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All Critters of Myth beginning with P-Q-R will be placed here when found. |
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Of all the winged creatures on the surface of Caelereth, none is so mystical, beautiful, or wondrous as the Bird of Flames, the legendary Phoenix. This awe inspiring bird is rarely seen, and very little is known about its origins. Some strongly believe that it is a God's pet, let loose on the world now and again, to give the people a glimpse of a Gods' powers. Others swear by the fact that the Phoenix is, itself a God, the incarnation of Foiros, bringing peace to the righteous and swift retribution to the evil and corrupt. Still others say it is not more then a near extinct animal, no different from a swan or dove. Whatever the case, the Phoenix is the rise of many tales and poems, and the few people that claim to have caught a glimpse of this extraordinary bird, seem to be blessed living long and prosperous lives, or cursed, and soon find horrific ways to die. Some pass it off a coincidence, but... | | |  Image Description. The most mystical and most beautiful of all winged beasts - the Phoenix. Picture drawn by Enayla.
| Appearance. The Phoenix is breathtaking to say the least. Its large size only enhances its beauty, as it soars and dives in the sky. Its feathers are composed entirely of fire; its tail feathers orange and deep yellow, and its body mostly dark orange, red and crimson. Other then the feathers of fire, the Phoenix has other defining features. The huge talons are razor sharp and could easily skewer several men. They are quite comparable to the front legs of the Griffon, only they are in the more traditional place of birds. The talons themselves are about a half-foot long, three curved claws in front, and one larger jagged claw in the back. Another defining feature of the Bird of Flames is its head. The long and slender beak looks very traditional to most large birds, but its eyes are a much different story. They are deep set and shine of an intelligence that is undeniable, which is truly remarkable. There is no doubt that the majestic beast has hidden origins, an even more mysterious present, and a shrouded future. 
Special Abilities. The Phoenix, despite its undeniable beauty, has a host of extraordinary abilities that make even the strongest of skeptics take note. The first and most obvious is its ability to control the amount of heat its own fiery body gives off. It can singe your sword to your face at great distances, or allow you to pet its great feathers without so much as heat blister! As a branch of this ability, the Phoenix can also propel huge streams of fire by bringing the large wings together.
Another maybe less known ability of the Bird of Flames is its shrilling call. The Phoenix can shriek to the point that anything around it is brought to tears and can't hear clearly of days, or even weeks.
Lastly, the most amazing ability, is more of a myth then fact. This is because no one has ever seen a Phoenix die. The tale goes that when this wondrous bird comes to death, it turns to ash. The ash then ignites in golden fire, and the Phoenix is revived in its own sacred fire. To this end, the Phoenix is an immortal, never really dying, just reviving from its own remains. While this belief is widely held, no really evidence has been brought forward to prove the claim of immortality.
Territory. The Phoenix knows no borders and calls no one-place home. It lives all over Aér'aí'chán, as reported sightings have come from Cyhalloi all the way to Aeruillin. How any thing can be seen in so many places, so few times, only adds to its mystic and splendor.
Habitat/Behaviour. The sky is the only place that a Phoenix is comfortable in. It may occasionally land, to take a break, or to view the area at ground level, but it seems happiest when its great wings are spread, and it is diving and soaring in the clouds. That’s about all that is known about this creature's unique habits. The sky is were it loves to be, the heaves are it's domain. | | | Image Description. A fire spell inspired by the mythical beast of the phoenix. Picture from the game Mystical Empire, used with friendly permission, drawn by Quellion. | Diet. No one can say for sure what it is that a Phoenix sustains its self on, although as with every other aspect of its existence, there are many speculations. Some say that it feeds on smaller birds, and even larger ones, like the Gryph or the Griffon. Some go even so far as to say that the Phoenix eats dragons, as dragon corpses have been found striped of all flesh. Others say that it eats fire, noting the fact that the bird's self is composed of flames. Still others say that it feeds of the kind and pure thoughts of the people of Aér'aí'chán, as it brings joy into their lives. As with all other aspects of the Phoenix's existence, nonoe of these theories can be proved, nor disproved.
Mating. Again only ideas can be put forward on the mating habits of the Phoenix. If you believe it to be a God, then how does a God mate? If you believe it to be a bird, then the female Phoenix would make a nest and lay eggs. If you believe the Phoenix is an immortal being then it is all alone. No matter what you hold true, one will never find out the truth.
