Dragons in Celtic mythology
Naga dalam mitologi Celtic
The Welsh flag , showing a red dragon passant The Welsh flag, menunjukkan naga merah sambil lalu
In Britain, the dragon is now more commonly associated with Wales , as its national flag features a red dragon ( Y Ddraig Goch ). Di Britania, naga sekarang lebih umum dikaitkan dengan Wales, sebagai fitur bendera nasional naga merah (Y Ddraig Goch). This may originate in Arthurian Legend where Myrddin , employed by Gwrtheyrn , had a vision of the red dragon [ 6 ] (representing the Britons ) and the white dragon (representing the invading Saxons ) fighting beneath Dinas Emrys .
Hal ini mungkin berasal dari Legenda Arthur di mana Myrddin, dipekerjakan oleh Gwrtheyrn, memiliki visi naga merah [6] (mewakili Britons) dan naga putih (mewakili yang menyerang Saxon) bertarung di bawah Dinas Emrys. This particular legend also features in the Mabinogion in the story of Lludd and Llefelys . [ 7 ] Legenda khusus ini juga fitur-fitur dalam Mabinogion dalam kisah Lludd dan Llefelys. [7]
According to Fox-Davies , the red dragon of Wales originated with the standard of the 7th century king Cadwaladr , and was used as a supporter by the Tudor dynasty (who were of Welsh origin). [ 8 ] Queen Elizabeth, however, preferring gold, changed the royal mantle and the dragon supporter from red to gold, and some Welsh scholars still hold that the dragon of Wales is properly ruddy gold rather than gules . [ 8 ] There may be some doubt of the Welsh origin of the dragon supporter of the Royal arms , but it certainly was used by King Henry III . [ 8 ] It has also been speculated that the red dragon of Wales may have even earlier origins in the Sarmatian -influenced Draco standards carried by Late Roman cavalry, who would have been the primary defence against the Saxons.
Menurut Fox-Davies, naga merah berasal dari Wales dengan standar dari abad ke-7 raja Cadwaladr, dan digunakan sebagai pendukung oleh Dinasti Tudor (yang berasal dari Welsh). [8] Ratu Elizabeth, bagaimanapun, lebih suka emas , mengubah kerajaan mantel dan naga merah ke pendukung dari emas, dan beberapa sarjana Welsh masih berpendapat bahwa naga Wales benar kemerahan daripada emas warna merah. [8] Ada beberapa keraguan dari asal Welsh pendukung naga the Royal lengan, tapi jelas ini digunakan oleh Raja Henry III. [8] Juga telah berspekulasi bahwa naga merah Wales mungkin bahkan lebih awal asal-usul dalam Sarmatian-dipengaruhi standar Draco dibawa oleh Terlambat Roma kavaleri, yang akan menjadi pertahanan utama terhadap Saxon.
The Welsh flag is parti per fess Argent and Vert; a dragon Gules passant . The welsh flag parti per mengaku Argent dan Vert; naga warna merah sambil lalu. Welsh rugby teams include the Newport Gwent Dragons and the Cardiff City Blue Dragons . Welsh rugby tim termasuk Gwent Newport Dragons dan Cardiff City Blue Naga.
Sabtu, 20 Februari 2010
Dragons in Germanic mythology / Naga dalam mitologi Jermanik
Dragons in Germanic mythology
Naga dalam mitologi Jermanik
The most famous dragons in Norse and Germanic mythology are: Naga yang paling terkenal dalam mitologi Nordik dan Jerman adalah:
• Níðhöggr who gnawed at the roots of Yggdrasil , or Jörmungandr , midgårdsormen (Swedish and Danish), Midgardsormen (Norwegian), the giant sea serpent which surrounds Miðgarð the world of mortal men; Níðhöggr yang menggerogoti akar Yggdrasil, atau Jörmungandr, midgårdsormen (Swedia dan Denmark), Midgardsormen (Norwegia), ular laut raksasa yang mengelilingi Miðgarð dunia fana laki-laki;
• The dragon encountered by Beowulf ; Naga dihadapi oleh Beowulf;
• Fafnir , who was killed by Sigurd . Fafnir, yang dibunuh oleh Sigurd. Fafnir had turned into a dragon because of his greed. Fafnir telah berubah menjadi naga karena keserakahan.
• Lindworms are monstrous serpents of Germanic myth and lore, often interchangeable with dragons. Lindworms adalah ular mengerikan Jermanik mitos dan adat istiadat, sering dipertukarkan dengan naga.
Of these, JRR Tolkien wrote: Dari jumlah tersebut, JRR Tolkien wrote:
And dragons, real dragons, essential both to the machinery and the ideas of a poem or tale, are actually rare. Dan naga, naga yang nyata, penting baik untuk mesin dan ide-ide dari sebuah puisi atau cerita, sebenarnya jarang terjadi. In northern literature there are only two that are significant. Sastra utara hanya ada dua yang signifikan. If we omit from consideration the vast and vague Encircler of the World, Miðgarðsormr, the doom of the great gods and no matter for heroes, we have but the dragon of the Völsungs, Fáfnir, and Beowulf's bane. [ 5 ] Jika kita menghilangkan dari pertimbangan yang luas dan samar-samar Encircler of the World, Miðgarðsormr, azab dari para dewa besar dan tidak peduli untuk pahlawan, kita memiliki namun naga dari Völsungs, Fafnir, dan Beowulf's kutukan. [5]
Many European stories of dragons have them guarding a treasure hoard. Banyak cerita tentang naga Eropa telah mereka menjaga harta menimbun. Both Fafnir and Beowulf's dragon guarded earthen mounds full of ancient treasure. Baik Fafnir dan dijaga naga Beowulf gundukan tanah yang penuh harta karun kuno. The treasure was cursed and brought ill to those who later possessed it. Harta dikutuk dan sakit dibawa kepada orang-orang yang kemudian memilikinya.
English “dragon” derives (via Middle English, Old French, and Latin) from Greek dracon , “serpent, dragon”; the Greek word derives from Indo-European *derk- , "to see," and may originally have meant something like “monster with the evil eye.” Notwithstanding their folkloric associations, there is no etymological connection between dragons and the ghoulish figures known as draugar in Old Norse, who haunt rich burial mounds. Inggris "naga" berasal (melalui Inggris, Abad Pertengahan, perancis kuno, dan Latin) dari bahasa Yunani dracon, "ular naga"; kata Yunani berasal dari Indo-Eropa * derk-, "untuk melihat," dan mungkin aslinya berarti sesuatu seperti "rakasa dengan mata iblis." Menyimpang folkloric asosiasi mereka, tidak ada hubungan etimologis antara naga dan dikenal sebagai tokoh menjijikkan draugar dalam Norse Lama, yang menghantui pemakaman kaya gundukan.
The emblem books popular from late medieval times through the 17th century often represent the dragon as an emblem of greed. Di buku lambang populer dari akhir abad pertengahan abad ke-17 melalui sering mewakili naga sebagai lambang keserakahan. ( Some quotes are needed ) The prevalence of dragons in European heraldry demonstrates that there is more to the dragon than greed. (Beberapa kutipan yang diperlukan) Prevalensi di Eropa naga lambang menunjukkan bahwa ada lebih ke naga dari keserakahan.
Though the Latin is draco, draconis , it has been supposed by some scholars [ who? ] , that the word dragon comes from the Old Norse draugr , which literally means a spirit who guards the burial mound of a king. Meskipun bahasa Latin adalah draco, draconis, telah dianggap oleh beberapa ulama [siapa?], Bahwa kata naga berasal dari Norse draugr, yang secara harfiah berarti roh yang menjaga kuburan seorang raja. How this image of a vengeful guardian spirit is related to a fire-breathing serpent is unclear. Bagaimana gambar seorang wali pendendam semangat berhubungan dengan api-napas ular tidak jelas. Many others assume the word dragon comes from the ancient Greek verb derkesthai , meaning "to see", referring to the dragon's legendarily keen eyesight. Banyak orang lain menganggap kata naga kuno berasal dari Yunani derkesthai kata kerja, yang berarti "melihat", merujuk pada legendarily naga yang tajam penglihatan. In any case, the image of a dragon as a serpent-like creature was already standard at least by the 8th century when Beowulf was written down. Dalam setiap kasus, citra naga sebagai makhluk mirip ular sudah standar paling tidak oleh abad ke-8 ketika Beowulf telah ditulis. Although today we associate dragons almost universally with fire, in medieval legend the creatures were often associated with water, guarding springs or living near or under water. Meskipun hari ini kita mengasosiasikan naga hampir secara universal dengan api, dalam makhluk-makhluk legenda abad pertengahan sering dikaitkan dengan air, menjaga mata air atau tinggal di dekat atau di bawah air.
The poem Beowulf describes a draca (= dragon) also as wyrm (= worm, or serpent) and its movements by the Anglo-Saxon verb bugan = "to bend", and says that it has a venomous bite; all of these indicate a snake-like form and movement rather than with a lizard-like or dinosaur-like body as in later belief. Puisi Beowulf menjelaskan draca (= naga) juga sebagai Wyrm (= cacing, atau ular) dan gerakan oleh Anglo-Saxon bugan = kata kerja "membungkuk", dan mengatakan bahwa ia memiliki berbisa menggigit; semua ini menunjukkan sebuah ular-seperti bentuk dan gerakan daripada dengan kadal-suka atau dinosaurus-seperti tubuh seperti dalam kemudian keyakinan.
Naga dalam mitologi Jermanik
The most famous dragons in Norse and Germanic mythology are: Naga yang paling terkenal dalam mitologi Nordik dan Jerman adalah:
• Níðhöggr who gnawed at the roots of Yggdrasil , or Jörmungandr , midgårdsormen (Swedish and Danish), Midgardsormen (Norwegian), the giant sea serpent which surrounds Miðgarð the world of mortal men; Níðhöggr yang menggerogoti akar Yggdrasil, atau Jörmungandr, midgårdsormen (Swedia dan Denmark), Midgardsormen (Norwegia), ular laut raksasa yang mengelilingi Miðgarð dunia fana laki-laki;
• The dragon encountered by Beowulf ; Naga dihadapi oleh Beowulf;
• Fafnir , who was killed by Sigurd . Fafnir, yang dibunuh oleh Sigurd. Fafnir had turned into a dragon because of his greed. Fafnir telah berubah menjadi naga karena keserakahan.
