer much information. She wrote: "What is more, if science ever gets to the bottom of Vodou in Haiti and Africa, it will be found that some important medical secrets, still unknown to medical science, give it its power, rather than gestures of ceremony."[28] Africa A Central African origin for the Haitian zombie has been postulated based on two etymologies in the Kongo language, nzambi ("god") and zumbi ("fetish"). This root helps form the names of several deities, including the Kongo creator deity Nzambi a Mpungu and the Louisiana serpent deity Li Grand Zombi (a local version of the Haitian Damballa), but it is in fact a generic word for a divine spirit.[29] The common African conception of beings under these names is more similar to the incorporeal "zombie astral",[18] as in the Kongo Nkisi spirits. A related, but also often incorporeal, undead being is the jumbee of the English-speaking Caribbean, considered to be of the same etymology;[30] in the French West Indies also, local "zombies" are recognized, but these are of a more general spirit nature.[31] The idea of physical zombie-like creatures is present in some South African cultures, where they are called xidachane in Sotho/Tsonga and maduxwane in Venda. In some communities, it is believed that a dead person can be zombified by a small child.[32] It is said that the spell can be broken by a powerful enough sangoma.[33] It is also believed in some areas of South Africa that witches can zombify a person by killing and possessing the victim's body to force it into slave labor.[34] After rail lines were built to transport migrant workers, stories emerged about "witch trains". These trains appeared ordinary, but were staffed by zombified workers controlled by a witch. The trains would abduct a person boarding at night, and the person would then either be zombified or beaten and thrown from the train a distance away from the original location.[34] Origin hypotheses Chemical Several decades after Hurston's work, Wade Davis, a Harvard ethnobotanist, presented a pharmacological case for zombies in a 1983 article in the Journal of Ethnopharmacology,[35] and later in two popular books: The Serpent and the Rainbow (1985) and Passage of Darkness: The Ethnobiology of the Haitian Zombie (1988). Davis traveled to Haiti in 1982 and, as a result of his investigations, claimed that a living person can be turned into a zombie by two special powders being introduced into the blood stream (usually through a wound). The first, French: coup de poudre ("powder strike"), includes tetrodotoxin (TTX), a powerful and frequently fatal neurotoxin found in the flesh of the pufferfish (family Tetraodontidae). The second powder consists of deliriant drugs such as datura. Together these powders were said to induce a deathlike state, in which the will of the victim would be entirely subjected to that of the bokor. Davis also popularized the story of Clairvius Narcisse, who was claimed to have succumbed to this practice. The most ethically questioned and least scientifically explored ingredient of the powders is part of a recently buried child's brain.[36][37][38][verification needed] The process described by Davis was an initial state of deathlike suspended animation, followed by re-awakening — typically after being buried — into a psychotic state. The psychosis induced by the drug and psychological trauma was hypothesised by Davis to reinforce culturally learned beliefs and to cause the individual to reconstruct their identity as that of a zombie, since they "knew" that they were dead and had no other role to play in the Haitian society. Societal reinforcement of the belief was hypothesized by Davis to confirm for the zombie individual the zombie state, and such individuals were known to hang around in graveyards, exhibiting attitudes of low affect. Davis's claim has been criticized, particularly the suggestion that Haitian witch doctors can keep "zombies" in a state of pharmacologically induced trance for many years.[39] Symptoms of TTX poisoning range from numbness and nausea to paralysis — particularly of the muscles of the diaphragm — unconsciousness, and death, but do not include a stiffened gait or a deathlike trance. According to psychologist Terence Hines, the scientific community dismisses tetrodotoxin as the cause of this state, and Davis' assessment of the nature of the reports of Haitian zombies is viewed as overly credulous.[38] Social Scottish psychiatrist R. D. Laing highlighted the link between social and cultural expectations and compulsion, in the context of schizophrenia and other mental illness, suggesting that schizogenesis may account for some of the psychological aspects of zombification.[40] Particularly, this suggests cases where schizophrenia manifests a state of catatonia. Roland Littlewood, professor of anthropology and psychiatry, published a study supporting a social explanation of the zombie phenomenon in the medical journal The Lancet in 1997.[41] The social explanation sees observed cases of people identified as zombies as a culture-bound syndrome,[42] with a particular cultural form of adoption practiced in Haiti that unites the homeless and mentally ill with grieving families who see them as their "returned" lost loved ones, as Littlewood summarizes his findings in an article in Times Higher Education:[43] I came to the conclusion that although it is unlikely that there is a single explanation for all cases where zombies are recognised by locals in Haiti, the mistaken identification of a wandering mentally ill stranger by bereaved relatives is the most likely explanation in many cases. People with a chronic schizophrenic illness, brain damage or learning disability are not uncommon in rural Haiti, and they would be particularly likely to be identified as zombies. Modern archetype evolution Pulliam and Fonseca (2014) and Walz (2006) trace the zombie lineage back to ancient Mesopotamia.[44][45] In the Descent of Ishtar, the goddess Ishtar threatens:[46] If you do not open the gate for me to come in, I shall smash the door and shatter the bolt, I shall smash the doorpost and overturn the doors, I shall raise up the dead and they shall eat the living: And the dead shall outnumber the living! She repeats this same threat in a slightly modified form in the Epic of Gilgamesh.[47] One of the first books to expose Western culture to the concept of the voodoo zombie was The Magic Island (1929) by W. B. Seabrook. This is the sensationalized account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls. Time commented that the book "introduced 'zombi' into U.S. speech".[48] Zombies have a complex literary heritage, with antecedents ranging from Richard Matheson and H. P. Lovecraft to Mary Shelley's Frankenstein drawing on European folklore of the undead. Victor Halperin directed White Zombie (1932), a horror film starring Bela Lugosi. Here zombies are depicted as mindless, unthinking henchmen under the spell of an evil magician. Zombies, often still using this voodoo-inspired rationale, were initially uncommon in cinema, but their appearances continued sporadically through the 1930s to the 1960s, with films including I Walked with a Zombie (1943) and Plan 9 from Outer Space (1959). The actor T. P. Cooke as Frankenstein's Monster in an 1823 stage production of the novel Frankenstein by Mary Shelley, while not a zombie novel per se, foreshadows many 20th century ideas about zombies in that the resurrection of the dead is portrayed as a scientific process rather than a mystical one and that the resurrected dead are degraded and more violent than their living selves. Frankenstein, published in 1818, has its roots in European folklore, whose tales of the vengeful dead also informed the evolution of the modern conception of the vampire.[49] Later notable 19th century stories about the avenging undead included Ambrose Bierce's "The Death of Halpin Frayser" and various Gothic Romanticism tales by Edgar Allan Poe. Though their works could not be properly considered zombie fiction, the supernatural tales of Bierce and Poe would prove influential on later writers such as H. P. Lovecraft, by Lovecraft's own admission.[50] In the 1920s and early 1930s, Lovecraft wrote several novellae that explored the undead theme. "Cool Air", "In the Vault" and "The Outsider" all deal with the undead, but Lovecraft's "Herbert West–Reanimator" (1921) "helped define zombies in popular culture".[51] This series of short stories featured Herbert West, a mad scientist, who attempts to revive human corpses, with mixed results. Notably, the resurrected dead are uncontrollable, mostly mute, primitive and extremely violent; though they are not referred to as zombies, their portrayal was prescient, anticipating the modern conception of zombies by several decades.[citation needed] Edgar Rice Burroughs similarly depicted animated corpses in the second book of his Venus series, again without using the terms "zombie" or "undead". Avenging zombies would feature prominently in the early 1950s EC Comics, which George A. Romero would later claim as an influence. The comics, including Tales from the Crypt, The Vault of Horror and Weird Science, featured avenging undead in the Gothic tradition quite regularly, including adaptations of Lovecraft's stories, which included "In the Vault", "Cool Air" and "Herbert West–Reanimator".[52] Richard Matheson's 1954 novel I Am Legend, although classified as a vampire story, had a great impact on the zombie genre by way of George A. Romero. The novel and its 1964 film adaptation, The Last Man on Earth, which concern a lone human survivor waging war against a world of vampires, would by Romero's own admission greatly influence his 1968 low-budget film Night of the Living Dead, a work that was more influential on the concept of zombies than any literary or cinematic work before it.[53][54] The monsters in the film and its sequels, such as Dawn of the Dead (1978) and Day of the Dead (1985), as well as the many zombie films it inspired, such as The Return of the Living Dead (1985) and Zombi 2 (1979), are usually hungry for human flesh, although Return of the Living Dead introduced the popular concept of zombies eating human brains. Tor Johnson as a zombie with his victim in the cult movie Plan 9 from Outer Space (1959) There has been an evolution in the zombie archetype from supernatural to scientific themes. I Am Legend and Night of the Living Dead began the shift away from Haitian dark magic, though did not give scientific explanations for zombie origins. A more decisive shift towards scientific themes came with the Resident Evil video game series in the late 1990s, which gave more realistic scientific explanations for zombie origins while drawing on modern science and technology, such as biological weaponry, genetic manipulation and parasitic symbiosis. This became the standard approach for explaining zombie origins in popular fiction that followed Resident Evil.[55] There has also been shift towards an action approach, which has led to another evolution of the zombie archietype, the "fast zombie" or running zombie. In contrast to Romero's classic slow zombies, "fast zombies" can run, are more aggressive and are often more intelligent. This type of zombie has origins in 1990s Japanese horror video games. In 1996, Capcom's survival horror video game Resident Evil featured zombie dogs that run towards the player. Later the same year, Sega's arcade shooter The House of the Dead introduced running human zombies, who run towards the player and can also jump and swim. The running human zombies introduced in The House of the Dead video games became the basis for the "fast zombies" that became popular in zombie films during the early 21st century, starting with 28 Days Later (2002), the Resident Evil and House of the Dead films and the 2004 Dawn of the Dead remake. These films also adopted an action approach to the zombie concept, which was also influenced by the Resident Evil and House of the Dead video games.[56] Film and television Main article: Zombie film Films featuring zombies have been a part of cinema since the 1930s. White Zombie (directed by Victor Halperin in 1932) and I Walked with a Zombie (directed by Jacques Tourneur; 1943) were early examples.[57][58][59] With George A. Romero's Night of the Living Dead (1968), the zombie trope began to be increasingly linked to consumerism and consumer culture.[60] Today, zombie films are released with such regularity (at least 55 films were released in 2014 alone)[61] that they constitute a separate subgenre of horror film.[62] Voodoo-related zombie themes have also appeared in espionage or adventure-themed works outside the horror genre. For example, the original Jonny Quest series (1964) and the James Bond novel Live and Let Die as well as its film adaptation both feature Caribbean villains who falsely claim the voodoo power of zombification to keep others in fear of them. George Romero's modern zombie archetype in Night of the Living Dead was influenced by several earlier zombie-themed films, including White Zombie, Revolt of the Zombies (1936) and The Plague of the Zombies (1966). Romero was also inspired by Richard Matheson's novel I Am Legend (1954), along with its film adaptation, The Last Man on Earth (1964).[63] George A. Romero (1968–1985) See also: Living Dead Zombie Apocalyptic and post-apocalyptic fiction character First appearance Night of the Living Dead (1968) Created by George Romero In-universe information Alias "Romero zombie" Type Undead (influenced by Haitian Zombie), Vampire, Ghoul The modern conception of the zombie owes itself almost entirely to George A. Romero's 1968 film Night of the Living Dead.[1][64][65] In his films, Romero "bred the zombie with the vampire, and what he got was the hybrid vigour of a ghoulish plague monster".[66] This entailed an apocalyptic vision of monsters that have come to be known as Romero zombies. Roger Ebert of the Chicago Sun-Times chided theater owners and parents who allowed children access to the film. "I don't think the younger kids really knew what hit them", complained Ebert, "They were used to going to movies, sure, and they'd seen some horror movies before, sure, but this was something else." According to Ebert, the film affected the audience immediately:[67] The kids in the audience were stunned. There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying. A young zombie (Kyra Schon) feeding on human flesh, from Night of the Living Dead (1968) Romero's reinvention of zombies is notable in terms of its thematics; he used zombies not just for their own sake, but as a vehicle "to criticize real-world social ills—such as government ineptitude, bioengineering, slavery, greed and exploitation—while indulging our post-apocalyptic fantasies".[68] Night was the first of six films in Romero's Living Dead series. Its first sequel, Dawn of the Dead, was released in 1978. Lucio Fulci's Zombi 2 was released just months after Dawn of the Dead as an ersatz sequel (Dawn of the Dead was released in several other countries as Zombi or Zombie).[1] Dawn of the Dead was the most commercially successful zombie film for decades, up until the zombie revival of the 2000s.[69] The 1981 film Hell of the Living Dead referenced a mutagenic gas as a source of zombie contagion: an idea also used in Dan O'Bannon's 1985 film Return of the Living Dead. Return of the Living Dead featured zombies that hungered specifically for human brains. Relative Western decline (1985–1995) Zombie films in the 1980s and 1990s were not as commercially successful as Dawn of the Dead in the late 1970s.[69] The mid-1980s produced few zombie films of note. Perhaps the most notable entry, the Evil Dead trilogy, while highly influential, are not technically zombie films, but films about demonic possession, despite the presence of the undead. 1985's Re-Animator, loosely based on the Lovecraft story, stood out in the genre, achieving nearly unanimous critical acclaim[70] and becoming a modest success, nearly outstripping Romero's Day of the Dead for box office returns. After the mid-1980s, the subgenre was mostly relegated to the underground. Notable entries include director Peter Jackson's ultra-gory film Braindead (1992) (released as Dead Alive in the U.S.), Bob Balaban's comic 1993 film My Boyfriend's Back, where a self-aware high-school boy returns to profess his love for a girl and his love for human flesh, and Michele Soavi's Dellamorte Dellamore (1994) (released as Cemetery Man in the U.S.). Early Asian films (1985–1995) In 1980s Hong Kong cinema, the Chinese jiangshi, a zombie-like creature dating back to Qing dynasty era jiangshi fiction of the 18th and 19th centuries, were featured in a wave of jiangshi films, popularised by Mr. Vampire (1985). Hong Kong jiangshi films were popular in the Far East from the mid-1980s to the early 1990s. Prior to the 1990s, there were not many Japanese films related to what may be considered in the West as a zombie film.[71] Early films such as The Discarnates (1988) feature little gore and no cannibalism, but it is about the dead returning to life looking for love rather than a story of apocalyptic destruction.[71] One of the earliest Japanese zombie films with considerable gore and violence was Battle Girl: The Living Dead in Tokyo Bay (1991).[72] Far East revival (1996–2001) See also: Japanese horror According to Kim Newman in the book Nightmare Movies (2011), the "zombie revival began in the Far East" during the late 1990s, largely inspired by two Japanese zombie games released in 1996:[72] Capcom's Resident Evil, which started the Resident Evil video game series that went on to sell 24 million copies worldwide by 2006,[71] and Sega's arcade shooter House of the Dead. The success of these two 1996 zombie games inspired a wave of Asian zombie films.[72] From the late 1990s, zombies experienced a renaissance in low-budget Asian cinema, with a sudden spate of dissimilar entries, including Bio Zombie (1998), Wild Zero (1999), Junk (1999), Versus (2000) and Stacy (2001). Most Japanese zombie films emerged in the wake of Resident Evil, such as Versus, Wild Zero, and Junk, all from 2000.[71] The zombie films released after Resident Evil behaved similarly to the zombie films of the 1970s,[73] except that they were influenced by zombie video games, which inspired them to dwell more on the action compared to the older Romero films.[74] Global film revival (2001–2008) The zombie revival, which began in the Far East, eventually went global, following the worldwide success of the Japanese zombie games Resident Evil and The House of the Dead.[72] Resident Evil in particular sparked a revival of the zombie genre in popular culture, leading to a renewed global interest in zombie films during the early 2000s.[75] In addition to being adapted into the Resident Evil and House of the Dead films from 2002 onwards, the original video games themselves also inspired zombie films such as 28 Days Later (2002)[76] and Shaun of the Dead (2004).[77] This led to the revival of zombie films in global popular culture.[75][76][78] The turn of the millennium coincided with a decade of box office successes in which the zombie subgenre experienced a resurgence: the Resident Evil movies (2002–2016), the British films 28 Days Later and 28 Weeks Later (2007),[79][80] the Dawn of the Dead remake (2004),[1] and the comedies Shaun of the Dead and Dance of the Dead (2008). The new interest allowed Romero to create the fourth entry in his zombie series: Land of the Dead, released in the summer of 2005. Romero returned to the series with the films Diary of the Dead (2008) and Survival of the Dead (2010).[1] Generally, the zombies in these shows are the slow, lumbering and unintelligent kind, first made popular in Night of the Living Dead.[81] The Resident Evil films, 28 Days Later and the Dawn of the Dead remake all set box office records for the zombie genre, reaching levels of commercial success not seen since the original Dawn of the Dead in 1978.[69] Motion pictures created in the 2000s, like 28 Days Later, the House of the Dead and Resident Evil films, and the Dawn of the Dead remake,[56] have featured zombies that are more agile, vicious, intelligent, and stronger than the traditional zombie.[82] These new type of zombies, the fast zombie or running zombie, have origins in video games, with Resident Evil's running zombie dogs and especially The House of the Dead game's running human zombies.[56] Spillover to television (2008–2015) The success of Shaun of the Dead led to more successful zombie comedies during the late 2000s to early 2010s, such as Zombieland (2009) and co*ckneys vs Zombies (2012).[75] By 2011, the Resident Evil film adaptations had also become the highest-grossing film series based on video games, after they grossed more than $1 billion worldwide.[83] In 2013, the AMC series The Walking Dead had the highest audience ratings in the United States for any show on broadcast or cable with an average of 5.6 million viewers in the 18- to 49-year-old demographic.[84] The film World War Z became the highest-grossing zombie film, and one of the highest-grossing films of 2013.[75] At the same time, starting from the mid-2000s, a new type of zombie film has been growing in popularity: the one in which zombies are portrayed as humanlike in appearance and behavior, retaining the personality traits they had in life, and becoming friends or even romantic partners for humans rather than a threat to humanity. Notable examples of human–zombie romance include the stop-motion animated movie Corpse Bride, live-action movies Warm Bodies, Camille, Life After Beth, Burying the Ex, and Nina Forever, and TV series Pushing Daisies and Babylon Fields.[11][85] According to zombie scholar Scott Rogers, "what we are seeing in Pushing Daisies, Warm Bodies, and iZombie is in many ways the same transformation [of the zombies] that we have witnessed with vampires since the 1931 Dracula represented Dracula as essentially human—a significant departure from the monstrous representation in the 1922 film Nosferatu". Rogers also notes the accompanying visual transformation of the living dead: while the "traditional" zombies are marked by noticeable disfigurement and decomposition, the "romantic" zombies show little or no such traits.[11] Return to decline (2015–present) In the late 2010s, zombie films began declining in popularity, with elevated horror films gradually taking their place, such as The Witch (2015), Get Out (2016), A Quiet Place (2018) and Hereditary (2018).[78] An exception is the low-budget Japanese zombie comedy One Cut of the Dead (2017), which became a sleeper hit in Japan, and it made box office history by earning over a thousand times its budget.[86] One Cut of the Dead also received worldwide acclaim, with Rotten Tomatoes stating that it "reanimates the moribund zombie genre with a refreshing blend of formal daring and clever satire".[87] The "romantic zombie" angle still remains popular, however: the late 2010s and early 2020s saw the release of the TV series American Gods and iZombie, as well as the 2018 Disney Channel Original Movie Zombies and sequels Zombies 2 (2020) and Zombies 3 (2022). Apocalypse Main article: Zombie apocalypse Intimately tied to the concept of the modern zombie is that of the "zombie apocalypse": the breakdown of society as a result of an initial zombie outbreak that spreads quickly. This archetype has emerged as a prolific subgenre of apocalyptic fiction and has been portrayed in many zombie-related media after Night of the Living Dead.[88] In a zombie apocalypse, a widespread (usually global) rise of zombies hostile to human life engages in a general assault on civilization. Victims of zombies may become zombies themselves. This causes the outbreak to become an exponentially growing crisis: the spreading phenomenon swamps normal military and law-enforcement organizations, leading to the panicked collapse of civilized society until only isolated pockets of survivors remain, scavenging for food and supplies in a world reduced to a pre-industrial hostile wilderness. Possible causes for zombie behavior in a modern population can be attributed to viruses, bacteria or other phenomena that reduce the mental capacity of humans, causing them to behave in a very primitive and destructive fashion. Subtext The usual subtext of the zombie apocalypse is that civilization is inherently vulnerable to the unexpected, and that most individuals, if desperate enough, cannot be relied on to comply with the author's ethos. The narrative of a zombie apocalypse carries strong connections to the turbulent social landscape of the United States in the 1960s, when Night of the Living Dead provided an indirect commentary on the dangers of conformity, a theme also explored in the novel The Body Snatchers (1954) and associated film Invasion of the Body Snatchers (1956).[89][90] Many also feel that zombies allow people to deal with their own anxieties about the end of the world.[91] One scholar concluded that "more than any other monster, zombies are fully and literally apocalyptic ... they signal the end of the world as we have known it".[88] While zombie apocalypse scenarios are secular, they follow a religious pattern based on Christian ideas of an end-times war and messiah.[92] Simon Pegg, who starred in and co-wrote the 2004 zombie comedy film Shaun of the Dead, wrote that zombies were the "most potent metaphorical monster". According to Pegg, whereas vampires represent sex, zombies represent death: "Slow and steady in their approach, weak, clumsy, often absurd, the zombie relentlessly closes in, unstoppable, intractable." He expressed his dislike for the trend for fast zombies, and argued that they should be slow and inept; just as a healthy diet and exercise can delay death, zombies are easy to avoid, but not forever. He also argued that this was essential for making them "oddly sympathetic... to create tragic anti-heroes... to be pitied, empathised with, even rooted for. The moment they appear angry or petulant, the second they emit furious velociraptor screeches (as opposed to the correct mournful moans of longing), they cease to possess any ambiguity. They are simply mean."[93] Story elements John A. Russo portrays a zombie in Night of the Living Dead. Initial contacts with zombies are extremely dangerous and traumatic, causing shock, panic, disbelief and possibly denial, hampering survivors' ability to deal with hostile encounters.[94] The response of authorities to the threat is slower than its rate of growth, giving the zombie plague time to expand beyond containment. This results in the collapse of the given society. Zombies take full control, while small groups of the living must fight for their survival.[94] The stories usually follow a single group of survivors, caught up in the sudden rush of the crisis. The narrative generally progresses from the onset of the zombie plague, then initial attempts to seek the aid of authorities, the failure of those authorities, through to the sudden catastrophic collapse of all large-scale organization and the characters' subsequent attempts to survive on their own. Such stories are often squarely focused on the way their characters react to such an extreme catastrophe, and how their personalities are changed by the stress, often acting on more primal motivations (fear, self-preservation) than they would display in normal life.[94][95] Literature One of the various zombie panel discussion at the 2012 New York Comic Con, featuring writers who have worked in the genre (left to right): Jonathan Maberry, Daniel Kraus, Stefan Petrucha, Will Hill, Rachel Caine, Chase Novak, and Christopher Krovatin. Also present (but not visible in the photo) was Barry Lyga. See also: List of zombie novels In the 1990s, zombie fiction emerged as a distinct literary subgenre, with the publication of Book of the Dead (1990) and its follow-up Still Dead: Book of the Dead 2 (1992), both edited by horror authors John Skipp and Craig Spector. Featuring Romero-inspired stories from the likes of Stephen King, the Book of the Dead compilations are regarded as influential in the horror genre and perhaps the first true "zombie literature". Horror novelist Stephen King has written about zombies, including his short story "Home Delivery" (1990) and his novel Cell (2006), concerning a struggling young artist on a trek from Boston to Maine in hopes of saving his family from a possible worldwide outbreak of zombie-like maniacs.[96] Max Brooks's novel World War Z (2006) became a New York Times bestseller.[97] Brooks had previously authored The Zombie Survival Guide (2003), a zombie-themed parody of pop-fiction survival guides.[98] Brooks has said that zombies are so popular because "Other monsters may threaten individual humans, but the living dead threaten the entire human race...Zombies are slate wipers." Seth Grahame-Smith's mashup novel Pride and Prejudice and Zombies (2009) combines the full text of Jane Austen's Pride and Prejudice (1813) with a story about a zombie epidemic within the novel's British Regency period setting.[98] In 2009, Katy Hershbereger of St. Martin's Press stated: "In the world of traditional horror, nothing is more popular right now than zombies...The living dead are here to stay."[98] 2000s and 2010s were marked by a decidedly new type of zombie novel, in which zombies retain their humanity and become friends or even romantic partners for humans; critics largely attribute this trend to the influence of Stephenie Meyer's vampire series Twilight.[99][100] One of the most prominent examples is Generation Dead by Daniel Waters, featuring undead teenagers struggling for equality with the living and a human protagonist falling in love with their leader.[13] Other novels of this period involving human–zombie romantic relationships include Bone Song by John Meaney, American Gods by Neil Gaiman, Midnight Tides by Steven Erikson, and Amy Plum's Die for Me series;[100] much earlier examples, dating back to the 1980s, are Dragon on a Pedestal by Piers Anthony and Conan the Defiant by Steve Perry.[101][102] Anime and manga There has been a growth in the number of zombie mangas in the first decade of the 21st century, and in a list of "10 Great Zombie Manga", Anime News Network's Jason Thompson placed I Am a Hero at number 1, considering it "probably the greatest zombie manga ever". In second place was Living Corpse, and in third was Biomega, which he called "the greatest science-fiction virus zombie manga ever".[103] During the late 2000s and early 2010s, there were several manga and anime series that humanized zombies by presenting them as protagonists or love interests, such as Sankarea: Undying Love and Is This a Zombie? (both debuted in 2009). Z ~Zed~ was adapted into a live action film in 2014.[104] Video and performance art Artist Jillian McDonald has made several works of video art involving zombies and exhibited them in her 2006 show "Horror Make-Up", which debuted on 8 September 2006 at Art Moving Projects, a gallery in, Williamsburg, Brooklyn.[105] Artist Karim Charredib has dedicated his work to the zombie figure. In 2007, he made a video installation at Villa Savoye called "Them !!!", wherein zombies walked in the villa like tourists.[106] Video games See also: List of zombie video games and Zombies in Resident Evil The release of two 1996 horror games Capcom's Resident Evil and Sega's The House of the Dead sparked an international craze for zombie games.[107][72] In 2013, George A. Romero said that it was the video games Resident Evil and House of the Dead "more than anything else" that popularised zombies in early 21st century popular culture.[108][109] The modern fast-running zombies have origins in these games, with Resident Evil's running zombie dogs and especially House of the Dead's running human zombies, which later became a staple of modern zombie films.[56] Zombies went on to become a popular theme for video games, particularly in the survival horror, stealth, first-person shooter and role-playing game genres. Important horror fiction media franchises in this area include Resident Evil, The House of the Dead, Silent Hill, Dead Rising, Dead Island, Left 4 Dead, Dying Light, State of Decay, The Last of Us and the Zombies game modes from the Call of Duty title series.[110] A series of games has also been released based on the widely popular TV show The Walking Dead, first aired in 2010. In the Dead Rising series, the process of infection is described with the metaphor "The wasp kills the host and takes over body motorfuctions."[citation needed] The World of Warcraft, first released in 2004, is an early example of a video game in which an individual zombie-like creature could be chosen as a player character (a previous game in the same series, Warcraft III, allowed a player control over an undead army).[original research?] PopCap Games' Plants vs. Zombies, a humorous tower defense game, was an indie hit in 2009, featuring in several best-of lists at the end of that year. The massively multiplayer online role-playing game Urban Dead, a free grid-based browser game where zombies and survivors fight for control of a ruined city, is one of the most popular games of its type.[111] DayZ, a zombie-based survival horror mod for ARMA 2, was responsible for over 300,000 unit sales of its parent game within two months of its release.[112] Over a year later, the developers of the mod created a standalone version of the same game, which was in early access on Steam, and so far has sold 3 million copies since its release in December 2013.[113] Romero would later opine that he believes that much of the 21st century obsessions with zombies can be traced more towards video games than films, noting that it was not until the 2009 film Zombieland that a zombie film was able to gross more than 100 million dollars.[114] Outside of video games, zombies frequently appear in trading card games, such as Magic: The Gathering or Yu-Gi-Oh! Trading Card Game (which even has a Zombie-Type for its "monsters"), as well as in role-playing games, such as Dungeons & Dragons, tabletop games such as Zombies!!! and Dead of Winter: A Cross Roads Game, and tabletop wargames, such as Warhammer Fantasy and 40K. The game Humans vs. Zombies is a zombie-themed live-action game played on college campuses.[115] Writing for Scientific American, Kyle Hill praised the 2013 game The Last of Us for its plausibility, basing its zombification process on a fictional strain of the parasitic Cordyceps fungus, a real-world genus whose members control the behavior of their arthropod hosts in "zombielike" ways to reproduce.[116] Despite the plausibility of this mechanism (also explored in the novel The Girl with All the Gifts and the film of the same name), to date there have been no documented cases of humans infected by Cordyceps.[117][better source needed] Zombie video games have remained popular in the late 2010s, as seen with the commercial success of the Resident Evil 2 remake and Days Gone in 2019.[118] This enduring popularity may be attributed, in part, to the fact that zombie enemies are not expected to exhibit significant levels of intelligence, making them relatively straightforward to program. However, less pragmatic advantages, such as those related to storytelling and representation, are increasingly important.[119] American government Main article: Preparedness 101: Zombie Apocalypse On 18 May 2011, the United States' Centers for Disease Control and Prevention (CDC) published a graphic novel entitled Preparedness 101: Zombie Apocalypse, providing tips to survive a zombie invasion as a "fun new way of teaching the importance of emergency preparedness".[120] The CDC used the metaphor of a zombie apocalypse to illustrate the value of laying in water, food, medical supplies, and other necessities in preparation for any and all potential disasters, be they hurricanes, earthquakes, tornadoes, floods, or hordes of zombies.[120][121] In 2011, the U.S. Department of Defense drafted CONPLAN 8888, a training exercise detailing a strategy to defend against a zombie attack.[122] Music Michael Jackson's music video Thriller (1983), in which he dances with a troupe of zombies, has been preserved as a cultural treasure by the Library of Congress' National Film Registry.[123][124] Many instances of pop culture media have paid tribute to this video, including a gathering of 14,000 university students dressed as zombies in Mexico City,[123] and 1,500 prisoners in orange jumpsuits recreating the zombie dance in a viral video.[125] The Brooklyn hip hop trio Flatbush Zombies incorporate many tropes from zombie fiction and play on the theme of a zombie apocalypse in their music. They portray themselves as "living dead", describing their use of psychedelics such as LSD and psilocybin mushrooms as having caused them to experience ego death and rebirth. Social activism Main articles: Zombie walk and Zombie Squad A zombie walk in Pittsburgh The zombie also appears as a metaphor in protest songs, symbolizing mindless adherence to authority, particularly that of law enforcement and the armed forces. Well-known examples include Fela Kuti's 1976 album Zombie and The Cranberries' 1994 single "Zombie". Organized zombie walks have been staged, either as performance art or as part of protests that parody political extremism or apathy.[126][127][128][129][130] A variation of the zombie walk is the zombie run. Here participants do a 5 km run wearing a belt with several flag "lives". If the chasing zombies capture all of the flags, the runner becomes "infected". If he or she reaches the finish line, which may involve wide detours ahead of the zombies, then the participant is a "survivor". In either case, an appropriate participation medal is awarded.[131] Theoretical academic studies Researchers have used theoretical zombie infections to test epidemiology modeling. One study found that all humans end up turned or dead. This is because the main epidemiological risk of zombies, besides the difficulties of neutralizing them, is that their population just keeps increasing; generations of humans merely "surviving" still have a tendency to feed zombie populations, resulting in gross outnumbering. The researchers explain that their methods of modelling may be applicable to the spread of political views or diseases with dormant infection.[132][133] Adam Chodorow of the Sandra Day O'Connor College of Law at Arizona State University investigated the estate and income tax implications of a zombie apocalypse under United States federal and state tax codes.[134] Neuroscientists Bradley Voytek and Timothy Verstynen have built a side career in extrapolating how ideas in neuroscience would theoretically apply to zombie brains. Their work has been featured in Forbes, New York Magazine, and other publications." (wikipedia.org) "Witchcraft traditionally means the use of magic or supernatural powers to harm others.[1][2] A practitioner is a witch. In medieval and early modern Europe, where the term originated, accused witches were usually women who were believed to have attacked their own community, and often to have communed with evil beings. It was thought witchcraft could be thwarted by protective magic or counter-magic, which could be provided by cunning folk or folk healers. Suspected witches were also intimidated, banished, attacked or killed. Often they would be formally prosecuted and punished, if found guilty or simply believed to be guilty. European witch-hunts and witch trials in the early modern period led to tens of thousands of executions. In some regions, many of those accused of witchcraft were folk healers or midwives.[3][4] European belief in witchcraft gradually dwindled during and after the Age of Enlightenment. Contemporary cultures that believe in magic and the supernatural often believe in witchcraft.[5][6] Anthropologists have applied the term "witchcraft" to similar beliefs and occult practices described by many non-European cultures, and cultures that have adopted the English language will often call these practices "witchcraft", as well.[6][7][8][9] As with the cunning-folk in Europe, Indigenous communities that believe in the existence of witchcraft define witches as the opposite of their healers and medicine people, who are sought out for protection against witches and witchcraft.[10][11][12] Modern witch-hunting takes place in parts of Africa and Asia. A theory that witchcraft was a survival of a European pagan religion (the witch-cult hypothesis) gained popularity in the early 20th century, but has been discredited. A newer theory is that the idea of "witchcraft" developed to explain strange misfortune, similar to ideas such as the 'evil eye'. In contemporary Western culture, most notably since the growth of Wicca from the 1950s, some modern pagans and adherents of New Age belief systems may self-identify as "witches", and use the term "witchcraft" for their self-help, healing or divination practices.[13][14][10][15][16] Others avoid the term due to its negative connotations.... Concept The Magic Circle by John William Waterhouse, 1886 The concept of witchcraft and the belief in its existence have persisted throughout recorded history. It has been found at various times and in many forms among cultures worldwide,[6][18] and continues to have an important role in some cultures today.[19] Most societies have believed in, and feared, an ability by some individuals to cause supernatural harm and misfortune to others. This may come from mankind's tendency "to want to assign occurrences of remarkable good or bad luck to agency, either human or superhuman".[20] Historians and anthropologists see the concept of "witchcraft" as one of the ways humans have tried to explain strange misfortune.[20][21] Some cultures have feared witchcraft much less than others, because they tend to have other explanations for strange misfortune; for example that it was caused by gods, spirits, demons or fairies, or by other humans who have unwittingly cast the 'evil eye'.[20] For example, the Gaels of Ireland and the Scottish Highlands historically held a strong belief in fairy folk, who could cause supernatural harm, and witch-hunting was very rare in these regions compared to other regions of the British Isles.[22] Ronald Hutton outlined five key characteristics ascribed to witches and witchcraft by most cultures that believe in the concept. Traditionally, witchcraft was believed to be the use of magic to cause harm or misfortune to others; it was used by the witch against their own community; it was seen as immoral and often thought to involve communion with evil beings; powers of witchcraft were believed to have been acquired through inheritance or initiation; and witchcraft could be thwarted by defensive magic, persuasion, intimidation or physical punishment of the alleged witch.[23] Historically, the predominant concept of witchcraft in the Western world derives from Old Testament laws against witchcraft, and entered the mainstream when belief in witchcraft gained Church approval in the Early Modern Period. It is a theosophical conflict between good and evil, where witchcraft was generally evil and often associated with the Devil and Devil worship. This culminated in deaths, torture and scapegoating (casting blame for misfortune),[24][25] and many years of large scale witch-trials and witch hunts, especially in Protestant Europe, before largely ceasing during the European Age of Enlightenment. Christian views in the modern day are diverse and cover the gamut of views from intense belief and opposition (especially by Christian fundamentalists) to non-belief, and even approval in some churches. From the mid-20th century, witchcraft – sometimes called contemporary witchcraft to clearly distinguish it from older beliefs – became the name of a branch of modern paganism. It is most notably practiced in the Wiccan and modern witchcraft traditions, and it is no longer practiced in secrecy.