Myth/Lore. As you may have gathered, nothing about the Phoenix is known for sure, the only thing that the people have to go on are tales and myths. Though many would argue that theses poems and stories are only fiction, made for the purposes of entertaining young and old, all myths and legends are based on truth. In fact the Phoenix is such a well know and respected creature that The House of Eithar, in the old Voldarian Ruling Council took it as their house crest. The following is a poem that talks about the true origins of the Phoenix: | "Too all that dream, and all that dear
To see the beauty of land, sea and air
Nothing shall ye ever spy
As wondrous as the Phoenix in the sky
Too all think, and all that ponder
The ways of things on this place we wonder
The one thing ye shall never know
Is: To what home does the Phoenix go?
Too all that pray, and believe in too
Avá merciful, pure and true
A brighter sign there shall never be
Then the mighty Phoenix over the sea
Too all that live a life of good
Your deeds of love will come back; as they should
A happy life shall be yours to take away
When the Phoenix comes with the break of day
Too all that walk the path of dark
My next words ye would do well to mark
For your deeds of evil ye shall be burnt in flame
And your actions shall be meet with untold of pain
To Human, Elf, Dwarf and all
To every creature great and small
The Phoenix is many things; in future now and history
And though every person has their say, The Phoenix stays a mystery"
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One of the most interesting and loved myths is that of the Phoenix. The earliest known reference to the Phoenix is by Hesiod in the 8th century BC. It is a pagan symbol as well as a religious and mythical one and appears in most cultures in some form. Ovid, Pliny and Tacitus all write about the Phoenix. Herodotus and Pliny call it "The Arabian Bird", but in the Greek classical stories it appears to be of Egyptian origin. The Phoenix also appears in modern literature; examples of this being both in the writings of D H Lawrence who adopted the Phoenix as an emblem and the extremely popular Harry Potter books by J K Rowling.
The Phoenix symbolizes immortality, resurrection and life after death. In ancient Greek and Egyptian mythology the Phoenix is a mythical sacred fire-bird associated with the sun god Ra a symbol of fire and Osiris as the symbol of divinity. The Phoenix was usually depicted as a heron or Benu in the Egyptian texts, but in Greek literature as a peacock or an eagle.
According to the Greeks, the bird lives in Egypt, near a cool well. Every morning at dawn, the sun god would stop his chariot to listen to the bird sing a beautiful song while it bathed in the well. The Phoenix is said to have beautiful plumage made up of red and gold coloured feathers and be of great size. The Phoenix is exceedingly gentle and in some texts the tears of the Phoenix are said to be able to cure wounds, something that J K Rowling uses in the Harry Potter books on one occasion when Harry is injured as he fights Voldermort.
Only one Phoenix exists at any point in time. When the bird feels its death is near, every 500 to 1,461 years, it builds a nest of aromatic wood comprising mainly of cinnamon twigs and sets it on fire. The bird and the nest are then consumed by the flames and reduced to ashes. A new Phoenix then arises as a chick quickly growing to full size. The new Phoenix then embalms the ashes of its predecessor in an egg made of myrrh and flies with it to the ancient Egyptian city of Heliopolis, "city of the sun," where the egg is deposited on the altar of the sun god Ra.
The Phoenix is also able to regenerate if it gets hurt or is wounded by an enemy or foe. Therefore it has become a symbol of immortality and invincibility.
In one legend, the bird flew to Heliopolis and was immolated on the altar fire; in another, it builds a nest of spices which is ignited by the sun, the bird fanning the flames with its wings. In either case, the Phoenix remains dead for three days - symbolizing the dark of the moon - then rises from its own ashes. The Phoenix has dual symbolism, lunar in its associations with the moon, but also solar, being a fire-bird. The bird is the epitome of gentleness as it kills nothing, feeding only on dew and crushing nothing it touches. There are varying accounts as to the phoenix's age. Some say it lives 1000 years. Pliny says it lives 660 years, Herodotus 540 years, Seneca 500 years and Albertus 350 years. Ovid says its tears are of incense and its blood of balsam. The Talmud version is that after 1000 years it shrivels to the size of an egg, and then emerges once more. The Phoenix is of outstanding importance in Chinese myth and symbolism. It is one of the Four Spirituality Endowed or Sacred Creatures. Like the dragon or the Ky-Lin [Serene Dragon], combining the quality the Yin and Yang powers known as the Feng Huang the Feng relating to solar and masculine influence and the Huang to Lunar and feminine influence. In Chinese myth the Dragon is the "Emperor" and represents Yang, masculinity and strength and the Phoenix is the "Empress" and represents Yin and femininity, beauty, delicacy and peace. The Phoenix is also a bridal symbol of inseparable fellowship for the couple personally but also for the Yin-Yang balance and harmony in the universe. Again, the dragon or Ky-lin is a composite creature composed of different elements and symbolizing the entire cosmos, having the head of the solar cock, the back of the swallow as the lunar crest, its wings as the wind, its tail representing trees and flowers and its feet, the Earth. In other descriptions it has head of a dragon, single horn, lion's mane, stag's body, and ox's tail. The Ky-lin has the five colours of the five virtues. An ancient manual of Chinese rites said: "Its colour delights the eye, its comb expresses righteousness, its tongue utters sincerity, its voice chants melody, its ear enjoys music, its heart conforms to regulations, its breast contains the treasures of literature and its spurs are powerful against transgressors. The Ho-ho is the Phoenix of Japanese myth. It appears on Earth in different ages to accomplish a new era, after which it ascends to Heaven until it comes again to establish the next cycle. It represents the sun, justice, fidelity and obedience. Again the Ho-ho is associated with the Empress and femininity.
