"Things that Go Bump in the Night"
From ghoulies and ghosties
And long-leggedy beasties
And things that go bump in the night,
Good Lord, deliver us!
~ Traditional Scottish Prayer
What is it about the human psyche that attracts us to stories of dark and mysterious strangers emerging from foggy, cobblestoned alleys in the dead of night; stealthy footsteps heard in a house when one is alone; the howling of a wolf on a moonlit night; or the sudden chill in a room followed by the presence of a translucent spectre? Why are we enthralled, even as children, by tales of elves, fairies, magical beings, super heroes, or the boogey-man? Why do we sit in darkened theatres, candle-lit rooms, or around campfires being entertained by ghostly tales that strike terror to our hearts? For what perverse reasons do we enjoy the thrills, shakes and shivers of frightening or mysterious tales of things that go bump in the night?
We may never know the exact reason of our attraction; we simply recognize the fact that tales of mystery, magic, or horror are thrilling and enjoyable. All cultures are imbued with stories of "otherworldliness." These stories may be of a religous nature, designed to teach cultural values or moral lesssons, or are simply told for enjoyment. They may include descriptions of angels, demons, magical animals or wild, ferocious, and malformed beasts. On the other hand, some tell of strange things that occur in the human world - of vampires, werewolves, shape-shifters, zombies, or ghosts that haunt the living for a variety of reasons.
The following provides some background on many of these beings that are imbedded in our cultures, religions, and literature and that, particularly in recent times, have been successfully revived in film and novels of many different genres.
And long-leggedy beasties
And things that go bump in the night,
Good Lord, deliver us!
~ Traditional Scottish Prayer
What is it about the human psyche that attracts us to stories of dark and mysterious strangers emerging from foggy, cobblestoned alleys in the dead of night; stealthy footsteps heard in a house when one is alone; the howling of a wolf on a moonlit night; or the sudden chill in a room followed by the presence of a translucent spectre? Why are we enthralled, even as children, by tales of elves, fairies, magical beings, super heroes, or the boogey-man? Why do we sit in darkened theatres, candle-lit rooms, or around campfires being entertained by ghostly tales that strike terror to our hearts? For what perverse reasons do we enjoy the thrills, shakes and shivers of frightening or mysterious tales of things that go bump in the night?
We may never know the exact reason of our attraction; we simply recognize the fact that tales of mystery, magic, or horror are thrilling and enjoyable. All cultures are imbued with stories of "otherworldliness." These stories may be of a religous nature, designed to teach cultural values or moral lesssons, or are simply told for enjoyment. They may include descriptions of angels, demons, magical animals or wild, ferocious, and malformed beasts. On the other hand, some tell of strange things that occur in the human world - of vampires, werewolves, shape-shifters, zombies, or ghosts that haunt the living for a variety of reasons.
The following provides some background on many of these beings that are imbedded in our cultures, religions, and literature and that, particularly in recent times, have been successfully revived in film and novels of many different genres.
Angels & Demons
An angel is a supernatural being or spirit, usually humanoid in form, found in
various religions and mythologies. In Zoroastrianism and Abrahamic religions they are often depicted as benevolent celestial beings who act as intermediaries between Heaven and Earth,or as guardian spirits or a guiding influence. The term "angel" has also been expanded to various notions of spirits found
in many other religious traditions. Other roles of angels include protecting and
guiding human beings, and carrying out God's tasks.
A demon is a supernatural, often malevolent being prevalent in religion,
occultism, literature, and folklore. In Ancient Near Eastern religions as well as in the Abrahamic traditions, including ancient and medieval Christian demonology, a demon is considered an unclean spirit, more specifically an evil angel, which may cause demonic possession, calling for an exorcism. In Western occultism and Renaissance magic, which grew out of an amalgamation of Greco-Roman magic, Jewish demonology, and Christian tradition, a demon is a spiritual entity that may be conjured and controlled.
various religions and mythologies. In Zoroastrianism and Abrahamic religions they are often depicted as benevolent celestial beings who act as intermediaries between Heaven and Earth,or as guardian spirits or a guiding influence. The term "angel" has also been expanded to various notions of spirits found
in many other religious traditions. Other roles of angels include protecting and
guiding human beings, and carrying out God's tasks.
A demon is a supernatural, often malevolent being prevalent in religion,
occultism, literature, and folklore. In Ancient Near Eastern religions as well as in the Abrahamic traditions, including ancient and medieval Christian demonology, a demon is considered an unclean spirit, more specifically an evil angel, which may cause demonic possession, calling for an exorcism. In Western occultism and Renaissance magic, which grew out of an amalgamation of Greco-Roman magic, Jewish demonology, and Christian tradition, a demon is a spiritual entity that may be conjured and controlled.