[26] The Western mainstream Christian view is far from the only societal perspective about witchcraft. Many cultures worldwide continue to have widespread practices and cultural beliefs that are loosely translated into English as "witchcraft", although the English translation masks a very great diversity in their forms, magical beliefs, practices, and place in their societies. During the Age of Colonialism, many cultures across the globe were exposed to the modern Western world via colonialism, usually accompanied and often preceded by intensive Christian missionary activity (see "Christianization"). In these cultures beliefs that were related to witchcraft and magic were influenced by the prevailing Western concepts of the time. Witch-hunts, scapegoating, and the killing or shunning of suspected witches still occur in the modern era.[27] Suspicion of modern medicine due to beliefs about illness being due to witchcraft also continues in many countries to this day, with serious healthcare consequences. HIV/AIDS[28] and Ebola virus disease[29] are two examples of often-lethal infectious disease epidemics whose medical care and containment has been severely hampered by regional beliefs in witchcraft. Other severe medical conditions whose treatment is hampered in this way include tuberculosis, leprosy, epilepsy and the common severe bacterial Buruli ulcer.[30][31] Etymology Further information: Witch (word) The word is over a thousand years old: Old English formed the compound wiccecræft from wicce ('witch') and cræft ('craft').[32] The masculine form was wicca ('male sorcerer').[33] According to the Oxford English Dictionary, wicce and wicca were probably derived from the Old English verb wiccian, meaning 'to practice witchcraft'.[34] Wiccian has a cognate in Middle Low German wicken (attested from the 13th century). The further etymology of this word is problematic. It has no clear cognates in other Germanic languages outside of English and Low German, and there are numerous possibilities for the Indo-European root from which it may have derived. Another Old English word for 'witch' was hægtes or hægtesse, which became the modern English word "hag" and is linked to the word "hex". In most other Germanic languages, their word for 'witch' comes from the same root as these; for example German Hexe and Dutch heks.[35] In colloquial modern English, the word witch is generally used for women. A male practitioner of magic or witchcraft is more commonly called a 'wizard', or sometimes, 'warlock'. When the word witch is used to refer to a member of a neo-pagan tradition or religion (such as Wicca), it can refer to a person of any gender.[36] Practices Preparation for the Witches' Sabbath by David Teniers the Younger. It shows a witch brewing a potion overlooked by her familiar spirit or a demon; items on the floor for casting a spell; and another witch reading from a grimoire while anointing the buttocks of a young witch about to fly upon an inverted besom Where belief in malicious magic practices exists, practitioners are typically forbidden by law as well as hated and feared by the general populace, while beneficial magic is tolerated or even accepted wholesale by the people — even if the orthodox establishment opposes it.[37] In some definitions, witches differ from sorceresses in that they do not need to use tools or actions to curse; their maleficium is believed to flow from some intangible inner quality, may be unaware of being a witch, or may have been convinced of their nature by the suggestion of others.[38] This definition was pioneered in 1937 in a study of central African magical beliefs by E. E. Evans-Pritchard, who cautioned that it might not match English usage.[39] Historians have found this definition difficult to apply to European witchcraft, where witches were believed to use physical techniques, as well as some who were believed to cause harm by thought alone.[7] Spell casting See also: Magic (supernatural) Probably the best-known characteristic of a witch is her ability to cast a spell – a set of words, a formula or verse, a ritual, or a combination of these, employed to do magic.[40] Spells traditionally were cast by many methods, such as by the inscription of runes or sigils on an object to give that object magical powers; by the immolation or binding of a wax or clay image (poppet) of a person to affect them magically; by the recitation of incantations; by the performance of physical rituals; by the employment of magical herbs as amulets or potions; by gazing at mirrors, swords or other specula (scrying) for purposes of divination; and by many other means.[41][42][43] Necromancy (conjuring the dead) Strictly speaking, necromancy is the practice of conjuring the spirits of the dead for divination or prophecy, although the term has also been applied to raising the dead for other purposes. The biblical Witch of Endor performed it (1 Samuel 28th chapter), and it is among the witchcraft practices condemned by Ælfric of Eynsham:[44][45][46] "Witches still go to cross-roads and to heathen burials with their delusive magic and call to the devil; and he comes to them in the likeness of the man that is buried there, as if he arises from death."[47] Witchcraft and cunning-craft Main article: Cunning folk Further information: Folk religion, Magical thinking, and Shamanism A painting in the Rila Monastery in Bulgaria, condemning witchcraft and traditional folk magic Traditionally, the terms "witch" and "witchcraft" had negative connotations. Most societies that have believed in harmful witchcraft or 'black' magic have also believed in helpful or 'white' magic.[48] In these societies, practitioners of helpful magic provided services such as breaking the effects of witchcraft, healing, divination, finding lost or stolen goods, and love magic.[49] In Britain they were commonly known as cunning folk or wise people.[49] Alan McFarlane writes, "There were a number of interchangeable terms for these practitioners, 'white', 'good', or 'unbinding' witches, blessers, wizards, sorcerers, however 'cunning-man' and 'wise-man' were the most frequent".[50] Ronald Hutton prefers the term "service magicians".[49] Often these people were involved in identifying alleged witches.[48] Hostile churchmen sometimes branded any magic-workers "witches" as a way of smearing them.[49] Englishman Reginald Scot, who sought to disprove witchcraft and magic, wrote in The Discoverie of Witchcraft (1584), "At this day it is indifferent to say in the English tongue, 'she is a witch' or 'she is a wise woman'".[51] Folk magicians throughout Europe were often viewed ambivalently by communities, and were considered as capable of harming as of healing,[8] which could lead to their being accused as "witches" in the negative sense. Many English "witches" convicted of consorting with demons may have been cunning folk whose supposed fairy familiars had been demonised;[52] many French devins-guerisseurs ("diviner-healers") were accused of witchcraft,[53] over half the accused witches in Hungary seem to have been healers,[54] and the "vast majority" of Finland's accused witches were folk healers.[55] Hutton, however, says that "Service magicians were sometimes denounced as witches, but seem to have made up a minority of the accused in any area studied".[48] Thwarting witchcraft A witch bottle, used as counter-magic against witchcraft Societies that believed in witchcraft also believed that it could be thwarted in various ways. One common way was to use protective magic or counter-magic, of which the cunning folk were experts.[48] This included charms, talismans and amulets, anti-witch marks, witch bottles, witch balls, and burying objects such as horse skulls inside the walls of buildings.[56] Another believed cure for bewitchment was to persuade or force the alleged witch to lift their spell.[48] Often, people would attempt to thwart the witchcraft by physically punishing the alleged witch, such as by banishing, wounding, torturing or killing them. "In most societies, however, a formal and legal remedy was preferred to this sort of private action", whereby the alleged witch would be prosecuted and then formally punished if found guilty.[48] This often resulted in execution. Accusations of witchcraft Alleged witches being accused in the Salem witch trials Éva Pócs writes that reasons for accusations of witchcraft fall into four general categories:[21] A person was caught in the act of positive or negative sorcery A well-meaning sorcerer or healer lost their clients' or the authorities' trust A person did nothing more than gain the enmity of their neighbors A person was reputed to be a witch and surrounded with an aura of witch-beliefs or Occultism She identifies three kinds of witch in popular belief:[21] The "neighborhood witch" or "social witch": a witch who curses a neighbor following some dispute. The "magical" or "sorcerer" witch: either a professional healer, sorcerer, seer or midwife, or a person who has through magic increased her fortune to the perceived detriment of a neighboring household; due to neighborhood or community rivalries, and the ambiguity between positive and negative magic, such individuals can become branded as witches. The "supernatural" or "night" witch: portrayed in court narratives as a demon appearing in visions and dreams.[57] "Neighborhood witches" are the product of neighborhood tensions, and are found only in village communities where the inhabitants largely rely on each other. Such accusations follow the breaking of some social norm, such as the failure to return a borrowed item, and any person part of the normal social exchange could potentially fall under suspicion. Claims of "sorcerer" witches and "supernatural" witches could arise out of social tensions, but not exclusively; the supernatural witch often had nothing to do with communal conflict, but expressed tensions between the human and supernatural worlds; and in Eastern and Southeastern Europe such supernatural witches became an ideology explaining calamities that befell whole communities.[58] The historian Norman Gevitz has written: [T]he medical arts played a significant and sometimes pivotal role in the witchcraft controversies of seventeenth-century New England. Not only were physicians and surgeons the principal professional arbiters for determining natural versus preternatural signs and symptoms of disease, they occupied key legislative, judicial, and ministerial roles relating to witchcraft proceedings. Forty six male physicians, surgeons, and apothecaries are named in court transcripts or other contemporary source materials relating to New England witchcraft. These practitioners served on coroners' inquests, performed autopsies, took testimony, issued writs, wrote letters, or committed people to prison, in addition to diagnosing and treating patients.[59] European witch-hunts and witch-trials Main articles: Witch-hunt and Witch trials in the early modern period A 1613 English pamphlet showing "Witches apprehended, examined and executed" In Christianity, sorcery came to be associated with heresy and apostasy and to be viewed as evil. Among the Catholics, Protestants, and secular leadership of the European Late Medieval/Early Modern period, fears about witchcraft rose to fever pitch and sometimes led to large-scale witch-hunts. The key century was the fifteenth, which saw a dramatic rise in awareness and terror of witchcraft, culminating in the publication of the Malleus Maleficarum but prepared by such fanatical popular preachers as Bernardino of Siena.[60] In total, tens or hundreds of thousands of people were executed, and others were imprisoned, tortured, banished, and had lands and possessions confiscated. The majority of those accused were women, though in some regions the majority were men.[61][62] In early modern Scots, the word warlock came to be used as the male equivalent of witch (which can be male or female, but is used predominantly for females).[63][64][65] The Malleus Maleficarum, (Latin for 'Hammer of The Witches') was a witch-hunting manual written in 1486 by two German monks, Heinrich Kramer and Jacob Sprenger. It was used by both Catholics and Protestants[66] for several hundred years, outlining how to identify a witch, what makes a woman more likely than a man to be a witch, how to put a witch on trial, and how to punish a witch. The book defines a witch as evil and typically female. The book became the handbook for secular courts throughout Renaissance Europe, but was not used by the Inquisition, which even cautioned against relying on The Work.[67] It is likely that this caused witch mania to become so widespread. It was the most sold book in Europe for over 100 years, after the Bible.[68] European witch-trials reached their peak in the early 17th century, after which popular sentiment began to turn against the practice. Friedrich Spee's book Cautio Criminalis, published in 1631, argued that witch-trials were largely unreliable and immoral.[69] In 1682, King Louis XIV prohibited further witch-trials in France. In 1736, Great Britain formally ended witch-trials with passage of the Witchcraft Act.[70] Modern witch-hunts Main article: Modern witch-hunts Belief in witchcraft continues to be present today in some societies and accusations of witchcraft are the trigger for serious forms of violence, including murder. Such incidents are common in countries such as Burkina Faso, Ghana, India, Kenya, Malawi, Nepal and Tanzania. Accusations of witchcraft are sometimes linked to personal disputes, jealousy, and conflicts between neighbors or family members over land or inheritance. Witchcraft-related violence is often discussed as a serious issue in the broader context of violence against women.[71][72][73][74][75] In Tanzania, about 500 old women are murdered each year following accusations of witchcraft or accusations of being a witch.[76] Apart from extrajudicial violence, state-sanctioned violence also occurs in some jurisdictions. For instance, in Saudi Arabia practicing witchcraft and sorcery is a crime punishable by death and the country has executed people for this crime in 2011, 2012 and 2014.[77][78][79] Children who live in some regions of the world, such as parts of Africa, are also vulnerable to violence that is related to witchcraft accusations.[80][81][82][83] Such incidents have also occurred in immigrant communities in the UK, including the much publicized case of the murder of Victoria Climbié.[84][85] Wicca Main article: Wicca During the 20th century, interest in witchcraft in English-speaking and European countries began to increase, inspired particularly by Margaret Murray's theory of a pan-European witch-cult originally published in 1921, since discredited by further careful historical research.[86] Interest was intensified, however, by Gerald Gardner's claim in 1954 in Witchcraft Today that a form of witchcraft still existed in England. The truth of Gardner's claim is now disputed too.[87][88][89][90][91] The first Neopagan groups to publicly appear, during the 1950s and 60s, were Gerald Gardner's Bricket Wood coven and Roy Bowers' Clan of Tubal Cain. They operated as initiatory secret societies. Other individual practitioners and writers such as Paul Huson[13] also claimed inheritance to surviving traditions of witchcraft.[14] The Wicca that Gardner initially taught was a witchcraft religion having a lot in common with Margaret Murray's hypothetically posited cult of the 1920s.[92] Indeed, Murray wrote an introduction to Gardner's Witchcraft Today, in effect putting her stamp of approval on it. These Wiccan witches do not adhere to the more common definition of Witchcraft, and generally define their practices as a type of "positive magic." Various forms of Wicca are now practised as a religion of an initiatory secret society nature with positive ethical principles, organised into autonomous covens and led by a High Priesthood. There is also a large "Eclectic Wiccan" movement of individuals and groups who share key Wiccan beliefs but have no initiatory connection or affiliation with traditional Wicca. Wiccan writings and ritual show borrowings from a number of sources including 19th and 20th-century ceremonial magic, the medieval grimoire known as the Key of Solomon, Aleister Crowley's Ordo Templi Orientis and pre-Christian religions.[93][94][95] A survey published in November 2000 cited just over 200,000 people who reported practicing Wicca in the United States.[96] Witchcraft, feminism, and media Wiccan and Neo-Wiccan literature has been described as aiding the empowerment of young women through its lively portrayal of female protagonists. Part of the recent growth in Neo-Pagan religions has been attributed to the strong media presence of fictional pop culture works such as Charmed, Buffy the Vampire Slayer, and the Harry Potter series with their depictions of "positive witchcraft", which differs from the historical, traditional, and Indigenous definitions.[10] Based on a mass media case study done, "Mass Media and Religious Identity: A Case Study of Young Witches", in the result of the case study it was stated the reasons many young people are choosing to self-identify as witches and belong to groups they define as practicing witchcraft is diverse; however, the use of pop culture witchcraft in various media platforms can be the spark of interest for young people to see themselves as "witches".[15] Widespread accessibility to related material through internet media such as chat rooms and forums is also thought to be driving this development. Which is dependent on one's accessibility to those media resources and material to influence their thoughts and views on religion.[15] Wiccan beliefs, or pop culture variations thereof, are often considered by adherents to be compatible with liberal ideals such as the Green movement, and particularly with some varieties of feminism, by providing young women with what they see as a means for self-empowerment, control of their own lives, and potentially a way of influencing the world around them.[97][98] This is the case particularly in North America due to the strong presence of feminist ideals in some branches of the Neopagan communities and the long tradition of women-led and women-only groups such as in Dianic Wicca.[10] The 2002 study Enchanted Feminism: The Reclaiming Witches of San Francisco suggests that some branches of Wicca include influential members of the second wave of feminism, which has also been redefined as a religious movement.[97] Traditional witchcraft Main article: Traditional witchcraft Traditional witchcraft is a term used to refer to a variety of contemporary forms of witchcraft. Pagan studies scholar Ethan Doyle White described it as "a broad movement of aligned magico-religious groups who reject any relation to Gardnerianism and the wider Wiccan movement, claiming older, more "traditional" roots. Although typically united by a shared aesthetic rooted in European folklore, the Traditional Craft contains within its ranks a rich and varied array of occult groups, from those who follow a contemporary Pagan path that is suspiciously similar to Wicca to those who adhere to Luciferianism".[99] According to British Traditional Witch Michael Howard, the term refers to "any non-Gardnerian, non-Alexandrian, non-Wiccan or pre-modern form of the Craft, especially if it has been inspired by historical forms of witchcraft and folk magic".[100] Another definition was offered by Daniel A. Schulke, the current Magister of the Cultus Sabbati, when he proclaimed that traditional witchcraft "refers to a coterie of initiatory lineages of ritual magic, spellcraft and devotional mysticism".[101] Some forms of traditional witchcraft are the Feri Tradition, Cochrane's Craft and the Sabbatic craft.[102] Stregheria Main article: Stregheria Modern Stregheria closely resembles Charles Leland's controversial late-19th-century account of a surviving Italian religion of witchcraft, worshipping the Goddess Diana, her brother Dianus/Lucifer, and their daughter Aradia. Leland's witches do not see Lucifer as the evil Satan that Christians see, but a benevolent god of the Sun.[103] The ritual format of contemporary Stregheria is roughly similar to that of other Neopagan witchcraft religions such as Wicca. The pentagram is the most common symbol of religious identity. Most followers celebrate a series of eight festivals equivalent to the Wiccan Wheel of the Year, though others follow the ancient Roman festivals. An emphasis is placed on ancestor worship and balance.[104] Witchcraft and Satanism See also: Deal with the devil and Devil in Christianity Demonic associations in general may sometimes implicate witchcraft with the Devil, as conceived variously across different cultures and religious traditions. The character of Satan influenced all Abrahamic religions, and accusations of witchcraft were routinely associated with Satanism. Sometimes under the guise of Lucifer, a more noble characterization developed as a rebellious counterpart to Christ.[105] In Europe after the Enlightenment, influential works such as Milton's Paradise Lost were described anew by Romantics suggesting the biblical Satan as an allegory representing crisis of faith, individualism, free will, wisdom, and spiritual enlightenment. In the 20th century, other works presented Satan in a less negative light, such as Letters from the Earth. The 1933 book The God of the Witches by Margaret Murray influenced Herbert Arthur Sloane, who connected the horned god with Satan (Sathanas), and founded the Ophite Cultus Satanas in 1948.[106] Sloane also corresponded with his contemporary Gerald Gardner, founder of modern Wicca, and implied that his views of Satan and the horned god were not necessarily in conflict with Gardner's approach. However, he did believe that, while gnosis referred to knowledge, and Wicca referred to wisdom, modern witches had fallen away from the true knowledge, and instead had begun worshipping a fertility god, a reflection of the creator god. He wrote that "the largest existing body of witches who are true Satanists would be the Yezedees". Sloane highly recommended the book The Gnostic Religion, and sections of it were sometimes read at ceremonies.[107] Anton LaVey treated Satan not as a literal god, but rather an evocative namesake for The Church of Satan, which he founded in 1966.[108][109] The Church incorporates magic in their practice, distinguishing between Lesser and Greater forms.[110] LaVey published The Compleat Witch in 1971, subsequently republished as The Satanic Witch. While the Church and other atheistic Satanists use Satan as a symbolic embodiment of certain human traits, there are also theistic Satanists who venerate Satan as a supernatural deity.[111] Contemporary Satanism is mainly an American phenomenon,[112] although it began to reach Eastern Europe in the 1990s around the time of the fall of the Soviet Union.[113][114] In the 21st century, witchcraft may still be erroneously associated with ideas of "devil worship" and potentially conflated with contemporary Satanism. Estimates suggest up to 100,000 Satanists worldwide in 2006 (twice the number estimated in 1990).[115] Satanic beliefs have been largely permitted as a valid expression of religious belief in the West.[116][117] Founded in 2013, the Satanic Temple avoids the practice of magic, claiming "beliefs should conform to one's best scientific understanding of the world."[118][119] Luciferianism developed on principles of independence and human progression, a symbol of enlightenment.[120][121] Madeline Montalban was an English witch who adhered to the veneration of Lucifer, or Lumiel, whom she considered a benevolent angelic being who had aided humanity's development. Within her Order, she emphasised that her followers discover their own personal relationship with the angelic beings, including Lumiel.[122] Although initially seeming favourable to Gerald Gardner, by the mid-1960s she had become hostile towards him and his Gardnerian tradition, considering him to be "a 'dirty old man' and sexual pervert."[123] She also expressed hostility to another prominent Pagan Witch of the period, Charles Cardell, although in the 1960s became friends with the two Witches at the forefront of the Alexandrian Wiccan tradition, Alex Sanders and his wife, Maxine Sanders, who adopted some of her Luciferian angelic practices.[124] In contemporary times Luciferian witches exist within traditional witchcraft.[99] Historical and religious perspectives Near East beliefs The belief in sorcery and its practice seem to have been widespread in the ancient Near East and Nile Valley. It played a conspicuous role in the cultures of ancient Egypt and in Babylonia. The latter tradition included an Akkadian anti-witchcraft ritual, the Maqlû. A section from the Code of Hammurabi (about 2000 B.C.) prescribes: If a man has put a spell upon another man and it is not justified, he upon whom the spell is laid shall go to the holy river; into the holy river shall he plunge. If the holy river overcome him and he is drowned, the man who put the spell upon him shall take possession of his house. If the holy river declares him innocent and he remains unharmed the man who laid the spell shall be put to death. He that plunged into the river shall take possession of the house of him who laid the spell upon him.[125] Abrahamic religions Christianity Hebrew Bible Main article: Witchcraft and divination in the Hebrew Bible According to the New Advent Catholic Encyclopedia: In the Holy Scripture references to sorcery are frequent, and the strong condemnations of such practices found there do not seem to be based so much upon the supposition of fraud as upon the abomination of the magic in itself.[126] Saul and the Witch of Endor (1828) by William Sidney Mount. The King James Version uses the words witch, witchcraft, and witchcrafts to translate the Masoretic כָּשַׁף kāsháf (Hebrew pronunciation: [kɔˈʃaf]) and קֶסֶם (qésem);[127] these same English terms are used to translate φαρμακεία pharmakeia in the Greek New Testament. Verses such as Deuteronomy 18:11–12[128] and Exodus 22:18 ("Thou shalt not suffer a witch to live"[129]) thus provided scriptural justification for Christian witch hunters in the early modern period (see Christian views on magic). The precise meaning of the Hebrew כָּשַׁף , usually translated as witch or sorceress, is uncertain. In the Septuagint, it was translated as pharmakeía or pharmakous. In the 16th century, Reginald Scot, a prominent critic of the witch trials, translated כָּשַׁף , φαρμακεία, and the Vulgate's Latin equivalent veneficos as all meaning 'poisoner', and on this basis, claimed that witch was an incorrect translation and poisoners were intended.[130] His theory still holds some currency, but is not widely accepted, and in Daniel 2:2[131] כָּשַׁף is listed alongside other magic practitioners who could interpret dreams: magicians, astrologers, and Chaldeans. Suggested derivations of כָּשַׁף include 'mutterer' (from a single root) or herb user (as a compound word formed from the roots kash, meaning 'herb', and hapaleh, meaning 'using'). The Greek φαρμακεία literally means 'herbalist' or one who uses or administers drugs, but it was used virtually synonymously with mageia and goeteia as a term for a sorcerer.[132] The Bible provides some evidence that these commandments against sorcery were enforced under the Hebrew kings: And Saul disguised himself, and put on other raiment, and he went, and two men with him, and they came to the woman by night: and he said, I pray thee, divine unto me by the familiar spirit,[a] and bring me him up, whom I shall name unto thee. And the woman said unto him, Behold, thou knowest what Saul hath done, how he hath cut off those that have familiar spirits, and the wizards, out of the land: wherefore then layest thou a snare for my life, to cause me to die?[133] New Testament See also: Christian views on magic The New Testament condemns the practice as an abomination, just as the Old Testament had.[134] The word in most New Testament translations is sorcerer/sorcery rather than witch/witchcraft. Judaism See also: Witchcraft and divination in the Hebrew Bible Jewish law views the practice of witchcraft as being laden with idolatry and/or necromancy; both being serious theological and practical offenses in Judaism. Although Maimonides vigorously denied the efficacy of all methods of witchcraft, and claimed that the Biblical prohibitions regarding it were precisely to wean the Israelites from practices related to idolatry. It is acknowledged that while magic exists, it is forbidden to practice it on the basis that it usually involves the worship of other gods. Rabbis of the Talmud also condemned magic when it produced something other than illusion, giving the example of two men who use magic to pick cucumbers.[135] The one who creates the illusion of picking cucumbers should not be condemned, only the one who actually picks the cucumbers through magic. However, some of the rabbis practiced "magic" themselves or taught the subject. For instance, Rava (amora) created a golem and sent it to Rav Zeira, and Hanina and Hoshaiah studied every Friday together and created a small calf to eat on Shabbat.[136] In these cases, the "magic" was seen more as divine miracles (i.e., coming from God rather than "unclean" forces) than as witchcraft. Judaism does make it clear that Jews shall not try to learn about the ways of witches[137] and that witches are to be put to death.[138] Judaism's most famous reference to a medium is undoubtedly the Witch of Endor whom Saul consults, as recounted in 1 Samuel 28. Islam Main article: Islam and magic See also: Islam and astrology and Superstitions in Muslim societies Divination and magic in Islam encompass a wide range of practices, including black magic, warding off the evil eye, the production of amulets and other magical equipment, evocation, casting lots, and astrology.[139] Legitimacy of practising witchcraft is disputed. Most of Islamic traditions distinguishes magic between good magic and black magic. al-Razi and Ibn Sina, describe that magic is merely a tool and only the outcome determines whether or not the act of magic was legitimate or not.[140] Al-Ghazali, although admitting the reality of magic, regards learning all sorts of magic as forbidden.[140] Ibn al-Nadim argues that good supernatural powers are received from God after purifying the soul, while sorcerers please devils and commit acts of disobedience and sacrifes to demons.[141] Whether or not sorcery is accessed by acts of piety or disobedience is often seen as an indicator whether magic is licit or illicit.[142] Ibn Qayyim al-Jawziyya, a disciple of Ibn Taimiyya, who became the major source for Wahhabism, disregards magic, including exorcisms, entirely as superstition.[143] Ibn Khaldun brands sorcery, talismans, and prestidigitation as forbidden and illegal.[144] Tabasi did not subscribe to the rationalized framework of magic of most Ash'arite theologians, but only offered a wide range of rituals to perform sorcery. Yet he agrees that only magic in accordance with sharia is permissible.[140] Most of Islamic traditions distinguishes magic between good magic and black magic. Miracles belong to licit magic and are considered gifts of God. The reality of magic is confirmed by the Quran. The Quran itself is said to bestow magical blessings upon hearers and heal them, based on al-Isra.[145] Solomon had the power to speak with animals and jinn, and command devils, which is only given to him with God's permission.[Quran 27:19][146] Surah Al-Falaq is used as a prayer to God to ward off black magic and is, according to hadith-literature, revealed to Muhammad to protect him against Jann the ancestor of the jinn[147] Muhammad was falsely accused of being a magician by his opponents.[Quran 10:2][148] The idea that devils teach magic is confirmed in Al-Baqara. A pair of fallen angels named Harut and Marut is also mentioned to tempt people into learning sorcery. Scholars of the history of religion have linked several magical practises in Islam with pre-Islamic Turkish and East African customs. Most notable of these customs is the Zār.[149][150] By region This section should specify the language of its non-English content, using {{lang}}, {{transliteration}} for transliterated languages, and {{IPA}} for phonetic transcriptions, with an appropriate ISO 639 code. Wikipedia's multilingual support templates may also be used. See why. (August 2021) Africa Further information: Witchcraft accusations against children in Africa See also: Azande witchcraft The Kolloh-Man[151] Much of what witchcraft represents in Africa has been susceptible to misunderstandings and confusion, thanks in no small part to a tendency among western scholars since the time of the now largely discredited Margaret Murray to approach the subject through a comparative lens vis-a-vis European witchcraft.[152] While some colonialists tried to eradicate witch hunting by introducing legislation to prohibit accusations of witchcraft, some of the countries where this was the case have formally recognized the reality of witchcraft via the law. This has produced an environment that encourages persecution of suspected witches.[153] Cameroon In eastern Cameroon, the term used for witchcraft among the Maka is djambe[154] and refers to a force inside a person; its powers may make the proprietor more vulnerable. It encompasses the occult, the transformative, killing and healing.[155] Central African Republic Every year, hundreds of people in the Central African Republic are convicted of witchcraft.[156] Christian militias in the Central African Republic have also kidnapped, burnt and buried alive women accused of being 'witches' in public ceremonies.[157] Democratic Republic of the Congo As of 2006, between 25,000 and 50,000 children in Kinshasa, Democratic Republic of the Congo, had been accused of witchcraft and thrown out of their homes.[158] These children have been subjected to often-violent abuse during exorcisms, sometimes supervised by self-styled religious pastors. Other pastors and Christian activists strongly oppose such accusations and try to rescue children from their unscrupulous colleagues.[159] The usual term for these children is enfants sorciers ('child witches') or enfants dits sorciers ('children accused of witchcraft'). In 2002, USAID funded the production of two short films on the subject, made in Kinshasa by journalists Angela Nicoara and Mike Ormsby. In April 2008, in Kinshasa, the police arrested 14 suspected victims (of penis snatching) and sorcerers accused of using black magic or witchcraft to steal (make disappear) or shrink men's penises to extort cash for cure, amid a wave of panic.[160] According to one study, the belief in magical warfare technologies (such as "bulletproofing") in the Eastern Democratic Republic of the Congo serves a group-level function, as it increases group efficiency in warfare, even if it is suboptimal at the individual level.[161] The authors of the study argue that this is one reason why the belief in witchcraft persists.[161] Complimentary remarks about witchcraft by a native Congolese initiate: From witchcraft [...] may be developed the remedy (kimbuki) that will do most to raise up our country.[162] Witchcraft [...] deserves respect [...] it can embellish or redeem (ketula evo vuukisa)."[163] The ancestors were equipped with the protective witchcraft of the clan (kindoki kiandundila kanda). [...] They could also gather the power of animals into their hands [...] whenever they needed. [...] If we could make use of these kinds of witchcraft, our country would rapidly progress in knowledge of every kind.[164] You witches (zindoki) too, bring your science into the light to be written down so that [...] the benefits in it [...] endow our race.[165] Ghana Main article: Witchcraft in Ghana In Ghana, women are often accused of witchcraft and attacked by neighbours.[166] Because of this, there exist six witch camps in the country where women suspected of being witches can flee for safety.[167] The witch camps, which exist solely in Ghana, are thought to house a total of around 1000 women.[167] Some of the camps are thought to have been set up over 100 years ago.[167] The Ghanaian government has announced that it intends to close the camps.[167] Arrests were made in an effort to avoid bloodshed seen in Ghana a decade ago, when 12 alleged penis snatchers were beaten to death by mobs.[168] While it is easy for modern people to dismiss such reports, Uchenna Okeja argues that a belief system in which such magical practices are deemed possible offer many benefits to Africans who hold them. For example, the belief that a sorcerer has "stolen" a man's penis functions as an anxiety-reduction mechanism for men suffering from impotence, while simultaneously providing an explanation that is consistent with African cultural beliefs rather than appealing to Western scientific notions that are tainted by the history of colonialism (at least for many Africans).[169] Kenya It was reported that a mob in Kenya had burnt to death at least 11 people accused of witchcraft in 2008.[170] Malawi In Malawi it is also common practice to accuse children of witchcraft and many children have been abandoned, abused and even killed as a result. As in other African countries both African traditional healers and their Christian counterparts are trying to make a living out of exorcising children and are actively involved in pointing out children as witches.[171] Various secular and Christian organizations are combining their efforts to address this problem.[172] According to William Kamkwamba, witches and wizards are afraid of money, which they consider a rival evil. Any contact with cash will snap their spell and leave the wizard naked and confused, so placing cash, such as kwacha around a room or bed mat will protect the resident from their malevolent spells.[173] Nigeria In Nigeria, several Pentecostal pastors have mixed their evangelical brand of Christianity with African beliefs in witchcraft to benefit from the lucrative witch finding and exorcism business—which in the past was the exclusive domain of the so-called witch doctor or traditional healers. These pastors have been involved in the torturing and even killing of children accused of witchcraft.[174] Over the past decade,[when?] around 15,000 children have been accused, and around 1,000 murdered. Churches are very numerous in Nigeria, and competition for congregations is hard. Some pastors attempt to establish a reputation for spiritual power by "detecting" child witches, usually following a death or loss of a job within a family, or an accusation of financial fraud against the pastor. In the course of "exorcisms", accused children may be starved, beaten, mutilated, set on fire, forced to consume acid or cement, or buried alive. While some church leaders and Christian activists have spoken out strongly against these abuses, many Nigerian churches are involved in the abuse, although church administrations deny knowledge of it.[175] In May 2020, fifteen adults, mostly women, were set ablaze after being accused of witchcraft, including the mother of the instigator of the attack, Thomas Obi Tawo, a local politician.[153] Sierra Leone Among the Mende (of Sierra Leone), trial and conviction for witchcraft has a beneficial effect for those convicted. "The witchfinder had warned the whole village to ensure the relative prosperity of the accused and sentenced ... old people. ... Six months later all of the people ... accused, were secure, well-fed and arguably happier than at any [previous] time; they had hardly to beckon and people would come with food or whatever was needful. ... Instead of such old and widowed people being left helpless or (as in Western society) institutionalized in old people's homes, these were reintegrated into society and left secure in their old age ... Old people are 'suitable' candidates for this kind of accusation in the sense that they are isolated and vulnerable, and they are 'suitable' candidates for 'social security' for precisely the same reasons."[176] In Kuranko language, the term for witchcraft is suwa'ye[177] referring to 'extraordinary powers'. Tanzania In Tanzania in 2008, President Kikwete publicly condemned witchdoctors for killing albinos for their body parts, which are thought to bring good luck. 25 albinos have been murdered since March 2007.[178] In Tanzania, albinos are often murdered for their body parts on the advice of witch doctors in order to produce powerful amulets that are believed to protect against witchcraft and make the owner prosper in life.[179] Zulu Native to the Zulu people, witches called sangoma protect people against evil spirits. They usually train for about five to seven years. In the cities, this training could take only several months. Another type of witch are the inyanga, who are actual witch doctors that heal people with plant and animal parts. This is a job that is passed on to future generations. In the Zulu population, 80% of people contact inyangas.[180] Americas British America and the United States Massachusetts Examination of a Witch by T. H. Matteson, inspired by the Salem witch trials In 1645, Springfield, Massachusetts, experienced America's first accusations of witchcraft when husband and wife Hugh and Mary Parsons accused each other of witchcraft. At America's first witch trial, Hugh was found innocent, while Mary was acquitted of witchcraft but sentenced to be hanged for the death of her child. She died in prison.[181] From 1645 to 1663, about eighty people throughout England's Massachusetts Bay Colony were accused of practicing witchcraft. Thirteen women and two men were executed in a witch-hunt that lasted throughout New England from 1645 to 1663.[182] The Salem witch trials followed in 1692–93. These witch trials were the most famous in British North America and took place in the coastal settlements near Salem, Massachusetts. Prior to the witch trials, nearly 300 men and women had been suspected of partaking in witchcraft, and 19 of these people were hanged, and one was "pressed to death".[183] Despite being generally known as the Salem witch trials, the preliminary hearings in 1692 were conducted in a variety of towns across the province: Salem Village (now Danvers), Salem Town, Ipswich, and Andover. The best known trials were conducted by the Court of Oyer and Terminer in 1692 in Salem Town.[184][citation needed][185] The Crucible by Arthur Miller is a dramatized and partially fictionalized story of the Salem witch trials that took place in the Massachusetts Bay Colony during 1692–93. Maryland In Maryland, there is a legend of Moll Dyer, who escaped a fire set by fellow colonists only to die of exposure in December 1697. The historical record of Dyer is scant as all official records were burned in a courthouse fire, though the county courthouse has on display the rock where her frozen body was found. A letter from a colonist of the period describes her in most unfavourable terms. A local road is named after Dyer, where her homestead was said to have been. Many local families have their own version of the Moll Dyer affair, and her name is spoken with care in the rural southern counties.[186] Pennsylvania Margaret Mattson and another woman were tried in 1683 on accusations of witchcraft in the Province of Pennsylvania. They were acquitted by William Penn after a trial in Philadelphia. These are the only known trials for witchcraft in Pennsylvania history. Some of Margaret's neighbors claimed that she had bewitched cattle.[187] Charges of practicing witchcraft were brought before the Pennsylvania Provincial Council in February 1683 (under Julian calendar).[188] This occurred nineteen years after the Swedish territory became a British common law colony and subject to English Witchcraft Act 1604. [189] Accused by several neighbors, as well as her own daughter in law, Mattson's alleged crimes included making threats against neighbors, causing cows to give little milk,[190] bewitching and killing livestock and appearing to witnesses in spectral form. On February 27, 1683, charges against Mattson and a neighbor Gertro (a.k.a. Yeshro) Jacobsson, wife of Hendrick Jacobsson, were brought by the Attorney General before a grand jury of 21 men overseen by the colony's proprietor, William Penn. The grand jury returned a true bill indictment that afternoon, and the cases proceeded to trial.[188] A petit jury of 12 men was selected by Penn and an interpreter was appointed for the Finnish women, who did not speak English.