The Greek words for palm-trees and Phoenix are the same, as the tree was said to die and rise again and the bird and the tree can appear together. In Roman literature Tacitus says the Phoenix is consecrated to the Sun and is distinguished by its rich appearance and variegated colours, symbolizing those in Paradise enjoying eternal youth and pleasure. Though descriptions and life-span vary, the Phoenix became popular in early Christian art, literature and Christian symbolism, as a symbol of Christ, and represented the resurrection, immortality, and the life-after-death of Jesus Christ.
The Old Testament says: "I shall die in the nest and shall multiply my days like the Phoenix" (Job 29:18). Christianity adopted the bird as a symbol of resurrection, of Christ rising again on the third day, triumphant over death. In the medieval Bestiaries [a Bestiary is a medieval collection of short descriptions about all sorts of animals, real and imaginary, birds and even rocks, accompanied by a moralising explanation] the Phoenix [sometimes spelt as Fenix] also carries the same significance. The Physiologus which is a probably one of the earliest bestiaries was one of the most popular books of the Middle Ages, appearing in most of the languages of Europe, as well as Greek (its original language) and Latin. It was the basis of the later bestiaries, which added to the stock of stories and to the moralisations. Many versions of it were written by a variety of authors, both in prose and in verse says that the Phoenix is a native of India and Arabia and, when 500 years old, flies to Lebanon, fills its wings with fragrant gum, then hastens to Heliopolis in Egypt where it burns itself on the High Altar at the Temple of the Sun. The priest comes the next day to remove the ashes and finds a small worm of exceedingly sweet odour, which in three days, the develops into a young bird and on the fourth day attains full plumage, then, greeting the priest, it returns home. In this medieval moralization the Phoenix symbolizes Jesus who said, "I have the power to lay down my life and I have power to take it again". The perfume denotes' the sweetness of divine grace. Coins of the early Christian Emperors often bore the image of the Phoenix as an ancient emblem of the Roman Solar cult; it also appeared on Roman cremation and burial urns and this passes through the years until it appears on Christian tombs. Christianity maintained that the Phoenix alone of all birds did not share with the sin of Eve when she ate the forbidden fruit. The symbolism of the Phoenix is used extensively in literature. In Heraldry, the bird usually appears as a crest, depicted as a demi-eagle rising from the flames. It is also an Alchemical symbol of burning and regeneration, the Magnum Opus. The Phoenix like the Dragon is a fable, a myth, a fantastic creature that has become deeply woven into the strands of culture, religion, myth and legend, symbolic of many things to different people, it even represents the death of the old year into the birth of the new one and was away of our forebears explaining what was happening in the world around them. |
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Pukwudgies:
Myth or Monster
In the Southeastern corner of Massachusetts lies Bristol County, an area known locally as the most haunted place in New England. The energy that sleeps there has been rumored to cause haunted schools, ghostly armies and unexplained suicides and murders. Forested areas of the county have long been known to contain a litany of unexplained animals, from Bigfoot and thunderbirds to large snakes and odd bear-like monsters. For the past forty years cults have flocked there, and their activities, often criminal, have filled the blotters of local law enforcement. Of all the unknown horrors that live in Bristol County, the most feared is not a animal or a ghost or the members of Satanic cults that walk the forests, but a demon only two feet high, and if the history of the area represents the history of our America society, these Pukwudgies are the gatekeepers of our darker side.