Griffins and other Beasties
There are numerous creatures that exist in myths. Following is a list by category. For an indepth understanding of these creatures there are a variety of sites on the Web that provide specific information. The lists provided below are by no mean exhaustive.
Amphibians & Reptiles: Basilisk (Greek), Dragon (Europe/Asia), Gorgon (Greek), Hequet (Egyptian), Hydra (Greek), Jörmungandr (Norse), Lindworm (Norse), Llamhigyn Y Dwr (Welsh), Loveland Frog (American), Mokèlé-mbèmbé (African), Naga (Indian), Níðhöggr (Norse), Wyvern (English)
Aquatic: Abaia (Melanesian), Bahamut (Arabia), Kelpie (Scotland), Leviathan (Hebrew), Mermaid/Merman (Worldwide), Ningyo (Japanese), Selkie (Scotland)
Arthropods: Anansi (West Africa), Arachne (Greek), Karkinos (Greek), Khepri (Egyptian), Mothman (American), Pabilsag (Babylonian), Selket (Egyptian)
Birds: Aethon (Greek), Griffin (Greek), Harpy (Greek), Hraesvelgr (Norse), Horus (Egyptian), Nachtkrapp (German), Phoenix (Greek), Ra (Egyptian), Roc (Middle Eastern), Simurgh (Persian), Tengu (Japanese), Thunderbird (Native American), Zu (Sumerian)
Mammals: Al-Burāq (Arabic), Amarok (Inuit), Anubis (Egyptian), Arion (Greek), Auðumbla (Norse), Bast (Egyptian), Beast of Gévaudan (French), Behemoth (Hebrew), Callisto (Greek), Centaur (Greek), Cerberus (Greek), Ceryneian Hind (Greek), Chimera (Greek), Cù Sìth (Scottish), Fenrir (Norse), Faun (Greek), Goldhorn (Slavic), Hippocamp (Greek), Kirin (Chinese), Khnum (Egyptian), Kishi (Angola), Lamassu (Sumerian), Mapinguari (Brazilian), Minotaur (Greek), Nandi Bear (Africa), Sasquatch (American), Satyr (Greek), Sekhmet (Egyptian), Sleipnir (Norse), Sphinx (Greek), Unicorn (European), Wendigo (Algonquian), White Stag (Worldwide), Wolpertinger (German), Yeti (Himalayan)
Amphibians & Reptiles: Basilisk (Greek), Dragon (Europe/Asia), Gorgon (Greek), Hequet (Egyptian), Hydra (Greek), Jörmungandr (Norse), Lindworm (Norse), Llamhigyn Y Dwr (Welsh), Loveland Frog (American), Mokèlé-mbèmbé (African), Naga (Indian), Níðhöggr (Norse), Wyvern (English)
Aquatic: Abaia (Melanesian), Bahamut (Arabia), Kelpie (Scotland), Leviathan (Hebrew), Mermaid/Merman (Worldwide), Ningyo (Japanese), Selkie (Scotland)
Arthropods: Anansi (West Africa), Arachne (Greek), Karkinos (Greek), Khepri (Egyptian), Mothman (American), Pabilsag (Babylonian), Selket (Egyptian)
Birds: Aethon (Greek), Griffin (Greek), Harpy (Greek), Hraesvelgr (Norse), Horus (Egyptian), Nachtkrapp (German), Phoenix (Greek), Ra (Egyptian), Roc (Middle Eastern), Simurgh (Persian), Tengu (Japanese), Thunderbird (Native American), Zu (Sumerian)
Mammals: Al-Burāq (Arabic), Amarok (Inuit), Anubis (Egyptian), Arion (Greek), Auðumbla (Norse), Bast (Egyptian), Beast of Gévaudan (French), Behemoth (Hebrew), Callisto (Greek), Centaur (Greek), Cerberus (Greek), Ceryneian Hind (Greek), Chimera (Greek), Cù Sìth (Scottish), Fenrir (Norse), Faun (Greek), Goldhorn (Slavic), Hippocamp (Greek), Kirin (Chinese), Khnum (Egyptian), Kishi (Angola), Lamassu (Sumerian), Mapinguari (Brazilian), Minotaur (Greek), Nandi Bear (Africa), Sasquatch (American), Satyr (Greek), Sekhmet (Egyptian), Sleipnir (Norse), Sphinx (Greek), Unicorn (European), Wendigo (Algonquian), White Stag (Worldwide), Wolpertinger (German), Yeti (Himalayan)
Shapeshifters
Shapeshifting is the ability of a fictional or mythic being to change its shape into another form or being. The process may be initiated through an act of will; a magic word or spell; a potion; or a magic object. Shapeshifting is a common theme in mythology, folklore, and fairy tales. It is found in epic poems; science fiction, fantasy, or children's literature; Shakepearean works; ballet; film and television; graphic novels; and video games.