[191] Penn barred the use of prosecution and defense lawyers, conducted the questioning himself, and permitted the introduction of unsubstantiated hearsay.[190] Penn himself gave the closing charge and directions to the jury, but what he told them was not transcribed. According to the minutes of the Provincial Council, dated February 27, 1683, the jury returned with a verdict of "Guilty of having the Comon Fame of a Witch, but not Guilty in manner and Forme as Shee stands Endicted."[190][192] Thus Mattson was found guilty of having the reputation of a witch, but not guilty of bewitching animals. Neither woman was convicted of witchcraft. "Hence the superstitious got enough to have their thinking affirmed. Those less superstitious, and justice minded, got what they wanted."[193] The accused were released on their husbands posting recognizance bonds of 50 pounds and promising six months' good behavior.[194][188] A popular legend tells of William Penn dismissing the charges against Mattson by affirming her legal right to fly on a broomstick over Philadelphia, saying "Well, I know of no law against it."[190] The record fails to show any such commentary, but the story probably reflects popular views of Penn's socially progressive Quaker values.[195] Tennessee Accusations of witchcraft and wizardry led to the prosecution of a man in Tennessee as recently as 1833.[196][197][198] Latin America Main article: Witchcraft in Latin America When Franciscan friars from New Spain arrived in the Americas in 1524, they introduced Diabolism - belief in the Christian concept of The Devil - to the Indigenous peoples of the Americas.[199] Bartolomé de las Casas believed that human sacrifice was not diabolic, in fact far off from it, and was a natural result of religious expression.[199] Mexican Indians gladly took in the belief of Diabolism and still managed to keep their belief in creator-destroyer deities.[200] Witchcraft was an important part of the social and cultural history of late-Colonial Mexico, during the Mexican Inquisition. Spanish Inquisitors viewed witchcraft as a problem that could be cured simply through confession. Yet, as anthropologist Ruth Behar writes, witchcraft, not only in Mexico but in Latin America in general, was a "conjecture of sexuality, witchcraft, and religion, in which Spanish, indigenous, and African cultures converged."[201] Furthermore, witchcraft in Mexico generally required an interethnic and interclass network of witches.[202] Yet, according to anthropology professor Laura Lewis, witchcraft in colonial Mexico ultimately represented an "affirmation of hegemony" for women, Indians, and especially Indian women over their white male counterparts as a result of the casta system.[203] The presence of the witch is a constant in the ethnographic history of colonial Brazil, especially during the several denunciations and confessions given to the Congregation for the Doctrine of the Faith of Bahia (1591–1593), Pernambuco and Paraíba (1593–1595).[204] Brujería, often called a Latin American form of witchcraft, is a syncretic Afro-Caribbean tradition that combines Indigenous religious and magical practices from Aruba, Bonaire, and Curaçao in the Dutch Caribbean, Catholicism, and European witchcraft.[205] The tradition and terminology is considered to encompass both helpful and harmful practices.[206] A male practitioner is called a brujo, a female practitioner, a bruja.[206] Healers may be further distinguished by the terms kurioso or kuradó, a man or woman who performs trabou chikí ("little works") and trabou grandi ("large treatments") to promote or restore health, bring fortune or misfortune, deal with unrequited love, and more serious concerns. Sorcery usually involves reference to an entitiy referred to as the almasola or homber chiki.[207] Navajo The yee naaldlooshii is the type of witch known in English as a skin-walker. They are believed to take the forms of animals in order to travel in secret and do harm to the innocent.[208] In the Navajo language, yee naaldlooshii translates to 'with it, he goes on all fours'.[208] While perhaps the most common variety seen in horror fiction by non-Navajo people, the yee naaldlooshii is one of several varieties of Navajo witch, specifically a type of 'ánti'įhnii.[208] Corpse powder or corpse poison (Navajo: áńt'į́, literally 'witchery' or 'harming') is a substance made from powdered corpses. The powder is used by witches to curse their victims.[9] Traditional Navajos usually hesitate to discuss things like witches and witchcraft with non-Navajos.[209] Asia Main article: Asian witchcraft India Belief in the supernatural is strong in all parts of India, and lynchings for witchcraft are reported in the press from time to time.[210] Around 750 people were killed as witches in Assam and West Bengal between 2003 and 2008.[211] Officials in the state of Chhattisgarh reported in 2008 that at least 100 women are maltreated annually as suspected witches.[212] A local activist stated that only a fraction of cases of abuse are reported.[213] In Indian mythology, a common perception of a witch is a being with her feet pointed backwards. Nepal Main article: Witch-hunts in Nepal In Nepali language, witches are known as Boksi (Nepali: बोक्सी). Apart from other types of Violence against women in Nepal, the malpractice of abusing women in the name of witchcraft is also prominent. According to the statistics in 2013, there was a total of 69 reported cases of abuse to women due to accusation of performing witchcraft. The perpetrators of this malpractice are usually neighbors, so-called witch doctors and family members.[214] The main causes of these malpractices are lack of education, lack of awareness and superstition. According to the statistics by INSEC,[215] the age group of women who fall victims to the witchcraft violence in Nepal is 20–40.[216] Japan Okabe – The cat witch, by Utagawa Kuniyoshi In Japanese folklore, the most common types of witch can be separated into two categories: those who employ snakes as familiars, and those who employ foxes.[217] The fox witch is, by far, the most commonly seen witch figure in Japan. Differing regional beliefs set those who use foxes into two separate types: the kitsune-mochi, and the tsukimono-suji. The first of these, the kitsune-mochi, is a solitary figure who gains his fox familiar by bribing it with its favourite foods. The kitsune-mochi then strikes up a deal with the fox, typically promising food and daily care in return for the fox's magical services. The fox of Japanese folklore is a powerful trickster in and of itself, imbued with powers of shape changing, possession, and illusion. These creatures can be either nefarious; disguising themselves as women in order to trap men, or they can be benign forces as in the story of "The Grateful foxes".[218] By far, the most commonly reported cases of fox witchcraft in modern Japan are enacted by tsukimono-suji families, or 'hereditary witches'.[219] Philippines Main article: Philippine witches In the Philippines, as in many of these cultures, witches are viewed as those opposed to the sacred. In contrast, anthropologists writing about the healers in Indigenous Philippine folk religions either use the traditional terminology of these cultures, or broad anthropological terms like shaman.[11] Philippine witches are the users of black magic and related practices from the Philippines. They include a variety of different kinds of people with differing occupations and cultural connotations which depend on the ethnic group they are associated with. They are completely different from the Western notion of what a witch is, as each ethnic group has their own definition and practices attributed to witches. The curses and other magics of witches are often blocked, countered, cured, or lifted by Philippine shamans associated with the Indigenous Philippine folk religions.[12][220] Saudi Arabia Main articles: Capital punishment in Saudi Arabia, Freedom of religion in Saudi Arabia, and Human rights in Saudi Arabia Saudi Arabia continues to use the death penalty for sorcery and witchcraft.[221] In 2006 Fawza Falih Muhammad Ali was condemned to death for practicing witchcraft.[222] There is no legal definition of sorcery in Saudi, but in 2007 an Egyptian pharmacist working there was accused, convicted, and executed. Saudi authorities also pronounced the death penalty on a Lebanese television presenter, Ali Hussain Sibat, while he was performing the hajj (Islamic pilgrimage) in the country.[223] In 2009, the Saudi authorities set up the Anti-Witchcraft Unit of their Committee for the Promotion of Virtue and the Prevention of Vice police.[224] In April 2009, a Saudi woman Amina Bint Abdulhalim Nassar was arrested and later sentenced to death for practicing witchcraft and sorcery. In December 2011, she was beheaded.[225] A Saudi man has been beheaded on charges of sorcery and witchcraft in June 2012.[226] A beheading for sorcery occurred in 2014.[79] Islamic State See also: Human rights in ISIL-controlled territory In June 2015, Yahoo reported: "The Islamic State group has beheaded two women in Syria on accusations of 'sorcery', the first such executions of female civilians in Syria, the Syrian Observatory for Human Rights said Tuesday."[227] Europe Main articles: European witchcraft and Witch trials in Early Modern Europe Witchcraft in Europe between 500 and 1750 was believed to be a combination of sorcery and heresy. While sorcery attempts to produce negative supernatural effects through formulas and rituals, heresy is the Christian contribution to witchcraft in which an individual makes a pact with the Devil. In addition, heresy denies witches the recognition of important Christian values such as baptism, salvation, Christ and sacraments.[228] The beginning of the witch accusations in Europe took place in the 14th and 15th centuries; however as the social disruptions of the 16th century took place, witchcraft trials intensified.[229] A 1555 German print showing the burning of witches. Current scholarly estimates of the number of people executed for witchcraft in Europe vary between 40,000 and 100,000.[230] The number of witch trials in Europe known to have ended in executions is around 12,000.[231] In Early Modern European tradition, witches were stereotypically, though not exclusively, women.[61][232] European pagan belief in witchcraft was associated with the goddess Diana and dismissed as "diabolical fantasies" by medieval Christian authors.[233] Throughout Europe, there were an estimated 110,000 witchcraft trials between 1450 and 1750 (with 1560 to 1660 being the peak of persecutions), with half of the cases seeing the accused being executed.[234] Witch-hunts first appeared in large numbers in southern France and Switzerland during the 14th and 15th centuries. The peak years of witch-hunts in southwest Germany were from 1561 to 1670.[235] It was commonly believed that individuals with power and prestige were involved in acts of witchcraft and even cannibalism.[236] Because Europe had a lot of power over individuals living in West Africa, Europeans in positions of power were often accused of taking part in these practices. Though it is not likely that these individuals were actually involved in these practices, they were most likely associated due to Europe's involvement in things like the slave trade, which negatively affected the lives of many individuals in the Atlantic World throughout the fifteenth through seventeenth centuries.[236] Early converts to Christianity looked to Christian clergy to work magic more effectively than the old methods under Roman paganism, and Christianity provided a methodology involving saints and relics, similar to the gods and amulets of the Pagan world. As Christianity became the dominant religion in Europe, its concern with magic lessened.[237] The Protestant Christian explanation for witchcraft, such as those typified in the confessions of the Pendle witches, commonly involves a diabolical pact or at least an appeal to the intervention of the spirits of evil. The witches or wizards engaged in such practices were alleged to reject Jesus and the sacraments; observe "the witches' sabbath" (performing infernal rites that often parodied the Mass or other sacraments of the Church); pay Divine honour to the Prince of Darkness; and, in return, receive from him preternatural powers. It was a folkloric belief that a Devil's Mark, like the brand on cattle, was placed upon a witch's skin by the devil to signify that this pact had been made.[238] Britain Further information: Witch trials in early modern Scotland In the north of England, the superstition lingers to an almost inconceivable extent. Lancashire abounds with witch-doctors, a set of quacks, who pretend to cure diseases inflicted by the devil ... The witch-doctor alluded to is better known by the name of the cunning man, and has a large practice in the counties of Lincoln and Nottingham.[239] Historians Keith Thomas and his student Alan Macfarlane study witchcraft by combining historical research with concepts drawn from anthropology.[240][241][242] They argued that English witchcraft, like African witchcraft, was endemic rather than epidemic. Old women were the favorite targets because they were marginal, dependent members of the community and therefore more likely to arouse feelings of both hostility and guilt, and less likely to have defenders of importance inside the community. Witchcraft accusations were the village's reaction to the breakdown of its internal community, coupled with the emergence of a newer set of values that was generating psychic stress.[243] Illustration of witches, perhaps being tortured before James VI, from his Daemonologie (1597) Wales In Wales, fear of witchcraft mounted around the year 1500. There was a growing alarm of women's magic as a weapon aimed against the state and church. The Church made greater efforts to enforce the canon law of marriage, especially in Wales where tradition allowed a wider range of sexual partnerships. There was a political dimension as well, as accusations of witchcraft were levied against the enemies of Henry VII, who was exerting more and more control over Wales.[244] In 1542, the first of many Witchcraft Acts was passed defining witchcraft as a crime punishable by death and the forfeiture of property.[245] The records of the Courts of Great Sessions for Wales, 1536–1736 show that Welsh custom was more important than English law. Custom provided a framework of responding to witches and witchcraft in such a way that interpersonal and communal harmony was maintained. Even when found guilty, execution did not occur.[246] Scotland and England Becoming king in 1567, James VI and I brought to England and Scotland continental explanations of witchcraft. His goal was to divert suspicion away from male hom*osociality among the elite, and focus fear on female communities and large gatherings of women. He thought they threatened his political power so he laid the foundation for witchcraft and occultism policies, especially in Scotland. The point was that a widespread belief in the conspiracy of witches and a witches' Sabbath with the devil deprived women of political influence. Occult power was supposedly a womanly trait because women were weaker and more susceptible to the devil.[247] Lord Chief Justice of England Sir John Holt by Richard van Bleeck, c. 1700. Holt greatly influenced the end of prosecutions for witchcraft in England. National Portrait Gallery, London.[248] The last persons known to have been executed for witchcraft in England were the so-called Bideford witches in 1682. The last person executed for witchcraft in Great Britain was Janet Horne, in Scotland in 1727.[249] The Witchcraft Act 1735 abolished the penalty of execution for witchcraft, replacing it with imprisonment. This act was repealed by the Fraudulent Mediums Act 1951. Current Today in the United Kingdom children believed to be witches or seen as possessed by evil spirits can be subject to severe beatings, traumatic exorcism, and/or other abuse. There have even been child murders associated with witchcraft beliefs. The problem is particularly serious among immigrant or former immigrant communities of African origin but other communities, such as those of Asian origin are also involved. Step children and children seen as different for a wide range of reasons are particularly at risk of witchcraft accusations.[250] Children may be beaten or have chilli rubbed into their eyes during exorcisms.[251] This type of abuse is frequently hidden and can include torture.[252] A 2006 recommendation to record abuse cases linked to witchcraft accusations centrally has not yet been implemented. Lack of awareness among social workers, teachers and other professionals dealing with at risk children hinders efforts to combat the problem.[253] The Metropolitan Police said there had been 60 crimes linked to faith in London so far [in 2015]. It saw reports double from 23 in 2013 to 46 in 2014. Half of UK police forces do not record such cases and many local authorities are also unable to provide figures. The NSPCC said authorities "need to ensure they are able to spot the signs of this particular brand of abuse". London is unique in having a police team, Project Violet, dedicated to this type of abuse. Its figures relate to crime reports where officers have flagged a case as involving abuse linked to faith or belief. Many of the cases involve children. (...) An NSPCC spokesman said: "While the number of child abuse cases involving witchcraft is relatively small, they often include horrifying levels of cruelty. "The authorities which deal with these dreadful crimes need to ensure they are able to spot the signs of this particular brand of abuse and take action to protect children before a tragedy occurs."[253] There is a 'money making scam' involved. Pastors accuse a child of being a witch and later the family pays for exorcism. If a child at school says that his/her pastor called the child a witch that should become a child safeguarding issue.[253] Italy Main articles: Witchcraft in Italy and Witch trials in Italy A particularly rich source of information about witchcraft in Italy before the outbreak of the Great Witch Hunts of the Renaissance are the sermons of Franciscan popular preacher, Bernardino of Siena (1380–1444), who saw the issue as one of the most pressing moral and social challenges of his day and thus preached many a sermon on the subject, inspiring many local governments to take actions against what he called "servants of the Devil."[254] As in most European countries, women in Italy were more likely suspected of witchcraft than men.[255] Women were considered dangerous due to their supposed sexual instability, such as when being aroused, and also due to the powers of their menstrual blood.[256] In the 16th century, Italy had a high portion of witchcraft trials involving love magic.[257] The country had a large number of unmarried people due to men marrying later in their lives during this time.[257] This left many women on a desperate quest for marriage leaving them vulnerable to the accusation of witchcraft whether they took part in it or not.[257] Trial records from the Inquisition and secular courts discovered a link between prostitutes and supernatural practices. Professional prostitutes were considered experts in love and therefore knew how to make love potions and cast love related spells.[256] Up until 1630, the majority of women accused of witchcraft were prostitutes.[255] A courtesan was questioned about her use of magic due to her relationship with men of power in Italy and her wealth.[258] The majority of women accused were also considered "outsiders" because they were poor, had different religious practices, spoke a different language, or simply from a different city/town/region.[259] Cassandra from Ferrara, Italy, was still considered a foreigner because not native to Rome where she was residing. She was also not seen as a model citizen because her husband was in Venice.[260] From the 16th-18th centuries, the Catholic Church enforced moral discipline throughout Italy.[261] With the help of local tribunals, such as in Venice, the two institutions investigated a woman's religious behaviors when she was accused of witchcraft.[255] Spain Main articles: Witch trials in Spain and Akelarre Galicia in Spain is nicknamed the "Land of the Witches" due to its mythological origins surrounding its people, culture and its land.[262] The Basque Country also suffered persecutions against witches, such as the case of the Witches of Zugarramurdi, six of which were burned in Logroño in 1610 or the witch hunt in the French Basque country in the previous year with the burning of eighty supposed witches at the stake. This is reflected in the studies of José Miguel de Barandiarán and Julio Caro Baroja. Euskal Herria retains numerous legends that account for an ancient mythology of witchcraft. The town of Zalla is nicknamed "Town of the Witches".[263] Oceania Cook Islands In pre-Christian times, witchcraft was a common practice in the Cook Islands. The native name for a sorcerer was tangata purepure (a man who prays).[264] The prayers offered by the ta'unga (priests)[265] to the gods worshiped on national or tribal marae (temples) were termed karakia;[266] those on minor occasions to the lesser gods were named pure. All these prayers were metrical, and were handed down from generation to generation with the utmost care. There were prayers for every such phase in life; for success in battle; for a change in wind (to overwhelm an adversary at sea, or that an intended voyage be propitious); that his crops may grow; to curse a thief; or wish ill-luck and death to his foes. Few men of middle age were without a number of these prayers or charms. The succession of a sorcerer was from father to son, or from uncle to nephew. So too of sorceresses: it would be from mother to daughter, or from aunt to niece. Sorcerers and sorceresses were often slain by relatives of their supposed victims.[267] A singular enchantment was employed to kill off a husband of a pretty woman desired by someone else. The expanded flower of a Gardenia was stuck upright—a very difficult performance—in a cup (i.e., half a large coconut shell) of water. A prayer was then offered for the husband's speedy death, the sorcerer earnestly watching the flower. Should it fall the incantation was successful. But if the flower still remained upright, he will live. The sorcerer would in that case try his skill another day, with perhaps better success.[268] According to Beatrice Grimshaw, a journalist who visited the Cook Islands in 1907, the uncrowned Queen Makea was believed to have possessed the mystic power called mana, giving the possessor the power to slay at will. It also included other gifts, such as second sight to a certain extent, the power to bring good or evil luck, and the ability already mentioned to deal death at will.[269] Papua New Guinea A local newspaper informed that more than 50 people were killed in two Highlands provinces of Papua New Guinea in 2008 for allegedly practicing witchcraft.[270] An estimated 50–150 alleged witches are killed each year in Papua New Guinea.[271] Slavic Russia Among the Russian words for witch, ведьма (ved'ma) literally means 'one who knows', from Old Slavic вѣдъ 'to know'.[272] Spells Pagan practices formed a part of Russian and Eastern Slavic culture; the Russian people were deeply superstitious. The witchcraft practiced consisted mostly of earth magic and herbology; it was not so significant which herbs were used in practices, but how these herbs were gathered. Ritual centered on harvest of the crops and the location of the sun was very important.[273] One source, pagan author Judika Illes, tells that herbs picked on Midsummer's Eve were believed to be most powerful, especially if gathered on Bald Mountain near Kiev during the witches' annual revels celebration.[274] Botanicals should be gathered, "During the seventeenth minute of the fourteenth hour, under a dark moon, in the thirteenth field, wearing a red dress, pick the twelfth flower on the right."[275] Spells also served for midwifery, shape-shifting, keeping lovers faithful, and bridal customs. Spells dealing with midwifery and childbirth focused on the spiritual wellbeing of the baby.[275] Shape-shifting spells involved invocation of the wolf as a spirit animal.[276] To keep men faithful, lovers would cut a ribbon the length of his erect penis and soak it in his seminal emissions after sex while he was sleeping, then tie seven knots in it; keeping this talisman of knot magic ensured loyalty.[277] Part of an ancient pagan marriage tradition involved the bride taking a ritual bath at a bathhouse before the ceremony. Her sweat would be wiped from her body using raw fish, and the fish would be cooked and fed to the groom.[278] Demonism, or black magic, was not prevalent. Persecution for witchcraft, mostly involved the practice of simple earth magic, founded on herbology, by solitary practitioners with a Christian influence. In one case investigators found a locked box containing something bundled in a kerchief and three paper packets, wrapped and tied, containing crushed grasses.[279] Most rituals of witchcraft were very simple—one spell of divination consists of sitting alone outside meditating, asking the earth to show one's fate.[280] While these customs were unique to Russian culture, they were not exclusive to this region. Russian pagan practices were often akin to paganism in other parts of the world. The Chinese concept of chi, a form of energy that often manipulated in witchcraft, is known as bioplasma in Russian practices.[281] The western concept of an "evil eye" or a "hex" was translated to Russia as a "spoiler".[282] A spoiler was rooted in envy, jealousy and malice. Spoilers could be made by gathering bone from a cemetery, a knot of the target's hair, burned wooden splinters and several herb Paris berries (which are very poisonous). Placing these items in sachet in the victim's pillow completes a spoiler. The Sumerians, Babylonians, Assyrians, and the ancient Egyptians recognized the evil eye from as early as 3,000 BCE; in Russian practices it is seen as a sixteenth-century concept.[283] Societal view of witchcraft The dominant societal concern about those practicing witchcraft was not whether it was effective, but whether it could cause harm.[279] Peasants in Russian and Ukrainian societies often shunned witchcraft, unless they needed help against supernatural forces. Impotence, stomach pains, barrenness, hernias, abscesses, epileptic seizures, and convulsions were all attributed to evil (or witchcraft). This is reflected in linguistics; there are numerous words for a variety of practitioners of paganism-based healers. Russian peasants referred to a witch as a chernoknizhnik (a person who plied his trade with the aid of a black book), sheptun/sheptun'ia (a 'whisperer' male or female), lekar/lekarka or znakhar/znakharka (a male or female healer), or zagovornik (an incanter).[284] Ironically enough, there was universal reliance on folk healers – but clients often turned them in if something went wrong. According to Russian historian Valerie A. Kivelson, witchcraft accusations were normally thrown at lower-class peasants, townspeople and Cossacks. People turned to witchcraft as a means to support themselves. The ratio of male to female accusations was 75% to 25%. Males were targeted more, because witchcraft was associated with societal deviation. Because single people with no settled home could not be taxed, males typically had more power than women in their dissent.[279] The history of Witchcraft had evolved around society. More of a psychological concept to the creation and usage of Witchcraft can create the assumption as to why women are more likely to follow the practices behind Witchcraft. Identifying with the soul of an individual's self is often deemed as "feminine" in society. There is analyzed social and economic evidence to associate between witchcraft and women.[285] Russian witch trials Main article: Witch trials in Russia Witchcraft trials frequently occurred in seventeenth-century Russia, although the "great witch-hunt" is believed[by whom?] to be a predominantly Western European phenomenon. However, as the witchcraft-trial craze swept across Catholic and Protestant countries during this time, Orthodox Christian Europe indeed partook in this so-called "witch hysteria." This involved the persecution of both males and females who were believed to be practicing paganism, herbology, the black art, or a form of sorcery within and/or outside their community. Very early on witchcraft legally fell under the jurisdiction of the ecclesiastical body, the church, in Kievan Rus' and Muscovite Russia.[286] Sources of ecclesiastical witchcraft jurisdiction date back as early as the second half of the eleventh century, one being Vladimir the Great's first edition of his State Statute or Ustav, another being multiple references in the Primary Chronicle beginning in 1024.[286] Goya's drawing of result of a presumed witch's trial: " [so she must be a witch]"[287] The sentence for an individual who was found guilty of witchcraft or sorcery during this time, as well as in previous centuries, typically included either burning at the stake or being tested with the "ordeal of cold water" or judicium aquae frigidae.[286] The cold-water test was primarily a Western European phenomenon, but it was also used as a method of truth in Russia both prior to, and post, seventeenth-century witchcraft trials in Muscovy. Accused persons who submerged were considered innocent, and ecclesiastical authorities would proclaim them "brought back", but those who floated were considered guilty of practicing witchcraft, and they were either burned at the stake or executed in an unholy fashion. The thirteenth-century bishop of Vladimir, Serapion Vladimirskii, preached sermons throughout the Muscovite countryside, and in one particular sermon revealed that burning was the usual punishment for witchcraft, but more often the cold water test was used as a precursor to execution.[286][288] Although these two methods of torture were used in the west and the east, Russia implemented a system of fines payable for the crime of witchcraft during the seventeenth century. Thus, even though torture methods in Muscovy were on a similar level of harshness as Western European methods used, a more civil method was present. In the introduction of a collection of trial records pieced together by Russian scholar Nikolai Novombergsk, he argues that Muscovite authorities used the same degree of cruelty and harshness as Western European Catholic and Protestant countries in persecuting witches.[286] By the mid-sixteenth century the manifestations of paganism, including witchcraft, and the black arts—astrology, fortune telling, and divination—became a serious concern to the Muscovite church and state.[286] Tsar Ivan IV (reigned 1547–1584) took this matter to the ecclesiastical court and was immediately advised that individuals practicing these forms of witchcraft should be excommunicated and given the death penalty.[286] Ivan IV, as a true believer in witchcraft, was deeply convinced[citation needed] that sorcery accounted for the death of his wife, Anastasiia in 1560, which completely devastated and depressed him, leaving him heartbroken.[286] Stemming from this belief, Ivan IV became majorly concerned with the threat of witchcraft harming his family, and feared he was in danger. So, during the Oprichnina (1565–1572), Ivan IV succeeded in accusing and charging a good number of boyars with witchcraft whom he did not wish to remain as nobles. Rulers after Ivan IV, specifically during the Time of Troubles (1598–1613), increased the fear of witchcraft among themselves and entire royal families, which then led to further preoccupation with the fear of prominent Muscovite witchcraft circles.[286] After the Time of Troubles, seventeenth-century Muscovite rulers held frequent investigations of witchcraft within their households, laying the groundwork, along with previous tsarist reforms, for widespread witchcraft trials throughout the Muscovite state.[286] Between 1622 and 1700 ninety-one people were brought to trial in Muscovite courts for witchcraft.[286] Although Russia did partake in the witch craze that swept across Western Europe, the Muscovite state did not persecute nearly as many people for witchcraft, let alone execute a number of individuals anywhere close to the number executed in the west during the witch hysteria. Witches in art Albrecht Dürer circa 1500: Witch riding backwards on a goat Witches have a long history of being depicted in art, although most of their earliest artistic depictions seem to originate in Early Modern Europe, particularly the Medieval and Renaissance periods. Many scholars attribute their manifestation in art as inspired by texts such as Canon Episcopi, a demonology-centered work of literature, and Malleus Maleficarum, a "witch-craze" manual published in 1487, by Heinrich Kramer and Jacob Sprenger.[289] Canon Episcopi, a ninth-century text that explored the subject of demonology, initially introduced concepts that would continuously be associated with witches, such as their ability to fly or their believed fornication and sexual relations with the devil. The text refers to two women, Diana the Huntress and Herodias, who both express the duality of female sorcerers. Diana was described as having a heavenly body and as the "protectress of childbirth and fertility" while Herodias symbolized "unbridled sensuality". They thus represent the mental powers and cunning sexuality that witches used as weapons to trick men into performing sinful acts which would result in their eternal punishment. These characteristics were distinguished as Medusa-like or Lamia-like traits when seen in any artwork (Medusa's mental trickery was associated with Diana the Huntress's psychic powers and Lamia was a rumored female figure in the Medieval ages sometimes used in place of Herodias).[290] One of the first individuals to regularly depict witches after the witch-craze of the medieval period was Albrecht Dürer, a German Renaissance artist. His famous 1497 engraving The Four Witches, portrays four physically attractive and seductive nude witches. Their supernatural identities are emphasized by the skulls and bones lying at their feet as well as the devil discreetly peering at them from their left. The women's sensuous presentation speaks to the overtly sexual nature they were attached to in early modern Europe. Moreover, this attractiveness was perceived as a danger to ordinary men who they could seduce and tempt into their sinful world.[256] Some scholars interpret this piece as utilizing the logic of the Canon Episcopi, in which women used their mental powers and bodily seduction to enslave and lead men onto a path of eternal damnation, differing from the unattractive depiction of witches that would follow in later Renaissance years.[291] Louhi, a powerful and wicked witch queen of the land known as Pohjola in the Finnish epic poetry Kalevala, attacking Väinämöinen in the form of a giant eagle with her troops on her back. (The Defense of the Sampo, Akseli Gallen-Kallela, 1896) Dürer also employed other ideas from the Middle Ages that were commonly associated with witches. Specifically, his art often referred to former 12th- to 13th-century Medieval iconography addressing the nature of female sorcerers. In the Medieval period, there was a widespread fear of witches, accordingly producing an association of dark, intimidating characteristics with witches, such as cannibalism (witches described as "[sucking] the blood of newborn infants"[256]) or described as having the ability to fly, usually on the back of black goats. As the Renaissance period began, these concepts of witchcraft were suppressed, leading to a drastic change in the sorceress' appearances, from sexually explicit beings to the 'ordinary' typical housewives of this time period. This depiction, known as the 'Waldensian' witch became a cultural phenomenon of early Renaissance art. The term originates from the 12th-century monk Peter Waldo, who established his own religious sect which explicitly opposed the luxury and commodity-influenced lifestyle of the Christian church clergy, and whose sect was excommunicated before being persecuted as "practitioners of witchcraft and magic".[256] Subsequent artwork exhibiting witches tended to consistently rely on cultural stereotypes about these women. These stereotypes were usually rooted in early Renaissance religious discourse, specifically the Christian belief that an "earthly alliance" had taken place between Satan's female minions who "conspired to destroy Christendom".[292] Another significant artist whose art consistently depicted witches was Dürer's apprentice, Hans Baldung Grien, a 15th-century German artist. His chiaroscuro woodcut, Witches, created in 1510, visually encompassed all the characteristics that were regularly assigned to witches during the Renaissance. Social beliefs labeled witches as supernatural beings capable of doing great harm, possessing the ability to fly, and as cannibalistic.[292] The urn in Witches seems to contain pieces of the human body, which the witches are seen consuming as a source of energy. Meanwhile, their nudity while feasting is recognized as an allusion to their sexual appetite, and some scholars read the witch riding on the back of a goat-demon as representative of their "flight-inducing [powers]". This connection between women's sexual nature and sins was thematic in the pieces of many Renaissance artists, especially Christian artists, due to cultural beliefs which characterized women as overtly sexual beings who were less capable (in comparison to men) of resisting sinful temptation.[256] Witches in fiction Witches in fiction span a wide array of characterizations. They are typically, but not always, female, and generally depicted as either villains or heroines.[293] The classic fairy tale "Hansel and Gretel" presents an example of the "witch villain" figure. The story involves a cannibalistic witch that eventually becomes outwitted by the children she tries to eat and is burned to death in her own oven. "Snow White" depicts a murderous, tempting magician for its main antagonist. The witch is labeled an evil queen and meets her demise after being forced to dance in red-hot iron shoes. "The Six Swans" includes a step-mother who magically turns her step-children into swans out of spite and jealousy. In retaliation, the figure labeled as witch is eventually burned at the stake. Such examples within the Brothers Grimm's works demonstrate not only evidence of the figure of "witch villain" but also exhibits their punishment by injury or violent death.[293] Other examples of villainous witches in literature include the White Witch from C. S. Lewis's The Lion, the Witch and the Wardrobe and the Grand High Witch from Roald Dahl's The Witches. Living Alone, published in 1919, uses the "witch heroine" as an agent in support of female liberation. Stella Benson's novel surrounds the musings of a female witch who functions as an anarchic force in the lives of middle-class Londoners. Her non-harmful magic aims to "shake the most downtrodden women out of complacency and normality" to meet a state of liberation.[293] The importance of such a heroine sheds light on the positive effects associated with magic and witchcraft, a change from the often brutalized and tortured illustrations found in early nineteenth century literature. Other examples of heroic witches in fictional literature include Glinda from The Wonderful Wizard of Oz (1900), Serafina Pekkala from His Dark Materials (1995–2000), and Hermione Granger from the Harry Potter series. " (wikipedia.com) "A vampire is a mythical creature that subsists by feeding on the vital essence (generally in the form of blood) of the living. In European folklore, vampires are undead creatures that often visited loved ones and caused mischief or deaths in the neighbourhoods they inhabited while they were alive. They wore shrouds and were often described as bloated and of ruddy or dark countenance, markedly different from today's gaunt, pale vampire which dates from the early 19th century. Vampiric entities have been recorded in cultures around the world; the term vampire was popularized in Western Europe after reports of an 18th-century mass hysteria of a pre-existing folk belief in the Balkans and Eastern Europe that in some cases resulted in corpses being staked and people being accused of vampirism. Local variants in Eastern Europe were also known by different names, such as shtriga in Albania, vrykolakas in Greece and strigoi in Romania. In modern times, the vampire is generally held to be a fictitious entity, although belief in similar vampiric creatures (such as the chupacabra) still persists in some cultures. Early folk belief in vampires has sometimes been ascribed to the ignorance of the body's process of decomposition after death and how people in pre-industrial societies tried to rationalize this, creating the figure of the vampire to explain the mysteries of death. Porphyria was linked with legends of vampirism in 1985 and received much media exposure, but has since been largely discredited.[1] The charismatic and sophisticated vampire of modern fiction was born in 1819 with the publication of "The Vampyre" by the English writer John Polidori; the story was highly successful and arguably the most influential vampire work of the early 19th century. Bram Stoker's 1897 novel Dracula is remembered as the quintessential vampire novel and provided the basis of the modern vampire legend, even though it was published after fellow Irish author Joseph Sheridan Le Fanu's 1872 novel Carmilla. The success of this book spawned a distinctive vampire genre, still popular in the 21st century, with books, films, television shows, and video games. The vampire has since become a dominant figure in the horror genre. ... Etymology The word vampire (as vampyre) first appeared in English in 1732, in news reports about vampire "epidemics" in eastern Europe.[2] [a] After Austria gained control of northern Serbia and Oltenia with the Treaty of Passarowitz in 1718, officials noted the local practice of exhuming bodies and "killing vampires".[4] These reports, prepared between 1725 and 1732, received widespread publicity.[4] The English term was derived (possibly via French vampyre) from the German Vampir, in turn derived in the early 18th century from the Serbian vampir (Serbian Cyrillic: вампир).[5][6][7][8] The Serbian form has parallels in virtually all Slavic languages: Bulgarian and Macedonian вампир (vampir), Bosnian: vampir/вампир, Croatian vampir, Czech and Slovak upír, Polish wąpierz, and (perhaps East Slavic-influenced) upiór, Ukrainian упир (upyr), Russian упырь (upyr'), Belarusian упыр (upyr), from Old East Slavic упирь (upir') (many of these languages have also borrowed forms such as "vampir/wampir" subsequently from the West; these are distinct from the original local words for the creature). The exact etymology is unclear.[9] Among the proposed Proto-Slavic forms are *ǫpyrь and *ǫpirь.[10] In Albanian the words lu(v)gat and dhampir are used; the latter seems to be derived from the Gheg Albanian words dham 'tooth' and pir 'to drink'.[11] Another less widespread theory is that the Slavic languages have borrowed the word from a Turkic term for "witch" (e.g., Tatar ubyr, although the first folk legends about it were recorded only at the end of the 18th century).[10][12] Czech linguist Václav Machek proposes Slovak verb vrepiť sa (stick to, thrust into), or its hypothetical anagram vperiť sa (in Czech, the archaic verb vpeřit means "to thrust violently") as an etymological background, and thus translates upír as "someone who thrusts, bites".[13] An early use of the Old Russian word is in the anti-pagan treatise "Word of Saint Grigoriy" (Russian Слово святого Григория), dated variously to the 11th–13th centuries, where pagan worship of upyri is reported.