The Pukwudgies have haunted the forests of Massachusetts since before the first European Settlers ever thought about setting out for a new land. For centuries they tormented the local Native Americans and crept their way into their creation myths and oral history. They could easily be passed of as legend, and in fact, their physical description is much like mythological creatures from other cultures in other times. The difference is these demons jumped from the page and evolved as the people around them changed, changing from reluctant helpers to evil tormentors. The difference is these demons are still seen by people today.
Most cultures�?mythology has some reference to small monsters that have a strained relationship with humans. In many ways it makes sense. While large monsters have their place in our fears, diminutive creatures find their way into the shadows of our rooms and under our beds. Their names and nature change, but there are always common threads that link them together. Some are called monsters and roam the land looking for human food and kidnapping anyone they can find. Other are called demons, foul spirits that feed of the negative and expose the sins of man. When referring to one, its classification gets blurred and these two words become interchangeable, perhaps showing us how closely associated these monsters are with evil.
Veterans returning home after World War II talked of gremlins tearing apart their planes or getting into jeep engines and causing havoc. The Hindus speak of the Rakshasas or the “Night Wander�?who eats human skin and jumps into the dead to possess them. Africans tell stories about the Eloko who lure people with beautiful music only to devour them after they have been bewitched with an ever expanding jaw.
Although passed off as works of fiction and imagination, trolls and dwarfs have existed in people’s fears for centuries. They have become lovable and noble now, but the original stories recorded of these monsters are anything but fairy tales with happy endings. Trolls were notorious for ambushing travelers and destroying whole families on a whim. While some are described as giants with humps and one eye, many older cultures, especially in Scandinavia, described the being as the size of a plump child.
Dwarfs have always been small and their manners much better, but the end result seems to be the same. Like the troll, they are known as metal and stone workers, but unlike their flesh-eating counterparts, dwarves seem to avoid human contact. While they would prefer to be left alone, if impeded upon their work, they become like caged dogs. One variation of the dwarf is the Tommy-Knocker who lives in mine shafts and is sometimes said to be the ghost of miners who have perished in the line of duty and are doomed to work for eternity. They are known to cause cave-ins and fires in the shafts.
Perhaps the most famous of the small nightmare are seen by the Irish. Fairies patrol the roads in Ireland causing problems for any traveler who strays from the path. They live in hills or mounds and dance around fires. If a human comes across their mound or sees their dancing, they are caught and held captive. Even the beloved leprechaun was once a malicious spirit before he was Americanized and transformed into the gold keeper he is today.
Exposure to nature seems to feed these tales, and the more a society depends on the earth for its needs, and the closer the relationship a people have with the natural world around them, the more these stories pop up. In this country, the people the first settlers found had a close, if not friendly, view of small dangers around them. The Cherokee have a mirror image demon known as the Yunwi Djunsti, or little people, that look and talk like Cherokee but are only a few feet high and have long hair that touches the ground. Although most people cannot see them, they are known to throw objects, trip up hunters and abduct people who wander off. In Canada they are known as Mennegishi and look much like the classic alien grey.
The Wampanoag Nation, the dominant Native America tribe in Massachusetts and Southern New England, had a monster who still dominates the landscape they once roamed. The Pukwudgie made its first appearance in the oral folklore of the people of Cape Cod, but recent sightings have forced people to rethink this mythological creature. Standing between two and three feet tall, the Pukwudgie looks much like our modern idea of a troll. His features mirror those of the Native American in the area, but the nose, fingers and ears are enlarged and the skin is described as being grey and or washed-out, smooth and at times has been known to glow.
What makes these monsters dangerous is the multitude of magical abilities they use to torment and manipulate people. They can appear and disappear at will and are said to be able to transform into other animals. They have possession of magical, poison arrows that can kill and can create fire at will. They seem to often be related to a tall dark figure, often referred to in modern times and shadow people. In turn the Pukwudgies control Tei-Pai-Wankas which are believed to be the souls of Native Americans they have killed. They use these lights to entice new victims in the woods so they may kidnap or kill them. In European folklore these balls of energy are know as Will-o-the-Wisps and are said to accompany many paranormal occurrences. Modern paranormal investigators call them orbs, and catching one on film is the gold standard of field research.
Legends of the Pukwudgie began in connection to Maushop, a creation giant believed by the Wampanoag to have created most of Cape Cod. He was beloved by the people, and the Pukwudgies were jealous of the affection the Natives had for him. They tried to help the Wampanoag, but their efforts always backfired until they eventually decided to torment them instead. They became mischievous and aggravated the Natives until they asked Quant, Maushop’s wife, for help. Maushop collected as many as he could. He shook them until they were confused and tossed them around New England. Some died, but others landed, regained their minds and made their way back to Massachusetts.