Gender-shifting may be merely used as means of disguise: appearing as a woman allows a man to enter situations from which men are forbidden, and vice versa. Zeus disguised himself as Artemis in order to get close enough to Callisto that she could not escape when he turned himself into male form again, and raped her. More innocently, Vertumnus could not woo Pomona on his own; in the form of an old woman, he gained access to her orchard, where he persuaded her to marry him.
In Norse mythology, however, both Odin and Loki taunt each other with having taken the form of females in the Lokasenna. The ultimate proof of this was that they had given birth and had nursed their offspring. It is unknown what myths, if any, lie behind the charges against Odin, but myths documented in the 13th century have Loki taking the form of a mare to bear Odin's steed which was the fastest horse ever to exist, and a she-wolf to bear Fenrir.
In J.R.R. Tolkien's Middle-earth novels, Sauron, the main antagonist of The Lord of the Rings is a shapeshifter. Initially he can appear in any amount of beautiful forms to deceive the guillible; and thus he makes the Rings of Power with the service of the Elves who were deceived by his beautiful form. Back in the First Age of the Sun he could take on numerable forms; during his battle with Huan the Wolfhound he takes on no less than five forms, including a gigantic Werewolf, but succumbs and flees in the form of a gigantic Vampire. When the island of Númenor was destroyed Sauron loses his shapeshifting powers and is stuck in his dark hideous form and thus his enemies are no longer deceived.
Gender-shifting may be merely used as means of disguise: appearing as a woman allows a man to enter situations from which men are forbidden, and vice versa. Zeus disguised himself as Artemis in order to get close enough to Callisto that she could not escape when he turned himself into male form again, and raped her. More innocently, Vertumnus could not woo Pomona on his own; in the form of an old woman, he gained access to her orchard, where he persuaded her to marry him.
In Norse mythology, however, both Odin and Loki taunt each other with having taken the form of females in the Lokasenna. The ultimate proof of this was that they had given birth and had nursed their offspring. It is unknown what myths, if any, lie behind the charges against Odin, but myths documented in the 13th century have Loki taking the form of a mare to bear Odin's steed which was the fastest horse ever to exist, and a she-wolf to bear Fenrir.
In J.R.R. Tolkien's Middle-earth novels, Sauron, the main antagonist of The Lord of the Rings is a shapeshifter. Initially he can appear in any amount of beautiful forms to deceive the guillible; and thus he makes the Rings of Power with the service of the Elves who were deceived by his beautiful form. Back in the First Age of the Sun he could take on numerable forms; during his battle with Huan the Wolfhound he takes on no less than five forms, including a gigantic Werewolf, but succumbs and flees in the form of a gigantic Vampire. When the island of Númenor was destroyed Sauron loses his shapeshifting powers and is stuck in his dark hideous form and thus his enemies are no longer deceived.
Zombies
A zombie (Haitian Creole: zonbi; North Mbundu: nzumbe) is an "animated corpse resurrected by mystical means, such as witchcraft". The term is often figuratively applied to describe a hypnotized person bereft of consciousness and self-awareness, yet ambulant and able to respond to surrounding stimuli. Since the late 19th century, zombies have acquired notable popularity, especially in North American and European folklore.
In modern times, the term "zombie" has been applied to an undead being in horror fiction, largely drawn from George A. Romero's 1968 film Night of the Living Dead, the television series The Walking Dead, and the recent theatrical release of Warm Bodies.
Intimately tied to the conception of the modern zombie is the "zombie apocalypse"; the breakdown of society as a result of an initial zombie outbreak which spreads. This archetype has emerged as a prolific subgenre of apocalyptic fiction and been portrayed in many zombie-related media post-Night. In a zombie apocalypse, a widespread (usually global) rise of zombies hostile to human life engages in a general assault on civilization. Victims of zombies may become zombies themselves. This causes the outbreak to become an exponentially growing crisis: the spreading "zombie plague/virus" swamps normal military and law enforcement organizations, leading to the panicked collapse of civilian society until only isolated pockets of survivors remain, scavenging for food and supplies in a world reduced to a pre-industrial hostile wilderness.
In modern times, the term "zombie" has been applied to an undead being in horror fiction, largely drawn from George A. Romero's 1968 film Night of the Living Dead, the television series The Walking Dead, and the recent theatrical release of Warm Bodies.
Intimately tied to the conception of the modern zombie is the "zombie apocalypse"; the breakdown of society as a result of an initial zombie outbreak which spreads. This archetype has emerged as a prolific subgenre of apocalyptic fiction and been portrayed in many zombie-related media post-Night. In a zombie apocalypse, a widespread (usually global) rise of zombies hostile to human life engages in a general assault on civilization. Victims of zombies may become zombies themselves. This causes the outbreak to become an exponentially growing crisis: the spreading "zombie plague/virus" swamps normal military and law enforcement organizations, leading to the panicked collapse of civilian society until only isolated pockets of survivors remain, scavenging for food and supplies in a world reduced to a pre-industrial hostile wilderness.