• Lindworms are monstrous serpents of Germanic myth and lore, often interchangeable with dragons. Lindworms adalah ular mengerikan Jermanik mitos dan adat istiadat, sering dipertukarkan dengan naga.
Of these, JRR Tolkien wrote: Dari jumlah tersebut, JRR Tolkien wrote:
And dragons, real dragons, essential both to the machinery and the ideas of a poem or tale, are actually rare. Dan naga, naga yang nyata, penting baik untuk mesin dan ide-ide dari sebuah puisi atau cerita, sebenarnya jarang terjadi. In northern literature there are only two that are significant. Sastra utara hanya ada dua yang signifikan. If we omit from consideration the vast and vague Encircler of the World, Miðgarðsormr, the doom of the great gods and no matter for heroes, we have but the dragon of the Völsungs, Fáfnir, and Beowulf's bane. [ 5 ] Jika kita menghilangkan dari pertimbangan yang luas dan samar-samar Encircler of the World, Miðgarðsormr, azab dari para dewa besar dan tidak peduli untuk pahlawan, kita memiliki namun naga dari Völsungs, Fafnir, dan Beowulf's kutukan. [5]
Many European stories of dragons have them guarding a treasure hoard. Banyak cerita tentang naga Eropa telah mereka menjaga harta menimbun. Both Fafnir and Beowulf's dragon guarded earthen mounds full of ancient treasure. Baik Fafnir dan dijaga naga Beowulf gundukan tanah yang penuh harta karun kuno. The treasure was cursed and brought ill to those who later possessed it. Harta dikutuk dan sakit dibawa kepada orang-orang yang kemudian memilikinya.
English “dragon” derives (via Middle English, Old French, and Latin) from Greek dracon , “serpent, dragon”; the Greek word derives from Indo-European *derk- , "to see," and may originally have meant something like “monster with the evil eye.” Notwithstanding their folkloric associations, there is no etymological connection between dragons and the ghoulish figures known as draugar in Old Norse, who haunt rich burial mounds. Inggris "naga" berasal (melalui Inggris, Abad Pertengahan, perancis kuno, dan Latin) dari bahasa Yunani dracon, "ular naga"; kata Yunani berasal dari Indo-Eropa * derk-, "untuk melihat," dan mungkin aslinya berarti sesuatu seperti "rakasa dengan mata iblis." Menyimpang folkloric asosiasi mereka, tidak ada hubungan etimologis antara naga dan dikenal sebagai tokoh menjijikkan draugar dalam Norse Lama, yang menghantui pemakaman kaya gundukan.
The emblem books popular from late medieval times through the 17th century often represent the dragon as an emblem of greed. Di buku lambang populer dari akhir abad pertengahan abad ke-17 melalui sering mewakili naga sebagai lambang keserakahan. ( Some quotes are needed ) The prevalence of dragons in European heraldry demonstrates that there is more to the dragon than greed. (Beberapa kutipan yang diperlukan) Prevalensi di Eropa naga lambang menunjukkan bahwa ada lebih ke naga dari keserakahan.
Though the Latin is draco, draconis , it has been supposed by some scholars [ who? ] , that the word dragon comes from the Old Norse draugr , which literally means a spirit who guards the burial mound of a king. Meskipun bahasa Latin adalah draco, draconis, telah dianggap oleh beberapa ulama [siapa?], Bahwa kata naga berasal dari Norse draugr, yang secara harfiah berarti roh yang menjaga kuburan seorang raja. How this image of a vengeful guardian spirit is related to a fire-breathing serpent is unclear. Bagaimana gambar seorang wali pendendam semangat berhubungan dengan api-napas ular tidak jelas. Many others assume the word dragon comes from the ancient Greek verb derkesthai , meaning "to see", referring to the dragon's legendarily keen eyesight. Banyak orang lain menganggap kata naga kuno berasal dari Yunani derkesthai kata kerja, yang berarti "melihat", merujuk pada legendarily naga yang tajam penglihatan. In any case, the image of a dragon as a serpent-like creature was already standard at least by the 8th century when Beowulf was written down. Dalam setiap kasus, citra naga sebagai makhluk mirip ular sudah standar paling tidak oleh abad ke-8 ketika Beowulf telah ditulis. Although today we associate dragons almost universally with fire, in medieval legend the creatures were often associated with water, guarding springs or living near or under water. Meskipun hari ini kita mengasosiasikan naga hampir secara universal dengan api, dalam makhluk-makhluk legenda abad pertengahan sering dikaitkan dengan air, menjaga mata air atau tinggal di dekat atau di bawah air.
The poem Beowulf describes a draca (= dragon) also as wyrm (= worm, or serpent) and its movements by the Anglo-Saxon verb bugan = "to bend", and says that it has a venomous bite; all of these indicate a snake-like form and movement rather than with a lizard-like or dinosaur-like body as in later belief. Puisi Beowulf menjelaskan draca (= naga) juga sebagai Wyrm (= cacing, atau ular) dan gerakan oleh Anglo-Saxon bugan = kata kerja "membungkuk", dan mengatakan bahwa ia memiliki berbisa menggigit; semua ini menunjukkan sebuah ular-seperti bentuk dan gerakan daripada dengan kadal-suka atau dinosaurus-seperti tubuh seperti dalam kemudian keyakinan.
Roman dragons / Romawi naga
Roman dragons
Romawi naga
The Dacian Draco . The Dasia Draco.
Roman dragons evolved from serpentine Greek ones, combined with the dragons of the Near East , in the mix that characterized the hybrid Greek/Eastern Hellenistic culture. Roman naga berevolusi dari Yunani yang berkelok-kelok, dikombinasikan dengan naga dari Timur Dekat, dalam campuran yang menjadi ciri hibrida Yunani / Timur Helenistik budaya. From Babylon , the musrussu was a classic representation of a Near Eastern dragon. Dari Babel, yang musrussu klasik adalah representasi dari Timur Dekat naga. John's Book of Revelation — Greek literature, not Roman — describes Satan as "a great dragon, flaming red, with seven heads and ten horns". John's Kitab Wahyu - literatur Yunani, bukan Romawi - menggambarkan setan sebagai "naga besar, merah padam, dengan tujuh kepala dan sepuluh tanduk". Much of John's literary inspiration is late Hebrew and Greek, but John's dragon is more likely to have come originally through the Near East. [ 1 ] Perhaps the distinctions between dragons of western origin and Chinese dragons are arbitrary, since the later Roman dragon was certainly of Iranian origin: in the Roman Empire, where each military cohort had a particular identifying signum , (military standard), after the Parthian and Dacian Wars of Trajan in the east, the Dacian Draco military standard entered the Legion with the Cohors Sarmatarum and Cohors Dacorum ( Sarmatian and Dacian cohorts ) — a large dragon fixed to the end of a lance , with large gaping jaws of silver and with the rest of the body formed of colored silk. Banyak inspirasi sastra Yohanes terlambat Ibrani dan Yunani, tetapi naga Yohanes lebih cenderung datang awalnya melalui Timur Dekat. [1] Mungkin perbedaan antara asal-usul naga barat dan naga cina bersifat arbitrer, karena naga Romawi kemudian pasti asal Iran: di Kekaisaran Romawi, di mana setiap kelompok militer telah mengidentifikasi signum tertentu, (standar militer), setelah Parthia dan Dasia Perang dari Trayanus di timur, Draco Dasia standar militer memasuki Legiun dengan Cohors Sarmatarum dan Cohors Dacorum (Sarmatian dan Dasia kohort) - naga besar tetap ke ujung tombak, dengan rahang menganga besar perak dan dengan seluruh tubuh yang terbentuk dari sutra berwarna. With the jaws facing into the wind, the silken body inflated and rippled, resembling a windsock . [ 2 ] This signum is described in the surviving epitome of Vegetius De Re Militari 379 CE: Dengan rahang menghadap ke dalam angin, tubuh sutra inflasi dan bergelombang, mirip windsock. [2] signum ini digambarkan dalam lambang yang masih hidup Vegetius De Re Militari 379 CE:
The first sign of the entire legion is the eagle, which the eagle-bearer carries. Tanda pertama dari seluruh legiun adalah elang, yang membawa elang-pembawa. In addition, dragons are carried into battle by each cohort, by the 'dragoneers' [ 3 ] Selain itu, naga yang dibawa ke dalam pertempuran oleh masing-masing kelompok, oleh 'dragoneers' [3]
and in Ammianus Marcellinus , xvi. dan di Ammianus Marcellinus, xvi. 10, 7 [ 4 ] It is hard to resist giving this Romanized Parthian dragon a distant Chinese origin [ neutrality is disputed ] . 10, 7 [4] Sulit untuk menolak memberikan Parthia Romanized ini naga jauh asal Cina [netralitas yang diperdebatkan].
Romawi naga
The Dacian Draco . The Dasia Draco.