Satisfied he had done his job and pleased his wife, Maushop went away for a while. In his absence, the Pukwudgies had returned. They again changed their relationship with the Wampanoags. They were no longer a nuisance, but began kidnapping children, burning villages and forcing the Wampanoag deep into the woods and killing them. Quant again stepped in, but Maushop, being very lazy, sent his five sons to fix the problem. The Pukwudgies lured them into deep grass and shop them dead with magic arrows. Enraged, Quant and Maushop attack as many as they can find and crush them, but many escape and scatter throughout New England again. The Pukwudgies regroup and trick Maushop into the water and shoot him with their arrows. Some legends say they killed him while other claim he became discouraged and depressed about the death of his sons, but Maushop disappears from the Wampanoags mythology.
Pukwudgies have been seen at the Ledge in Freetown, Massachusetts
The Pukwudgies remained however, but something odd happens. The timing of the tales of the monster are a map through the history of the Native Americans relationship with the European settlers. The death of the five sons lines up with the very first settlers, and the flight of Maushop is told along side the changing of attitudes about the new neighbors. The Pukwudgies, always seen in a negative light, become the foot soldiers of the Devil, which may explain their modern connection to shadow people. As more Native Americans began to convert to Christianity, their myths evolved, until the Pukwudgies were responsible for the evil in the village, and the hand of Satan on the tribe.
People who spend time in the forest of New England will tell you Pukwudgies are not symbols, but a real horror that still stalks people. They continue to see them, and as the world develops around them, the monsters remain unchanged and as dark as ever.
Joan was walking her dog through the state forest in Freetown, Massachusetts, on a cold Saturday morning in April when she saw the monster. As she and her dog, Sid, walked down the path, Sid became anxious and strayed a few feet into the woods. Joan followed him in, and stopped short. Her dog was lying completely flat in the leaves, and on a rock ten feet away was a Pukwudgie. She described him as looking like what she would describe as a troll; two feet high with pale gray skin and hair on his arms and the top of his head. The monster seemed to have no clothes, but it was difficult to tell because his stomach hung over his waist, almost touching his knees. His eyes were a deep green, and he had large lips and a long, almost canine nose.
The Pukwudgie stood watching her, staring straight at her with no expression, almost like it was stunned to see her. Joan froze and remembers thinking the air in her lungs had been pushed out. Sid finally came to and ran back towards the trial, dragging Joan who was still holding the leash tightly.
Although the whole exchange took less than thirty seconds, it remains with Joan ten years later. She has not gone back to the forest, but feels that might not be enough. Three times since the event she has woken up to find the demon looking in on her. It has never attacked her or spoken to her, she has merely seen it looking through her bedroom window, staying just long enough for her to notice him. All three times she claims she was fully awake and could move if she had to.
Another man in Framingham, Massachusetts had a experience that forced him to remain away from the woods. Tim was in a forest when he saw a bright orb in front of him. Having investigated the paranormal he was excited and tried to snap a photo with his digital camera. The ball of light disappeared and reappeared a few feet further into the woods. Tim followed, losing the spirit several times before he realized he had traveled more than thirty feet off the path into a thickly wooded area. He became scared and slowly made his way back to the path, only to find a two foot man standing there, walking towards him. He turned and ran, and looking back saw the figure move back into the woods.
Tim reported that what he saw had walked upright and had used its arms to push something aside when he fled to the forest. He had moved with a slight limp, but “like a human�?
The second time Tom saw the Pukwudgies was a few years later in a parking lot near the same forest. He was listening to the radio at almost a whisper and checking his rear view mirror for the friend he was waiting for when he saw the same small figure of a man. Every detail was identical, and the Pukwudgie just stood there watching him. The car turned on by itself and his radio began to get louder. Tim pulled out of the parking lot and took the long way home to try and stop his hands from shaking.
Although the monster seemed content to only frighten Joan and Tim, there are still physical attacks happening. Several people have been assaulted and one person came down with a mysterious illness after seeing them in a cemetery in New Hampshire. Another woman suffered scratches on her arm after following an orb in a forest in Taunton, Massachusetts.