[14][15] Folk beliefs See also: List of vampiric creatures in folklore The notion of vampirism has existed for millennia. Cultures such as the Mesopotamians, Hebrews, Ancient Greeks, Manipuri and Romans had tales of demons and spirits which are considered precursors to modern vampires. Despite the occurrence of vampiric creatures in these ancient civilizations, the folklore for the entity known today as the vampire originates almost exclusively from early 18th-century southeastern Europe,[16] when verbal traditions of many ethnic groups of the region were recorded and published. In most cases, vampires are revenants of evil beings, suicide victims, or witches, but they can also be created by a malevolent spirit possessing a corpse or by being bitten by a vampire. Belief in such legends became so pervasive that in some areas it caused mass hysteria and even public executions of people believed to be vampires.[17] Description and common attributes Vampire (1895) by Edvard Munch It is difficult to make a single, definitive description of the folkloric vampire, though there are several elements common to many European legends. Vampires were usually reported as bloated in appearance, and ruddy, purplish, or dark in colour; these characteristics were often attributed to the recent drinking of blood. Indeed, blood was often seen seeping from the mouth and nose when one was seen in its shroud or coffin and its left eye was often open.[18] It would be clad in the linen shroud it was buried in, and its teeth, hair, and nails may have grown somewhat, though in general fangs were not a feature.[19] Chewing sounds were reported emanating from graves.[20] Creating vampires Illustration of a vampire from Max Ernst's Une Semaine de Bonté (1934) The causes of vampiric generation were many and varied in original folklore. In Slavic and Chinese traditions, any corpse that was jumped over by an animal, particularly a dog or a cat, was feared to become one of the undead.[21] A body with a wound that had not been treated with boiling water was also at risk. In Russian folklore, vampires were said to have once been witches or people who had rebelled against the Russian Orthodox Church while they were alive.[22] In Albanian folklore, the dhampir is the hybrid child of the karkanxholl (a lycanthropic creature with an iron mail shirt) or the lugat (a water-dwelling ghost or monster). The dhampir sprung of a karkanxholl has the unique ability to discern the karkanxholl; from this derives the expression the dhampir knows the lugat. The lugat cannot be seen, he can only be killed by the dhampir, who himself is usually the son of a lugat. In different regions, animals can be revenants as lugats; also, living people during their sleep. Dhampiraj is also an Albanian surname.[23] Prevention Cultural practices often arose that were intended to prevent a recently deceased loved one from turning into an undead revenant. Burying a corpse upside-down was widespread, as was placing earthly objects, such as scythes or sickles,[24] near the grave to satisfy any demons entering the body or to appease the dead so that it would not wish to arise from its coffin. This method resembles the ancient Greek practice of placing an obolus in the corpse's mouth to pay the toll to cross the River Styx in the underworld. It has been argued that instead, the coin was intended to ward off any evil spirits from entering the body, and this may have influenced later vampire folklore. This tradition persisted in modern Greek folklore about the vrykolakas, in which a wax cross and piece of pottery with the inscription "Jesus Christ conquers" were placed on the corpse to prevent the body from becoming a vampire.[25] Other methods commonly practised in Europe included severing the tendons at the knees or placing poppy seeds, millet, or sand on the ground at the grave site of a presumed vampire; this was intended to keep the vampire occupied all night by counting the fallen grains,[26][27] indicating an association of vampires with arithmomania. Similar Chinese narratives state that if a vampiric being came across a sack of rice, it would have to count every grain; this is a theme encountered in myths from the Indian subcontinent, as well as in South American tales of witches and other sorts of evil or mischievous spirits or beings.[28] Identifying vampires Many rituals were used to identify a vampire. One method of finding a vampire's grave involved leading a virgin boy through a graveyard or church grounds on a virgin stallion—the horse would supposedly balk at the grave in question.[22] Generally a black horse was required, though in Albania it should be white.[29] Holes appearing in the earth over a grave were taken as a sign of vampirism.[30] Corpses thought to be vampires were generally described as having a healthier appearance than expected, plump and showing little or no signs of decomposition.[31] In some cases, when suspected graves were opened, villagers even described the corpse as having fresh blood from a victim all over its face.[32] Evidence that a vampire was active in a given locality included death of cattle, sheep, relatives or neighbours. Folkloric vampires could also make their presence felt by engaging in minor poltergeist-styled activity, such as hurling stones on roofs or moving household objects,[33] and pressing on people in their sleep.[34] Protection Garlic, Bibles, crucifixes, rosaries, holy water, and mirrors have all been seen in various folkloric traditions as means of warding against or identifying vampires.[35][36] Apotropaics—items able to ward off revenants—are common in vampire folklore. Garlic is a common example,[37] a branch of wild rose and hawthorn are said to harm vampires, and in Europe, sprinkling mustard seeds on the roof of a house was said to keep them away.[38] Other apotropaics include sacred items, for example a crucifix, rosary, or holy water. Vampires are said to be unable to walk on consecrated ground, such as that of churches or temples, or cross running water.[36] Although not traditionally regarded as an apotropaic, mirrors have been used to ward off vampires when placed, facing outwards, on a door (in some cultures, vampires do not have a reflection and sometimes do not cast a shadow, perhaps as a manifestation of the vampire's lack of a soul).[39] This attribute is not universal (the Greek vrykolakas/tympanios was capable of both reflection and shadow), but was used by Bram Stoker in Dracula and has remained popular with subsequent authors and filmmakers.[40] Some traditions also hold that a vampire cannot enter a house unless invited by the owner; after the first invitation they can come and go as they please.[39] Though folkloric vampires were believed to be more active at night, they were not generally considered vulnerable to sunlight.[40] Early reports claimed that when a vampire's grave was recognized, eating bread baked with its blood mixed into the flour,[41] or simply drinking it, granted the possibility of protection. Other stories (primarily the Arnold Paole case) claimed the eating of dirt from the vampire's grave would have the same effect.[42] Methods of destruction The ninth-century Nørre Nærå Runestone from the Danish island of Fyn is inscribed with a "grave binding inscription" used to keep the deceased in its grave.[43] Methods of destroying suspected vampires varied, with staking the most commonly cited method, particularly in South Slavic cultures.[44] Ash was the preferred wood in Russia and the Baltic states,[45] or hawthorn in Serbia,[46] with a record of oak in Silesia.[47][48] Aspen was also used for stakes, as it was believed that Christ's cross was made from aspen (aspen branches on the graves of purported vampires were also believed to prevent their risings at night).[49] Potential vampires were most often staked through the heart, though the mouth was targeted in Russia and northern Germany[50][51] and the stomach in north-eastern Serbia.[52] Piercing the skin of the chest was a way of "deflating" the bloated vampire. This is similar to a practice of "anti-vampire burial": burying sharp objects, such as sickles, with the corpse, so that they may penetrate the skin if the body bloats sufficiently while transforming into a revenant.[53] Decapitation was the preferred method in German and western Slavic areas, with the head buried between the feet, behind the buttocks or away from the body.[44] This act was seen as a way of hastening the departure of the soul, which in some cultures was said to linger in the corpse. The vampire's head, body, or clothes could also be spiked and pinned to the earth to prevent rising.[54] 800-year-old skeleton found in Bulgaria stabbed through the chest with an iron rod.[55] Romani people drove steel or iron needles into a corpse's heart and placed bits of steel in the mouth, over the eyes, ears and between the fingers at the time of burial. They also placed hawthorn in the corpse's sock or drove a hawthorn stake through the legs. In a 16th-century burial near Venice, a brick forced into the mouth of a female corpse has been interpreted as a vampire-slaying ritual by the archaeologists who discovered it in 2006.[56] In Bulgaria, over 100 skeletons with metal objects, such as plough bits, embedded in the torso have been discovered.[55] Further measures included pouring boiling water over the grave or complete incineration of the body. In the Balkans, a vampire could also be killed by being shot or drowned, by repeating the funeral service, by sprinkling holy water on the body, or by exorcism. In Romania, garlic could be placed in the mouth, and as recently as the 19th century, the precaution of shooting a bullet through the coffin was taken. For resistant cases, the body was dismembered and the pieces burned, mixed with water, and administered to family members as a cure. In Saxon regions of Germany, a lemon was placed in the mouth of suspected vampires.[57] Ancient beliefs Lilith (1892), by John Collier. Atkinson Art Gallery and Library, Southport, England. Tales of supernatural beings consuming the blood or flesh of the living have been found in nearly every culture around the world for many centuries.[58] The term vampire did not exist in ancient times. Blood drinking and similar activities were attributed to demons or spirits who would eat flesh and drink blood; even the devil was considered synonymous with the vampire.[59] Almost every culture associates blood drinking with some kind of revenant or demon, or in some cases a deity. In India tales of vetālas, ghoulish beings that inhabit corpses, have been compiled in the Baitāl Pacīsī; a prominent story in the Kathāsaritsāgara tells of King Vikramāditya and his nightly quests to capture an elusive one.[60] Piśāca, the returned spirits of evil-doers or those who died insane, also bear vampiric attributes.[61] The Persians were one of the first civilizations to have tales of blood-drinking demons: creatures attempting to drink blood from men were depicted on excavated pottery shards.[62] Ancient Babylonia and Assyria had tales of the mythical Lilitu,[63] synonymous with and giving rise to Lilith (Hebrew לילית) and her daughters the Lilu from Hebrew demonology. Lilitu was considered a demon and was often depicted as subsisting on the blood of babies,[63] and estries, female shapeshifting, blood-drinking demons, were said to roam the night among the population, seeking victims. According to Sefer Hasidim, estries were creatures created in the twilight hours before God rested. An injured estrie could be healed by eating bread and salt given to her by her attacker.[64] Greco-Roman mythology described the Empusae,[65] the Lamia,[66] the Mormo[67] and the striges. Over time the first two terms became general words to describe witches and demons respectively. Empusa was the daughter of the goddess Hecate and was described as a demonic, bronze-footed creature. She feasted on blood by transforming into a young woman and seduced men as they slept before drinking their blood.[65] The Lamia preyed on young children in their beds at night, sucking their blood, as did the gelloudes or Gello.[66] Like the Lamia, the striges feasted on children, but also preyed on adults. They were described as having the bodies of crows or birds in general, and were later incorporated into Roman mythology as strix, a kind of nocturnal bird that fed on human flesh and blood.[68] Medieval and later European folklore Main article: Vampire folklore by region Lithograph by R. de Moraine from 1864 showing townsfolk burning the exhumed skeleton of an alleged vampire. Many myths surrounding vampires originated during the medieval period. The 12th-century British historians and chroniclers Walter Map and William of Newburgh recorded accounts of revenants,[17][69] though records in English legends of vampiric beings after this date are scant.[70] The Old Norse draugr is another medieval example of an undead creature with similarities to vampires.[71] Vampiric beings were rarely written about in Jewish literature; the 16th-century rabbi David ben Solomon ibn Abi Zimra (Radbaz) wrote of an uncharitable old woman whose body was unguarded and unburied for three days after she died and rose as a vampiric entity, killing hundreds of people. He linked this event to the lack of a shmirah (guarding) after death as the corpse could be a vessel for evil spirits.[72] In 1645, the Greek librarian of the Vatican, Leo Allatius, produced the first methodological description of the Balkan beliefs in vampires (Greek: vrykolakas) in his work De Graecorum hodie quorundam opinationibus ("On certain modern opinions among the Greeks").[73] Vampires properly originating in folklore were widely reported from Eastern Europe in the late 17th and 18th centuries. These tales formed the basis of the vampire legend that later entered Germany and England, where they were subsequently embellished and popularized.[74] An early recording of the time came from the region of Istria in modern Croatia, in 1672; Local reports described a panic among the villagers inspired by the belief that Jure Grando had become a vampire after dying in 1656, drinking blood from victims and sexually harassing his widow. The village leader ordered a stake to be driven through his heart. Later, his corpse was also beheaded.[75] Première page du Tractat von dem Kauen und Schmatzen der Todten in Gräbern (1734), ouvrage de vampirologie de Michael Ranft Title page of treatise on the chewing and smacking of the dead in graves (1734), a book on vampirology by Michael Ranft. From 1679, Philippe Rohr devotes an essay to the dead who chew their shrouds in their graves, a subject resumed by Otto in 1732, and then by Michael Ranft in 1734. The subject was based on the observation that when digging up graves, it was discovered that some corpses had at some point either devoured the interior fabric of their coffin or their own limbs.[76] Ranft described in his treatise of a tradition in some parts of Germany, that to prevent the dead from masticating they placed a mound of dirt under their chin in the coffin, placed a piece of money and a stone in the mouth, or tied a handkerchief tightly around the throat.[77] In 1732 an anonymous writer writing as "the doctor Weimar" discusses the non-putrefaction of these creatures, from a theological point of view.[78] In 1733, Johann Christoph Harenberg wrote a general treatise on vampirism and the Marquis d'Argens cites local cases. Theologians and clergymen also address the topic.[76] Some theological disputes arose. The non-decay of vampires' bodies could recall the incorruption of the bodies of the saints of the Catholic Church. A paragraph on vampires was included in the second edition (1749) of De servorum Dei beatificatione et sanctorum canonizatione, On the beatification of the servants of God and on canonization of the blessed, written by Prospero Lambertini (Pope Benedict XIV).[79] In his opinion, while the incorruption of the bodies of saints was the effect of a divine intervention, all the phenomena attributed to vampires were purely natural or the fruit of "imagination, terror and fear". In other words, vampires did not exist.[80] 18th-century vampire controversy During the 18th century, there was a frenzy of vampire sightings in Eastern Europe, with frequent stakings and grave diggings to identify and kill the potential revenants. Even government officials engaged in the hunting and staking of vampires.[74] Despite being called the Age of Enlightenment, during which most folkloric legends were quelled, the belief in vampires increased dramatically, resulting in a mass hysteria throughout most of Europe.[17] The panic began with an outbreak of alleged vampire attacks in East Prussia in 1721 and in the Habsburg monarchy from 1725 to 1734, which spread to other localities. Two infamous vampire cases, the first to be officially recorded, involved the corpses of Petar Blagojevich and Miloš Čečar from Serbia. Blagojevich was reported to have died at the age of 62, but allegedly returned after his death asking his son for food. When the son refused, he was found dead the following day. Blagojevich supposedly returned and attacked some neighbours who died from loss of blood.[74] In the second case, Miloš, an ex-soldier-turned-farmer who allegedly was attacked by a vampire years before, died while haying. After his death, people began to die in the surrounding area and it was widely believed that Miloš had returned to prey on the neighbours.[81][82] Another infamous Serbian vampire legend recounts the story of a certain Sava Savanović, who lives in a watermill and kills and drinks blood from the millers. The character was later used in a story written by Serbian writer Milovan Glišić and in the Yugoslav 1973 horror film Leptirica inspired by the story.[83] Engraving of Dom Augustine Calmet from 1750 The two incidents were well-documented. Government officials examined the bodies, wrote case reports, and published books throughout Europe.[82] The hysteria, commonly referred to as the "18th-Century Vampire Controversy", raged for a generation. The problem was exacerbated by rural epidemics of so-called vampire attacks, undoubtedly caused by the higher amount of superstition that was present in village communities, with locals digging up bodies and in some cases, staking them.[84] Dom Augustine Calmet, a French theologian and scholar, published a comprehensive treatise in 1751 titled Treatise on the Apparitions of Spirits and on Vampires or Revenants which investigated and analysed the evidence for vampirism.[84][b] Numerous readers, including both a critical Voltaire and numerous supportive demonologists interpreted the treatise as claiming that vampires existed.[84][c] The controversy in Austria only ceased when Empress Maria Theresa sent her personal physician, Gerard van Swieten, to investigate the claims of vampiric entities. He concluded that vampires did not exist and the Empress passed laws prohibiting the opening of graves and desecration of bodies, sounding the end of the vampire epidemics. Other European countries followed suit. Despite this condemnation, the vampire lived on in artistic works and in local folklore.[84] Non-European beliefs Beings having many of the attributes of European vampires appear in the folklore of Africa, Asia, North and South America, and India. Classified as vampires, all share the thirst for blood.[87] Africa Various regions of Africa have folktales featuring beings with vampiric abilities: in West Africa the Ashanti people tell of the iron-toothed and tree-dwelling asanbosam,[88] and the Ewe people of the adze, which can take the form of a firefly and hunts children.[89] The eastern Cape region has the impundulu, which can take the form of a large taloned bird and can summon thunder and lightning, and the Betsileo people of Madagascar tell of the ramanga, an outlaw or living vampire who drinks the blood and eats the nail clippings of nobles.[90] In colonial East Africa, rumors circulated to the effect that employees of the state such as firemen and nurses were vampires, known in Swahili as wazimamoto.[91] Americas The Loogaroo is an example of how a vampire belief can result from a combination of beliefs, here a mixture of French and African Vodu or voodoo. The term Loogaroo possibly comes from the French loup-garou (meaning "werewolf") and is common in the culture of Mauritius. The stories of the Loogaroo are widespread through the Caribbean Islands and Louisiana in the United States.[92] Similar female monsters are the Soucouyant of Trinidad, and the Tunda and Patasola of Colombian folklore, while the Mapuche of southern Chile have the bloodsucking snake known as the Peuchen.[93] Aloe vera hung backwards behind or near a door was thought to ward off vampiric beings in South American folklore.[28] Aztec mythology described tales of the Cihuateteo, skull-faced spirits of those who died in childbirth who stole children and entered into sexual liaisons with the living, driving them mad.[22] During the late 18th and 19th centuries the belief in vampires was widespread in parts of New England, particularly in Rhode Island and eastern Connecticut. There are many documented cases of families disinterring loved ones and removing their hearts in the belief that the deceased was a vampire who was responsible for sickness and death in the family, although the term "vampire" was never used to describe the dead. The deadly disease tuberculosis, or "consumption" as it was known at the time, was believed to be caused by nightly visitations on the part of a dead family member who had died of consumption themselves.[94] The most famous, and most recently recorded, case of suspected vampirism is that of nineteen-year-old Mercy Brown, who died in Exeter, Rhode Island in 1892. Her father, assisted by the family physician, removed her from her tomb two months after her death, cut out her heart and burned it to ashes.[95] Asia Vampires have appeared in Japanese cinema since the late 1950s; the folklore behind it is western in origin.[96] The Nukekubi is a being whose head and neck detach from its body to fly about seeking human prey at night.[97] Legends of female vampiric beings who can detach parts of their upper body also occur in the Philippines, Malaysia, and Indonesia. There are two main vampiric creatures in the Philippines: the Tagalog Mandurugo ("blood-sucker") and the Visayan Manananggal ("self-segmenter"). The mandurugo is a variety of the aswang that takes the form of an attractive girl by day, and develops wings and a long, hollow, threadlike tongue by night. The tongue is used to suck up blood from a sleeping victim.[98] The manananggal is described as being an older, beautiful woman capable of severing its upper torso in order to fly into the night with huge batlike wings and prey on unsuspecting, sleeping pregnant women in their homes. They use an elongated proboscislike tongue to suck fetuses from these pregnant women. They also prefer to eat entrails (specifically the heart and the liver) and the phlegm of sick people.[98] The Malaysian Penanggalan is a woman who obtained her beauty through the active use of black magic or other unnatural means, and is most commonly described in local folklore to be dark or demonic in nature. She is able to detach her fanged head which flies around in the night looking for blood, typically from pregnant women.[99] Malaysians hung jeruju (thistles) around the doors and windows of houses, hoping the Penanggalan would not enter for fear of catching its intestines on the thorns.[100] The Leyak is a similar being from Balinese folklore of Indonesia.[101] A Kuntilanak or Matianak in Indonesia,[102] or Pontianak or Langsuir in Malaysia,[103] is a woman who died during childbirth and became undead, seeking revenge and terrorising villages. She appeared as an attractive woman with long black hair that covered a hole in the back of her neck, with which she sucked the blood of children. Filling the hole with her hair would drive her off. Corpses had their mouths filled with glass beads, eggs under each armpit, and needles in their palms to prevent them from becoming langsuir. This description would also fit the Sundel Bolongs.[104] A stilt house typical of the Tai Dam ethnic minority of Vietnam, whose communities were said to be terrorized by the blood-sucking ma cà rồng. In Vietnam, the word used to translate Western vampires, "ma cà rồng", originally referred to a type of demon that haunts modern-day Phú Thọ Province, within the communities of the Tai Dam ethnic minority. The word was first mentioned in the chronicles of 18th-century Confucian scholar Lê Quý Đôn,[105] who spoke of a creature that lives among humans, but stuffs its toes into its nostrils at night and flies by its ears into houses with pregnant women to suck their blood. Having fed on these women, the ma cà rồng then returns to its house and cleans itself by dipping its toes into barrels of sappanwood water. This allows the ma cà rồng to live undetected among humans during the day, before heading out to attack again by night.[106] Jiangshi, sometimes called "Chinese vampires" by Westerners, are reanimated corpses that hop around, killing living creatures to absorb life essence (qì) from their victims. They are said to be created when a person's soul (魄 pò) fails to leave the deceased's body.[107] Jiangshi are usually represented as mindless creatures with no independent thought.[108] This monster has greenish-white furry skin, perhaps derived from fungus or mould growing on corpses.[109] Jiangshi legends have inspired a genre of jiangshi films and literature in Hong Kong and East Asia. Films like Encounters of the Spooky Kind and Mr. Vampire were released during the jiangshi cinematic boom of the 1980s and 1990s.[110][111] Modern beliefs In modern fiction, the vampire tends to be depicted as a suave, charismatic villain.[19] Despite the general disbelief in vampiric entities, occasional sightings of vampires are reported[citation needed]. Vampire hunting societies still exist, but they are largely formed for social reasons.[17] Allegations of vampire attacks swept through Malawi during late 2002 and early 2003, with mobs stoning one person to death and attacking at least four others, including Governor Eric Chiwaya, based on the belief that the government was colluding with vampires.[112] Fears and violence recurred in late 2017, with 6 people accused of being vampires killed.[113] In early 1970, local press spread rumours that a vampire haunted Highgate Cemetery in London. Amateur vampire hunters flocked in large numbers to the cemetery. Several books have been written about the case, notably by Sean Manchester, a local man who was among the first to suggest the existence of the "Highgate Vampire" and who later claimed to have exorcised and destroyed a whole nest of vampires in the area.[114] In January 2005, rumours circulated that an attacker had bitten a number of people in Birmingham, England, fuelling concerns about a vampire roaming the streets. Local police stated that no such crime had been reported and that the case appears to be an urban legend.[115] A vampire costume In one of the more notable cases of vampiric entities in the modern age, the chupacabra ("goat-sucker") of Puerto Rico and Mexico is said to be a creature that feeds upon the flesh or drinks the blood of domesticated animals, leading some to consider it a kind of vampire. The "chupacabra hysteria" was frequently associated with deep economic and political crises, particularly during the mid-1990s.[116] In Europe, where much of the vampire folklore originates, the vampire is usually considered a fictitious being; many communities may have embraced the revenant for economic purposes. In some cases, especially in small localities, beliefs are still rampant and sightings or claims of vampire attacks occur frequently. In Romania during February 2004, several relatives of Toma Petre feared that he had become a vampire. They dug up his corpse, tore out his heart, burned it, and mixed the ashes with water in order to drink it.[117] Origins of vampire beliefs Commentators have offered many theories for the origins of vampire beliefs and related mass hysteria. Everything ranging from premature burial to the early ignorance of the body's decomposition cycle after death has been cited as the cause for the belief in vampires.[118] Pathology Decomposition Paul Barber in his book Vampires, Burial and Death has described that belief in vampires resulted from people of pre-industrial societies attempting to explain the natural, but to them inexplicable, process of death and decomposition.[118] People sometimes suspected vampirism when a cadaver did not look as they thought a normal corpse should when disinterred. Rates of decomposition vary depending on temperature and soil composition, and many of the signs are little known. This has led vampire hunters to mistakenly conclude that a dead body had not decomposed at all or, ironically, to interpret signs of decomposition as signs of continued life.[119] Corpses swell as gases from decomposition accumulate in the torso and the increased pressure forces blood to ooze from the nose and mouth. This causes the body to look "plump", "well-fed", and "ruddy"—changes that are all the more striking if the person was pale or thin in life. In the Arnold Paole case, an old woman's exhumed corpse was judged by her neighbours to look more plump and healthy than she had ever looked in life.[120] The exuding blood gave the impression that the corpse had recently been engaging in vampiric activity.[32] Darkening of the skin is also caused by decomposition.[121] The staking of a swollen, decomposing body could cause the body to bleed and force the accumulated gases to escape the body. This could produce a groan-like sound when the gases moved past the vocal cords, or a sound reminiscent of flatulence when they passed through the anus. The official reporting on the Petar Blagojevich case speaks of "other wild signs which I pass by out of high respect".[122] After death, the skin and gums lose fluids and contract, exposing the roots of the hair, nails, and teeth, even teeth that were concealed in the jaw. This can produce the illusion that the hair, nails, and teeth have grown. At a certain stage, the nails fall off and the skin peels away, as reported in the Blagojevich case—the dermis and nail beds emerging underneath were interpreted as "new skin" and "new nails".[122] Premature burial It has also been hypothesized that vampire legends were influenced by individuals being buried alive because of shortcomings in the medical knowledge of the time. In some cases in which people reported sounds emanating from a specific coffin, it was later dug up and fingernail marks were discovered on the inside from the victim trying to escape. In other cases the person would hit their heads, noses or faces and it would appear that they had been "feeding".[123] A problem with this theory is the question of how people presumably buried alive managed to stay alive for any extended period without food, water or fresh air. An alternate explanation for noise is the bubbling of escaping gases from natural decomposition of bodies.[124] Another likely cause of disordered tombs is grave robbery.[125] Contagion Folkloric vampirism has been associated with clusters of deaths from unidentifiable or mysterious illnesses, usually within the same family or the same small community.[94] The epidemic allusion is obvious in the classical cases of Petar Blagojevich and Arnold Paole, and even more so in the case of Mercy Brown and in the vampire beliefs of New England generally, where a specific disease, tuberculosis, was associated with outbreaks of vampirism. As with the pneumonic form of bubonic plague, it was associated with breakdown of lung tissue which would cause blood to appear at the lips.[126] Porphyria In 1985, biochemist David Dolphin proposed a link between the rare blood disorder porphyria and vampire folklore. Noting that the condition is treated by intravenous haem, he suggested that the consumption of large amounts of blood may result in haem being transported somehow across the stomach wall and into the bloodstream. Thus vampires were merely sufferers of porphyria seeking to replace haem and alleviate their symptoms.[127] The theory has been rebuffed medically as suggestions that porphyria sufferers crave the haem in human blood, or that the consumption of blood might ease the symptoms of porphyria, are based on a misunderstanding of the disease. Furthermore, Dolphin was noted to have confused fictional (bloodsucking) vampires with those of folklore, many of whom were not noted to drink blood.[128] Similarly, a parallel is made between sensitivity to sunlight by sufferers, yet this was associated with fictional and not folkloric vampires. In any case, Dolphin did not go on to publish his work more widely.[129] Despite being dismissed by experts, the link gained media attention[130] and entered popular modern folklore.[131] Rabies Rabies has been linked with vampire folklore. Dr Juan Gómez-Alonso, a neurologist at Xeral Hospital in Vigo, Spain, examined this possibility in a report in Neurology. The susceptibility to garlic and light could be due to hypersensitivity, which is a symptom of rabies. It can also affect portions of the brain that could lead to disturbance of normal sleep patterns (thus becoming nocturnal) and hypersexuality. Legend once said a man was not rabid if he could look at his own reflection (an allusion to the legend that vampires have no reflection). Wolves and bats, which are often associated with vampires, can be carriers of rabies. The disease can also lead to a drive to bite others and to a bloody frothing at the mouth.[132][133] Psychodynamic theories In his 1931 treatise On the Nightmare, Welsh psychoanalyst Ernest Jones asserted that vampires are symbolic of several unconscious drives and defence mechanisms. Emotions such as love, guilt, and hate fuel the idea of the return of the dead to the grave. Desiring a reunion with loved ones, mourners may project the idea that the recently dead must in return yearn the same. From this arises the belief that folkloric vampires and revenants visit relatives, particularly their spouses, first.[134] In cases where there was unconscious guilt associated with the relationship, the wish for reunion may be subverted by anxiety. This may lead to repression, which Sigmund Freud had linked with the development of morbid dread.[135] Jones surmised in this case the original wish of a (sexual) reunion may be drastically changed: desire is replaced by fear; love is replaced by sadism, and the object or loved one is replaced by an unknown entity. The sexual aspect may or may not be present.[136] Some modern critics have proposed a simpler theory: People identify with immortal vampires because, by so doing, they overcome, or at least temporarily escape from, their fear of dying.[137] Jones linked the innate sexuality of bloodsucking with cannibalism, with a folkloric connection with incubus-like behaviour. He added that when more normal aspects of sexuality are repressed, regressed forms may be expressed, in particular sadism; he felt that oral sadism is integral in vampiric behaviour.[138] Political interpretations Political cartoon in Punch magazine from 1885, depicting the Irish National League as the "Irish Vampire" preying on a sleeping woman. The reinvention of the vampire myth in the modern era is not without political overtones.[139] The aristocratic Count Dracula, alone in his castle apart from a few demented retainers, appearing only at night to feed on his peasantry, is symbolic of the parasitic ancien régime. In his entry for "Vampires" in the Dictionnaire philosophique (1764), Voltaire notices how the mid-18th century coincided with the decline of the folkloric belief in the existence of vampires but that now "there were stock-jobbers, brokers, and men of business, who sucked the blood of the people in broad daylight; but they were not dead, though corrupted. These true suckers lived not in cemeteries, but in very agreeable palaces".[140] Marx defined capital as "dead labour which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks".[d] Werner Herzog, in his Nosferatu the Vampyre, gives this political interpretation an extra ironic twist when protagonist Jonathan Harker, a middle-class solicitor, becomes the next vampire; in this way the capitalist bourgeois becomes the next parasitic class.[141] Psychopathology A number of murderers have performed seemingly vampiric rituals upon their victims. Serial killers Peter Kürten and Richard Trenton Chase were both called "vampires" in the tabloids after they were discovered drinking the blood of the people they murdered. Similarly, in 1932, an unsolved murder case in Stockholm, Sweden was nicknamed the "Vampire murder", because of the circ*mstances of the victim's death.[142] The late-16th-century Hungarian countess and mass murderess Elizabeth Báthory became infamous in later centuries' works, which depicted her bathing in her victims' blood to retain beauty or youth.[143] Vampire bats Main article: Vampire bat A vampire bat in Peru. Although many cultures have stories about them, vampire bats have only recently become an integral part of the traditional vampire lore. Vampire bats were integrated into vampire folklore after they were discovered on the South American mainland in the 16th century.[144] There are no vampire bats in Europe, but bats and owls have long been associated with the supernatural and omens, mainly because of their nocturnal habits.[144][145] The three species of vampire bats are all endemic to Latin America, and there is no evidence to suggest that they had any Old World relatives within human memory. It is therefore impossible that the folkloric vampire represents a distorted presentation or memory of the vampire bat. The bats were named after the folkloric vampire rather than vice versa; the Oxford English Dictionary records their folkloric use in English from 1734 and the zoological not until 1774. The danger of rabies infection aside, the vampire bat's bite is usually not harmful to a person, but the bat has been known to actively feed on humans and large prey such as cattle and often leaves the trademark, two-prong bite mark on its victim's skin.[144] The literary Dracula transforms into a bat several times in the novel, and vampire bats themselves are mentioned twice in it. The 1927 stage production of Dracula followed the novel in having Dracula turn into a bat, as did the film, where Béla Lugosi would transform into a bat.[144] The bat transformation scene was used again by Lon Chaney Jr. in 1943's Son of Dracula.[146] In modern culture See also: List of vampires The vampire is now a fixture in popular fiction. Such fiction began with 18th-century poetry and continued with 19th-century short stories, the first and most influential of which was John Polidori's "The Vampyre" (1819), featuring the vampire Lord Ruthven.[147] Lord Ruthven's exploits were further explored in a series of vampire plays in which he was the antihero. The vampire theme continued in penny dreadful serial publications such as Varney the Vampire (1847) and culminated in the pre-eminent vampire novel in history: Dracula by Bram Stoker, published in 1897.[148] Over time, some attributes now regarded as integral became incorporated into the vampire's profile: fangs and vulnerability to sunlight appeared over the course of the 19th century, with Varney the Vampire and Count Dracula both bearing protruding teeth,[149] and Count Orlok of Murnau's Nosferatu (1922) fearing daylight.[150] The cloak appeared in stage productions of the 1920s, with a high collar introduced by playwright Hamilton Deane to help Dracula 'vanish' on stage.[151] Lord Ruthven and Varney were able to be healed by moonlight, although no account of this is known in traditional folklore.[152] Implied though not often explicitly documented in folklore, immortality is one attribute which features heavily in vampire film and literature. Much is made of the price of eternal life, namely the incessant need for blood of former equals.[153] Literature Main article: Vampire literature Cover from one of the original serialized editions of Varney the Vampire, an influential publication in the development of the modern vampire genre.[148] The vampire or revenant first appeared in poems such as The Vampire (1748) by Heinrich August Ossenfelder, Lenore (1773) by Gottfried August Bürger, Die Braut von Corinth (The Bride of Corinth) (1797) by Johann Wolfgang von Goethe, Robert Southey's Thalaba the Destroyer (1801), John Stagg's "The Vampyre" (1810), Percy Bysshe Shelley's "The Spectral Horseman" (1810) ("Nor a yelling vampire reeking with gore") and "Ballad" in St. Irvyne (1811) about a reanimated corpse, Sister Rosa, Samuel Taylor Coleridge's unfinished Christabel and Lord Byron's The Giaour.[154] Byron was also credited with the first prose fiction piece concerned with vampires: "The Vampyre" (1819). This was in reality authored by Byron's personal physician, John Polidori, who adapted an enigmatic fragmentary tale of his illustrious patient, "Fragment of a Novel" (1819), also known as "The Burial: A Fragment".[17][148] Byron's own dominating personality, mediated by his lover Lady Caroline Lamb in her unflattering roman-a-clef Glenarvon (a Gothic fantasia based on Byron's wild life), was used as a model for Polidori's undead protagonist Lord Ruthven. The Vampyre was highly successful and the most influential vampire work of the early 19th century.[155] Carmilla by Sheridan Le Fanu, illustrated by D. H. Friston, 1872. Varney the Vampire was a popular mid-Victorian era gothic horror story by James Malcolm Rymer and Thomas Peckett Prest, which first appeared from 1845 to 1847 in a series of pamphlets generally referred to as penny dreadfuls because of their low price and gruesome contents.[147] Published in book form in 1847, the story runs to 868 double-columned pages. It has a distinctly suspenseful style, using vivid imagery to describe the horrifying exploits of Varney.[152] Another important addition to the genre was Sheridan Le Fanu's lesbian vampire story Carmilla (1871). Like Varney before her, the vampiress Carmilla is portrayed in a somewhat sympathetic light as the compulsion of her condition is highlighted.[156] No effort to depict vampires in popular fiction was as influential or as definitive as Bram Stoker's Dracula (1897).[157] Its portrayal of vampirism as a disease of contagious demonic possession, with its undertones of sex, blood and death, struck a chord in Victorian Europe where tuberculosis and syphilis were common. The vampiric traits described in Stoker's work merged with and dominated folkloric tradition, eventually evolving into the modern fictional vampire.[147] Drawing on past works such as The Vampyre and Carmilla, Stoker began to research his new book in the late 19th century, reading works such as The Land Beyond the Forest (1888) by Emily Gerard and other books about Transylvania and vampires. In London, a colleague mentioned to him the story of Vlad Ţepeş, the "real-life Dracula", and Stoker immediately incorporated this story into his book. The first chapter of the book was omitted when it was published in 1897, but it was released in 1914 as "Dracula's Guest".[158] Many experts believe, this deleted opening was based on the Austrian princess Eleonore von Schwarzenberg.[159] The latter part of the 20th century saw the rise of multi-volume vampire epics as well as a renewed interest in the subject in books. The first of these was Gothic romance writer Marilyn Ross's Barnabas Collins series (1966–71), loosely based on the contemporary American TV series Dark Shadows. It also set the trend for seeing vampires as poetic tragic heroes rather than as the more traditional embodiment of evil. This formula was followed in novelist Anne Rice's highly popular Vampire Chronicles (1976–2003),[160] and Stephenie Meyer's Twilight series (2005–2008).