Roman dragons evolved from serpentine Greek ones, combined with the dragons of the Near East , in the mix that characterized the hybrid Greek/Eastern Hellenistic culture. Roman naga berevolusi dari Yunani yang berkelok-kelok, dikombinasikan dengan naga dari Timur Dekat, dalam campuran yang menjadi ciri hibrida Yunani / Timur Helenistik budaya. From Babylon , the musrussu was a classic representation of a Near Eastern dragon. Dari Babel, yang musrussu klasik adalah representasi dari Timur Dekat naga. John's Book of Revelation — Greek literature, not Roman — describes Satan as "a great dragon, flaming red, with seven heads and ten horns". John's Kitab Wahyu - literatur Yunani, bukan Romawi - menggambarkan setan sebagai "naga besar, merah padam, dengan tujuh kepala dan sepuluh tanduk". Much of John's literary inspiration is late Hebrew and Greek, but John's dragon is more likely to have come originally through the Near East. [ 1 ] Perhaps the distinctions between dragons of western origin and Chinese dragons are arbitrary, since the later Roman dragon was certainly of Iranian origin: in the Roman Empire, where each military cohort had a particular identifying signum , (military standard), after the Parthian and Dacian Wars of Trajan in the east, the Dacian Draco military standard entered the Legion with the Cohors Sarmatarum and Cohors Dacorum ( Sarmatian and Dacian cohorts ) — a large dragon fixed to the end of a lance , with large gaping jaws of silver and with the rest of the body formed of colored silk. Banyak inspirasi sastra Yohanes terlambat Ibrani dan Yunani, tetapi naga Yohanes lebih cenderung datang awalnya melalui Timur Dekat. [1] Mungkin perbedaan antara asal-usul naga barat dan naga cina bersifat arbitrer, karena naga Romawi kemudian pasti asal Iran: di Kekaisaran Romawi, di mana setiap kelompok militer telah mengidentifikasi signum tertentu, (standar militer), setelah Parthia dan Dasia Perang dari Trayanus di timur, Draco Dasia standar militer memasuki Legiun dengan Cohors Sarmatarum dan Cohors Dacorum (Sarmatian dan Dasia kohort) - naga besar tetap ke ujung tombak, dengan rahang menganga besar perak dan dengan seluruh tubuh yang terbentuk dari sutra berwarna. With the jaws facing into the wind, the silken body inflated and rippled, resembling a windsock . [ 2 ] This signum is described in the surviving epitome of Vegetius De Re Militari 379 CE: Dengan rahang menghadap ke dalam angin, tubuh sutra inflasi dan bergelombang, mirip windsock. [2] signum ini digambarkan dalam lambang yang masih hidup Vegetius De Re Militari 379 CE:
The first sign of the entire legion is the eagle, which the eagle-bearer carries. Tanda pertama dari seluruh legiun adalah elang, yang membawa elang-pembawa. In addition, dragons are carried into battle by each cohort, by the 'dragoneers' [ 3 ] Selain itu, naga yang dibawa ke dalam pertempuran oleh masing-masing kelompok, oleh 'dragoneers' [3]
and in Ammianus Marcellinus , xvi. dan di Ammianus Marcellinus, xvi. 10, 7 [ 4 ] It is hard to resist giving this Romanized Parthian dragon a distant Chinese origin [ neutrality is disputed ] . 10, 7 [4] Sulit untuk menolak memberikan Parthia Romanized ini naga jauh asal Cina [netralitas yang diperdebatkan].
mitologi tentang naga~
Naga european makhluk legendaris dalam cerita rakyat dan mitologi yang tumpang tindih antara budaya Eropa.
In European folklore , a dragon is a serpentine legendary creature . Di Eropa cerita rakyat, sebuah naga adalah berbelit makhluk legendaris. The Latin word draco, as in constellation Draco , comes directly from Greek δράκων , (drákōn, gazer ). Draco kata Latin, seperti di konstelasi Draco, datang langsung dari Yunani δράκων, (drákōn, penonton). The word for dragon in Germanic mythology and its descendants is worm ( Old English : wyrm , Old High German : wurm , Old Norse : ormr ), meaning snake or serpent . Kata untuk naga dalam mitologi Jermanik dan keturunannya adalah cacing (Old Inggris: Wyrm, Jerman Kuno: Wurm, Norse: ormr), yang berarti ular atau ular. In Old English wyrm means "serpent", draca means "dragon". Finnish lohikäärme means directly "salmon-snake", but the word lohi- was originally louhi- meaning crags or rocks, a "mountain snake". Dalam Inggris Kuno Wyrm berarti "ular", draca berarti "naga". Finlandia lohikäärme berarti langsung "salmon-ular", tetapi kata-lohi awalnya louhi-makna tebing atau batu, sebuah "gunung ular". Though a winged creature, the dragon is generally to be found in its underground lair , a cave that identifies it as an ancient creature of earth. Meskipun makhluk bersayap, naga umumnya dapat ditemukan di bawah tanah sarang, sebuah gua yang mengidentifikasi sebagai makhluk kuno bumi. Likely, the dragons of European and Mid Eastern mythology stem from the cult of snakes found in religions throughout the world. Kemungkinan besar, para naga Eropa dan Timur Tengah mitologi berasal dari kultus ular yang ditemukan di agama di seluruh dunia.
In Western folklore, dragons are usually portrayed as evil , with the exceptions mainly appearing in modern fiction. Dalam cerita rakyat Barat, naga biasanya digambarkan sebagai jahat, dengan pengecualian terutama muncul dalam fiksi modern. In the modern period the dragon is typically depicted as a huge fire-breathing, scaly and horned dinosaur -like creature, with leathery wings, with four legs and a long muscular tail. Pada periode modern naga biasanya digambarkan sebagai api besar bernapas, bersisik dan bertanduk dinosaurus-seperti makhluk, dengan kulit sayap, dengan empat kaki dan ekor berotot panjang. It is sometimes shown with feathered wings, crests, fiery manes, ivory spikes running down its spine and various exotic colorations. Kadang-kadang ditampilkan dengan sayap berbulu, puncak, berapi-api surai, gading paku berlari dengan tulang belakang dan berbagai colorations eksotis.
Many modern stories represent dragons as extremely intelligent creatures who can talk, associated with (and sometimes in control of) powerful magic . Banyak cerita modern menggambarkan naga sebagai sangat cerdas makhluk yang dapat berbicara, berhubungan dengan (dan kadang-kadang di kontrol) kuat sihir. In stories a dragon's blood often has magical properties: for example in the opera Siegfried it let Siegfried understand the language of the Forest Bird. Dalam cerita darah naga sering mempunyai sifat ajaib: misalnya di opera Siegfried itu membiarkan Siegfried memahami bahasa Burung Hutan. The typical dragon protects a cavern or castle filled with gold and treasure and is often associated with a great hero who tries to slay it, but dragons can be written into a story in as many ways as a human character. Naga khas melindungi gua atau benteng yang penuh dengan emas dan harta dan sering dikaitkan dengan seorang pahlawan besar yang mencoba membunuh itu, namun naga dapat ditulis ke dalam sebuah cerita dalam banyak cara sebagai karakter manusia. This includes the monster being used as a wise being whom heroes could approach for help and advice, so much so that they resembled Asian dragons rather than European dragons of myth. Ini mencakup rakasa digunakan sebagai pahlawan yang bijaksana bisa menjadi pendekatan untuk bantuan dan nasihat, begitu banyak sehingga mereka menyerupai naga Asia daripada Eropa mitos naga.
HIYYYYAAA~ Q suka banget ama yg namanya naga~♥
In European folklore , a dragon is a serpentine legendary creature . Di Eropa cerita rakyat, sebuah naga adalah berbelit makhluk legendaris. The Latin word draco, as in constellation Draco , comes directly from Greek δράκων , (drákōn, gazer ). Draco kata Latin, seperti di konstelasi Draco, datang langsung dari Yunani δράκων, (drákōn, penonton). The word for dragon in Germanic mythology and its descendants is worm ( Old English : wyrm , Old High German : wurm , Old Norse : ormr ), meaning snake or serpent . Kata untuk naga dalam mitologi Jermanik dan keturunannya adalah cacing (Old Inggris: Wyrm, Jerman Kuno: Wurm, Norse: ormr), yang berarti ular atau ular. In Old English wyrm means "serpent", draca means "dragon". Finnish lohikäärme means directly "salmon-snake", but the word lohi- was originally louhi- meaning crags or rocks, a "mountain snake". Dalam Inggris Kuno Wyrm berarti "ular", draca berarti "naga". Finlandia lohikäärme berarti langsung "salmon-ular", tetapi kata-lohi awalnya louhi-makna tebing atau batu, sebuah "gunung ular". Though a winged creature, the dragon is generally to be found in its underground lair , a cave that identifies it as an ancient creature of earth. Meskipun makhluk bersayap, naga umumnya dapat ditemukan di bawah tanah sarang, sebuah gua yang mengidentifikasi sebagai makhluk kuno bumi. Likely, the dragons of European and Mid Eastern mythology stem from the cult of snakes found in religions throughout the world. Kemungkinan besar, para naga Eropa dan Timur Tengah mitologi berasal dari kultus ular yang ditemukan di agama di seluruh dunia.
In Western folklore, dragons are usually portrayed as evil , with the exceptions mainly appearing in modern fiction. Dalam cerita rakyat Barat, naga biasanya digambarkan sebagai jahat, dengan pengecualian terutama muncul dalam fiksi modern. In the modern period the dragon is typically depicted as a huge fire-breathing, scaly and horned dinosaur -like creature, with leathery wings, with four legs and a long muscular tail. Pada periode modern naga biasanya digambarkan sebagai api besar bernapas, bersisik dan bertanduk dinosaurus-seperti makhluk, dengan kulit sayap, dengan empat kaki dan ekor berotot panjang. It is sometimes shown with feathered wings, crests, fiery manes, ivory spikes running down its spine and various exotic colorations. Kadang-kadang ditampilkan dengan sayap berbulu, puncak, berapi-api surai, gading paku berlari dengan tulang belakang dan berbagai colorations eksotis.
Many modern stories represent dragons as extremely intelligent creatures who can talk, associated with (and sometimes in control of) powerful magic . Banyak cerita modern menggambarkan naga sebagai sangat cerdas makhluk yang dapat berbicara, berhubungan dengan (dan kadang-kadang di kontrol) kuat sihir. In stories a dragon's blood often has magical properties: for example in the opera Siegfried it let Siegfried understand the language of the Forest Bird. Dalam cerita darah naga sering mempunyai sifat ajaib: misalnya di opera Siegfried itu membiarkan Siegfried memahami bahasa Burung Hutan. The typical dragon protects a cavern or castle filled with gold and treasure and is often associated with a great hero who tries to slay it, but dragons can be written into a story in as many ways as a human character. Naga khas melindungi gua atau benteng yang penuh dengan emas dan harta dan sering dikaitkan dengan seorang pahlawan besar yang mencoba membunuh itu, namun naga dapat ditulis ke dalam sebuah cerita dalam banyak cara sebagai karakter manusia. This includes the monster being used as a wise being whom heroes could approach for help and advice, so much so that they resembled Asian dragons rather than European dragons of myth. Ini mencakup rakasa digunakan sebagai pahlawan yang bijaksana bisa menjadi pendekatan untuk bantuan dan nasihat, begitu banyak sehingga mereka menyerupai naga Asia daripada Eropa mitos naga.