The most disturbing reoccurring attacks might be taking place at the Pukwudgies favorite hunting ground. In the Freetown State Forest there is an hundred foot cliff overlooking a quarry known as the Ledge. There have been many hauntings at this sight, but the most frequent experience is an overwhelming feeling to jump to the rocks and water below. In the folklore of the Wampanoag, the Pukwudgies were known to lure people to cliffs and push them off to their death. There have been several unexplained suicides at the Ledge, often by people who had no signs of depression or mental disease before entering the forest. |
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PINCOYA
This goddess of extraordinary beauty personifies the spirit of ocean and shore. The abundance or scarcity of the marine harvest depends upon this lovely creature.
Pincoya rises from the depths of the sea, half-naked, draped in kelp and dances on beaches or wave tops. When facing the open sea in her dance there will be an abundant harvest of seafood. However if she turns her face towards the land there will be a want of food.
If the scarcity is prolonged due to the absence of Pincoya it is possible to entice her back by magic ceremonies conducted by witches or magicians.
Pincoya is so beautiful, sensual and attractive that she makes fish swim with their mouths open.
Pincoya comes to the aid of shipwrecked islanders and at times fishermen come across her amongst the rocks combing her long red or blond hair. Her companion, either brother or husband is known as Pincoy. |
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Roc's Feather
From Zeldapedia, the Zelda wiki
The Roc's Feather is, as its name implies, a feather from a mythical bird. Normally Link is burdened with the weight of all of his various tools and equipment, but with the Roc's Feather, he becomes light and nimble. With this agility he is able to leap to great heights. If used in conjunction with the Pegasus Boots he can leap great distances in a single bound. In The Legend of Zelda: Oracle of Seasons, it's possible to upgrade it to a Roc's Cape, which allows Link to jump farther. Roc
in Arabian mythology, enormous bird,
reputedly so powerful that it could carry elephants and other
large creatures to its nest, where it devoured them. The roc
appears in one of the adventures of Sindbad the Sailor in the
compilation of tales known in English as the Arabian Nights. The
overall framework for these stories is their narration by the
legendary Queen Scheherazade as a nightly entertainment for her
husband, by which means she distracts him from his plot to kill
her once their marriage is consummated. The tales originate from
a variety of sources, including Persian, Indian, and Arabic
sources, and the Sindbad stories date back to the 9th century AD.
On one trading voyage, after falling asleep on the island home of
the roc, Sindbad awakens to find himself deserted by his
companions. He discovers a massive egg in the roc's nest and
hides beside it; when the bird returns to its nest, Sindbad ties
himself with his turban to one of its legs. The next day Sindbad
is carried away from the island when the roc takes flight in
search of prey. The roc is also mentioned by 13th-century
Venetian traveler and author Marco Polo in a description of the
island of Madagascar, in the Indian Ocean, and the East African
islands. Roc
nl:Roc Giant eagle-like bird dropping a boulder on Sindbad's shipRoc destroys Sindbad's ship "Roc" or "Rukh": a mythical white bird of enormous size and strength such that is reputed to have been able to lift and eat elephants. The origin of the myth about the roc is unknown, and it is possible that the myth originated from an actual bird, with references to it being known from early as the 8th century from Arab authors. There are reported sightings of this bird as recently as the 16th century by an English traveller who visited the Indian Ocean. There are also the Thunderbirds of Native American legends, which may be related to rocs, and some sightings are still reported to this day. It is thought that the Rook chess piece may originally have been based on a roc. The legend of the roc, popularized in the West in the 1001 Arabian Nights' tales of Sindbad the Sailor, was widely spread in the East; and in later times the home of the bird was sought in the region of Madagascar, whence gigantic fronds of the Raphia palm very like a quill in form appear to have been brought under the name of roc's feathers (see; Yule's "Marco Polo", bk. iii. ch. 33, and "Academy", 1884, No. 620). Such a feather was brought to the Great Khan, and we read also of a gigantic stump of a roc's quill being brought to Spain by a merchant from the China seas (Abu Hamid of Spain, in Damiri, s.v.). Another source could be the enormous Aepyornis or elephant bird from Madagascar, a flightless bird like a three-meter ostrich. The roc is hardly different from the Arabian `ankd (see phoenix); it is also identified with the Persian "simurgh", the bird which figures in Firdausi's epic as the foster-father of the hero Zal, father of Rustam. When we go farther back into Persian antiquity we find an immortal bird, "amrzs", or (in the Minoi-khiradh) "slnamr�?, which shakes the ripe fruit from the mythical tree that bears the seed of all useful things. "Sinamrtt" and "simurgh" seem to be the same word. In Indian legend the garuda on which Vishnu rides is the king of birds (Benfey, "Panchatantra", 98). In the Pahlavi translation of the Indian story as represented by the Syrian Kalilag and Damnag (ed. Bickell, 1876), the simurgh takes the place of the garuda, while Ibn al-Molaffa ("Cal-ha et Dimna", ed. De Sacy, p. 126) speaks instead of the `anl~a. The later Syriac, curiously enough, has behemoth -- apparently the behemoth of Job transformed into a bird. The ziz of Jewish tradition is also a giant bird. For a collection of legends about the roc, see Lane's "Arabian Nights", chap; xx. notes 22, 62, and Yule, ut supra. Also see Bochart, "Hieroz", bk. vi. ch. xiv.; Damfri, I. 414, ii. 177 seq.; Kazwini, i. ~I9 seq.; Ibn Batuta, iv. 305 seq.; Spiegel, "Eran. Altertumsk". ii. 118. |
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A roc or rukh (from Persian رخ rokh) is a mythical white bird of enormous size and strength that is reputed to have been able to lift and eat elephants.