[161] Film and television Main articles: Vampire film, List of vampire films, and List of vampire television series A scene from F. W. Murnau's Nosferatu, 1922. Considered one of the preeminent figures of the classic horror film, the vampire has proven to be a rich subject for the film, television, and gaming industries. Dracula is a major character in more films than any other but Sherlock Holmes, and many early films were either based on the novel Dracula or closely derived from it. These included the 1922 silent German Expressionist horror film Nosferatu, directed by F. W. Murnau and featuring the first film portrayal of Dracula—although names and characters were intended to mimic Dracula's.[162] Universal's Dracula (1931), starring Béla Lugosi as the Count and directed by Tod Browning, was the first talking film to portray Dracula. Both Lugosi's performance and the film overall were influential in the blossoming horror film genre, now able to use sound and special effects much more efficiently than in the Silent Film Era. The influence of this 1931 film lasted throughout the rest of the 20th century and up through the present day. Stephen King, Francis Ford Coppola, Hammer Horror, and Philip Saville each have at one time or another derived inspiration from this film directly either through staging or even through directly quoting the film, particularly how Stoker's line "Listen to them. Children of the night. What music they make!" is delivered by Lugosi; for example Coppola paid homage to this moment with Gary Oldman in his interpretation of the tale in 1992 and King has credited this film as an inspiration for his character Kurt Barlow repeatedly in interviews.[163] It is for these reasons that the film was selected by the US Library of Congress to be in the National Film Registry in 2000.[164] Count Dracula as portrayed by Béla Lugosi in 1931's Dracula. The legend of the vampire continued through the film industry when Dracula was reincarnated in the pertinent Hammer Horror series of films, starring Christopher Lee as the Count. The successful 1958 Dracula starring Lee was followed by seven sequels. Lee returned as Dracula in all but two of these and became well known in the role.[165] By the 1970s, vampires in films had diversified with works such as Count Yorga, Vampire (1970), an African Count in 1972's Blacula, the BBC's Count Dracula featuring French actor Louis Jourdan as Dracula and Frank Finlay as Abraham Van Helsing, and a Nosferatu-like vampire in 1979's Salem's Lot, and a remake of Nosferatu itself, titled Nosferatu the Vampyre with Klaus Kinski the same year. Several films featured the characterization of a female, often lesbian, vampire such as Hammer Horror's The Vampire Lovers (1970), based on Carmilla, though the plotlines still revolved around a central evil vampire character.[165] 1960s television's Dark Shadows, with Jonathan Frid's Barnabas Collins vampire character. The Gothic soap opera Dark Shadows, on American television from 1966 to 1971 and produced by Dan Curtis, featured the vampire character Barnabas Collins, portrayed by Canadian actor Jonathan Frid, which proved partly responsible for making the series one of the most popular of its type, amassing a total of 1,225 episodes in its nearly five-year run. The pilot for the later Dan Curtis 1972 television series Kolchak: The Night Stalker revolved around reporter Carl Kolchak hunting a vampire on the Las Vegas Strip. Later films showed more diversity in plotline, with some focusing on the vampire-hunter, such as Blade in the Marvel Comics' Blade films and the film Buffy the Vampire Slayer.[147] Buffy, released in 1992, foreshadowed a vampiric presence on television, with its adaptation to a long-running hit series of the same name and its spin-off Angel. Still others showed the vampire as a protagonist, such as 1983's The Hunger, 1994's Interview with the Vampire and its indirect sequel of sorts Queen of the Damned, and the 2007 series Moonlight. The 1992 film Bram Stoker's Dracula by Francis Ford Coppola became the then-highest grossing vampire film ever.[166] This increase of interest in vampiric plotlines led to the vampire being depicted in films such as Underworld and Van Helsing, the Russian Night Watch and a TV miniseries remake of Salem's Lot, both from 2004. The series Blood Ties premiered on Lifetime Television in 2007, featuring a character portrayed as Henry Fitzroy, an illegitimate-son-of-Henry-VIII-of-England-turned-vampire, in modern-day Toronto, with a female former Toronto detective in the starring role. A 2008 series from HBO, entitled True Blood, gives a Southern Gothic take on the vampire theme.[161] In 2008 the BBC Three series Being Human became popular in Britain. It featured an unconventional trio of a vampire, a werewolf and a ghost who are sharing a flat in Bristol.[167][168] Another popular vampire-related show is CW's The Vampire Diaries. The continuing popularity of the vampire theme has been ascribed to a combination of two factors: the representation of sexuality and the perennial dread of mortality.[169] Games Main article: Vampires in games The role-playing game Vampire: The Masquerade has been influential upon modern vampire fiction and elements of its terminology, such as embrace and sire, appear in contemporary fiction.[147] Popular video games about vampires include Castlevania, which is an extension of the original Bram Stoker novel Dracula, and Legacy of Kain.[170] The role-playing game Dungeons & Dragons features vampires.[171] Modern vampire subcultures Main article: Vampire lifestyle See also: Psychic vampirism Vampire lifestyle is a term for a contemporary subculture of people, largely within the Goth subculture, who consume the blood of others as a pastime; drawing from the rich recent history of popular culture related to cult symbolism, horror films, the fiction of Anne Rice, and the styles of Victorian England.[172] Active vampirism within the vampire subculture includes both blood-related vampirism, commonly referred to as sanguine vampirism, and psychic vampirism, or supposed feeding from pranic energy." (wikipedia.org) "In folklore, a werewolf[a] (from Old English werwulf 'man-wolf'), or occasionally lycanthrope (/ˈlaɪkənˌθroʊp/; from Ancient Greek λυκάνθρωπος (lukánthrōpos) 'wolf-human'; Ukrainian: Вовкулака, romanized: Vovkulaka), is a human with the ability to shapeshift into a wolf (or, especially in modern film, a therianthropic hybrid wolf-like creature), either purposely or after being placed under a curse or affliction (often a bite or the occasional scratch from another werewolf) with the transformations occurring on the night of a full moon.[b] Early sources for belief in this ability or affliction, called lycanthropy (/laɪˈkænθrəpi/), are Petronius (27–66) and Gervase of Tilbury (1150–1228). The werewolf is a widespread concept in European folklore, existing in many variants, which are related by a common development of a Christian interpretation of underlying European folklore developed during the medieval period. From the early modern period, werewolf beliefs also spread to the New World with colonialism. Belief in werewolves developed in parallel to the belief in witches, in the course of the Late Middle Ages and the Early Modern period. Like the witchcraft trials as a whole, the trial of supposed werewolves emerged in what is now Switzerland (especially the Valais and Vaud) in the early 15th century and spread throughout Europe in the 16th, peaking in the 17th and subsiding by the 18th century. The persecution of werewolves and the associated folklore is an integral part of the "witch-hunt" phenomenon, albeit a marginal one, accusations of lycanthropy being involved in only a small fraction of witchcraft trials.[c] During the early period, accusations of lycanthropy (transformation into a wolf) were mixed with accusations of wolf-riding or wolf-charming. The case of Peter Stumpp (1589) led to a significant peak in both interest in and persecution of supposed werewolves, primarily in French-speaking and German-speaking Europe. The phenomenon persisted longest in Bavaria and Austria, with persecution of wolf-charmers recorded until well after 1650, the final cases taking place in the early 18th century in Carinthia and Styria.[d] After the end of the witch-trials, the werewolf became of interest in folklore studies and in the emerging Gothic horror genre; werewolf fiction as a genre has pre-modern precedents in medieval romances (e.g. Bisclavret and Guillaume de Palerme) and developed in the 18th century out of the "semi-fictional" chap book tradition. The trappings of horror literature in the 20th century became part of the horror and fantasy genre of modern popular culture. ... Names The Modern English werewolf descends from the Old English werewulf, which is a cognate (linguistic sibling of the same origin) of Middle Dutch weerwolf, Middle Low German werwulf, Middle High German werwolf, and West Frisian waer-ûl(e). These terms are generally derived from a Proto-Germanic form reconstructed as *wira-wulfaz ('man-wolf'), itself from an earlier Pre-Germanic form *wiro-wulpos.[1][2][3] An alternative reconstruction, *wazi-wulfaz ('wolf-clothed'), would bring the Germanic compound closer to the Slavic meaning,[1] with other semantic parallels in Old Norse úlfheðnar ('wolf-skinned') and úlfheðinn ('wolf-coat'), Old Irish luchthonn ('wolf-skin'), and Sanskrit Vṛkājina ('Wolf-skin').[4] The Norse branch underwent taboo modifications, with Old Norse vargúlfr (only attested as a translation of Old French garwaf ~ garwal(f) from Marie's lay of Bisclavret) replacing *wiraz ('man') with vargr ('wolf, outlaw'), perhaps under the influence of the Old French expression leus warous ~ lous garous (modern loup-garou), which literally means 'wolf-werewolf'.[5][6] The modern Norse forms varulv (Danish, Norwegian) and varulf (Swedish) were either borrowed from Middle Low German werwulf,[6] or else derived from an unattested Old Norse *varulfr, posited as the regular descendant of Proto-Germanic *wira-wulfaz.[2] An Old Frankish form *werwolf is inferred from the Middle Low German variant and was most likely borrowed into Old Norman garwa(l)f ~ garo(u)l, with regular Germanic–Romance correspondance w- / g- (cf. William / Guillaume, Wales / Galles, etc.).[7][6] The Proto-Slavic noun *vьlko-dlakь, meaning 'wolf-haired' (cf. *dlaka, 'animal hair, fur'),[1] can be reconstructed from Serbian vukòdlak, Slovenian vołkodlȃk, and Czech vlkodlak, although formal variations in Slavic languages (*vьrdl(j)ak, *vьlkdolk, *vьlklak) and the late attestation of some forms pose difficulties in tracing the origin of the term.[8][9] The Greek Vrykolakas and Romanian Vîrcolac, designating vampire-like creatures in Balkan folklores, were borrowed from Slavic languages.[10][11] The same form is also found in other non-Slavic languages of the region, such as Albanian vurvolak and Turkish vurkolak.[11] Bulgarian vьrkolak and Church Slavonic vurkolak may be interpreted as back-borrowings from Greek.[9] The name vurdalak (вурдалак; 'ghoul, revenant') first appeared in Russian poet Alexander Pushkin's work Pesni, published in 1835. The source of Pushkin's distinctive form remains debated in scholarship.[12][11] A Proto-Celtic noun *wiro-kū, meaning 'man-dog', has been reconstructed from Celtiberian uiroku, the Old Brittonic place-name Viroconium (< *wiroconion, 'place of man-dogs, i.e. werewolves'), the Old Irish noun ferchu ('male dog, fierce dog'), and the medieval personal names Guurci (Old Welsh) and Gurki (Old Breton). Wolves were metaphorically designated as 'dogs' in Celtic cultures.[13][3] The modern term lycanthropy comes from Ancient Greek lukanthrōpía (λυκανθρωπία), itself from lukánthrōpos (λυκάνθρωπος), meaning 'wolf-man'. Ancient writers used the term solely in the context of clinical lycanthropy, a condition in which the patient imagined himself to be a wolf. Modern writers later used lycanthrope as a synonym of werewolf, referring to a person who, according to medieval superstition, could assum the form of wolves.[14] History Indo-European comparative mythology Dolon wearing a wolf-skin. Attic red-figure vase, c. 460 BC. The European motif of the devilish werewolf devouring human flesh harks back to a common development during the Middle Ages in the context of Christianity, although stories of humans turning into wolves take their roots in earlier pre-Christian beliefs.[15][16] Their underlying common origin can be traced back to Proto-Indo-European mythology, where lycanthropy is reconstructed as an aspect of the initiation of the kóryos warrior class, which may have included a cult focused on dogs and wolves identified with an age grade of young, unmarried warriors.[3] The standard comparative overview of this aspect of Indo-European mythology is McCone (1987).[17] Classical antiquity A few references to men changing into wolves are found in Ancient Greek literature and mythology. Herodotus, in his Histories,[18] wrote that the Neuri, a tribe he places to the north-east of Scythia, were all transformed into wolves once every year for several days, and then changed back to their human shape. This tale was also mentioned by Pomponius Mela.[19] Zeus turning Lycaon into a wolf, engraving by Hendrik Goltzius. In the second century BC, the Greek geographer Pausanias related the story of King Lycaon of Arcadia, who was transformed into a wolf because he had sacrificed a child in the altar of Zeus Lycaeus.[20] In the version of the legend told by Ovid in his Metamorphoses,[21] when Zeus visits Lycaon disguised as a common man, Lycaon wants to test if he is really a god. To that end, he kills a Molossian hostage and serve his entrails to Zeus. Disgusted, the god turns Lycaon into a wolf. However, in other accounts of the legend, like that of Apollodorus' Bibliotheca,[22] Zeus blasts him and his sons with thunderbolts as punishment. Pausanias also relates the story of an Arcadian man called Damarchus of Parrhasia, who was turned into a wolf after tasting the entrails of a human child sacrificed to Zeus Lycaeus. He was restored to human form 10 years later and went on to become an Olympic champion.[23] This tale is also recounted by Pliny the Elder, who calls the man Demaenetus quoting Agriopas.[24] According to Pausanias, this was not a one-off event, but that men have been transformed into wolves during the sacrifices to Zeus Lycaeus since the time of Lycaon. If they abstain of tasting human flesh while being wolves, they would be restored to human form nine years later, but if they do they will remain wolves forever.[20] Lykos (Λύκος) of Athens was a wolf-shaped herο, whose shrine stood by the jurycourt, and the first jurors were named after him.[25] Pliny the Elder likewise recounts another tale of lycanthropy. Quoting Euanthes,[26] he mentions that in Arcadia, once a year a man was chosen by lot from the Anthus' clan. The chosen man was escorted to a marsh in the area, where he hung his clothes into an oak tree, swam across the marsh and transformed into a wolf, joining a pack for nine years. If during these nine years he refrained from tasting human flesh, he returned to the same marsh, swam back and recovered his previous human form, with nine years added to his appearance.[27] Ovid also relates stories of men who roamed the woods of Arcadia in the form of wolves.[28][29] Virgil, in his poetic work Eclogues, wrote about a man called Moeris, who used herbs and poisons picked in his native Pontus to turn himself into a wolf.[30] In prose, the Satyricon, written circa AD 60 by Gaius Petronius Arbiter, one of the characters, Niceros, tells a story at a banquet about a friend who turned into a wolf (chs. 61–62). He describes the incident as follows, "When I look for my buddy I see he'd stripped and piled his clothes by the roadside... He pees in a circle round his clothes and then, just like that, turns into a wolf!... after he turned into a wolf he started howling and then ran off into the woods."[31] Early Christian authors also mentioned werewolves. In The City of God, Augustine of Hippo gives an account similar to that found in Pliny the Elder. Augustine explains that "It is very generally believed that by certain witches spells men may be turned into wolves..."[32] Physical metamorphosis was also mentioned in the Capitulatum Episcopi, attributed to the Council of Ancyra in the 4th century, which became the Church's doctrinal text in relation to magic, witches, and transformations such as those of werewolves.[33] The Capitulatum Episcopi states that "Whoever believes that anything can be...transformed into another species or likeness, except by God Himself...is beyond doubt an infidel.'[33] In these works of Roman writers, werewolves often receive the name versipellis ("turnskin"). Augustine instead uses the phrase "in lupum fuisse mutatum" (changed into the form of a wolf) to describe the physical metamorphosis of werewolves, which is similar to phrases used in the medieval period. Middle Ages There is evidence of widespread belief in werewolves in medieval Europe. This evidence spans much of the Continent, as well as the British Isles. Werewolves were mentioned in Medieval law codes, such as that of King cnu*t, whose Ecclesiastical Ordinances inform us that the codes aim to ensure that "…the madly audacious werewolf do not too widely devastate, nor bite too many of the spiritual flock."[34] Liutprand of Cremona reports a rumor that Bajan, son of Simeon I of Bulgaria, could use magic to turn himself into a wolf.[35] The works of Augustine of Hippo had a large influence on the development of Western Christianity, and were widely read by churchmen of the medieval period; and these churchmen occasionally discussed werewolves in their works. Famous examples include Gerald of Wales's Werewolves of Ossory, found in his Topographica Hibernica, and in Gervase of Tilbury's Otia Imperiala, both written for royal audiences. Gervase reveals to the reader that belief in such transformations (he also mentions women turning into cats and into snakes) was widespread across Europe; he uses the phrase "que ita dinosc*ntur" when discussing these metamorphoses, which translates to "it is known". Gervase, who was writing in Germany, also tells the reader that the transformation of men into wolves cannot be easily dismissed, for "...in England we have often seen men change into wolves" ("Vidimus enim frequenter in Anglia per lunationes homines in lupos mutari…").[36] Further evidence of the widespread belief in werewolves and other human-animal transformations can be seen in theological attacks made against such beliefs. Conrad of Hirsau, writing in the 11th century, forbids the reading of stories in which a person's reason is obscured following such a transformation.[37] Conrad specifically refers to the tales of Ovid in his tract. Pseudo-Augustine, writing in the 12th century, follows Augustine of Hippo's argument that no physical transformation can be made by any but God, stating that "...the body corporeally [cannot], be changed into the material limbs of any animal.'[38] Marie de France's poem Bisclavret (c. 1200) is another example, in which the eponymous nobleman Bisclavret, for reasons not described, had to transform into a wolf every week. When his treacherous wife stole his clothing needed to restore his human form, he escaped the king's wolf hunt by imploring the king for mercy and accompanied the king thereafter. His behavior at court was gentle, until his wife and her new husband appeared at court, so much so that his hateful attack on the couple was deemed justly motivated, and the truth was revealed. This lai (a type of Breton sung-poem) follows many themes found within other werewolf tales - the removal of clothing and attempting to refrain from the consumption of human flesh can be found in Pliny the Elder, as well as in the second of Gervase of Tilbury's werewolf stories, about a werewolf by the name of Chaucevaire. Marie also reveals to us the existence of werewolf belief in Breton and Norman France, by telling us the Franco-Norman word for werewolf: garwulf, which, she explains, are common in that part of France, where "...many men turned into werewolves".[39] Gervase also supports this terminology when he tells us that the French use the term "gerulfi" to describe what the English call "werewolves".[40] Melion and Biclarel are two anonymous lais that share the theme of a werewolf knight being betrayed by his wife.[41] The German word werwolf is recorded by Burchard von Worms in the 11th century, and by Bertold of Regensburg in the 13th, but is not recorded in all of medieval German poetry or fiction. While Baring-Gould argues that references to werewolves were also rare in England, presumably because whatever significance the "wolf-men" of Germanic paganism had carried, the associated beliefs and practices had been successfully repressed after Christianization (or if they persisted, they did so outside of the sphere of literacy available to us), we have sources other than those mentioned above.[42] Such examples of werewolves in Ireland and the British Isles can be found in the work of the 9th century Welsh monk Nennius; female werewolves appear in the Irish work Tales of the Elders, from the 12th century; and Welsh werewolves in the 12th to 13th century work, Mabinogion. Vendel period depiction of a warrior wearing a wolf-skin (Tierkrieger). Germanic pagan traditions associated with wolf-men persisted longest in the Scandinavian Viking Age. Harald I of Norway is known to have had a body of Úlfhednar (wolf-coated [men]), which are mentioned in the Vatnsdœla, Haraldskvæði, and the Völsunga saga, and resemble some werewolf legends. The Úlfhednar were fighters similar to the berserkers, though they dressed in wolf hides rather than those of bears and were reputed to channel the spirits of these animals to enhance effectiveness in battle.[43] These warriors were resistant to pain and killed viciously in battle, much like wild animals. Úlfhednar and berserkers are closely associated with the Norse god Odin. The Scandinavian traditions of this period may have spread to Kievan Rus', giving rise to the Slavic "werewolf" tales. The 11th-century Belarusian Prince Vseslav of Polotsk was considered to have been a werewolf, capable of moving at superhuman speeds, as recounted in The Tale of Igor's Campaign: Vseslav the prince judged men; as prince, he ruled towns; but at night he prowled in the guise of a wolf. From Kiev, prowling, he reached, before the co*cks crew, Tmutorokan. The path of Great Sun, as a wolf, prowling, he crossed. For him in Polotsk they rang for matins early at St. Sophia the bells; but he heard the ringing in Kiev. The situation as described during the medieval period gives rise to the dual form of werewolf folklore in Early Modern Europe. On one hand the "Germanic" werewolf, which becomes associated with the witchcraft panic, and on the other hand the "Slavic" werewolf or vlkolak, which becomes associated with the concept of the revenant or "vampire". The "eastern" werewolf-vampire is found in the folklore of Central and Eastern Europe, including Hungary, Romania and the Balkans, while the "western" werewolf-sorcerer is found in France, German-speaking Europe and in the Baltic. Being a werewolf was a common accusation in witch trials throughout their history, and it featured even in the Valais witch trials, one of the earliest such trials altogether, in the first half of the 15th century.[44] Likewise, in the Vaud (Switzerland), child-eating werewolves were reported as early as 1448.[citation needed] In 1539, Martin Luther used the form beerwolf to describe a hypothetical ruler worse than a tyrant who must be resisted.[45] Early modern history Further information: Werewolf witch trials and Wolfssegen There were numerous reports of werewolf attacks – and consequent court trials – in 16th-century France. In some of the cases there was clear evidence against the accused of murder and cannibalism, but no association with wolves. In other cases people have been terrified by such creatures, such as that of Gilles Garnier in Dole in 1573, who was convicted of being a werewolf.[citation needed] In Geneva a man killed 16 children when he had changed himself into a wolf; he was executed on 15 October 1580. Coloured pen drawing, Johann Jakob Wick, Sammlung von Nachrichten zur Zeitgeschichte aus den Jahren. 1560–1587 A peak of attention to lycanthropy came in the late 16th to early 17th century, as part of the European witch-hunts. A number of treatises on werewolves were written in France during 1595 and 1615. Werewolves were sighted in 1598 in Anjou, and a teenage werewolf was sentenced to life imprisonment in Bordeaux in 1603. Henry Boguet wrote a lengthy chapter about werewolves in 1602. In the Vaud, werewolves were convicted in 1602 and in 1624. A treatise by a Vaud pastor in 1653, however, argued that lycanthropy was purely an illusion. After this, the only further record from the Vaud dates to 1670: it is that of a boy who claimed he and his mother could change themselves into wolves, which was, however, not taken seriously. At the beginning of the 17th century witchcraft was prosecuted by James I of England, who regarded "warwoolfes" as victims of delusion induced by "a natural superabundance of melancholic".[46] After 1650, belief in Lycanthropy had mostly disappeared from French-speaking Europe, as evidenced in Diderot's Encyclopedia, which attributed reports of lycanthropy to a "disorder of the brain,[47] although there were continuing reports of extraordinary wolflike beasts but they were not considered to be werewolves. One such report concerned the Beast of Gévaudan which terrorized the general area of the former province of Gévaudan, now called Lozère, in south-central France; from the years 1764 to 1767, it killed upwards of 80 men, women, and children. The part of Europe which showed more vigorous interest in werewolves after 1650 was the Holy Roman Empire. At least nine works on lycanthropy were printed in Germany between 1649 and 1679. In the Austrian and Bavarian Alps, belief in werewolves persisted well into the 18th century.[48] In any case, as late as in 1853, in Galicia, northwestern Spain, Manuel Blanco Romasanta was judged and condemned as the author of a number of murders, but he claimed to be not guilty because of his condition of lobishome, werewolf. Until the 20th century, wolf attacks on humans were an occasional, but still widespread, feature of life in Europe.[49] Some scholars have suggested that it was inevitable that wolves, being the most feared predators in Europe, were projected into the folklore of evil shapeshifters. This is said to be corroborated by the fact that areas devoid of wolves typically use different kinds of predator to fill the niche; werehyenas in Africa, weretigers in India,[43] as well as werepumas ("runa uturuncu")[50][51] and werejaguars ("yaguaraté-abá" or "tigre-capiango")[52][53] in southern South America. An idea is explored in Sabine Baring-Gould's work The Book of Werewolves is that werewolf legends may have been used to explain serial killings. Perhaps the most infamous example is the case of Peter Stumpp (executed in 1589), the German farmer, and alleged serial killer and cannibal, also known as the Werewolf of Bedburg.[54] Asian cultures See also: Asena and Itbarak Common Turkic folklore holds a different, reverential light to the werewolf legends in that Turkic Central Asian shamans after performing long and arduous rites would voluntarily be able to transform into the humanoid "Kurtadam" (literally meaning Wolfman). Since the wolf was the totemic ancestor animal of the Turkic peoples, they would be respectful of any shaman who was in such a form. Lycanthropy as a medical condition See also: Hypertrichosis and Clinical lycanthropy Some modern researchers have tried to explain the reports of werewolf behaviour with recognised medical conditions. Dr Lee Illis of Guy's Hospital in London wrote a paper in 1963 entitled On Porphyria and the Aetiology of Werewolves, in which he argues that historical accounts on werewolves could have in fact been referring to victims of congenital porphyria, stating how the symptoms of photosensitivity, reddish teeth and psychosis could have been grounds for accusing a sufferer of being a werewolf.[55] This is however argued against by Woodward, who points out how mythological werewolves were almost invariably portrayed as resembling true wolves, and that their human forms were rarely physically conspicuous as porphyria victims.[43] Others have pointed out the possibility of historical werewolves having been sufferers of hypertrichosis, a hereditary condition manifesting itself in excessive hair growth. However, Woodward dismissed the possibility, as the rarity of the disease ruled it out from happening on a large scale, as werewolf cases were in medieval Europe.[43] People suffering from Down syndrome have been suggested by some scholars to have been possible originators of werewolf myths.[56] Woodward suggested rabies as the origin of werewolf beliefs, claiming remarkable similarities between the symptoms of that disease and some of the legends. Woodward focused on the idea that being bitten by a werewolf could result in the victim turning into one, which suggested the idea of a transmittable disease like rabies.[43] However, the idea that lycanthropy could be transmitted in this way is not part of the original myths and legends and only appears in relatively recent beliefs. Lycanthropy can also be met with as the main content of a delusion, for example, the case of a woman has been reported who during episodes of acute psychosis complained of becoming four different species of animals.[57] Folk beliefs Further information: Therianthropy Characteristics A German woodcut from 1722 The beliefs classed together under lycanthropy are far from uniform, and the term is somewhat capriciously applied. The transformation may be temporary or permanent; the were-animal may be the man himself metamorphosed; may be his double whose activity leaves the real man to all appearance unchanged; may be his soul, which goes forth seeking whomever it may devour, leaving its body in a state of trance; or it may be no more than the messenger of the human being, a real animal or a familiar spirit, whose intimate connection with its owner is shown by the fact that any injury to it is believed, by a phenomenon known as repercussion, to cause a corresponding injury to the human being. Werewolves were said in European folklore to bear tell-tale physical traits even in their human form. These included the meeting of both eyebrows at the bridge of the nose, curved fingernails, low-set ears and a swinging stride. One method of identifying a werewolf in its human form was to cut the flesh of the accused, under the pretense that fur would be seen within the wound. A Russian superstition recalls a werewolf can be recognized by bristles under the tongue.[43] The appearance of a werewolf in its animal form varies from culture to culture, though it is most commonly portrayed as being indistinguishable from ordinary wolves save for the fact that it has no tail (a trait thought characteristic of witches in animal form), is often larger, and retains human eyes and a voice. According to some Swedish accounts, the werewolf could be distinguished from a regular wolf by the fact that it would run on three legs, stretching the fourth one backwards to look like a tail.[58] After returning to their human forms, werewolves are usually documented as becoming weak, debilitated and undergoing painful nervous depression.[43] One universally reviled trait in medieval Europe was the werewolf's habit of devouring recently buried corpses, a trait that is documented extensively, particularly in the Annales Medico-psychologiques in the 19th century.[43] Becoming a werewolf Various methods for becoming a werewolf have been reported, one of the simplest being the removal of clothing and putting on a belt made of wolfskin, probably as a substitute for the assumption of an entire animal skin (which also is frequently described).[59] In other cases, the body is rubbed with a magic salve.[59] Drinking rainwater out of the footprint of the animal in question or from certain enchanted streams were also considered effectual modes of accomplishing metamorphosis.[60] The 16th-century Swedish writer Olaus Magnus says that the Livonian werewolves were initiated by draining a cup of specially prepared beer and repeating a set formula. Ralston in his Songs of the Russian People gives the form of incantation still familiar in Russia. In Italy, France and Germany, it was said that a man or woman could turn into a werewolf if he or she, on a certain Wednesday or Friday, slept outside on a summer night with the full moon shining directly on his or her face.[43] In other cases, the transformation was supposedly accomplished by Satanic allegiance for the most loathsome ends, often for the sake of sating a craving for human flesh. "The werewolves", writes Richard Verstegan (Restitution of Decayed Intelligence, 1628), are certayne sorcerers, who having annoynted their bodies with an ointment which they make by the instinct of the devil, and putting on a certayne inchaunted girdle, does not only unto the view of others seem as wolves, but to their own thinking have both the shape and nature of wolves, so long as they wear the said girdle. And they do dispose themselves as very wolves, in worrying and killing, and most of humane creatures. The phenomenon of repercussion, the power of animal metamorphosis, or of sending out a familiar, real or spiritual, as a messenger, and the supernormal powers conferred by association with such a familiar, are also attributed to the magician, male and female, all the world over; and witch superstitions are closely parallel to, if not identical with, lycanthropic beliefs, the occasional involuntary character of lycanthropy being almost the sole distinguishing feature. In another direction the phenomenon of repercussion is asserted to manifest itself in connection with the bush-soul of the West African and the nagual of Central America; but though there is no line of demarcation to be drawn on logical grounds, the assumed power of the magician and the intimate association of the bush-soul or the nagual with a human being are not termed lycanthropy. The curse of lycanthropy was also considered by some scholars as being a divine punishment. Werewolf literature shows many examples of God or saints allegedly cursing those who invoked their wrath with lycanthropy. Such is the case of Lycaon, who was turned into a wolf by Zeus as punishment for slaughtering one of his own sons and serving his remains to the gods as a dinner. Those who were excommunicated by the Roman Catholic Church were also said to become werewolves.[43] The power of transforming others into wild beasts was attributed not only to malignant sorcerers, but to Christian saints as well. Omnes angeli, boni et Mali, ex virtute naturali habent potestatem transmutandi corpora nostra ("All angels, good and bad, have the power of transmutating our bodies") was the dictum of St. Thomas Aquinas. St. Patrick was said to have transformed the Welsh King Vereticus into a wolf; Natalis supposedly cursed an illustrious Irish family whose members were each doomed to be a wolf for seven years. In other tales the divine agency is even more direct, while in Russia, again, men supposedly became werewolves when incurring the wrath of the Devil. A notable exception to the association of Lycanthropy and the Devil, comes from a rare and lesser known account of an 80-year-old man named Thiess. In 1692, in Jürgensburg, Livonia, Thiess testified under oath that he and other werewolves were the Hounds of God.[61] He claimed they were warriors who descended into hell to battle witches and demons. Their efforts ensured that the Devil and his minions did not carry off the grain from local failed crops down to hell. Thiess was steadfast in his assertions, claiming that werewolves in Germany and Russia also did battle with the devil's minions in their own versions of hell, and insisted that when werewolves died, their souls were welcomed into heaven as reward for their service. Thiess was ultimately sentenced to ten lashes for idolatry and superstitious belief. Remedies Various methods have existed for removing the werewolf form. In antiquity, the Ancient Greeks and Romans believed in the power of exhaustion in curing people of lycanthropy. The victim would be subjected to long periods of physical activity in the hope of being purged of the malady. This practice stemmed from the fact that many alleged werewolves would be left feeling weak and debilitated after committing depredations.[43] In medieval Europe, traditionally, there are three methods one can use to cure a victim of lycanthropy; medicinally (usually via the use of wolfsbane), surgically, or by exorcism. However, many of the cures advocated by medieval medical practitioners proved fatal to the patients. A Sicilian belief of Arabic origin holds that a werewolf can be cured of its ailment by striking it on the forehead or scalp with a knife. Another belief from the same culture involves the piercing of the werewolf's hands with nails. Sometimes, less extreme methods were used. In the German lowland of Schleswig-Holstein, a werewolf could be cured if one were to simply address it three times by its Christian name, while one Danish belief holds that merely scolding a werewolf will cure it.[43] Conversion to Christianity is also a common method of removing lycanthropy in the medieval period; a devotion to St. Hubert has also been cited as both cure for and protection from lycanthropes. Connection to revenants Further information: Revenant Before the end of the 19th century, the Greeks believed that the corpses of werewolves, if not destroyed, would return to life in the form of wolves or hyenas which prowled battlefields, drinking the blood of dying soldiers. In the same vein, in some rural areas of Germany, Poland and Northern France, it was once believed that people who died in mortal sin came back to life as blood-drinking wolves. These "undead" werewolves would return to their human corpse form at daylight. They were dealt with by decapitation with a spade and exorcism by the parish priest. The head would then be thrown into a stream, where the weight of its sins was thought to weigh it down. Sometimes, the same methods used to dispose of ordinary vampires would be used. The vampire was also linked to the werewolf in East European countries, particularly Bulgaria, Serbia and Slovenia. In Serbia, the werewolf and vampire are known collectively as vulkodlak.[43] Hungary and Balkans In Hungarian folklore, the werewolves used to live specially in the region of Transdanubia, and it was thought that the ability to change into a wolf was obtained in the infant age, after the suffering of abuse by the parents or by a curse. At the age of seven the boy or the girl leaves the house, goes hunting by night and can change to a person or wolf whenever he wants. The curse can also be obtained when in the adulthood the person passed three times through an arch made of a Birch with the help of a wild rose's spine. The werewolves were known to exterminate all kind of farm animals, especially sheep. The transformation usually occurred during the winter solstice, Easter and a full moon. Later in the 17th and 18th century, the trials in Hungary not only were conducted against witches, but against werewolves too, and many records exist creating connections between both kinds. Also the vampires and werewolves are closely related in Hungary, being both feared in the antiquity.[62] Among the South Slavs, and also among the ethnic Kashubian people in present-day northern Poland, there was the belief that if a child was born with hair, a birthmark or a caul on their head, they were supposed to possess shapeshifting abilities. Though capable of turning into any animal they wished, it was commonly believed that such people preferred to turn into a wolf.[63] Serbian vukodlaks traditionally had the habit of congregating annually in the winter months, when they would strip off their wolf skins and hang them from trees. They would then get a hold of another vulkodlak's skin and burn it, releasing from its curse the vukodlak from whom the skin came.[43] Caucasus According to Armenian lore, there are women who, in consequence of deadly sins, are condemned to spend seven years in wolf form.[64] In a typical account, a condemned woman is visited by a wolfskin-toting spirit, who orders her to wear the skin, which causes her to acquire frightful cravings for human flesh soon after. With her better nature overcome, the she-wolf devours each of her own children, then her relatives' children in order of relationship, and finally the children of strangers. She wanders only at night, with doors and locks springing open at her approach. When morning arrives, she reverts to human form and removes her wolfskin. The transformation is generally said to be involuntary, but there are alternate versions involving voluntary metamorphosis, where the women can transform at will. Americas and Caribbean Main article: Skin-walker See also: Soucouyant and Rougarou The Naskapis believed that the caribou afterlife is guarded by giant wolves which kill careless hunters venturing too near. The Navajo people feared witches in wolf's clothing called "Mai-cob".[56] Woodward thought that these beliefs were due to the Norse colonization of the Americas.[43] When the European colonization of the Americas occurred, the pioneers brought their own werewolf folklore with them and were later influenced by the lore of their neighbouring colonies and those of the Natives. Belief in the loup-garou present in Canada (thence Acadiana[65]), the Upper and Lower Peninsulas of Michigan[66] and upstate New York, originates from French folklore influenced by Native American stories on the Wendigo. In Mexico, there is a belief in a creature called the nagual. In Haiti, there is a superstition that werewolf spirits known locally as Jé-rouge (red eyes) can possess the bodies of unwitting persons and nightly transform them into cannibalistic lupine creatures. The Haitian jé-rouges typically try to trick mothers into giving away their children voluntarily by waking them at night and asking their permission to take their child, to which the disoriented mother may either reply yes or no. The Haitian jé-rouges differ from traditional European werewolves by their habit of actively trying to spread their lycanthropic condition to others, much like vampires.[43] Modern reception Werewolf fiction Main article: Werewolf fiction The Were-Wolf by Clemence Housman Most modern fiction describes werewolves as vulnerable to silver weapons and highly resistant to other injuries. This feature appears in German folklore of the 19th century.[67] The claim that the Beast of Gévaudan, an 18th-century wolf or wolflike creature, was shot by a silver bullet appears to have been introduced by novelists retelling the story from 1935 onwards and not in earlier versions.[68][69][70] English folklore, prior to 1865, showed shapeshifters to be vulnerable to silver. "...till the publican shot a silver button over their heads when they were instantly transformed into two ill-favoured old ladies..."[71] c. 1640 the city of Greifswald, Germany was infested by werewolves. "A clever lad suggested that they gather all their silver buttons, goblets, belt buckles, and so forth, and melt them down into bullets for their muskets and pistols. ... this time they slaughtered the creatures and rid Greifswald of the lycanthropes."[72] The 1897 novel Dracula and the short story "Dracula's Guest", both written by Bram Stoker, drew on earlier mythologies of werewolves and similar legendary demons and "was to voice the anxieties of an age", and the "fears of late Victorian patriarchy".[73] In "Dracula's Guest," a band of military horsem*n coming to the aid of the protagonist chase off Dracula, depicted as a great wolf stating the only way to kill it is by a "Sacred Bullet".[74] This is also mentioned in the main novel Dracula as well. Count Dracula stated in the novel that legends of werewolves originated from his Szekely racial bloodline,[75] who himself is also depicted with the ability to shapeshift into a wolf at will during the night but is unable to do so during the day except at noon.