HIYYYYAAA~ Q suka banget ama yg namanya naga~♥
Selasa, 16 Februari 2010
RUNE Sowilo (Matahari)
Sowilo (Matahari)
Pengucapan : Soh-veal-oh
Arti : Kekuatan hidup, siang hari, pencapaian harapan.
Arti mendalam (negatif) : —
Arti mendalam (positif) : Kesehatan yang baik, harmoni, cahaya, magis yang menguntungkan, kekuatan spiritual, petunjuk, penyembuh, kemenangan.
Dewa : Baldur (Dewa Kecantikan), The Solar Wheel.
Arti ramalan : Kesuksesan, energi positif, kesembuhan, kekuatan, aktifitas, peningkatan.
Jika simbol merkstave : Sebenarnya simbol ini tidak dapat dibalik, namun para ahli rune kuno mengartikan merkstave Sowilo sebagai kesalahan tujuan, kerusakan, keadilan, penipuan, dan kemurkaan.
Kekuatan magis : Memberikan kekuatan, energi, kesehatan, dan kesuburan.
.: Matahari adalah sumber kehidupan, tidak ada yang dapat hidup jika tidak ada matahari (lihat arti mendalam positif dan arti ramalan). Matahari juga membuat lebih bersemangat dalam melakukan kegiatan karena pertanda hari cerah dan hari baik (lihat kekuatan magis). Namun matahari pun ternyata punya keburukan, seperti halnya orang yang terlalu semangat, sehingga lupa akan tekad dan tujuan dasarnya (lihat merkstave)
RUNE Algiz (Rusa Besar)
Algiz (Rusa Besar)
Pengucapan : Awl-gh-eeze
Arti : Perlindungan.
Arti mendalam (negatif) : Melukai sesuatu yang asing/tidak dikenali,
Arti mendalam (positif) : Melindungi diri sendiri dan orang lain, mempertahankan apa yang telah didapatkan, menangkis kekuatan buruk, tempat berlindung.
Dewa : Heimdall The Watcher.
Arti ramalan : Perlindungan, pertahanan, peringatan, dukungan, dilema moral, bantuan.
Jika simbol merkstave : Bahaya terselubung, peringatan, titik balik.
Kekuatan magis : Melindungi, mempertahankan, dan memburu keinginan.
.: Rusa besar, melambangkan perlindungan, dapat dilihat dari tanduknya yang senantiasa melindungi diri sendiri dan kerabatnya dari serangan atau benda yang dianggap asing sampai benda yang tidak diinginkan itu benar-benar pergi (lihat arti mendalam positif dan kekuatan magis). Selain itu, disebut menangkis kekuatan buruk karena bila dihubungkan dengan manusia yang waspada pada sekitarnya, akan otomatis menghindarkan diri sendiri dari hal-hal buruk yang tidak terduga. Jika tidak waspada, bahaya akan selalu mengintai, dan ketidakwaspadaan malah menyerang diri sendiri (lihat merkstave). Namun hal ini juga bisa menjadi bahaya bagi sekitarnya, karena dilema moral bisa saja membuat manusia/rusa yang tadinya melindungi, menjadi menyerang balik (lihat merkstave).
RUNE Perthro (Cangkir)
Perthro (Cangkir)
Pengucapan : Pair-dth
Arti : Kandungan.
Arti mendalam (negatif) : Permainan antara hasrat dan masa depan.
Arti mendalam (positif) : Permainan antara hasrat dan masa depan, kesuburan wanita, pembuahan, kebahagiaan, musik, menguak segala yang tersembunyi.
Dewa : Frigg (The All-Mother).
Arti ramalan : Reinkarnasi, misteri, magis, ramalan, kesuburan, awal baru.
Jika simbol merkstave : Ketagihan, kesepian, putus harapan, keadaan terhenti.
Kekuatan magis : Mempermudah kelahiran, meningkatkan kemampuan fisik.
.: Melambangkan cangkir, yang artinya menampung. Dapat juga diartikan sebagai fase kehamilan pada seorang wanita, atau fase hubungan suami-istri (lihat arti mendalam negatif-positif, dan merkstave).
RUNE Eihwaz (Pohon Cemara Berdaun Muda))
5. Eihwaz (Pohon Cemara Berdaun Muda))
Pengucapan : Eye - warz
Arti : Kekuatan, motivasi, tujuan.
Arti mendalam (negatif) : Kematian.
Arti mendalam (positif) : Mendapatkan kebutuhan, long-live, kebahagiaan, penjagaan, regenerasi, reinkarnasi. Simbol gerbang menuju dunia Underworld.
Dewa : —
Arti ramalan : Perubahan, konfrontasi ketakutan, titik balik, transformasi, kematian, permulaan.
Jika simbol merkstave : Kehancuran, ketidakpuasan, kelemahan.
Kekuatan magis : Membawa perubahan mendalam, mempermudah transisi kehidupan.
.: Pohon cemara berdaun muda melambangkan tekad yang masih perlu dikembangkan dengan perjuangan (lihat arti). Sangat membutuhkan pemeliharaan dan memenuhi kebutuhan agar dapat membuahkan hasil (lihat arti mendalam positif). Jika tidak, pikiran muda ini akan rusak dan tidak berkembang (lihat merkstave, arti ramalan). Perubahan yang baik akan terjadi pada daun-daun muda cemara dan akan lancar jika dilakukan dengan teliti (lihat kekuatan magis).
RUNE jera (Panen)
Jera (Panen)
Pengucapan : Year-ah
Arti : Tahun panen, realisasi, melimpah ruah.
Arti mendalam (negatif) : Berlebih-lebihan.
Arti mendalam (positif) : Sukses yang menjanjikan, tahun emas, musim panas, kemurahan hati, kesuburan, kedamaian, perpaduan sakral antara bumi dan surga. Ketepatan, tujuan yang baik, kemakmuran, posisi tertinggi.
Dewa : Freya dan Frey.
Arti ramalan : Perubahan mulus, siklus kehidupan, pertumbuhan, kemajuan.
Jika simbol merkstave : Kemunduran, kemiskinan, konflik, perubahan besar-besaran, kemerosotan yang tidak disangka-sangka.
Kekuatan magis : Untuk membawa perubahan dan perkembangan dengan waktu yang tepat.
.: Lambang Yin-Yang (aliran) yang bersatu, pemasukan dan pengeluaran. Diartikan sebagai pembenihan/pekerjaan yang membuahkan hasil dan pada akhirnya manusia itu sendiri yang menikmati hasil pekerjaannya, tergantung sebaik apa usahanya saat bekerja (lihat arti mendalam positif dan arti ramalan). Namun hal ini juga dapat membuat manusia lupa diri, menyia-nyiakan kesempatan berikutnya untuk bekerja keras karena sudah merasa puas (lihat arti mendalam negatif) dan akhirnya mengalami kemunduran (lihat merkstave). Beruntungnya jika manusia itu merespon segala kemakmurannya dengan bertekad untuk lebih bekerja keras di masa yang akan datang (lihat kekuatan magis).
RUNE Isa (Es)
. Isa (Es)
Pengucapan : Ee-saw
Arti : Kendala.
Arti mendalam (negatif) : Pemblokiran psikologis (pikiran dan perbuatan), statis, kehilangan energi, kematian, akhir.
Arti mendalam (positif) : Mempertinggi, kekuatan tanpa ampun.
Dewa : —
Arti ramalan : Keadaan terhenti, potensi, kesabaran, istirahat, penarikan kembali, ketidak-aktifan.
Jika simbol merkstave : Kebodohan, kebutaan, penghamburan, pengkhianatan, perangkap, ketidakjujuran, khayalan.
Kekuatan magis : Untuk menghentikan, memblokir atau mencegah keadaan yang sedang berlangsung.
.: Berlambang es. Seperti es, penghalang yang sulit dihancurkan sehingga menghambat manusia (lihat arti mendalam negatif dan arti ramalan), meskipun dapat dihindari. Potensi penghalang yang dapat dihindari inilah yang menyebabkan manusia dapat mengerahkan seluruh tenaganya untuk menghindari hal ini (lihat kekuatan magis). Namun sebaliknya, jika manusia tidak berinisiatif untuk menghindar, maka selamanya ia akan terkurung di dalam rintangan itu (lihat merkstave).
Senin, 15 Februari 2010
RUNE Nauthiz
2. Nauthiz (Need)
Pengucapan : Now-dthiz
Arti : Kebutuhan, paksaan.
Arti mendalam (negatif) : Kesengsaraan, kelelahan, luka, ketiadaan, kelangkaan.
Arti mendalam (positif) : Peringatan, pertolongan, bekerja keras untuk kebutuhan, bekerja dengan kemampuan sendiri.
Dewa : Norns (dewa nasib), Nott (dewi malam).
Arti ramalan : Kemiskinan, penderitaan, tanggung jawab, frustasi, halangan, ketidakpuasan.
Jika simbol merkstave : Kesedihan, kurang kebebasan, menjemukan, kehilangan, kebutuhan, kemiskinan, keinginan besar untuk memenuhi hasrat.
Kekuatan magis : memenuhi kebutuhan, bukan kebutuhan yang sederhana, tetapi kebutuhan penting.
.: Bersimbol timbangan yang berat sebelah, melambangkan kebutuhan manusia yang seringkali tidak sesuai dengan kemampuan sehingga menimbulkan kesengsaraan dan frustasi (lihat arti mendalam negatif, arti ramalan, dan merkstave). Namun hal ini dapat membuat manusia berinisiatif untuk meminta pertolongan, atau pun memberi pertolongan kepada yang sengsara, dan lebih bertanggung jawab atas masa depan diri sendiri dengan mengandalkan kemampuannya hari ini (lihat arti mendalam positif). Dengan demikian, kebutuhan-kebutuhan sederhana akan terpenuhi secara otomatis sehingga baru dapat memenuhi kebutuhan ’luar biasa.’ (lihat kekuatan magis).