The origin of the myth about the roc is unknown, and it is possible that the myth originated from an actual bird, with references to it being known from early as the 8th century from Middle-Eastern authors. There are reported sightings of this bird as recently as the 16th century by an English traveller who visited the Indian Ocean.
Another source could be the enormous Aepyornis or elephant bird from Madagascar, an extinct three-meter tall flightless bird. One theory is that the existence of rocs was postulated from the sight of an ostrich, which because of its flightlessness and unusual appearance, was mistaken for the chick of a presumably much larger species.
The Rook chess piece may originally have been based on a roc, although the dominant hypothesis is a siege tower mounted on an elephant.
The legend of the roc, popularized in the West in the 1001 Nights' tales of Sindbad the Sailor, was widely spread in the East; and in later times the home of the bird was sought in the region of Madagascar, whence gigantic fronds of the raffia palm very like a quill in form appear to have been brought under the name of roc's feathers (see; Yule's Marco Polo, bk. iii. ch. 33, and Academy, 1884, No. 620). Such a feather was brought to the Great Khan, and we read also of a gigantic stump of a roc's quill being brought to Spain by a merchant from the China seas (Abu Hamid of Spain, in Damiri, s.v.).
The roc is hardly different from the Middle-Eastern `anqa (see phoenix); it is also identified with the Persian simurgh, the bird which figures in Firdausi's epic as the foster-father of the hero Zal, father of Rustam.
Going farther back into Persian antiquity, there is an immortal bird, amrzs, or (in the Minoi-khiradh) slnamurv, which shakes the ripe fruit from the mythical tree that bears the seed of all useful things. Sinmartt and simurgh seem to be the same word. In Indian legend the garuda on which Vishnu rides is the king of birds (Benfey, Panchatantra, 98). In the Pahlavi translation of the Indian story as represented by the Syrian Kalilag and Damnag (ed. Bickell, 1876), the simurgh takes the place of the garuda, while Ibn al-Molaffa (Calila et Dimna, ed. De Sacy, p. 126) speaks instead of the `anl~a. The later Syriac, curiously enough, has behemoth -- apparently the behemoth of Job transformed into a bird. The ziz of Jewish tradition is also a giant bird.
GREAT ROC 
The Roc or Great Roc is mentioned in the 41st posture, Roc Extends its Wings. The term "roc" will be familiar to those who have read A Thousand and One Nights. In that tale and in Arab lore, the "roc" was a bird large enough to fly off with an elephant in its talons. It may be the origin of the chess piece that is called a "rook"
The Chinese Roc was even bigger than the roc of Arab legend. If ever we needed a reminder to keep our movements large and extended, the mythical size and movements of these rocs can serve us quite well.
Below is an excerpt form a famous passage written by Zhuangzi, an early Daoist who lived in the third and fourth centuries BCE. In this passage, he describes some attributes of the Roc.
"In the northern depths, there is a fish called the Kun It is countless leagues in size. This fish changes into a bird whose name is the Roc. Its back is countless leagues in breadth. When it rouses in flight, its wings are like clouds draping down over the heavens. The sea begins to move, as this bird is about to migrate to the southern depths, the Pool of Heaven. "Qi Xie recorded strange phenomena, saying: ‘When the Roc migrates to the southern depth, the water is roiled for a 3000 leagues as the Roc spirals up 90000 leagues in a whirlwind, blowing for a six-month Journey. For dust devils, dust motes, or living things blowing their breath against each 0ther, is the azure blue of the sky its 0riginal color? Is it simply its unreachable distance? The Roc’s view looking down is just the same.