[76] The 1928 novel The Wolf's Bride: A Tale from Estonia, written by the Finnish author Aino Kallas, tells story of the forester Priidik's wife Aalo living in Hiiumaa in the 17th century, who became a werewolf under the influence of a malevolent forest spirit, also known as Diabolus Sylvarum.[77] The first feature film to use an anthropomorphic werewolf was Werewolf of London in 1935. The main werewolf of this film is a dapper London scientist who retains some of his style and most of his human features after his transformation,[78] as lead actor Henry Hull was unwilling to spend long hours being made up by makeup artist Jack Pierce.[79] Universal Studios drew on a Balkan tale of a plant associated with lycanthropy as there was no literary work to draw upon, unlike the case with vampires. There is no reference to silver nor other aspects of werewolf lore such as cannibalism.[80] A more tragic character is Lawrence Talbot, played by Lon Chaney Jr. in 1941's The Wolf Man. With Pierce's makeup more elaborate this time,[81] the movie catapulted the werewolf into public consciousness.[78] Sympathetic portrayals are few but notable, such as the comedic but tortured protagonist David Naughton in An American Werewolf in London,[82] and a less anguished and more confident and charismatic Jack Nicholson in the 1994 film Wolf.[83] Over time, the depiction of werewolves has gone from fully malevolent to even heroic creatures, such as in the Underworld and Twilight series, as well as Blood Lad, Dance in the Vampire Bund, Rosario + Vampire, and various other movies, anime, manga, and comic books. Other werewolves are decidedly more willful and malevolent, such as those in the novel The Howling and its subsequent sequels and film adaptations. The form a werewolf assumes was generally anthropomorphic in early films such as The Wolf Man and Werewolf of London, but a larger and powerful wolf in many later films.[84] Werewolves are often depicted as immune to damage caused by ordinary weapons, being vulnerable only to silver objects, such as a silver-tipped cane, bullet or blade; this attribute was first adopted cinematically in The Wolf Man.[81] This negative reaction to silver is sometimes so strong that the mere touch of the metal on a werewolf's skin will cause burns. Current-day werewolf fiction almost exclusively involves lycanthropy being either a hereditary condition or being transmitted like an infectious disease by the bite of another werewolf. In some fiction, the power of the werewolf extends to human form, such as invulnerability to conventional injury due to their healing factor, superhuman speed and strength and falling on their feet from high falls. Also aggressiveness and animalistic urges may be intensified and more difficult to control (hunger, sexual arousal). Usually in these cases the abilities are diminished in human form. In other fiction it can be cured by medicine men or antidotes. Along with the vulnerability to the silver bullet, the full moon being the cause of the transformation only became part of the depiction of werewolves on a widespread basis in the twentieth century.[85] The first movie to feature the transformative effect of the full moon was Frankenstein Meets the Wolf Man in 1943.[86] The video game The Quarry greatly altered the transformation process of the werewolf. In the game, a character infected by a werewolf will eventually transform instantly into a werewolf as their body seems to explode. At the end of the full moon night, they will revert to their human form in a similar manner. Werewolves are typically envisioned as "working-class" monsters, often being low in socio-economic status, although they can represent a variety of social classes and at times were seen as a way of representing "aristocratic decadence" during 19th century horror literature.[87][88][89] Nazi Germany Nazi Germany used Werwolf, as the mythical creature's name is spelled in German, in 1942–43 as the codename for one of Hitler's headquarters. In the war's final days, the Nazi "Operation Werwolf" aimed at creating a commando force that would operate behind enemy lines as the Allies advanced through Germany itself. Two fictional depictions of "Operation Werwolf"—the US television series True Blood and the 2012 novel Wolf Hunter by J. L. Benét—mix the two meanings of "Werwolf" by depicting the 1945 diehard Nazi commandos as being actual werewolves." (wikipedia.org) "Corvus is a widely distributed genus of medium-sized to large birds in the family Corvidae. It includes species commonly known as crows, ravens and rooks. The species commonly encountered in Europe are the carrion crow, the hooded crow, the common raven and the rook; those discovered later were named "crow" or "raven" chiefly on the basis of their size, crows generally being smaller. The genus name is Latin for "crow".[1] The 45 or so members of this genus occur on all temperate continents except South America, and several islands. The Corvus genus makes up a third of the species in the family Corvidae. The members appear to have evolved in Asia from the corvid stock, which had evolved in Australia. The collective name for a group of crows is a "flock" or a "murder".[2] Recent research has found some crow species capable of not only tool use, but also tool construction.[3] Crows are now considered to be among the world's most intelligent animals[4] with an encephalization quotient equal to that of many non-human primates.... Description Hooded crow (Corvus cornix) in flight Jungle crow (Corvus macrorhynchos) scavenging on a dead shark at a beach in Kumamoto, Japan Medium-large species are ascribed to the genus, ranging from 34 cm (13 in) of some small Mexican species to 60–70 cm (24–28 in) of the large common raven and thick-billed raven, which together with the lyrebird represent the larger passerines. These are birds with a robust and slender appearance, equipped with a small rounded head with a strong conical beak, elongated and pointed, with a slightly curved end towards the bottom: the legs are strong and the tail is short and wedge-shaped. The coloration of the livery is dominated by shades of black, with some species having plumage with metallic iridescence and others that have white or gray areas on the neck or torso: Australian species have light eyes, while generally the irises are dark. Sexual dimorphism is limited. Evolutionary history and systematics Further information: Corvidae Rook (Corvus frugilegus) on a branch The members of the genus Corvus are believed to have evolved in Central Asia and radiated out from there into North America, Africa, Europe, and Australia. The latest evidence[6] regarding the evolution indicates descent within the Australasian family Corvidae. However, the branch that would produce the modern groups such as jays, magpies, and large, predominantly black Corvus species had left Australasia and were concentrated in Asia by the time the Corvus species evolved. The genus was originally described by Carl Linnaeus in his 1758 10th edition of Systema Naturae.[7] The name is derived from the Latin corvus meaning "raven".[8] The type species is the common raven (Corvus corax);[9] others named by Linnaeus in the same work include the carrion crow (C. corone), the hooded crow (C. cornix), the rook (C. frugilegus), and two species which have since been moved to other genera, the western jackdaw (now Coloeus monedula) and the Eurasian magpie (now Pica pica). At least 42 extant species are now considered to be members of Corvus, and at least 14 extinct species have been described. The fossil record of crows is rather dense in Europe, but the relationships among most prehistoric species are not clear. Corvids are found in major cities across the world, and a major increase in the number of crows in urban settings has occurred since the 1900s. Historical records suggest that the population of American crows found in North America has been growing steadily since the introduction of European colonization, and spread east to west with the opening of the frontier. Crows were uncommon in the Pacific Northwest in the 1900s, except in riparian habitats. Populations in the west increased substantially from the late 1800s to the mid-1900s. Crows and ravens spread along with agriculture and urbanization into the western part of North America.[10] Species Main article: List of Corvus species Behavior House crow (Corvus splendens), Bangalore Communal roosting Crows gather in large communal roosts numbering between 200 and tens of thousands of individuals during nonbreeding months, particularly in the winter. These gatherings tend to happen near large food sources such as garbage dumps and shopping centers.[11] Play Countless incidents are recorded of corvids at play. Many behaviourists see play as an essential quality in intelligent animals.[12] Calls Corvus brachyrhynchos call 0:09 Call of Corvus brachyrhynchos (American crow) Problems playing this file? See media help. Crows and the other members of the genus make a wide variety of calls or vocalizations.[13] Crows have also been observed to respond to calls of other species; presumably, this behavior is learned because it varies regionally.[citation needed] Crows' vocalizations are complex and poorly understood. Some of the many vocalizations that crows make are a "koww", usually echoed back and forth between birds, a series of "kowws" in discrete units, a long caw followed by a series of short caws (usually made when a bird takes off from a perch), an echo-like "eh-aw" sound, and more. These vocalizations vary by species, and within each species they vary regionally. In many species, the pattern and number of the numerous vocalizations have been observed to change in response to events in the surroundings (e.g. arrival or departure of crows). Foraging Wolves and ravens associating near a body of water. Along with other birds, ravens have been known to associate with other animals like coyotes and wolves. These associations are linked to feeding and hunting. Ravens use their calls to notify these animals when an injured prey is near. This interaction is most noticeable in winter where ravens are associated with wolf packs nearly 100% of the time.[14] As a result of this connection, there have been studies conducted on the reaction of prey animals to the call of the raven. In areas where ravens associate with predators, prey animals are more likely to avoid predation by leaving after hearing the call.[15] They are also capable of distinguishing between coyotes and wolves and have shown a preference for wolves. This may be due to the fact that wolves kill larger prey.[16] When hunting, ravens can locate injured animals, like elk, and can call out to wolves to kill them. At times, ravens associate with wolves even when there is no carcass and can even be seen forming relationships with them.[16] This includes playing with cubs by using sticks, picking at their tails, or flying around them.[17] 0:13 Audio clip of the call of a Common Raven from the Yellowstone sound library. Ravens have been mostly seen among travelling wolf packs rather than resting wolves, possibly due to the increased likelihood of food. They are also known to trust wolves in the pack they follow, when encountering a carcass killed by animals other than wolves they will be more apprehensive to eat from it.[16] This symbiotic relationship between ravens and wolves is shown to be mutualistic, ravens help wolves find prey and when the wolves kill them the ravens can eat too. However, this relationship is not without its faults. Ravens may at times eat more of the prey than the wolf does. This problem has also been linked to wolf pack size, with some researchers suggesting that one of the reasons wolves hunt in larger packs is so that ravens (and other scavengers) get less of the food.[18] Along with contention in wolves, ravens can also bother each other. By feeding off of the same carcass it is possible that some ravens will steal from their conspecifics. This behaviour is related to the ravens' ability to make quick decisions about eating the food then or storing it for later,[17] and to their dominance and fighting ability.[19] Indian crow in Tamil Nadu Intelligence As a group, crows show remarkable examples of intelligence. Natural history books from the 18th century recount an often-repeated, but unproven anecdote of "counting crows" — specifically a crow whose ability to count to five (or four in some versions) is established through a logic trap set by a farmer.[20][21] Crows and ravens often score very highly on intelligence tests. Certain species top the avian IQ scale.[22] Wild hooded crows in Israel have learned to use bread crumbs for bait-fishing.[23][unreliable source?] Crows engage in a kind of mid-air jousting, or air-"chicken" to establish pecking order. They have been found to engage in activities such as sports,[24] tool use, the ability to hide and store food across seasons, episodic-like memory, and the ability to use individual experience in predicting the behavior of proximal conspecifics.[25] One species, the New Caledonian crow, has also been intensively studied recently because of its ability to manufacture and use tools in the day-to-day search for food. On 5 October 2007, researchers from the University of Oxford presented data acquired by mounting tiny video cameras on the tails of New Caledonian crows. They pluck, smooth, and bend twigs and grass stems to procure a variety of foodstuffs.[26][27] Crows in Queensland have learned how to eat the toxic cane toad by flipping the cane toad on its back and violently stabbing the throat where the skin is thinner, allowing the crow to access the nontoxic innards; their long beaks ensure that all of the innards can be removed.[28][29] The western jackdaw and the Eurasian magpie have been found to have a nidopallium about the same relative size as the functionally equivalent neocortex in chimpanzees and humans, and significantly larger than is found in the gibbons.[30] Crows have demonstrated the ability to distinguish individual humans by recognizing facial features.[31] Evidence also suggests they are one of the few nonhuman animals, along with insects like bees or ants, capable of displacement (communication about things that are not immediately present, spatially or temporally).[32][33] In Japan, crows have demonstrated the ability to learn how to use public drinking fountains for both water and bathing purposes. In the Gumyoji Park of Yokohama crows have shown the ability to both activate public drinking fountains and adjust the water flow to appropriate levels for either bathing or drinking.[34][35] In the past there have been plenty of studies conducted on how ravens and corvids in general learn. Some of these studies have concluded that the brains of ravens and crows compare in relative size to great apes. The encephalization quotient (EQ), helps to expose the similarities between a great ape brain and a crow/raven brain. This includes cognitive ability. Even though the brain differs significantly between mammals and birds we can see larger forebrains in corvids than other birds (except some parrots), especially in areas associated with social learning, planning, decision making in humans and complex cognition in apes. Along with tool use, ravens can recognize themselves in a mirror.[36] This complex cognition can also be extended to socio-cognitive abilities. Studies have been conducted regarding the development and evolution of social abilities in ravens. These results help to show how ravens prefer to form stable relationships with siblings and close social partners as opposed to strangers.[37] The development in social abilities is essential for raven survival, including identifying whether something poses a threat and how ravens alert others nearby of an incoming threat.[38]" (wikipedia.org) "Cultural depictions See also: Cultural depictions of ravens Crow on a Branch - Kawanabe Kyosai (1831–1889) Crow pictured in the former coat of arms of Paattinen In folklore and mythology Crow on a Branch, Maruyama Ōkyo (1733–1795) Dhumavati In Ancient Greece and Rome, several myths about crows and jackdaws included: An ancient Greek and Roman adage, told by Erasmus runs, "The swans will sing when the jackdaws are silent," meaning that educated or wise people will speak after the foolish become quiet.[59] The Roman poet Ovid saw the crow as a harbinger of rain (Amores 2,6, 34).[60] Pliny noted how the Thessalians, Illyrians, and Lemnians cherished jackdaws for destroying grasshoppers' eggs. The Veneti are fabled to have bribed the jackdaws to spare their crops.[61] Ancient Greek authors tell how a jackdaw, being a social creature, may be caught with a dish of oil into which it falls while looking at its own reflection.[61] In Greek legend, princess Arne was bribed with gold by King Minos of Crete and was punished for her avarice by being transformed into an equally avaricious jackdaw, which still seeks shiny things.[62] In the Bible account at 1 Kings 17:6, ravens are credited with providing Elijah food. The Twa Corbies by Arthur Rackham In Australian Aboriginal mythology, Crow is a trickster, culture hero, and ancestral being. Legends relating to Crow have been observed in various Aboriginal language groups and cultures across Australia; these commonly include stories relating to Crow's role in the theft of fire, the origin of death, and the killing of Eagle's son. Crows are mentioned often in Buddhism, especially Tibetan disciplines. The Dharmapala (protector of the Dharma) Mahakala is represented by a crow in one of his physical/earthly forms.[citation needed] In the Chaldean myth, the Epic of Gilgamesh, Utnapishtim releases a dove and raven to find land; however, the dove merely circles and returns. Only then does Utnapishtim send forth the raven, which does not return, and Utnapishtim concludes the raven has found land.[63] In Chinese mythology, the world originally had 10 suns either spiritually embodied as 10 crows and/or carried by 10 crows; when all 10 decided to rise at once, the effect was devastating to crops, so the gods sent their greatest archer Houyi, who shot down nine crows and spared only one.[64][65] In Denmark, the night raven is considered an exorcised spirit. A hole in its left wing denotes where the stake used to exorcise it was driven into the earth. He who looks through the hole will become a night raven himself.[66] In Hinduism, crows are thought of as carriers of information that give omens to people regarding their situations. For example, when a crow crows in front of a person's house, the resident is expected to have special visitors that day. Also, in Hindu literature, crows have great memories which they use to give information.[citation needed] Symbolism is associated with the crow in the Hindu faith. On a positive note, crows are often associated with worship of ancestors because they are believed to be embodying the souls of the recently deceased. However, many other associations with crows are seen in Hinduism. Crows are believed to be connected with both the gods and goddesses, particularly the controversial ones such as Sani, the god of the planet Saturn, who uses a crow as his vehicle. In Hindu astrology, it is said that one who has the effect of Sani in their horoscope are angered easily, and may be unable to take control of their futures, but are extremely intelligent at the same time. Thus the presence of a crow, the vehicle of Sani is believed to have similar effects on the homes it lays its eyes on. Whether these effects are positive or negative is a source of debate in Hinduism.[67] Crows are also considered ancestors in Hinduism and during Śrāddha, the practice of offering food or pinda to crows is still in vogue.[68] Crows are associated with Dhumavati the form of mother goddess that invokes quarrel and fear.[69] Crows are also fed during the fifteen day period of Pitru Paksha, which occurs in the autumn season, as an offering and sacrifice to the ancestors. During the time of Pitra Paksha, it is believed that the ancestors descend on earth from pitra-loka, and are able to eat food offered to them by the means of a crow. This can also occur during the time of Kumbha, many Hindus prepare entire vegetarian meals that are eaten solely by the crows and other birds. In Irish mythology, crows are associated with Morrigan, the goddess of war and death.[70] In Islam, the Surat Al-Ma'ida of the Qur'an describes the story of how the crow teaches son of Adam to cover dead body of his brother: "Then Allah sent a crow digging a grave in the ground for a dead crow, in order to show him how to bury the corpse of his brother. He cried, 'Alas! Have I even failed to be like this crow and bury the corpse of my brother?' So he became regretful."[71] In Japanese mythology, a three-legged crow called Yatagarasu (八咫烏, "eight-hand-crow")[72] is depicted.[73] In Korean mythology, a three-legged crow is known as Samjokgo (hangul: 삼족오; hanja: 三足烏).[citation needed] In Norse mythology, Huginn and Muninn are a pair of common ravens that range the entire world, Midgard, bringing the god Odin information. In Sweden, ravens are held to be the ghosts of murdered men.[74] In Welsh mythology, the god Brân the Blessed – whose name means "crow" or "raven" — is associated with corvids and death; tradition holds that Bran's severed head is buried under the Tower of London, facing France — a possible genesis for the practice of keeping ravens in the Tower, said to protect the fortunes of Britain. In Cornish folklore, crows — magpies particularly — are associated with death and the "other world", and must be greeted respectfully. The origin of "counting crows" as augury is British; however, the British version rather is to "count magpies" — their black and white pied colouring alluding to the realms of the living and dead. In some Native American mythologies, especially those in the Pacific Northwest, the raven is seen as both the Creator of the World and, separately, a trickster god. In medieval times, crows were thought to live abnormally long lives. They were also thought to be monogamous throughout their long lives. They were thought to predict the future, anticipate rain and reveal ambushes. Crows were also thought to lead flocks of storks while they crossed the sea to Asia.[75] In popular culture Literature In Aesop's Fables, the jackdaw embodies stupidity in one tale (by starving while waiting for figs on a fig tree to ripen), vanity in another (the jackdaw sought to become king of the birds with borrowed feathers, but was shamed when they fell off),[76] and cunning in yet another (the crow comes up to a pitcher and knows that his beak is too short to reach the water, and if he tips it over, all the water will fall out, so the crow places pebbles in the pitcher so the water rises and he can reach it to relieve his thirst).[77] The British Poet Laureate Ted Hughes combined some of the Amerindian and Celtic myths mentioned above in writing the 1970 poetry collection Crow: From the Life and Songs of the Crow (1970). In Mrs. Frisby and the Rats of NIMH Mrs. Frisby helps Jeremy, a young crow who was tied with a silver ribbon, and they managed to escape from Dragon, the farmer's cat, in gratitude for saving his life, Jeremy flies Mrs. Frisby to The Great Owl's tree, so that the owl can give the necessary answers to Mrs. Frisby. In Ovid's Metamorphoses, in Greek mythology, the god Apollo became enraged when the crow exposed his lover Coronis' tryst with a mortal, his ire transmuting the crow's feathers from white to black.[78] In the Story of Bhusunda, a chapter of the Yoga Vasistha, a very old sage in the form of a crow, Bhusunda, recalls a succession of epochs in the earth's history, as described in Hindu cosmology. He survived several destructions, living on a wish-fulfilling tree on Mount Meru.[79] Edgar Allan Poe's "The Raven" J. R. R. Tolkien's The Hobbit states that crows are agents of the evil goblins, while ravens are allies of the Dwarves. In Hans Christian Andersen's 1844 fairy tale The Snow Queen, the protagonist Gerda meets a crow and his mate who help her trying to find her friend Kai. Games In a science-fantasy tabletop game Warhammer 40,000 one of 20 demigods called Primarchs is named Corvus Corax, and many of his weapons and armor are raven-themed. He's the spiritual father of a space marine legion (later changed to a chapter) called the Raven Guard. Music Both ravens and crows have commonly featured in the lyrics of heavy metal songs. A 2019 study showed that ravens are the most frequent birds mentioned in heavy metal lyrics, while crows are the fourth (eagles and vultures being the second and third).[" (wikipedia.org) "Symbols of death are the motifs, images and concepts associated with death throughout different cultures, religions and societies.... Images Image of the Grim Reaper on the tailfin of a U.S. Navy F-14D Tomcat of Flight Squadron, VF-101, nicknamed the "Grim Reapers." Traditional Jolly Roger, the flag of "Black Sam" Bellamy and other pirates of the 18th century, displaying a skull and crossbones. Various images are used traditionally to symbolize death; these rank from blunt depictions of cadavers and their parts to more allusive suggestions that time is fleeting and all men are mortals. The human skull is an obvious and frequent symbol of death, found in many cultures and religious traditions.[1] Human skeletons and sometimes non-human animal skeletons and skulls can also be used as blunt images of death; the traditional figures of the Grim Reaper – a black-hooded skeleton with a scythe – is one use of such symbolism.[2] Within the Grim Reaper itself, the skeleton represents the decayed body whereas the robe symbolizes those worn by religious people conducting funeral services.[2] The skull and crossbones motif (☠) has been used among Europeans as a symbol of both piracy and poison.[3] The skull is also important as it remains the only "recognizable" aspect of a person once they have died.[3] Decayed cadavers can also be used to depict death; in medieval Europe, they were often featured in artistic depictions of the danse macabre, or in cadaver tombs which depicted the living and decomposed body of the person entombed. Coffins also serve as blunt reminders of mortality.[4] Europeans were also seen to use coffins and cemeteries to symbolize the wealth and status of the person who has died, serving as a reminder to the living and the deceased as well.[4] Less blunt symbols of death frequently allude to the passage of time and the fragility of life, and can be described as memento mori;[5] that is, an artistic or symbolic reminder of the inevitability of death. Clocks, hourglasses, sundials, and other timepieces both call to mind that time is passing.[3] Similarly, a candle both marks the passage of time, and bears witness that it will eventually burn itself out as well as a symbol of hope of salvation.[3] These sorts of symbols were often incorporated into vanitas paintings, a variety of early still life. Certain animals such as crows, cats, owls, moths, vultures and bats are associated with death; some because they feed on carrion, others because they are nocturnal.[3] Along with death, vultures can also represent transformation and renewal.[3] Religious symbols Veve of Maman Brigitte, the loa of death in Haitian Vodou. Religious symbols of death and depictions of the afterlife will vary with the religion practiced by the people who use them. Tombs, tombstones, and other items of funeral architecture are obvious candidates for symbols of death.[3] In ancient Egypt, the gods Osiris and Ptah were typically depicted as mummies; these gods governed the Egyptian afterlife. In Christianity, the Christian cross is frequently used on graves, and is meant to call to mind the crucifixion of Jesus.[3] Some Christians also erect temporary crosses along public highways as memorials for those who died in accidents. In Buddhism, the symbol of a wheel represents the perpetual cycle of death and rebirth that happens in samsara.[6] The symbol of a grave or tomb, especially one in a picturesque or unusual location, can be used to represent death, as in Nicolas Poussin's famous painting Et in Arcadia ego. Images of life in the afterlife are also symbols of death. Here, again, the ancient Egyptians produced detailed pictorial representations of the life enjoyed by the dead. In Christian folk religion, the spirits of the dead are often depicted as winged angels or angel-like creatures, dwelling among the clouds; this imagery of the afterlife is frequently used in comic depictions of the life after death.[3] In the Islamic view of the Afterlife, death is symbolised by a black and white ram which in turn will be slain to symbolise the Death of Death. The Banshee also symbolizes the coming of death in Irish Mythology.[3] This is typically represented by an older woman who is seen sobbing to symbolize the suffering of a person before their death.[3] Colors Black is the color of mourning in many European cultures. Black clothing is typically worn at funerals to show mourning for the death of the person. In East Asia, white is similarly associated with mourning; it represented the purity and perfection of the deceased person's spirit.[7] During the Victorian era, purple and grey were considered to be mourning colors in addition to black.[8] Furthermore, in Revelation 6 in The Bible, Death is one of the four horsem*n; and he rides a pale horse." (wikipedia.org) "Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death, mortality and the unachievable nature of immortality. Humans can often recognize the buried fragments of an only partially revealed cranium even when other bones may look like shards of stone. The human brain has a specific region for recognizing faces,[1] and is so attuned to finding them that it can see faces in a few dots and lines or punctuation marks; the human brain cannot separate the image of the human skull from the familiar human face. Because of this, both the death and the now-past life of the skull are symbolized. Hindu temples and depiction of some Hindu deities have displayed association with skulls. Moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead, and to some can even seem to look sad due to the downward facing slope on the ends of the eye sockets. A skull with the lower jaw intact may also appear to be grinning or laughing due to the exposed teeth. As such, human skulls often have a greater visual appeal than the other bones of the human skeleton, and can fascinate even as they repel. Societies predominantly associate skulls with death and evil. Unicode reserves character U+1F480 (💀) for a human skull pictogram. ... Examples Throughout the centuries skulls symbolized either warnings of various threats or as reminder of the vanity of earthly pleasures in contrast with our own mortality. Nevertheless, the skull seems to be omnipresent in the first decade of the twenty-first century, appearing on jeweler, bags, clothing and in the shape of various decorative items. However, the increasing use of the skull as a visual symbol in popular culture reduces its original meaning as well as its traditional connotation.[2][3] Literature One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where the title character recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest..." Hamlet is inspired to utter a bitter soliloquy of despair and rough ironic humor. Compare Hamlet's words "Here hung those lips that I have kissed I know not how oft" to Talmudic sources: "...Rabi Ishmael [the High Priest]... put [the severed head of a martyr] in his lap... and cried: oh sacred mouth!...who buried you in ashes...!". The skull was a symbol of melancholy for Shakespeare's contemporaries.[4] An old Yoruba folktale[5] tells of a man who encountered a skull mounted on a post by the wayside. To his astonishment, the skull spoke. The man asked the skull why it was mounted there. The skull said that it was mounted there for talking. The man then went to the king, and told the king of the marvel he had found, a talking skull. The king and the man returned to the place where the skull was mounted; the skull remained silent. The king then commanded that the man be beheaded, and ordered that his head be mounted in place of the skull. The skull speaks in the catacombs of the Capuchin brothers beneath the church of Santa Maria della Concezione in Rome,[6] where disassembled bones and teeth and skulls of the departed Capuchins have been rearranged to form a rich Baroque architecture of the human condition, in a series of anterooms and subterranean chapels with the inscription, set in bones: Noi eravamo quello che voi siete, e quello che noi siamo voi sarete. "We were what you are; and what we are, you will be." Art The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, 1435 The Serpent crawling through the eyes of a skull is a familiar image that survives in contemporary Goth subculture. The serpent is a chthonic god of knowledge and of immortality, because he sloughs off his skin. The serpent guards the Tree in the Greek Garden of the Hesperides and, later, a Tree in the Garden of Eden. The serpent in the skull is always making its way through the socket that was the eye: knowledge persists beyond death, the emblem says, and the serpent has the secret. The late medieval and Early Renaissance Northern and Italian painters place the skull where it lies at the foot of the Cross at Golgotha (Aramaic for the place of the skull). But for them it has become quite specifically the skull of Adam. Skull on table Vanitas, by Pieter Claesz, painted in 1630 In Elizabethan England, the Death's-Head Skull, usually a depiction without the lower jawbone, was emblematic of bawds, rakes, sexual adventurers and prostitutes; the term Death's-Head was actually parlance for these rakes, and most of them wore half-skull rings to advertise their station, either professionally or otherwise. The original Rings were wide silver objects, with a half-skull decoration not much wider than the rest of the band; This allowed it to be rotated around the finger to hide the skull in polite company, and to reposition it in the presence of likely conquests.[citation needed] Venetian painters of the 16th century elaborated moral allegories for their patrons, and memento mori was a common theme. The theme carried by an inscription on a rustic tomb, "Et in Arcadia ego"—"I too [am] in Arcadia", if it is Death that is speaking—is made famous by two paintings by Nicolas Poussin, but the motto made its pictorial debut in Guercino's version, 1618–22 (in the Galleria Barberini, Rome): in it, two awestruck young shepherds come upon an inscribed plinth, in which the inscription ET IN ARCADIA EGO gains force from the prominent presence of a wormy skull in the foreground. lady at round mirror and dressing table resembling a skull "All is Vanity" by C. Allan Gilbert All is Vanity by C. Allan Gilbert, 1873–1929 In C. Allan Gilbert's much-reproduced lithograph of a lovely Gibson Girl seated at her fashionable toilette, an observer can witness its transformation into an alternate image. A ghostly echo of the worldly Magdalene's repentance motif lurks behind this turn-of-the-20th century icon. The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. Simon Schama chronicled the ambivalence of the Dutch to their own worldly success during the Dutch Golden Age of the first half of the 17th century in The Embarrassment of Riches. The possibly frivolous and merely decorative nature of the still life genre was avoided by Pieter Claesz in his Vanitas: Skull, opened case-watch, overturned emptied wineglasses, snuffed candle, book: "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time yet runs on: Vanity!" The visual cues of the hurry and violence of life are contrasted with eternity in this somber, still and utterly silent painting. Symbolism of Fortuna's wheel divine justice and Skull mortality in a Pompeiian mosaic Symbolism of chance (Fortuna's wheel) divine justice (right angle and plumb-bob) and mortality in a Pompeiian mosaic The skull speaks. It says "Et in Arcadia ego" or simply "Vanitas." In a first-century mosaic tabletop from a Pompeiian triclinium (now in Naples), the skull is crowned with a carpenter's square and plumb-bob, which dangles before its empty eyesockets (Death as the great leveler), while below is an image of the ephemeral and changeable nature of life: a butterfly atop a wheel—a table for a philosopher's symposium. Similarly, a skull might be seen crowned by a chaplet of dried roses, a carpe diem, though rarely as bedecked as Mexican printmaker José Guadalupe Posada's Catrina. In Mesoamerican architecture, stacks of skulls (real or sculpted) represented the result of human sacrifices. Pirates The pirate death's-head epitomizes the pirates' ruthlessness and despair; their usage of death imagery might be paralleled with their occupation challenging the natural order of things.[7] "Pirates also affirmed their unity symbolically", Marcus Rediker asserts, remarking the skeleton or skull symbol with bleeding heart and hourglass on the black pirate ensign, and asserting "it triad of interlocking symbols—death, violence, limited time—simultaneously pointed to meaningful parts of the seaman's experience, and eloquently bespoke the pirates' own consciousness of themselves as preyed upon in turn. Pirates seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'"[8] Religion The Mexican death goddess or folk saint known as Santa Muerte is portrayed with a skull instead of a normal head.[9] Skull art is found in depictions of some Hindu Gods. Shiva has been depicted as carrying skull.[10] Goddess Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). Kedareshwara Temple, Hoysaleswara Temple, Chennakeshava Temple, Lakshminarayana Temple are some of the Hindu temples that include sculptures of skulls and Goddess Chamunda.[11] The temple of Kali is veneered with skulls, but the goddess Kali offers life through the welter of blood. In Vajrayana Buddhist iconography, skull symbolism is often used in depictions of wrathful deities and of dakinis. In some Korean life replacement narratives, a person discovers an abandoned skull and worships it. The skull later gives advice on how to cheat the gods of death and prevent an early death. An example of the OSS "Black Propaganda" Humor: at left an Adolf Hitler profile on a "German Reich" stamp; at right the OSS-forged Hitler face version, turned into a death's head on a "Fallen Reich" stamp Political symbol A skull was worn as a trophy on the belt of the Lombard king Alboin, it was a constant grim triumph over his old enemy, and he drank from it. In the same way a skull is a warning when it decorates the palisade of a city, or deteriorates on a pike at a Traitor's Gate. The Skull Tower, with the embedded skulls of Serbian rebels, was built in 1809 on the highway near Niš, Serbia, as a stark political warning from the Ottoman government. In this case the skulls are the statement: that the current owner had the power to kill the former. "Drinking out of a skull the blood of slain (sacrificial) enemies is mentioned by Ammianus and Livy,[12] and Solinus describes the Irish custom of bathing the face in the blood of the slain and drinking it."[13] The rafters of a traditional Jívaro medicine house in Peru, or in New Guinea.[14] When the skull appears in Nazi SS insignia, the death's-head (Totenkopf) represents loyalty unto death. Humans typically note the skull and crossbones sign as the almost universal symbol for toxicity. Holidays Skulls and skeletons are the main symbol of the Day of the Dead, a Mexican holiday. Skull-shaped decorations called calaveras are a common sight during the festivities. Skull on a gravestone edge, at Durisdeer Skull on a gravestone edge, Durisdeer Other uses When tattooed on the forearm its apotropaic power is thought to help an outlaw biker cheat death.[15] The skull and crossbones signify "Poison" when they appear on a glass bottle containing a white powder, or any container in general. The skull that is often engraved or carved on the head of early New England tombstones might be merely a symbol of mortality, but the skull is also often backed by an angelic pair of wings, lofting mortality beyond its own death." (wikipedia.org) "A skull and crossbones is a symbol consisting of a human skull and two long bones crossed together under or behind the skull.[1] The design originated in the Late Middle Ages as a symbol of death and especially as a memento mori on tombstones. In modern contexts, it is generally used as a hazard symbol that warns of danger, usually in regard to poisonous substances, such as deadly chemicals.[1] It is also associated with piracy and software piracy, due to its historical use in some Jolly Roger flags. ... Symbol for poisonous substances Further information: Hazard symbol The international pictogram for poisonous substances. ) The skull and crossbones has long been a standard symbol for poison. In 1829, New York State required the labeling of all containers of poisonous substances.[7] The skull and crossbones symbol appears to have been used for that purpose since the 1850s. Previously a variety of motifs had been used, including the Danish "+ + +" and drawings of skeletons.[8] In the 1870s poison manufacturers around the world began using bright cobalt bottles with a variety of raised bumps and designs (to enable easy recognition in the dark) to indicate poison,[9] but by the 1880s the skull and cross bones had become ubiquitous, and the brightly coloured bottles lost their association.[10] In the United States, due to concerns that the skull-and-crossbones symbol's association with pirates might encourage children to play with toxic materials, the Mr. Yuk symbol is also used to denote poison but in 2001, the American Association of Poison Control Center voted to continue to require the skull and crossbones symbol." (wikipedia.org) "Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper (usually depicted as a berobed skeleton wielding a scythe) causes the victim's death by coming to collect that person's soul. Other beliefs hold that the Spectre of Death is only a psychopomp, serving to sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often[clarification needed] personified in male form, although in certain cultures Death is perceived as female (for instance, Marzanna in Slavic mythology, or Santa Muerte in Mexico).... By region Death from the Cary-Yale Tarot Deck (15th century) Americas La Calavera Catrina Latin America As is the case in many Romance languages (including French, Portuguese, Italian, and Romanian), the Spanish word for death, muerte, is a feminine noun. As such, it is common in Spanish-speaking cultures to personify death as a female figure. In Aztec mythology, Mictecacihuatl is the "Queen of Mictlan" (the Aztec underworld), ruling over the afterlife with her husband Mictlantecuhtli. Other epithets for her include "Lady of the Dead," as her role includes keeping watch over the bones of the dead. Mictecacihuatl was represented with a fleshless body and with jaw agape to swallow the stars during the day. She presided over the ancient festivals of the dead, which evolved from Aztec traditions into the modern Day of the Dead after synthesis with Spanish cultural traditions.