RUNE Hagalaz
1. Hagalaz (Hail/ Hujan Es)
Pengucapan : Har-ghawl-arz
Arti : Senjata yang datang bertubi-tubi, penghancur tiba-tiba.
Arti mendalam (negatif) : Kekuatan yang tidak terkendali, baik kekuatan yang datang dari luar maupun dari dalam. Musim dingin, penundaan. Pengaruh masa lalu, kehancuran masa lalu, bayang-bayang masa lalu. Kekacauan, kecelakaan, nasib buruk yang tidak dapat dihindari.
Arti mendalam (positif) : Kesempatan untuk berubah, pergolakan alam bawah sadar (dalam arti positif).
Dewa : Heimdall The Watcher, Mordgud (penjaga jembatan es di dunia Underworld).
Arti ramalan : Perubahan penting, kehilangan dan cobaan.
Jika simbol merkstave : diartikan sebagai bencana, kehilangan kekuatan, kesakitan, krisis, dan penderitaan.
Kekuatan magis : Menghapuskan pengaruh yang tidak diinginkan dan menghindari kehancuran.
.: Hagalaz disimbolkan oleh hujan es yang kerap kali terjadi di musim dingin Eropa bagian Utara. Menyebabkan bencana, musim dingin yang menggigit, dan penderitaan akibat krisis bahan makanan di musim dingin dan sulitnya memenuhi kebutuhan (lihat arti mendalam negatif dan simbol merkstave). Namun datangnya hujan es dapat berarti baik pula, karena dengan begitu hujan es menjadi peringatan, agar ’sedia payung sebelum hujan,’ (lihat arti mendalam positif), mempersiapkan diri untuk menghadapi hujan es selanjutnya (lihat kekuatan magis).
RUNE
I. OPENING : Elder Futhark and Three Sections of It
Elder Futhark, Futhark tertua, adalah huruf/simbol rune yang paling banyak digunakan di belahan Eropa Utara. Nama dari simbol-simbol rune Elder Futhark adalah rekaan dari pembaharuan kata yang dalam ilmu kebahasaan lebih dikenal dengan sebutan proto-Germanic, yang berpangkal proto-Indo-European. Huruf/simbol rune ini juga sangat erat kaitannya dengan kepercayaan masyarakat kuno, dimana dipercaya setiap dewa memiliki kekuasaan dan tugas yang dialirkan ke batu-batu rune, sehingga memiliki kekuatan magis bagi penggunanya.
Ada banyak versi dari huruf rune. Setiap versi memiliki nama, bentuk, arti esoteric (hanya dimengerti orang-orang tertentu saja), dan kekuatan magis. Satu versi tidak bisa sembarangan digabungkan dengan versi yang lain, karena artinya bisa sangat membingungkan. Elder Futhark, Anglo-Saxon Futhorc, dan The Younger (Skandinavia) Futhark adalah tiga dari versi-versi yang paling dikenali dan diketahui, dan juga digunakan.
Elder Futhark sendiri, dimana kita akan membahasnya lebih jauh, dibagi ke dalam tiga kelompok. Masing-masing kelompok terdiri atas delapan simbol yang disebut dengan Aett (Aettir, bentuk jamak). Pengelompokan ini sangat membantu untuk mengingat arti general dari masing-masing kelompok, dan memiliki kekuatan gaib yang sangat signifikan pula dari tiap kelompok.
II. The Three
Aett pertama adalah Freya’s Aett. Dimana Aett ini adalah simbol dari Dewa Perang, Kematian, Cinta dan Magis. Simbol di dalam kelompok Aett ini melambangkan kesuburan, peningkatan, cinta, dan kekuatan dasar kehidupan. Kedelapan huruf dalam Aett ini secara general adalah mengenai jalannya kehidupan. Dimana ada perjalanan, konflik, kekuatan, pengorbanan, ke-Dewa-an, gangguan, dan kebahagiaan. Seperti huruf Rune Ansuz (pohon Ash keramat), yang diartikan sebagai pemberkatan Dewa-Dewa. Melambangkan kebahagian batiniah, perlindungan, jaminan. Simbol ini dinaungi Dewa Odin, dewa angin dan roh. Namun jika dalam runecasting didapatkan simbol Ansuz terbalik/merkstave, artinya akan menjadi: manipulasi, kebosanan dan ketidakmengertian.
Hagal’s Aett adalah simbol dari Dewa Hagal, gerbang pembuka ke dunia lain. Diartikan sebagai adanya batasan, takdir, dan perjalanan batiniah. Kedelapan huruf di dalamnya bermakna emosi makhluk hidup secara general. Emosi yang bahkan sulit dipahami untuk orang-orang terdekat sekali pun, dan kadang membingungkan pemilik emosi itu sendiri. Lambang kepribadian, pembentuk makhluk hidup pada umumnya.
Aett terakhir: Tyr’s Aett, simbol untuk Tyr, dewa dan pemimpin perang di langit surga yang disebut Pantheon. Melambangkan perpaduan, hubungan antara satu dengan yang lain, dan intergrasi. Kedelapan huruf itu secara general memiliki makna hubungan antar makhluk hidup dan bagaimana bersosialisasi. Dari mulai lahir, berkembang, dan akhirnya bermasyarakat. Seperti rune Teiwaz (anak panah), yang melambangkan kemanangan dan keadilan. Keberhasilan dalam peperangan dan kepemimpinan atas masyarakat luas. Simbol langsung kepada Dewa Tyr. Jika dalam runecasting didapatkan merkstave pada simbol Teiwaz ini, artinya akan menjadi: konflik, ketidakseimbangan, perpisahan, dan pemblokiran aliran energi.
Berikut ini adalah penjelasan mengenai Hagal’s Aett secara lebih mendalam.
III. Close to Hagal’s Aett
Seperti telah disebutkan di atas, Hagal’s Aett memiliki depalan huruf/simbol rune. Jika ditilik lebih umum, memang memiliki inti arti yang sama. Namun masing-masing huruf Hagal’s Aett memiliki makna-makna tersendiri, arti di bidang ramalan, dan kekuatan magis bagi penggunanya untuk menangkal ramalan buruk. Begitu juga jika huruf-huruf itu dipasang merkstave/terbalik, dapat memiliki arti berbeda meski tidak selalu berarti terbalik dari semestinya atau bertolak belakang.
IV. CLOSING
Dapat dilihat bahwa masing-masing Aett dalam Hagal’s Aett memiliki kekuatan magis dan artinya sendiri-sendiri. Dan dapat dipastikan bahwa jika simbol terbalik/merkstave saat melakukan runecasting, dapat membuat arti dari simbol rune itu sendiri akan berbanding terbalik (Jera, Algiz, Sowilo, Perthro), meskipun ada yang tidak. Penggabungan simbol-simbol rune juga tidak boleh sembarangan karena daat mencampur-adukkan kekuatan yang terdapat di dalamnya, dan dapat menghancurkan penggunanya sendiri.
Minggu, 14 Februari 2010
urashima taro
History
The name Urashima Taro first appears in the 15th century (the Muromachi period), in the book Otogizōshi, but the story is much older, dating back to the 8th century (the Nara Period). These older books, such as Nihon Shoki, Man'yōshū [2] and Tango no Kuni Fudoki (丹後国風土記) refer to Urashima Taro as Urashimako, though the story is the same. This represents a change in Japanese naming customs; in the previous eras, -ko (child) was used for both male and female names, while in later times it was mostly a female name element, replaced with -tarou (great youth) in boys' names.
One day a young fisherman named Urashima Tarō is fishing when he notices a group of children torturing a small turtle. Tarō saves it and lets it to go back to the sea. The next day, a huge turtle approaches him and tells him that the small turtle he had saved is the daughter of the Emperor of the Sea, who wants to see him to thank him. The turtle magically gives Tarō gills and brings him to the bottom of the sea, to the Palace of the Dragon God (Ryūgū-jō). There he meets the Emperor and the small turtle, who was now a lovely princess, Otohime.
Urashima Tarō illustration by Edmund Dulac
Tarō stays there with her for a few days, but soon wants to go back to his village and see his aging mother, so he asks Otohime permission to leave. The princess says she is sorry to see him go, but wishes him well and gives him a mysterious box called tamatebako which she tells him never to open. Tarō grabs the box, jumps on the back of the same turtle that had brought him there, and soon is at the seashore.
When he goes home, everything has changed. His home is gone, his mother has vanished, and the people he knew are nowhere to be seen. He asks if anybody knows a man called Urashima Tarō. They answer that they had heard someone of that name had vanished at sea long ago. He discovers that 60 years have passed since the day he left for the bottom of the sea. Struck by grief, he absent-mindedly opens the box the princess had given him, from which burts forth a cloud of white smoke. He is suddenly aged, his beard long and white, and his back bent. From the sea comes the sad, sweet voice of the princess: "I told you not to open that box. In it was your old age ..." This story bears a striking similarity to many other tales, including that of Oisín.
As always with folklore, there are many different versions of this extremely famous story. In one, for example, after he turned into an old man he took the body of a crane, in another he ate a magic pill that gave him the ability to breathe underwater. In another version, he is swept away by a storm before he can rescue the turtle. Also, there is a version in which he dies in the process of aging (his body turns into dust), as no one can live 300 years.
momotaro
Story
According to the present form of the tale (dating to the Edo period), Momotarō came to Earth inside a giant peach, which was found floating down a river by an old, childless woman who was washing clothes there. The woman and her husband discovered the child when they tried to open the peach to eat it. The child explained that he had been sent by Heaven to be their son. The couple named him Momotarō, from momo (peach) and tarō (eldest son in the family).
An older form of the story has the old, childless woman discover the giant, floating peach and take it home with her, as she finds it to be of good color and tasty-looking. After eating a piece of the peach, the old woman is suddenly rejuvenated and regains the beauty of her youth. When her old husband comes home from the hills, he is astounded to find a dazzling young lady in his house. At first he does not even recognize his own wife in her rejuvenated form, but she explains to him how she has picked up an unusual peach floating in the river and brought it home to eat it and was magically transformed. She then gives her husband a piece of the peach to eat, and he also regains his youthful vigor. That night, the newly invigorated couple make love, and the woman becomes pregnant as a result. She eventually gives birth to their first child, a son, whom they name Tarō, as that is a common Japanese name for a first son.