"When water is not gathered up deep enough, it cannot bear the weight of a large boat Water from an overturned cup poured into a dimple in the ground can suffice for a mustard seed to float like a boat But if you try to put the cup onto it, it will stick fast, because the water is too shallow, and the "boat" is too large. When wind is not gathered up high enough, it cannot bear the weight of large wings. Therefore, at a height of 90,000 leagues, the wind lies beneath the Roc, and only then can it be banked up to assist. With the blue sky at its back and nothing to bar its way, only then does the Roc seek the south.
A cicada and a young turtledove laughed at the Roc, saying: ‘When we set out to fly, we head for the Elm and Sapanwood Tree. Sometimes we don’t make it all the way and simply fall back to the earth. How can anyone go 90,000 leagues all the way to the south?�?(To go camping in a field, with three meals, you can retrun with your belly as full as always. To go a hundred leagues, you must spend the night grinding your grain for provisions. T0 go a thousand leagues, you must spend three months gathering your provisions. But what do these two worms know?)
There are many ways to interpret this passage. One of its themes is that of transformation: from fish to bird, from north to south, from the depths of the sea to the towering heights of the heaven. In the form, we move from a posture where the sword is relatively low, Swallow Carries Earth in its Beak, to a posture where the sword is held relatively high, Roc Extends its Wings. We spiral up from the ground like a whirlwind to raise the sword tip level with our head.
Another theme 0f the passage is appropriateness. Water can float a muster seed or a large vessel, but the puddle that can float a mustard seed is not enough even for a cup. A long flight for a cicada or a turtledove cannot be compared with the flight of the Roc. In the hand form, deliberate measured steps are appropriate for Diagonal Flying; however, for Roc Extends its Wings, we must show more flow. Paradoxically, the slow movement of Diagonal Flying is outwardly more difficult than the flowing movement of Roc Extends its Wings. The Roc can fly 90,000 leagues to the south, whereas the cicada and dove cannot even make it up into an elm tree.
One last theme of Zhuangzi is universality. What we, as dust motes, see as blue vastness looking up at the sky from below, the Roc also sees as blue vastness looking down from the sky above. All journeys require preparation and provisions. All flight requires effort. The principles of Taijiquan are all same. Sometimes they are more apparent in the dust motes kicked up by the swirling wind of a hot summer’s day. Sometimes they are more apparent in the wings of the Roc spiraling upward to cover the sky. The Ten Essentials apply equally to the hand form and the sword form, even when outward form may differ somewhat.
When we practice the sword form for a few minutes of exercise we can be secure that we can experience the full range of what Taijiquan has to offer, even if we know nothing of Chinese legends, dragons, or Zhuangzi; however, if we do have some knowledge of the posture names and their cultural associations, we can enrich 0ur practice. Instead of seeing ourselves as hacking and slashing our way through the form, we can see ourselves as guardians of the stars, flying through the heavens to protect all creation against chaos. The movements of the sword should be light and flowing, but still have power in their elegance. The principles of Taijiquan are simple, but their application is vast and deep. |
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Russian Myths: The Rusalka
The rusalka of Russian myths are the spirits of young women who were murdered before marriage and are then cursed to live in a lake in the form of a mermaid. There they will sing sweet songs to entrap men into the water and drown them. A rusalka can be released from her demonic form if someone avenges her murder.
The rusalka are slim with long, loose hair, blazing eyes and magnificent breasts. Their hair may be light brown, blond or green. They can assume the form of a fish or have legs like a human. In the latter form, they haunt the forests, dance with the moon and swing from the branches of trees. Often we see them sitting on the bank laughing with their friends the water sprites. Sometimes they visit local villages to join in the dances and entice men into their lakes to become their husbands or kill them.
If you would like to go swimming with the rusalki (plural of rusalka) put fern in your hair so they cannot pull you under and drown you. Some say that only witches can swim safely with rusalki.
Another group of Russian myths claim that the rusalka are water nymphs who marry the Wodjanoj. The Wodjanoj are male water spirits who live in great castles under the water and can change their shape at will.
Marriage alters the rusalka. She goes from wild and lustful to sweet and demure.
I see many obvious links between the rusalki of the Russian myths and the mermaids of Celtic myth. Both are beautiful, sexually liberated and occasionally dangerous. They are both descended from goddesses of fertility and retain some of their characteristics. One article I read makes especial reference to the hair of the rusalka. It is loose and uncontrolled like the rusalka themselves. Notice how even now we associate loose, wild hair with sexuality. |
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