[citation needed] There was also the goddess of suicide, Ixtab. She was a minor goddess in the scale of Aztec mythology. She was also known as The Hangwoman as she came to help along those who had killed themselves. Our Lady of the Holy Death (Santa Muerte) is a female deity or folk saint of Mexican folk religion, whose popularity has been growing in Mexico and the United States in recent years. Since the pre-Columbian era, Mexican culture has maintained a certain reverence towards death, as seen in the widespread commemoration of the Day of the Dead. La Calavera Catrina, a character symbolizing death, is also an icon of the Mexican Day of the Dead. San La Muerte (Saint Death) is a skeletal folk saint venerated in Paraguay, northeast Argentina, and southern Brazil. As the result of internal migration in Argentina since the 1960s, the veneration of San La Muerte has been extended to Greater Buenos Aires and the national prison system as well. Saint Death is depicted as a male skeleton figure usually holding a scythe. Although the Catholic Church in Mexico has attacked the devotion of Saint Death as a tradition that mixes paganism with Christianity and is contrary to the Christian belief of Christ defeating death, many devotees consider the veneration of San La Muerte as being part of their Catholic faith. The rituals connected and powers ascribed to San La Muerte are very similar to those of Santa Muerte; the resemblance between their names, however, is coincidental. In Guatemala, San Pascualito is a skeletal folk saint venerated as "King of the Graveyard." He is depicted as a skeletal figure with a scythe, sometimes wearing a cape and crown. He is associated with death and the curing of diseases. In the Brazilian religion Umbanda, the orixá Omolu personifies sickness and death as well as healing. The image of the death is also associated with Exu, lord of the crossroads, who rules cemeteries and the hour of midnight. In Haitian Vodou, the Guédé are a family of spirits that embody death and fertility. The most well-known of these spirits is Baron Samedi. Asia East Asia See also: Life replacement narratives Yama was introduced to Chinese mythology through Buddhism. In Chinese, he is known as King Yan (t 閻王, s 阎王, p Yánwáng) or Yanluo (t 閻羅王, s 阎罗王, p Yánluówáng), ruling the ten gods of the underworld Diyu. He is normally depicted wearing a Chinese judge's cap and traditional Chinese robes and appears on most forms of hell money offered in ancestor worship. From China, Yama spread to Japan as the Great King Enma (閻魔大王, Enma-Dai-Ō), ruler of Jigoku (地獄); Korea as the Great King Yeomra (염라대왕), ruler of Jiok (지옥); and Vietnam as Diêm La Vương, ruler of Địa Ngục or Âm Phủ. Separately, in Korean mythology, death's principal figure is the "Netherworld Emissary" Jeoseungsaja (저승사자, shortened to Saja (사자)). He is depicted as a stern and ruthless bureaucrat in Yeomna's service. A psychopomp, he escorts all – good or evil – from the land of the living to the netherworld when the time comes.[1] One of the representative names is Ganglim (강림), the Saja who guides the soul to the entrance of the underworld. According to legend, he always carries Jeokpaeji (적패지), the list with the names of the dead written on a red cloth. When he calls the name on Jeokpaeji three times, the soul leaves the body and follows him inevitably. The Kojiki relates that the Japanese goddess Izanami was burnt to death giving birth to the fire god Hinokagutsuchi. She then entered a realm of perpetual night called Yomi-no-Kuni. Her husband Izanagi pursued her there but discovered his wife was no longer as beautiful as before. After an argument, she promised she would take a thousand lives every day, becoming a goddess of death, as well as giving birth to the gods, Raijin and Fūjin, while dead. There are also death gods called shinigami (死神), which are closer to the Western tradition of the Grim Reaper; while common in modern Japanese arts and fiction, they were essentially absent in traditional mythology. India Yama, the Hindu lord of death, presiding over his court in hell The Sanskrit word for death is mrityu (cognate with Latin mors and Lithuanian mirtis), which is often personified in Dharmic religions. In Hindu scriptures, the lord of death is called King Yama (यम राज, Yama Rājā). He is also known as the King of Karmic Justice (Dharmaraja) as one's karma at death was considered to lead to a just rebirth. Yama rides a black buffalo and carries a rope lasso to lead the soul back to his home, called Naraka, pathalloka, or Yamaloka. There are many forms of reapers, although some say there is only one who disguises himself as a small child. His agents, the Yamadutas, carry souls back to Yamalok. There, all the accounts of a person's good and bad deeds are stored and maintained by Chitragupta. The balance of these deeds allows Yama to decide where the soul should reside in its next life, following the theory of reincarnation. Yama is also mentioned in the Mahabharata as a great philosopher and devotee of the Supreme Brahman. Western Asia Main article: Mot (god) The canaan of the 12th- and 13th-century BC Levant personified death as the god Mot (lit. "Death"). He was considered a son of the king of the gods, El. His contest with the storm god Baʿal forms part of the myth cycle from the Ugaritic texts. The Phoenicians also worshipped death under the name Mot and a version of Mot later became Maweth, the devil or angel of death in Judaism.[2][3] Europe Baltic "Death" (Nāve; 1897) by Janis Rozentāls Latvians named Death Veļu māte, but for Lithuanians it was Giltinė, deriving from the word gelti ("to sting"). Giltinė was viewed as an old, ugly woman with a long blue nose and a deadly poisonous tongue. The legend tells that Giltinė was young, pretty, and communicative until she was trapped in a coffin for seven years. Her sister was the goddess of life and destiny, Laima, symbolizing the relationship between beginning and end. Like the Scandinavians, Lithuanians and Latvians later began using Grim Reaper imagery for death. Celtic Bunworth Banshee, "Fairy Legends and Traditions of the South of Ireland", by Thomas Crofton Croker, 1825 In Breton folklore, a spectral figure called the Ankou (or Angau in Welsh) portends death. Usually, the Ankou is the spirit of the last person that died within the community and appears as a tall, haggard figure with a wide hat and long white hair or a skeleton with a revolving head. The Ankou drives a deathly wagon or cart with a creaking axle. The cart or wagon is piled high with corpses and a stop at a cabin means instant death for those inside.[4] Irish mythology features a similar creature known as a dullahan, whose head would be tucked under his or her arm (dullahans were not one, but an entire species). The head was said to have large eyes and a smile that could reach the head's ears. The dullahan would ride a black horse or a carriage pulled by black horses, and stop at the house of someone about to die, and call their name, and immediately the person would die. The dullahan did not like being watched, and it was believed that if a dullahan knew someone was watching them, they would lash that person's eyes with their whip, which was made from a spine; or they would toss a basin of blood on the person, which was a sign that the person was next to die. Gaelic lore also involves a female spirit known as Banshee (Modern Irish Gaelic: bean sí pron. banshee, literally fairy woman), who heralds the death of a person by shrieking or keening. The banshee is often described as wearing red or green, usually with long, disheveled hair. She can appear in a variety of forms, typically that of an ugly, frightful hag, but in some stories she chooses to appear young and beautiful. Some tales recount that the creature was actually a ghost, often of a specific murdered woman or a mother who died in childbirth. When several banshees appeared at once, it was said to indicate the death of someone great or holy. In Ireland and parts of Scotland, a traditional part of mourning is the keening woman (bean chaointe), who wails a lament – in Irish: Caoineadh, caoin meaning "to weep, to wail." In Scottish folklore there was a belief that a black, dark green or white dog known as a Cù Sìth took dying souls to the afterlife. Comparable figures exist in Irish and Welsh stories. In Welsh Folklore, Gwyn ap Nudd is the escort of the grave, the personification of Death and Winter who leads the Wild Hunt to collect wayward souls and escort them to the Otherworld, sometimes it is Maleagant, Arawn or Afallach in a similar position. Hellenic Main article: Thanatos In Ancient Greek religion and Greek mythology, Death (Thanatos) is one of the twin sons of Nyx (night). Like her, he is seldom portrayed directly. He sometimes appears in art as a winged and bearded man, and occasionally as a winged and beardless youth. When he appears together with his twin brother, Hypnos, the god of sleep, Thanatos generally represents a gentle death. Thanatos, led by Hermes psychopompos, takes the shade of the deceased to the near shore of the river Styx, whence the ferryman Charon, on payment of a small fee, conveys the shade to Hades, the realm of the dead. Homer's Iliad 16.681, and the Euphronios Krater's depiction of the same episode, have Apollo instruct the removal of the heroic, semi-divine Sarpedon's body from the battlefield by Hypnos and Thanatos, and conveyed thence to his homeland for proper funeral rites.[citation needed] Among the other children of Nyx are Thanatos' sisters, the Keres, blood-drinking, vengeant spirits of violent or untimely death, portrayed as fanged and taloned, with bloody garments. Scandinavia Hel (1889) by Johannes Gehrts, pictured here with her hound Garmr In Scandinavia, Norse mythology personified death in the shape of Hel, the goddess of death and ruler over the realm of the same name, where she received a portion of the dead.[5] In the times of the Black Plague, Death would often be depicted as an old woman known by the name of Pesta, meaning "plague hag," wearing a black hood. She would go into a town carrying either a rake or a broom. If she brought the rake, some people would survive the plague; if she brought the broom, however, everyone would die.[6] Scandinavians later adopted the Grim Reaper with a scythe and black robe. Today, Ingmar Bergman's 1957 film The Seventh Seal features one of the world's most famous representations of this personification of Death.[citation needed] Slavic Prague Astronomical Clock In Poland, Death – Śmierć or kostuch – has an appearance similar to the Grim Reaper, although its robe was traditionally white instead of black. Because the word śmierć is feminine in gender, death is frequently portrayed as a skeletal old woman, as depicted in 15th-century dialogue "Rozmowa Mistrza Polikarpa ze Śmiercią" (Latin: "Dialogus inter Mortem et Magistrum Polikarpum"). In Serbia and other South Slavic countries, the Grim Reaper is well known as Smrt ("Death") or Kosač ("Billhook"). Slavic people found this very similar to the Devil and other dark powers. One popular saying about death is: Smrt ne bira ni vreme, ni mesto, ni godinu ("Death does not choose a time, place or year" – which means death is destiny.)[original research?] Morana is a Slavic goddess of winter time, death and rebirth. A figurine of the same name is traditionally created at the end of winter/beginning of spring and symbolically taken away from villages to be set in fire and/or thwown into a river, that takes her away from the world of the living. In the Czech Republic, the medieval Prague Astronomical Clock carries a depiction of Death striking the hour. A version first appeared in 1490.[7][8] The Low Countries In the Netherlands, and to a lesser extent in Belgium, the personification of Death is known as Magere Hein ("Meager Hein") or Pietje de Dood ("Peter the Death").[9] Historically, he was sometimes simply referred to as Hein or variations thereof such as Heintje, Heintjeman and Oom Hendrik ("Uncle Hendrik"). Related archaic terms are Beenderman ("Bone-man"), Scherminkel (very meager person, "skeleton") and Maaijeman ("mow-man", a reference to his scythe).[10] The concept of Magere Hein predates Christianity, but was Christianized and likely gained its modern name and features (scythe, skeleton, black robe etc.) during the Middle Ages. The designation "Meager" comes from its portrayal as a skeleton, which was largely influenced by the Christian "Dance of Death" (Dutch: dodendans) theme that was prominent in Europe during the late Middle Ages. "Hein" was a Middle Dutch name originating as a short form of Heinric (see Henry (given name)). Its use was possibly related to the comparable German concept of "Freund Hein."[citation needed] Notably, many of the names given to Death can also refer to the Devil; it is likely that fear of death led to Hein's character being merged with that of Satan.[10][11] In Belgium, this personification of Death is now commonly called Pietje de Dood "Little Pete, the Death."[12] Like the other Dutch names, it can also refer to the Devil.[13] Western Europe In Western Europe, Death has commonly been personified as an animated skeleton since the Middle Ages.[14] This character, which is often depicted wielding a scythe, is said to collect the souls of the dying or recently dead. In English and German culture, Death is typically portrayed as male, but in French, Spanish, and Italian culture, it is not uncommon for Death to be female.[15] In England, the personified "Death" featured in medieval morality plays, later regularly appearing in traditional folk songs.[16] The following is a verse of "Death and the Lady" (Roud 1031) as sung by Henry Burstow in the nineteenth century: Fair lady, throw those costly robes aside, No longer may you glory in your pride. Take leave of all sour carnal vain delight I'm come to summon you away this night.[16] In the late 1800s, the character of Death became known as the Grim Reaper in English literature. The earliest appearance of the name "Grim Reaper" in English is in the 1847 book The Circle of Human Life:[17][18][19] All know full well that life cannot last above seventy, or at the most eighty years. If we reach that term without meeting the grim reaper with his scythe, there or there about, meet him we surely shall. In Abrahamic religions See also: Destroying angel (Bible) This section should specify the language of its non-English content, using {{lang}}, {{transliteration}} for transliterated languages, and {{IPA}} for phonetic transcriptions, with an appropriate ISO 639 code. Wikipedia's multilingual support templates may also be used. See why. (January 2022) The "Angel of the Lord" smites 185,000 men in the Assyrian camp (II Kings 19:35). When the Angel of Death passes through to smite the Egyptian first-born, God prevents "the destroyer" (shâchath) from entering houses with blood on the lintel and side posts (Exodus 12:23). The "destroying angel" (mal'ak ha-mashḥit) rages among the people in Jerusalem (II Sam. 24:16). In I Chronicles 21:15 the "angel of the Lord" is seen by King David standing "between the earth and the heaven, having a drawn sword in his hand stretched out over Jerusalem." The biblical Book of Job (33:22) uses the general term "destroyers" (memitim), which tradition has identified with "destroying angels" (mal'ake Khabbalah), and Prov. 16:14 uses the term the "angels of death" (mal'ake ha-mavet). The angel Azra'il is sometimes referred as the Angel of Death as well.[20] Jewish tradition also refers to Death as the Angel of Dark and Light, a name which stems from Talmudic lore. There is also a reference to "Abaddon" (The Destroyer), an angel who is known as the "Angel of the Abyss". In Talmudic lore, he is characterized as archangel Michael.[21] In Judaism La mort du fossoyeur (Death of the gravedigger) by Carlos Schwabe In Hebrew scriptures, Death ("Maweth/Mavet(h)") is sometimes personified as a devil or angel of death (e.g., Habakkuk 2:5; Job 18:13).[2] In both the Book of Hosea and the Book of Jeremiah, Maweth/Mot is mentioned as a deity to whom Yahweh can turn over Judah as punishment for worshiping other gods.[22] The memitim are a type of angel from biblical lore associated with the mediation over the lives of the dying. The name is derived from the Hebrew word mĕmītǐm (מְמִיתִים – "executioners", "slayers", "destroyers") and refers to angels that brought about the destruction of those whom the guardian angels no longer protected.[23] While there may be some debate among religious scholars regarding the exact nature of the memitim, it is generally accepted that, as described in the Book of Job 33:22, they are killers of some sort.[24] Form and functions According to the Midrash, the Angel of Death was created by God on the first day.[25] His dwelling is in heaven, whence he reaches earth in eight flights, whereas Pestilence reaches it in one.[26] He has twelve wings.[27] "Over all people have I surrendered thee the power," said God to the Angel of Death, "only not over this one [i.e. Moses] which has received freedom from death through the Law."[28] It is said of the Angel of Death that he is full of eyes. In the hour of death, he stands at the head of the departing one with a drawn sword, to which clings a drop of gall. As soon as the dying man sees Death, he is seized with a convulsion and opens his mouth, whereupon Death throws the drop into it. This drop causes his death; he turns putrid, and his face becomes yellow.[29] The expression "the taste of death" originated in the idea that death was caused by a drop of gall.[30] The soul escapes through the mouth, or, as is stated in another place, through the throat; therefore, the Angel of Death stands at the head of the patient (Adolf Jellinek, l.c. ii. 94, Midr. Teh. to Ps. xi.). When the soul forsakes the body, its voice goes from one end of the world to the other, but is not heard (Gen. R. vi. 7; Ex. R. v. 9; Pirḳe R. El. xxxiv.). The drawn sword of the Angel of Death, mentioned by the Chronicler (I. Chron. 21:15; comp. Job 15:22; Enoch 62:11), indicates that the Angel of Death was figured as a warrior who kills off the children of men. "Man, on the day of his death, falls down before the Angel of Death like a beast before the slaughterer" (Grünhut, "Liḳḳuṭim", v. 102a). R. Samuel's father (c. 200) said: "The Angel of Death said to me, 'Only for the sake of the honor of mankind do I not tear off their necks as is done to slaughtered beasts'" ('Ab. Zarah 20b). In later representations, the knife sometimes replaces the sword, and reference is also made to the cord of the Angel of Death, which indicates death by throttling. Moses says to God: "I fear the cord of the Angel of Death" (Grünhut, l.c. v. 103a et seq.). Of the four Jewish methods of execution, three are named in connection with the Angel of Death: Burning (by pouring hot lead down the victim's throat), slaughtering (by beheading), and throttling. The Angel of Death administers the particular punishment that God has ordained for the commission of sin. A peculiar mantle ("idra" – according to Levy, "Neuhebr. Wörterb." i. 32, a sword) belongs to the equipment of the Angel of Death (Eccl. R. iv. 7). The Angel of Death takes on the particular form which will best serve his purpose; e.g., he appears to a scholar in the form of a beggar imploring pity (the beggar should receive Tzedakah)(M. Ḳ. 28a). "When pestilence rages in the town, walk not in the middle of the street, because the Angel of Death [i.e., pestilence] strides there; if peace reigns in the town, walk not on the edges of the road. When pestilence rages in the town, go not alone to the synagogue, because there the Angel of Death stores his tools. If the dogs howl, the Angel of Death has entered the city; if they make sport, the prophet Elijah has come" (B. Ḳ. 60b). The "destroyer" (saṭan ha-mashḥit) in the daily prayer is the Angel of Death (Ber. 16b). Midr. Ma'ase Torah (compare Jellinek, "B. H." ii. 98) says: "There are six Angels of Death: Gabriel over kings; Ḳapẓiel over youths; Mashbir over animals; Mashḥit over children; Af and Ḥemah over man and beast." Samael is considered in Talmudic texts to be a member of the heavenly host with often grim and destructive duties. One of Samael's greatest roles in Jewish lore is that of the main angel of death and the head of satans.[31] Scholars and the Angel of Death The Angel of Death, sculpture of a funeral gondola, Venice. Photo by Paolo Monti, 1951. Talmud teachers of the 4th century associate quite familiarly with him. When he appeared to one on the street, the teacher reproached him with rushing upon him as upon a beast, whereupon the angel called upon him at his house. To another, he granted a respite of thirty days, that he might put his knowledge in order before entering the next world. To a third, he had no access, because he could not interrupt the study of the Talmud. To a fourth, he showed a rod of fire, whereby he is recognized as the Angel of Death (M. K. 28a). He often entered the house of Bibi and conversed with him (Ḥag. 4b). Often, he resorts to strategy in order to interrupt and seize his victim (B. M. 86a; Mak. 10a). The death of Joshua ben Levi in particular is surrounded with a web of fable. When the time came for him to die and the Angel of Death appeared to him, he demanded to be shown his place in paradise. When the angel had consented to this, he demanded the angel's knife, that the angel might not frighten him by the way. This request also was granted him, and Joshua sprang with the knife over the wall of paradise; the angel, who is not allowed to enter paradise, caught hold of the end of his garment. Joshua swore that he would not come out, and God declared that he should not leave paradise unless he had ever absolved himself of an oath; he had never absolved himself of an oath so he was allowed to remain. The Angel of Death then demanded back his knife, but Joshua refused. At this point, a heavenly voice (bat ḳol) rang out: "Give him back the knife, because the children of men have need of it will bring death." Hesitant, Joshua Ben Levi gives back the knife in exchange for the Angel of Death's name. To never forget the name, he carved Troke into his arm, the Angel of Death's chosen name. When the knife was returned to the Angel, Joshua's carving of the name faded, and he forgot. (Ket. 77b; Jellinek, l.c. ii. 48–51; Bacher, l.c. i. 192 et seq.). Rabbinic views The Rabbis found the Angel of Death mentioned in Psalm 89:48, where the Targum translates: "There is no man who lives and, seeing the Angel of Death, can deliver his soul from his hand." Eccl. 8:4 is thus explained in Midrash Rabbah to the passage: "One may not escape the Angel of Death, nor say to him, 'Wait until I put my affairs in order,' or 'There is my son, my slave: take him in my stead.'" Where the Angel of Death appears, there is no remedy, but his name (Talmud, Ned. 49a; Hul. 7b). If one who has sinned has confessed his fault, the Angel of Death may not touch him (Midrash Tanhuma, ed. Buber, 139). God protects from the Angel of Death (Midrash Genesis Rabbah lxviii.). By acts of benevolence, the anger of the Angel of Death is overcome; when one fails to perform such acts the Angel of Death will make his appearance (Derek Ereẓ Zuṭa, viii.). The Angel of Death receives his orders from God (Ber. 62b). As soon as he has received permission to destroy, however, he makes no distinction between good and bad (B. Ḳ. 60a). In the city of Luz, the Angel of Death has no power, and, when the aged inhabitants are ready to die, they go outside the city (Soṭah 46b; compare Sanh. 97a). A legend to the same effect existed in Ireland in the Middle Ages (Jew. Quart. Rev. vi. 336). In Christianity Gustave Doré Death on the Pale Horse (1865) – The fourth Horseman of the Apocalypse Death is one of the Four Horsem*n of the Apocalypse portrayed in the Book of Revelation, in Revelation 6:7–8.[32] And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth. — Revelation 6:8, King James Version He is also known as the Pale Horseman whose name is Thanatos, the same as that of the ancient Greek personification of death, and the only one of the horsem*n to be named. Paul addresses a personified death in 1 Corinthians 15:55. "O Death, where is your sting? O Hades, where is your victory?" — 1 Corinthians 15:55, New King James Version In some versions, both arms of this verse are addressed to death.[33] The Christian scriptures contain the first known depiction of Abaddon as an individual entity instead of a place. A king, the angel of the bottomless pit; whose name in Hebrew is Abaddon, and in Greek Apollyon; in Latin Exterminans. — Revelation 9:11, Douay–Rheims Bible In Hebrews 2:14 the devil "holds the power of death."[34] Since therefore the children share in flesh and blood, he himself likewise partook of the same things, that through death he might destroy the one who has the power of death, that is, the devil, and deliver all those who through fear of death were subject to lifelong slavery. — Hebrews 2:14–15, English Standard Version Although many of Samael's functions resemble the Christian notion of Satan, to the point of being sometimes identified as a fallen angel,[35][36]: 257–260 in others he is not necessarily evil, since his functions are also regarded as resulting in good, such as destroying sinners.[37] Conversely, the early Christian writer Origen believed the destroying angel of Exodus 12:23 to be Satan.[38] The Grim Reaper, is stated to be destroyed by the Lake of Fire that burns with sulfur. Death and Hades were thrown into the Lake of Fire. This is the second death. — Revelation 20:14, King James Version The last enemy to be destroyed is death. — 1 Corinthians 15:26, New International Version In Islam In Islam, Archangel Azrael is the Malak al-Maut (angel of death). He and his many subordinates pull the souls out of the bodies, and guide them through the journey of the afterlife. Their appearance depends on the person's deed and actions, with those that did good seeing a beautiful being, and those that did wrong seeing a horrific monster. Islamic tradition discusses elaborately as to what exactly happens before, during, and after the death. The angel of death appears to the dying to take out their souls. The sinners' souls are extracted in a most painful way while the righteous are treated easily.[39] After the burial, two angels – Munkar and Nakir – come to question the dead in order to test their faith. The righteous believers answer correctly and live in peace and comfort while the sinners and disbelievers fail and punishments ensue.[39][40] The time period or stage between death and resurrection is called barzakh (the interregnum).[39] Death is a significant event in Islamic life and theology. It is seen not as the termination of life, rather the continuation of life in another form. In Islamic belief, God has made this worldly life as a test and a preparation ground for the afterlife; and with death, this worldly life comes to an end.[41] Thus, every person has only one chance to prepare themselves for the life to come where God will resurrect and judge every individual and will entitle them to rewards or punishment, based on their good or bad deeds.[41][42] And death is seen as the gateway to and beginning of the afterlife. In Islamic belief, death is predetermined by God, and the exact time of a person's death is known only to God. Media Songs "Death Don't Have No Mercy" Main article: Death Don't Have No Mercy The 1960 gospel blues song "Death Don't Have No Mercy", composed and first recorded by Blind Gary Davis, portrays death as an inevitable and periodic visitor.[43] According to the musicologist David Malvinni, it "presents a terrifying personification of the instant, sudden possibility [of] death at any moment that could have come from the medieval era's confrontation with the plague".[44] "(Don't Fear) The Reaper" Main article: (Don't Fear) The Reaper The 1976 Blue Öyster Cult song "(Don't Fear) The Reaper", recorded for their album Agents of Fortune, alludes to the Grim Reaper in the title and lyrics. The song encourages the audience not to fear death, but rather to think of it as something that immortalizes love.[45] "Creeping Death" Main article: Creeping Death The 1984 thrash metal song "Creeping Death", recorded by Metallica, references the angel of death, among other religious symbols. It is described by the writer Tom King as "a tale of righteous Biblical rage and devastation straight out of the Book of Revelations".[46] Books death (Death with Interruptions or Death at Intervals) Main article: Death with Interruptions Nobel laureate José Saramago's novel features an anthropomorphised death as its main character, who insists that her name be written lowercase. She is depicted as a skeleton who can shapeshift and be omnipresent and has a scythe, though she doesn't always carry it. Her jurisdiction is limited to the imaginary country where the story happens and to the human species. It is implied that other deaths with jurisdiction over different life forms and territories exist, as well as an overarching death and/or god. The book deals with how society relates to death, both as a phenomenon and a character, and likewise how death relates to the people she is meant to kill and with loneliness and love. Death (Discworld) Main article: Death (Discworld) Death is a fictional character in Terry Pratchett's Discworld series, and depicted as one of many Deaths. His jurisdiction is specifically the Discworld itself; he is only a part, or minion, of Azrael, the universal Death. Death has appeared in every Discworld novel, with the exception of The Wee Free Men and Snuff. Mort, published in 1987, is the first time Death appears as a leading character.[47] Death (The Book Thief) Main article: The Book Thief Death is the narrator of Markus Zusak's 2005 novel The Book Thief. He is a collector of deceased souls in the story. He tells the coming of age story about a girl he witnessed living in Nazi Germany and surviving World War II.[48] Death (Harry Potter) Main article: The Tales of Beedle the Bard Death appears in "The Tale of Three Brothers" in J.K. Rowling's The Tales of Beedle the Bard, a collection of fairytales featured in her Harry Potter series. Three brothers avoid Death and Death, furious at being avoided, offers the brothers gifts. Two of these gifts, the Elder Wand and the Resurrection Stone lead to the first two brothers' deaths. The third brother, gifted with the Invisibility Cloak avoids Death until old age, where he then goes with Death like an old friend. These gifts became the Deathly Hallows.[49] Death (Incarnations of Immortality) Main article: On a Pale Horse Death is a held office in Piers Anthony's 1983 novel On a Pale Horse.[50] The character Zane becomes Death after a suicide attempt that ends up killing the previous Death. He is taught by his fellow Incarnations Time and Fate and must defeat the Incarnation of Evil, Satan. He is given several items to aid him on his job, including a watch to stop local time, jewels to measure how much good and evil is in a person for judgment, and his pale horse Mortis, who often takes the form of a pale car. Zane as Death appears in Anthony's following novels, notably Bearing an Hourglass. Charlie Asher (A Dirty Job) Main article: A Dirty Job Death is a career in Christopher Moore's A Dirty Job.[51] Charlie Asher is chosen to be a "Death Merchant" for retrieving souls and protect them from dark forces while managing his story and raising his newborn daughter. Comics Death (DC Comics) Main article: Death (DC Comics) Death first appeared in The Sandman vol. 2, #8 (August 1989), and was created by Neil Gaiman and Mike Dringenberg.[52] She is both an embodiment of death and a psychopomp in The Sandman Universe, and depicted as a down to earth, perky, and nurturing figure. Death is the second born of The Endless and she states "When the last living thing dies, my job will be finished. I'll put the chairs on the tables, turn out the lights and lock the universe behind me when I leave."[53] Death also appears briefly in Fables #11 (May 2003) titled "Bag O' Bones", where Jack Horner traps Death in a magical bag that never gets full.[54] There has been no indication as to whether Fables has any connection to the Sandman universe. Death (Marvel Comics) Main article: Death (Marvel Comics) The character first appeared in Captain Marvel #26 (Jun. 1973) and was created by Mike Friedrich and Jim Starlin. Death is an abstract entity, the embodiment of the end of life in the Marvel Universe, and resides inside a pocket dimension known as the Realm of Death.[55] The character can change appearance at will shown in a storyline of Captain Marvel where Thanos' scheme to conquer the universe, as the character becomes determined to prove his love for Death by destroying all life. Lady MacDeath (Bug-a-Boo) Main article: Bug-a-Booo Lady MacDeath is a Grim Reaper, the personification of Death who is responsible of going after all people whose time to die has come, although unlike a typical Grim Reaper, her body is not pictured as made of bones. She uses her sickle to kill people, by hitting them in the head, and then she takes their souls to the purgatory, for them to be judged and sent whether to hell or heaven (sometimes after much bureaucracy). She always carries a list with the name of the people she must kill on the day. Most of her stories feature a pursuit, sometimes punctuated with struggles faced every day by normal people. Maurício de Souza says that the purpose of creating her is "taking death less seriously, while it doesn't come to us". Film This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2021) (Learn how and when to remove this template message) Death Takes a Holiday (1934) Main article: Death Takes a Holiday After years of questioning why people fear him, Death takes on human form for three days so that he can mingle among mortals and find an answer. He finds a host in Duke Lambert after revealing himself and his intentions to the Duke, and takes up temporary residence in the Duke's villa. However, events soon spiral out of control as Death falls in love with the beautiful young Grazia. As he does so, Duke Lambert, the father of Grazia's mortal lover Corrado, begs him to give Grazia up and leave her among the living. Death must decide whether to seek his own happiness, or sacrifice it so that Grazia may live. The 1998 American film Meet Joe Black is loosely based on the 1934 film. While on Earth, Death, living under the name Joe Black, enlists the wealthy Bill Parrish to be his guide to mortal life, and in exchange guarantees that Bill will not die as long as he serves as "Joe's" guide. Joe falls in love with Bill's youngest daughter, Susan, a resident in internal medicine, and learns the meaning of both friendship and love. The Seventh Seal (1957) Main article: The Seventh Seal Death is one of the main characters in 1957 Swedish historical fantasy film The Seventh Seal. The film tells the story of a knight encountering Death, whom he challenges to a chess match, believing he can survive as long as the game continues.[56] These scenes are parodied in the 1991 comedy film Bill & Ted's Bogus Journey, in which the title characters repeatedly beat Death playing a variety of family board games such as Battleship and Twister. Death goes on to accompany Bill and Ted for the remainder of the film as a major supporting character.[57] The scene from "The Seventh Seal" is also parodied in a one-act play by Woody Allen called "Death," in which the personification of death agrees to play gin rummy and loses badly, altering his plans to "take" his opponent. The Adventures of Baron Munchausen (1988) Throughout the film, Munchausen is pursued by Death, a skeletal angel with raven's wings, carrying a scythe in one hand and an hourglass in the other. At the end, Death, in the form of a grim physician, extracts Munchausen's glowing life force, and Munchausen is given a lavish funeral before boldly claiming it was "one of the many times I faced Death." Final Destination film series (2000–2011) Main article: Final Destination In each of the Final Destination films, one of the protagonists experiences a premonition of an impending disaster. When these visions come true, the protagonists manage to avoid harm, though many innocent people are killed. Their escapes alter the design intended by Death, which – while never portrayed as a physical entity – is described as an omniscient supernatural force. In each film, the characters learn that they can never truly escape from death, and that they are each doomed to be killed one by one. Television In 1987 the Australian government produced a controversial commercial featuring the Grim Reaper in order to raise public awareness about the danger of HIV/AIDS.[58] The Grim Reaper is one of the main characters of the 2000s Cartoon Network series The Grim Adventures of Billy & Mandy. The Grim Reaper ("Death") appears in some early episodes of Family Guy as a character. The Showtime television series Dead Like Me features a small team of characters taking the role of the "grim reaper", removing the souls of people just prior to their imminent death. Unlike most depictions of Death, the show depicted "grim reaper" as a job title, held by multiple people at once. In the British children's sketch television show Horrible Histories, Death (portaryed by Simon Farnaby) is a reoccurring character who appears the segment, "Stupid Deaths" and later in its sixth series, "Chatty Deaths". Theatre Elisabeth Viennese musical (1992) Main article: Elisabeth (musical) The personification of Death or the Grim Reaper is the leading male role in the 1992 Viennese musical, depicting the titular Empress of Austria-Hungary's fictionalised life and her entanglements and obsession with Death.[59] Portrayals of Death varies between productions from androgynous to masculine, dressed at various times in all black or all white.[60] Video Games The personification of Death appears many times in many different games, especially Castlevania and The Sims. Nearly all iterations of a "Death" or "Grim Reaper" character feature most of the same characteristics seen in other media and pop culture: a skeleton wearing a cloak and wielding a scythe. Darksiders II has Death as the player character." (wikipedia.org) "A skeleton is a type of physically manifested undead often found in fantasy, gothic and horror fiction, and mythical art. Most are human skeletons, but they can also be from any creature or race found on Earth or in the fantasy world.... Myth and folklore Animated human skeletons have been used as a personification of death in Western culture since the Middle Ages, a personification perhaps influenced by the valley of the dry bones in the Book of Ezekiel.[1] The Grim Reaper is often depicted as a hooded skeleton holding a scythe (and occasionally an hourglass), which has been attributed to Hans Holbein the Younger (1538).[2] Death as one of the biblical horsem*n of the Apocalypse has been depicted as a skeleton riding a horse. The Triumph of Death is a 1562 painting by Pieter Bruegel the Elder depicting an army of skeletons raiding a town and slaughtering its occupants.[3] "The Boy Who Wanted the Willies" is a Brothers Grimm fairy tale in which a boy named Hans joins a circle of dancing skeletons.[citation needed] In Japanese folklore, Mekurabe are rolling skulls with eyeballs who menace Taira no Kiyomori.[4] José Guadalupe Posada's 1913 La Calavera Catrina zinc etching Mexico Figurines and images of skeletons doing routine things are common in Mexico's Day of the Dead celebration, where skulls symbolize life and their familiar circ*mstances invite levity. Highly-decorated sugar-skull candy has become one of the most recognizable elements of the celebrations.[5][6] They are known in Mexico as calacas, a Mexican Spanish term simply meaning "skeleton". The moderns association between skeleton iconography and the Day of the Dead was inspired by La Calavera Catrina, a zinc etching created by Mexican cartoonist José Guadalupe Posada in the 1910s and published posthumously in 1930.[7] Initially a satire of Mexican women who were ashamed of their indigenous origins and dressed imitating the French style, wearing heavy makeup to make their skin look whiter, it later became a more general symbol of vanity.[8] During the 20th Century, the Catrina entrenched itself in the Mexican consciousness and became a national icon, often depicted in folk art. Modern fiction [icon] This section needs expansion. You can help by adding to it. (March 2014) Literature The animated skeleton features in some Gothic fiction. One early example is in the short story "Thurnley Abbey" (1908) by Perceval Landon, originally published in his collection Raw Edges.[9] It is reprinted in many modern anthologies, such as The 2nd Fontana Book of Great Ghost Stories and The Penguin Book of Horror Stories. An anthropomorphic depiction of Death which looks like a skeleton in a black robe appears in almost all volumes of Terry Pratchett's fantasy series Discworld, including five novels where he is the lead character.[10] In the manga/anime One Piece, Brook who is one of the main characters is an animated skeleton after consuming the Revive-Revive Fruit. Film and TV Undead skeletons have been portrayed in fantasy films such as The 7th Voyage of Sinbad (1958), The Black Cauldron (1985), Army of Darkness (1992), The Nightmare Before Christmas (1993), and Corpse Bride (2005). An extended battle scene against an army of skeletal warriors was produced by animator Ray Harryhausen for Jason and the Argonauts (1963) and is remembered as one of the most sophisticated and influential visual effects sequences of its day.[11] A CG art skeleton, as commonly found in modern fantasy-theme games. Games Animated skeletons have been used and portrayed extensively in fantasy role-playing games. In a tradition that goes back to the pen-and-paper game Dungeons & Dragons, the basic animated skeleton is commonly employed as a low-level undead enemy, typically easy for a player to defeat in combat. Thus, in games which make use of them, such enemies often appear relatively early in the gameplay and are considered a suitable opponent for novice players.[12] In these contexts, they are commonly armed with medieval weapons and sometimes wear armor. Scott Baird from Screen Rant called skeletons stereotypical as a combat encounter for beginning characters, and believes that has "bled over to most video game RPGs".[13] Some games also introduce higher-level variants with heightened resilience or combat skills as well as the ability to cast spells or communicate,[14] as well as even less powerful versions, like tiny skeletons, which Baird ranked among the weakest monsters in D&D. He found those disappointing as "there is no fun in a combat encounter that ends with stomping on some little skeletons".[13] In the PlayStation action-adventure series MediEvil, the protagonist is an animated skeleton knight named Sir Daniel Fortesque.[15] In the 1999 cult classic Planescape: Torment, Morte is a character who joins the protagonist on his quest and is essentially a sentient, levitating human skull with intact eyeballs who cracks wise and fights by biting.[16] In the 2009 Minecraft video game, skeletons appear as bow-wielding monsters that shoot players with their bows and burn under the sunlight unless they wear helmets. Sometimes the skeletons spawn with enchanted bows or a random piece of armor, or random full armor, or without bow, and they can pick melee weapons. On Halloween, they can spawn wearing carved pumpkins or Jack O' Lanterns on their heads. Variants include the wither skeleton, which causes the player to wither away, and the stray which is a frozen variant. In the video game Fable III, there exist a race of antagonal characters called "hollow men" which are featured throughout the game. A duo of animated skeleton brothers plays an important role in the role-playing game Undertale. Named Sans and Papyrus, the brothers' dialogue text is printed in Comic Sans and Papyrus fonts, respectively.[17] Following a poll taken during their Kickstarter campaign, Larian Studios added a playable skeleton race in their 2017 RPG Divinity: Original Sin II, as well as an ancient skeletal character named Fane.[18] Following the first game, the skeletons were re-added in Minecraft Dungeons, a 2020 dungeon crawler game released by Mojang Studios as the guards of The Nameless One, the king of the undead. In this form, they are equipped with glaives, shields, and iron helmets and chestplates, and are referred to as Skeleton Vanguards. They also spawn as their original bow-wielding form, sometimes wearing iron helmet. Other DLCs include exclusive variants of skeletons. The Legend of Zelda series features an enemy called Stalfos, armed skeletons who serve as regular enemies and occasionally as minibosses. Variations such as Stalkids and Stalblins also appear in various games in the series. In the Elder Scrolls series, skeletons are featured as one of the undead creatures and they are armed. In Heroes of Might and Magic 3, skeletons are recruitable troops from the Town, Necropolis." (wikipedia.org)