Years later, Momotarō left his parents for an island called Onigashima to destroy the marauding oni (demons or ogres) that dwelt there. En route, Momotarō met and befriended a talking dog, monkey, and pheasant, who agreed to help him in his quest. At the island, Momotarō and his animal friends penetrated the demons' fort and beat the demons' leader, Ura, as well as his army, into surrendering. Momotarō returned home with his new friends, and his family lived comfortably from then on.
Momotarō is strongly associated with Okayama, and his tale may have its origins there. The demon island of the story is sometimes associated with Megijima Island (an island in the Inland Sea near Takamatsu) due to the vast manmade caves found on that island.[1][2]
There are a few variants to the story, depending on geographical region. Some say Momotaro floated by in a box, a white peach, or a red peach. Stories from Shikoku and Chugoku region muddy the distinction with characters from another folk story, the Monkey-Crab Battle (ja:さるかに合戦）that Momotaro took with him allies to Oni Island, namely a bee(蜂), a crab(蟹), a mill stone(臼), a chestnut(栗), and a cowpie(牛の糞).[3] In old days, all these animals and objects were believed to possess spirits and could move by their own will. The cowpie was sometimes given the honorific don (殿). This was to appease the cowpie spirit, so as it won't move to be under you when you stumble or take a step.
Statue of Momotaro outside of Okayama Train Station
The popular children's song about Momotarō titled Momotarō-san no Uta (Momotarō's Song) was first published in 1911. One version of it is included below with romanization and translation.
Momotarō-san no uta (Momotarō's Song) 桃太郎さんの歌
Momotarō-san, momotarō-san (Momotarō, Momotarō) 桃太郎さん、桃太郎さん
Okoshi ni tsuketa kibidango (Those millet dumplings on your waist) お腰につけたきびだんご
Hitotsu watashi ni kudasai na? (Won't you give me one?) 一つ私に下さいな！
Agemashou, agemashou (I'll give you one, I'll give you one) あげましょう、あげましょう
Ima kara oni no seibatsu ni (From now, on a quest to conquer the ogres) 今から鬼の征伐に
Tsuite kuru nara agemashou (If you come with me, I'll give one to you) ついてくるならあげましょう
According to the present form of the tale (dating to the Edo period), Momotarō came to Earth inside a giant peach, which was found floating down a river by an old, childless woman who was washing clothes there. The woman and her husband discovered the child when they tried to open the peach to eat it. The child explained that he had been sent by Heaven to be their son. The couple named him Momotarō, from momo (peach) and tarō (eldest son in the family).
An older form of the story has the old, childless woman discover the giant, floating peach and take it home with her, as she finds it to be of good color and tasty-looking. After eating a piece of the peach, the old woman is suddenly rejuvenated and regains the beauty of her youth. When her old husband comes home from the hills, he is astounded to find a dazzling young lady in his house. At first he does not even recognize his own wife in her rejuvenated form, but she explains to him how she has picked up an unusual peach floating in the river and brought it home to eat it and was magically transformed. She then gives her husband a piece of the peach to eat, and he also regains his youthful vigor. That night, the newly invigorated couple make love, and the woman becomes pregnant as a result. She eventually gives birth to their first child, a son, whom they name Tarō, as that is a common Japanese name for a first son.
Years later, Momotarō left his parents for an island called Onigashima to destroy the marauding oni (demons or ogres) that dwelt there. En route, Momotarō met and befriended a talking dog, monkey, and pheasant, who agreed to help him in his quest. At the island, Momotarō and his animal friends penetrated the demons' fort and beat the demons' leader, Ura, as well as his army, into surrendering. Momotarō returned home with his new friends, and his family lived comfortably from then on.
Momotarō is strongly associated with Okayama, and his tale may have its origins there. The demon island of the story is sometimes associated with Megijima Island (an island in the Inland Sea near Takamatsu) due to the vast manmade caves found on that island.[1][2]
There are a few variants to the story, depending on geographical region. Some say Momotaro floated by in a box, a white peach, or a red peach. Stories from Shikoku and Chugoku region muddy the distinction with characters from another folk story, the Monkey-Crab Battle (ja:さるかに合戦）that Momotaro took with him allies to Oni Island, namely a bee(蜂), a crab(蟹), a mill stone(臼), a chestnut(栗), and a cowpie(牛の糞).[3] In old days, all these animals and objects were believed to possess spirits and could move by their own will. The cowpie was sometimes given the honorific don (殿). This was to appease the cowpie spirit, so as it won't move to be under you when you stumble or take a step.
Statue of Momotaro outside of Okayama Train Station
The popular children's song about Momotarō titled Momotarō-san no Uta (Momotarō's Song) was first published in 1911. One version of it is included below with romanization and translation.
Momotarō-san no uta (Momotarō's Song) 桃太郎さんの歌
Momotarō-san, momotarō-san (Momotarō, Momotarō) 桃太郎さん、桃太郎さん
Okoshi ni tsuketa kibidango (Those millet dumplings on your waist) お腰につけたきびだんご
Hitotsu watashi ni kudasai na? (Won't you give me one?) 一つ私に下さいな！
Agemashou, agemashou (I'll give you one, I'll give you one) あげましょう、あげましょう
Ima kara oni no seibatsu ni (From now, on a quest to conquer the ogres) 今から鬼の征伐に
Tsuite kuru nara agemashou (If you come with me, I'll give one to you) ついてくるならあげましょう
kintaro
Legend
Several competing stories tell of Kintarō's childhood. In one, he was raised by his mother, Princess Yaegiri, daughter of a wealthy man named Shiman-chōja, in the village of Jizodo, near Mt. Kintoki. In a competing legend, his mother gave birth to him in what is now Sakata. She was forced to flee, however, due to fighting between her husband, a samurai named Sakata, and his uncle. She finally settled in the forests of Mt. Kintoki to raise her son. Alternatively, Kintarō's real mother left the child in the wilds or died and left him an orphan, and he was raised by the mountain witch Yama-uba (one tale says Kintarō's mother raised him in the wilds, but due to her haggard appearance, she came to be called Yama-uba). In the most fanciful version of the tale, Yama-uba was Kintarō's mother, impregnated by a clap of thunder sent from a red dragon of Mt. Ashigara.
The legends agree that even as a toddler, Kintarō was active and indefatigable, plump and ruddy, wearing only a bib with the kanji for "gold" (金) on it. His only other accoutrement was a hatchet (ono and masakari). He was bossy to other children (or there simply were no other children in the forest), so his friends were mainly the animals of Mt. Kintoki and Mt. Ashigara. He was also phenomenally strong, able to smash rocks into pieces, uproot trees, and bend trunks like twigs. His animal friends served him as messengers and mounts, and some legends say that he even learned to speak their language. Several tales tell of Kintarō's adventures, fighting monsters and demons, beating bears in sumo wrestling, and helping the local woodcutters fell trees.
As an adult, Kintarō changed his name to Sakata no Kintoki. He met the samurai Minamoto no Yorimitsu as he passed through the area around Mt. Kintoki. Yorimitsu was impressed by Kintarō's enormous strength, so he took him as one of his personal retainers to live with him in Kyoto. Kintoki studied martial arts there and eventually became the chief of Yorimitsu's Shitennō ("four braves"), renowned for his strength and martial prowess. He eventually went back for his mother and brought her to Kyoto as well.
Kintarō is an extremely popular figure in Japan, and his image adorns everything from statues to storybooks, anime, manga to action figures. For example, the anime Golden Boy stars a character with the same name. Kintarō as an image is characterized with a Masakari ax, a Haragake Japanese-style apron and sometimes a tame bear.
Kintarō candy has been around since the Edo period; no matter how the cylinder-shaped candy is cut, Kintarō's face appears inside. Japanese tradition is to decorate the room of a newborn baby boy with Kintarō dolls on Children's Day (May 5) so that the child will grow up to be strong like the Golden Boy. A shrine dedicated to the folk hero lies at the foot of Mt. Kintoki in the Hakone area near Tokyo. Nearby is a giant boulder that was supposedly chopped in half by the boy hero himself.
The name of the main character of Gintama, Sakata Gintoki, is based on Kintarō.
In the anime series, Otogi Zoshi Kintaro is one of the main characters.
The Imagin Kintaros from the tokusatsu series Kamen Rider Den-O is based on Kintarō, emulating the bear and axe elements.
In the video game Otogi 2 developed by From Software, Kintoki wields a large axe as his main weapon, known as the 'Crimson Axe'.
Kintarō appears as an alien character who rides a flying bear and wields a small (but large for his size) axe in the animated television series Urusei Yatsura.[1]
In the anime and manga series The Prince of Tennis, a character by the name of Tōyama Kintarō is the youngest regular member of the Shitenhoji Middle School tennis team. He is named after Kintarō, and shares his namesake's amazing superhuman strength.
In the series YuYu Hakusho Makintaro of team Uraotogi (Dark Tournament) is loosely based on Kintaro, though quickly defeated by Hiei.
In the series One Piece, the character called Sentoumaru has a design based on Kintaro (he wears the same clothes and wields a giant battle axe). Even his signature attacks is called Ashigara Dokkoi.
Several competing stories tell of Kintarō's childhood. In one, he was raised by his mother, Princess Yaegiri, daughter of a wealthy man named Shiman-chōja, in the village of Jizodo, near Mt. Kintoki. In a competing legend, his mother gave birth to him in what is now Sakata. She was forced to flee, however, due to fighting between her husband, a samurai named Sakata, and his uncle. She finally settled in the forests of Mt. Kintoki to raise her son. Alternatively, Kintarō's real mother left the child in the wilds or died and left him an orphan, and he was raised by the mountain witch Yama-uba (one tale says Kintarō's mother raised him in the wilds, but due to her haggard appearance, she came to be called Yama-uba). In the most fanciful version of the tale, Yama-uba was Kintarō's mother, impregnated by a clap of thunder sent from a red dragon of Mt. Ashigara.