Witches & Warlocks
Witchcraft is the use of alleged supernatural, magical faculties. This may take many forms, depending on cultural context.
Beliefs in witchcraft have historically existed in most regions of the world. This was notably so in Early Modern Europe where witchcraft came to be seen as part of a vast diabolical conspiracy of individuals in league with the Devil undermining Christianity, eventually leading to large-scale witch-hunts, especially in Protestant Europe. Similar beliefs have persisted in some cultures up to the present, mostly in Sub-Saharan Africa (e.g. the Bantu witch smellers), and have occasionally resulted in modern witch-hunts. The concept of witchcraft as harmful is normally treated as a cultural ideology providing a scapegoat for human misfortune.
Since the mid-20th century Witchcraft has become the designation of a branch o contemporary Paganism, most notably including Wiccan traditions, who claim to practice a revival of pre-Abramic spirituality.
Beliefs in witchcraft have historically existed in most regions of the world. This was notably so in Early Modern Europe where witchcraft came to be seen as part of a vast diabolical conspiracy of individuals in league with the Devil undermining Christianity, eventually leading to large-scale witch-hunts, especially in Protestant Europe. Similar beliefs have persisted in some cultures up to the present, mostly in Sub-Saharan Africa (e.g. the Bantu witch smellers), and have occasionally resulted in modern witch-hunts. The concept of witchcraft as harmful is normally treated as a cultural ideology providing a scapegoat for human misfortune.
Since the mid-20th century Witchcraft has become the designation of a branch o contemporary Paganism, most notably including Wiccan traditions, who claim to practice a revival of pre-Abramic spirituality.
Vampires
Vampires are mythological or folkloric beings who subsist by feeding on the life essence (generally in the form of blood) of living creatures, regardless of whether they are undead or a living person/being. Although vampiric entities have been recorded in many cultures, and may go back to "prehistoric times", the term vampire was not popularized until the early 18th century, after an influx of vampire superstition into Western Europe from areas where vampire legends were frequent, such as the Balkans and Eastern Europe although local variants were also known by different names, such as vrykolakas in Greece and strigoi in Romania. This increased level of vampire superstition in Europe led to mass hysteria and in some cases resulted in corpses actually being staked and people being accused of vampirism.
While even folkloric vampires of the Balkans and Eastern Europe had a wide range of appearance ranging from nearly human to bloated rotting corpses, it was interpretation of the vampire by the Christian Church and the success of vampire literature, namely John Polidori's 1819 novella The Vampyre that established the archetype of charismatic and sophisticated vampire; it is arguably the most influential vampire work of the early 19th century, inspiring such works as Varney the Vampire and eventually Dracula. The Vampyre was itself based on Lord Byron's unfinished story "Fragment of a Novel", also known as "The Burial: A Fragment", published in 1819.
However, it is Bram Stoker's 1897 novel Dracula that is remembered as the quintessential vampire novel and which provided the basis of modern vampire fiction. Dracula drew on earlier mythologies of werewolves and similar legendary demons and "was to voice the anxieties of an age", and the "fears of late Victorian patriarchy." The success of this book spawned a distinctive vampire genre, still popular in the 21st century, with books, films, video games, and television shows. The vampire is such a dominant figure in the horror genre that literary historian Susan Sellers places the current vampire myth in the "comparative safety of nightmare fantasy."
While even folkloric vampires of the Balkans and Eastern Europe had a wide range of appearance ranging from nearly human to bloated rotting corpses, it was interpretation of the vampire by the Christian Church and the success of vampire literature, namely John Polidori's 1819 novella The Vampyre that established the archetype of charismatic and sophisticated vampire; it is arguably the most influential vampire work of the early 19th century, inspiring such works as Varney the Vampire and eventually Dracula. The Vampyre was itself based on Lord Byron's unfinished story "Fragment of a Novel", also known as "The Burial: A Fragment", published in 1819.
However, it is Bram Stoker's 1897 novel Dracula that is remembered as the quintessential vampire novel and which provided the basis of modern vampire fiction. Dracula drew on earlier mythologies of werewolves and similar legendary demons and "was to voice the anxieties of an age", and the "fears of late Victorian patriarchy." The success of this book spawned a distinctive vampire genre, still popular in the 21st century, with books, films, video games, and television shows. The vampire is such a dominant figure in the horror genre that literary historian Susan Sellers places the current vampire myth in the "comparative safety of nightmare fantasy."