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• Vintage Wine Liquor Bottle Labels 50 Different 1920s to 80s Group 4 - Rum Cognac

  EUR 10,82 Sofort-Kaufen 27d 2h

• Vintage French 29 New Liquor Bottle Labels Alcohol

  EUR 16,23 Sofort-Kaufen 8d 8h

• Pewter CHEAP BOOZE and CHEAP WINE liquor Bottle Decanter Labels Tags

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• albanian advertising labels wine,vegetable and olive oil,liquor,comunism era

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• Vintage Original Label, Muscat De Valence Wine Bottle Liquor Bottle unused label

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• 163 Wine Liquor Bottle Labels VINTAGE - Not all are shown

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• Wine Liquor Alcohol bottle labels collection lot Almaden California Etc.

  EUR 16,23 Sofort-Kaufen 20d 5h

• EUR 10,82 Sofort-Kaufen 26d 11h

• France 1921-1925 Liquor Boedeauux Wine Labels Lot 6 Vintage Labels Fresh Scarce

  EUR 10,82 Sofort-Kaufen 26d 11h

• France 1922-1926 Liquor Boedeauux Wine Labels Lot 6 Vintage Labels Fresh Scarce

  EUR 10,82 Sofort-Kaufen 26d 11h

• France 1920-1926 Liquor Boedeauux Wine Labels Lot 6 Vintage Labels Fresh Scarce

  EUR 10,82 Sofort-Kaufen 26d 11h

• EUR 36,53 Sofort-Kaufen 9d 13h

• France 1926 Liquor Boedeauux Margaux Bourgogne Wine Lot Vintage 5 Labels Fresh

  EUR 10,82 Sofort-Kaufen 26d 11h

• GUIGNOLET KIRSCH ROUVIÈRE DIJON CHERRY LIQUOR Original Vintage Old Alcohol Label

  EUR 8,19 Sofort-Kaufen 9d 19h

• France 1920-1926 Liquor Boedeauux Wine Labels Lot 4 Vintage Labels Fresh Scarce

  EUR 5,40 Sofort-Kaufen 26d 11h

• EUR 4,11 Sofort-Kaufen 7h 30m

• Rare Pfefferminz Peppermint Likor Liquor German Label 30% 1960s

  EUR 14,89 Sofort-Kaufen 21d 0h

• Vintage Cherry Brandy Label Liquor Fruit BRIGHT J3

  EUR 3,19 Sofort-Kaufen 23d 6h

• Vintage Cherry Brandy Parivat Lamande Liquor label

  EUR 4,32 Sofort-Kaufen 12d 3h

• cheap wine liquor label

  EUR 18,40 Sofort-Kaufen 5d 7h

• Rare 1930s TEXAS Houston Quality TEXAS PRIDE PORT WINE Label Gray's Liquor Store

  EUR 35,71 Sofort-Kaufen 6d 6h

• Vintage Original Label, Bottled Romance, Wine Bottle Liquor Bottle unused label

  EUR 5,40 Sofort-Kaufen 3d 11h

• Wine Label vtg paper ephemera WW1 liquor Sicard cognac fine champagne Angely mcm

  EUR 9,16 Sofort-Kaufen 12d 2h

• Very Rare Antique Double Uncut Genievre Pur Grain Liquor Alcohol Label 1920s

  EUR 21,65 Sofort-Kaufen 3d 14h

• Vintage Original Label, Muscat De Valence Wine Bottle Liquor Bottle unused label

  EUR 4,32 Sofort-Kaufen 3d 11h

• EUR 6,49 Sofort-Kaufen 15d 0h

• Vtg Liquor and Wine labels on a tray Gin Whiskey Scotch 8.5" x 5.25 Wales Japan

  EUR 40,04 Sofort-Kaufen 23d 6h

• Wine Label vtg advertising ephemera Liquor sign Swiss California Rhineskeller CA

  EUR 12,84 Sofort-Kaufen 11d 3h

• EUR 13,67 Sofort-Kaufen 20d 9h

• Wine Label vtg paper ephemera WW1 liquor advertising Rosayyo France.FREE SHIPPIN

  EUR 12,46 Sofort-Kaufen 25d 2h