The legends agree that even as a toddler, Kintarō was active and indefatigable, plump and ruddy, wearing only a bib with the kanji for "gold" (金) on it. His only other accoutrement was a hatchet (ono and masakari). He was bossy to other children (or there simply were no other children in the forest), so his friends were mainly the animals of Mt. Kintoki and Mt. Ashigara. He was also phenomenally strong, able to smash rocks into pieces, uproot trees, and bend trunks like twigs. His animal friends served him as messengers and mounts, and some legends say that he even learned to speak their language. Several tales tell of Kintarō's adventures, fighting monsters and demons, beating bears in sumo wrestling, and helping the local woodcutters fell trees.
As an adult, Kintarō changed his name to Sakata no Kintoki. He met the samurai Minamoto no Yorimitsu as he passed through the area around Mt. Kintoki. Yorimitsu was impressed by Kintarō's enormous strength, so he took him as one of his personal retainers to live with him in Kyoto. Kintoki studied martial arts there and eventually became the chief of Yorimitsu's Shitennō ("four braves"), renowned for his strength and martial prowess. He eventually went back for his mother and brought her to Kyoto as well.
Kintarō is an extremely popular figure in Japan, and his image adorns everything from statues to storybooks, anime, manga to action figures. For example, the anime Golden Boy stars a character with the same name. Kintarō as an image is characterized with a Masakari ax, a Haragake Japanese-style apron and sometimes a tame bear.
Kintarō candy has been around since the Edo period; no matter how the cylinder-shaped candy is cut, Kintarō's face appears inside. Japanese tradition is to decorate the room of a newborn baby boy with Kintarō dolls on Children's Day (May 5) so that the child will grow up to be strong like the Golden Boy. A shrine dedicated to the folk hero lies at the foot of Mt. Kintoki in the Hakone area near Tokyo. Nearby is a giant boulder that was supposedly chopped in half by the boy hero himself.
The name of the main character of Gintama, Sakata Gintoki, is based on Kintarō.
In the anime series, Otogi Zoshi Kintaro is one of the main characters.
The Imagin Kintaros from the tokusatsu series Kamen Rider Den-O is based on Kintarō, emulating the bear and axe elements.
In the video game Otogi 2 developed by From Software, Kintoki wields a large axe as his main weapon, known as the 'Crimson Axe'.
Kintarō appears as an alien character who rides a flying bear and wields a small (but large for his size) axe in the animated television series Urusei Yatsura.[1]
In the anime and manga series The Prince of Tennis, a character by the name of Tōyama Kintarō is the youngest regular member of the Shitenhoji Middle School tennis team. He is named after Kintarō, and shares his namesake's amazing superhuman strength.
In the series YuYu Hakusho Makintaro of team Uraotogi (Dark Tournament) is loosely based on Kintaro, though quickly defeated by Hiei.
In the series One Piece, the character called Sentoumaru has a design based on Kintaro (he wears the same clothes and wields a giant battle axe). Even his signature attacks is called Ashigara Dokkoi.
A Sad Story
A Sad Story
I am a single working mother and going to college for a better life for my three year child and myself. I am taking a course called "Urban Community." We were asked to do a major project on problems in the Urban Communities. I choose the topic Homeless."
Each day I would walk the streets of the homeless and offer them something to drink and to eat. I know its tough to survival on the streets. Last night I ran into a group of 30 kids who were living on the streets on NY. I spoke to a few of them. They were ages 13 to 16. My heart went out to them and I just wanted to cry. I had to be strong. One girl who is pregnant and her boyfriend was very supportive toward her but I had told all of them about the Convent House, that there is help out there.
I told her she needs the proper care for her child's needs. She told me that she has been taken care of her child and that she will do the right thing. My heart was broken when I saw all these children on the streets of New York.
They told me they traveled all over the place as a group. Some of them said they hooker and panhandle and do odd jobs for people. None of them were high on drugs nor were they drinking. At least not this group. I asked about their families and if they contact them to let them know they were alive. Most of them said, "NO.' They all look like a happy family and they took care of one another. I really tried to persuade them to get help and to contact their families but they did not want to. I did not want to push the issue.
All these kids were very respectful. Some of them enjoyed reading and writing. They said their education is important to them but they teach each other. Some of them enjoyed skate boarding, dancing and playing music.
One girl asked me if I could give her a hug and I did. She started to cry and said, "Thank you for not treating us as freaks like everyone else does. People don't realize that we all have our own problems but some are worse then others." She told me that her stepfather was sexually abusing her and her mother did not believe her. She ran away." Her street name is little Mary.
They were good kids just trying to make ends meet. I told them that I don't have much to offer because I am a single Mom just making ends met. I had offered them sandwiches and soda. They were so happy to have something to eat and told me that I can't change the world but at least there is someone who really cares.
I cried and told them to be save and to please be careful because we all live in a dangerous world. They told me that they are moving to a new area and did not say where. God Bless these Children.
I am a single working mother and going to college for a better life for my three year child and myself. I am taking a course called "Urban Community." We were asked to do a major project on problems in the Urban Communities. I choose the topic Homeless."
Each day I would walk the streets of the homeless and offer them something to drink and to eat. I know its tough to survival on the streets. Last night I ran into a group of 30 kids who were living on the streets on NY. I spoke to a few of them. They were ages 13 to 16. My heart went out to them and I just wanted to cry. I had to be strong. One girl who is pregnant and her boyfriend was very supportive toward her but I had told all of them about the Convent House, that there is help out there.
I told her she needs the proper care for her child's needs. She told me that she has been taken care of her child and that she will do the right thing. My heart was broken when I saw all these children on the streets of New York.
They told me they traveled all over the place as a group. Some of them said they hooker and panhandle and do odd jobs for people. None of them were high on drugs nor were they drinking. At least not this group. I asked about their families and if they contact them to let them know they were alive. Most of them said, "NO.' They all look like a happy family and they took care of one another. I really tried to persuade them to get help and to contact their families but they did not want to. I did not want to push the issue.
All these kids were very respectful. Some of them enjoyed reading and writing. They said their education is important to them but they teach each other. Some of them enjoyed skate boarding, dancing and playing music.
One girl asked me if I could give her a hug and I did. She started to cry and said, "Thank you for not treating us as freaks like everyone else does. People don't realize that we all have our own problems but some are worse then others." She told me that her stepfather was sexually abusing her and her mother did not believe her. She ran away." Her street name is little Mary.
They were good kids just trying to make ends meet. I told them that I don't have much to offer because I am a single Mom just making ends met. I had offered them sandwiches and soda. They were so happy to have something to eat and told me that I can't change the world but at least there is someone who really cares.
I cried and told them to be save and to please be careful because we all live in a dangerous world. They told me that they are moving to a new area and did not say where. God Bless these Children.
The Golden Hand retold by S. E. Schlosser
The Golden Hand
retold by
S. E. Schlosser
He never paid much attention to the neighbors living on his city block until the day the pretty middle-aged widow moved in two doors down from him. She was plump and dark with sparkling eyes, and she always wore dark gloves on her hands, even indoors.
He went out of his way to meet her, and they often "bumped" into each other in the street and stood talking. One day, as she brushed the hair back from her forehead, he caught a glimpse of gold under the glove on her right arm. When he asked her about it, she grinned coquettishly and told him that she had lost one hand a few years back and now wore a golden hand in its place. In that moment, a terrible lust woke in his heart - not to possess the lady herself, but to possess the solid gold hand that she wore under her long black gloves.
He courted the widow with every stratagem known to him; flowers, trips to the theater, gifts, compliments. And he won her heart. Within a month, they were standing in front of a minister, promising to love one another until death parted them. Within another month, he was a widower and had buried his ailing wife in the local cemetery - without her golden hand. It had been so easy. A slow poison, administered daily to resemble a wasting disease. No one - not his wife, not the family doctor, not their neighbors - suspected murder. And the night after the funeral, he slept with the golden hand under his pillow.
It was a dark night. Clouds covered the moon, and the wind was whistling down the chimney and rattling the shutters of the town house. He was deeply asleep when the door to his room slammed open with a loud bang and a wild wind whipped around the room, scattering papers and books and clothing and table coverings every which way. He sat up, startled by the sudden noise, and his pulse began to pound when he saw a greenish-white light bobbing slowly into the room. Before his eyes, the light slowly grew larger, taking on the shape of his dead wife. She was missing one arm. "Where is my golden hand?" she moaned, her dark eyes blazing with red fire. "Give me my golden hand!"
He tried to speak, but his mouth was so dry with fear that he could only make soft gasping noises. The glowing phantom moved closer to him, her once-lovely face twisted into a hideous green mask. "You stole my life and you stole my hand. Give me back my golden hand!" the dead wife howled. The noise rose higher and higher, and the phantom pulsed with a strident green light that smote his eyes, making them water.
He cowered back against his pillows, and the hard shape of the golden hand pressed against his back. And then he felt the golden hand twitch underneath him as the mangled green phantom that had been his wife swooped down upon him, pressing his face against
the pillow in a suffocating green cloud. He tried to scream, but it was cut off suddenly by a terrible pressure against his throat, cutting off his breath. The world went black.
The next morning, when the housemaid came into the room with her master's morning cup of tea, she found him lying dead on the floor, with the golden hand clutched around his throat.
retold by
S. E. Schlosser
He never paid much attention to the neighbors living on his city block until the day the pretty middle-aged widow moved in two doors down from him. She was plump and dark with sparkling eyes, and she always wore dark gloves on her hands, even indoors.
He went out of his way to meet her, and they often "bumped" into each other in the street and stood talking. One day, as she brushed the hair back from her forehead, he caught a glimpse of gold under the glove on her right arm. When he asked her about it, she grinned coquettishly and told him that she had lost one hand a few years back and now wore a golden hand in its place. In that moment, a terrible lust woke in his heart - not to possess the lady herself, but to possess the solid gold hand that she wore under her long black gloves.
He courted the widow with every stratagem known to him; flowers, trips to the theater, gifts, compliments. And he won her heart. Within a month, they were standing in front of a minister, promising to love one another until death parted them. Within another month, he was a widower and had buried his ailing wife in the local cemetery - without her golden hand. It had been so easy. A slow poison, administered daily to resemble a wasting disease. No one - not his wife, not the family doctor, not their neighbors - suspected murder. And the night after the funeral, he slept with the golden hand under his pillow.
It was a dark night. Clouds covered the moon, and the wind was whistling down the chimney and rattling the shutters of the town house. He was deeply asleep when the door to his room slammed open with a loud bang and a wild wind whipped around the room, scattering papers and books and clothing and table coverings every which way. He sat up, startled by the sudden noise, and his pulse began to pound when he saw a greenish-white light bobbing slowly into the room. Before his eyes, the light slowly grew larger, taking on the shape of his dead wife. She was missing one arm. "Where is my golden hand?" she moaned, her dark eyes blazing with red fire. "Give me my golden hand!"
He tried to speak, but his mouth was so dry with fear that he could only make soft gasping noises. The glowing phantom moved closer to him, her once-lovely face twisted into a hideous green mask. "You stole my life and you stole my hand. Give me back my golden hand!" the dead wife howled. The noise rose higher and higher, and the phantom pulsed with a strident green light that smote his eyes, making them water.
He cowered back against his pillows, and the hard shape of the golden hand pressed against his back. And then he felt the golden hand twitch underneath him as the mangled green phantom that had been his wife swooped down upon him, pressing his face against
the pillow in a suffocating green cloud. He tried to scream, but it was cut off suddenly by a terrible pressure against his throat, cutting off his breath. The world went black.
The next morning, when the housemaid came into the room with her master's morning cup of tea, she found him lying dead on the floor, with the golden hand clutched around his throat.
The Tolling of the Bell
The Tolling of the Bell
retold by
S. E. Schlosser
In the wee hours of Friday morning, October 7, 1859, when all the good residents of Charlottetown should still be sleeping in their beds, a deep bell tone was heard from the bell tower in St. James Church. The somber sound rang out over the rooftops, waking many with the unexpectedness of its doom-laden ring. Then a second toll rang slowly overhead, followed by a third.
Bewildered by the unexpected tolling of the bell, two neighbors who lived near the church hurriedly joined forces in the road outside their homes and went to investigate. Above them, the bell tolled for the fourth time, and again for the fifth time.
As they entered the church yard, the bell tolled for the sixth time, and the front doors of the church swung open with a windy blast. Framed in the doorway were three glowing women dressed all in white. The men gasped, unsure if they were seeing real women, or angels. Overhead, the bell tolled for a seventh time and the doors slammed shut as quickly as they had opened. The men raced to the doors and tugged on the handles, but they were firmly locked. When they peered through the windows, the men saw a glowing woman in white ascending the stairs to the belfry.
The minister and the sexton arrived at that moment, demanding to know what the disturbance was about. The neighbors told the new arrivals what they had seen, and the minister unlocked the door to the church. As they entered the vestibule, they saw no sign of the women the neighbors had seen in the doorway. A quick glance through the church revealed not a living soul.
As the men ascended toward the belfry, the bell tolled for the eighth time. They ran up the stairs, determined to confront the culprit and demand and explanation. When they reached the top, they found the belfry empty and the bell rope tied firmly in place, though the metal of the church bell was still vibrating slightly.
Puzzled and frightened, the minister and his companions searched the church from top to bottom, but it was completely empty. As the bell gave no further sign of tolling, the men left the church, mystified by what had happened.
That evening, the local passenger steamer between Nova Scotia and Prince Edward Island - called the Fairie Queene - failed to arrive. The people of Charlottetown learned a few days later that the ship had sunk, killing the eight passengers who had boarded her that day. It is said that the bell of Saint James Church tolled eight times on the day of the disaster, thus foretelling the doom of the five men and three women who would board the Fairie Queene later that day.
retold by
S. E. Schlosser
In the wee hours of Friday morning, October 7, 1859, when all the good residents of Charlottetown should still be sleeping in their beds, a deep bell tone was heard from the bell tower in St. James Church. The somber sound rang out over the rooftops, waking many with the unexpectedness of its doom-laden ring. Then a second toll rang slowly overhead, followed by a third.
Bewildered by the unexpected tolling of the bell, two neighbors who lived near the church hurriedly joined forces in the road outside their homes and went to investigate. Above them, the bell tolled for the fourth time, and again for the fifth time.
As they entered the church yard, the bell tolled for the sixth time, and the front doors of the church swung open with a windy blast. Framed in the doorway were three glowing women dressed all in white. The men gasped, unsure if they were seeing real women, or angels. Overhead, the bell tolled for a seventh time and the doors slammed shut as quickly as they had opened. The men raced to the doors and tugged on the handles, but they were firmly locked. When they peered through the windows, the men saw a glowing woman in white ascending the stairs to the belfry.
The minister and the sexton arrived at that moment, demanding to know what the disturbance was about. The neighbors told the new arrivals what they had seen, and the minister unlocked the door to the church. As they entered the vestibule, they saw no sign of the women the neighbors had seen in the doorway. A quick glance through the church revealed not a living soul.
As the men ascended toward the belfry, the bell tolled for the eighth time. They ran up the stairs, determined to confront the culprit and demand and explanation. When they reached the top, they found the belfry empty and the bell rope tied firmly in place, though the metal of the church bell was still vibrating slightly.
Puzzled and frightened, the minister and his companions searched the church from top to bottom, but it was completely empty. As the bell gave no further sign of tolling, the men left the church, mystified by what had happened.
That evening, the local passenger steamer between Nova Scotia and Prince Edward Island - called the Fairie Queene - failed to arrive. The people of Charlottetown learned a few days later that the ship had sunk, killing the eight passengers who had boarded her that day. It is said that the bell of Saint James Church tolled eight times on the day of the disaster, thus foretelling the doom of the five men and three women who would board the Fairie Queene later that day.
The Bloody Knife
The Bloody Knife
(Micmac)
retold by
S. E. Schlosser
Many and many a year ago, two Micmac warriors from rival villages got into a terrible argument. Harsh words were exchanged, and then knives were pulled. The warriors battled back and forth on the banks of a small creek. They fought with the ferocity of grizzlies, tearing at each other with their knives, ripping at each others clothes and hair.
Suddenly, one of the warriors slipped on the muddy bank and fell into the waters of the creek. His bloody knife slipped from his hand and sank down and down to the bottom, landing upon a rock just beyond his reach. The warrior strained his pain-wracked body towards the knife as his blood filled the waters of the creek, but it was just beyond his fingertips. He thrashed and clawed towards his knife, desperate to reach it before his rival killed him, but no matter how he stretched, it always slipped out of reach.
On the bank above, the victorious Micmac warrior saw his rival sink into the blood-stained waters and lay still, the knife just a hair-breadth beyond his fingertips. He did not rise again. The fallen man's people found him a few hours later and tenderly rescued his body from the rippling waters of the creek. But when they tried to retrieve his bloody knife from the rock beneath him, it always slipped beyond their reach, though the creek was not deep.
Many and many a year has passed since that bloody day by the creek, and still the blood-stained knife lies beneath the rippling waters of the creek. Whenever anyone tries to reach it, the knife slips out of reach. It is like trying to touch something on the bottom of the sea, although the creek itself is not deep. Even the rushing waters of the spring season do not move the mysterious knife or wash away the blood staining its blade.
For this reason, the creek is called Wokun - meaning "knife" by the Micmac people, and the white men call it "Bloody Creek".
(Micmac)
retold by
S. E. Schlosser
Many and many a year ago, two Micmac warriors from rival villages got into a terrible argument. Harsh words were exchanged, and then knives were pulled. The warriors battled back and forth on the banks of a small creek. They fought with the ferocity of grizzlies, tearing at each other with their knives, ripping at each others clothes and hair.
Suddenly, one of the warriors slipped on the muddy bank and fell into the waters of the creek. His bloody knife slipped from his hand and sank down and down to the bottom, landing upon a rock just beyond his reach. The warrior strained his pain-wracked body towards the knife as his blood filled the waters of the creek, but it was just beyond his fingertips. He thrashed and clawed towards his knife, desperate to reach it before his rival killed him, but no matter how he stretched, it always slipped out of reach.
On the bank above, the victorious Micmac warrior saw his rival sink into the blood-stained waters and lay still, the knife just a hair-breadth beyond his fingertips. He did not rise again. The fallen man's people found him a few hours later and tenderly rescued his body from the rippling waters of the creek. But when they tried to retrieve his bloody knife from the rock beneath him, it always slipped beyond their reach, though the creek was not deep.
Many and many a year has passed since that bloody day by the creek, and still the blood-stained knife lies beneath the rippling waters of the creek. Whenever anyone tries to reach it, the knife slips out of reach. It is like trying to touch something on the bottom of the sea, although the creek itself is not deep. Even the rushing waters of the spring season do not move the mysterious knife or wash away the blood staining its blade.
For this reason, the creek is called Wokun - meaning "knife" by the Micmac people, and the white men call it "Bloody Creek".
Jumat, 12 Februari 2010
introducting
mmm~
mulai dari mana y??
nama q ada banyak sih
tp panggil aja wulan ^^
ini blog pertama q aku akan nulis cerita real or fiksi
karna q seneng bngt bikin cerita atau baca cerita yg seru
tapi klo ada poetry(puisi) atau berita yg bgus dn cukup menarik bgi q akan ditulis juga kok ^^
jadi semoga kailan semua (para pembaca) menimati dn suka dgn blog ku ini y~
salam dri wulandari
terima kasih~
*bows head*
mulai dari mana y??
nama q ada banyak sih
tp panggil aja wulan ^^
ini blog pertama q aku akan nulis cerita real or fiksi
karna q seneng bngt bikin cerita atau baca cerita yg seru
tapi klo ada poetry(puisi) atau berita yg bgus dn cukup menarik bgi q akan ditulis juga kok ^^
jadi semoga kailan semua (para pembaca) menimati dn suka dgn blog ku ini y~
salam dri wulandari
terima kasih~
*bows head*
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