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Legendary Creatures


In Greek mythology, Pegasus (Greek name: Πήγασος) was a winged horse that was the son of Poseidon, in his role as horse-god, and the Gorgon Medusa. Depending on the historical source, the plural for pegasus is pegasi or pegasusses.

Descriptions vary as to the winged stallion's birth and his brother the giant, Chrysaor; some say that they sprang from Medusa's neck as Perseus beheaded her, a "higher" birth, like the birth of Athena from the head of Zeus. Others says that they were born of the earth as Medusa's blood spilled onto it, in which case Poseidon would not be their sire. Minerva caught and tamed Pegasus, and presented him to the Muses.

Hesiod connects the name Pegasos with the word for "spring, well", pēgē; everywhere the winged horse struck hoof to earth, an inspiring spring burst forth: one on the Muses' Mount Helicon, the Hippocrene ("horse spring"), at the behest of Poseidon to prevent the mountain swelling too much and another at Troezen. The actual etymology of the name is most likely from Luwian pihassas "lightning", or pihassasas, a weather god (the god of lightning). In Hesiod, Pegasos is still associated with this original significance by carrying the thunderbolts for Zeus.
Parthian era Bronze plate with Pegasus depiction ("Pegaz" in Persian). Excavated in Masjed Soleiman, Khuzestan, Iran.
Parthian era Bronze plate with Pegasus depiction ("Pegaz" in Persian). Excavated in Masjed Soleiman, Khuzestan, Iran.

Pegasus aided the hero Bellerophon, who is a double in some way for Perseus, in his fight against both the Chimera and the Amazons. There are varying tales as to how Bellerophon found Pegasus, some say that the hero found him drinking at the Pierian spring and that Polyidus told Bellerophon how to find and tame him, others that either Athena or Poseidon brought him to Bellerophon.

Prior to aiding Bellerophon, Pegasus brought thunderbolts to Zeus, and following Bellerophon's death he returned to Mount Olympus to aid the gods. In his later life, Pegasus took a wife, Euippe (or Ocyrrhoe) This family is the origin of the winged horses.

Pegasus was eventually turned into a constellation, but a single feather fell to the earth near the city of Tarsus (hence its name).

In popular culture, the myth of Pegasus has been incorrectly associated with various heroic myths other than Bellerophon. The movie Clash of the Titans blends the myths of Bellerophon and Perseus into one myth where Perseus becomes the original tamer of Pegasus. Similarly, in the Disney adaptation of the Hercules legend, Pegasus is depicted as a childhood pet of Hercules.

In Greek and European bestiaries and legends, a basilisk (from the Greek basiliskos, a little king, in Latin Regulus) is a legendary reptile reputed to be king of serpents and said to have the power of causing death by a single glance. According to the Naturalis Historia of Pliny the Elder, the basilisk is a small snake that is so poisonous that it leaves a wide trail of deadly venom in its wake, and its gaze is likewise lethal.

There are three descriptions to the image of the basilisk: a huge lizard, a giant snake or a three-foot high cockrel with a snake's tail and teeth, all of which are shared with the cockatrice. It is called "king" because it is reputed to have on its head a mitre- or crown-shaped crest. Stories of the basilisk place it in the same general family as the cockatrice. The basilisk is fabulously alleged to be hatched by a cockerel from the egg of a serpent (the reverse of the cockatrice, which was hatched from a hen's egg incubated by a serpent's nest). In Medieval Europe, the description of the creature began taking on features from cockerels. Geoffrey Chaucer featured a basilicok (as he called it) in his Canterbury Tales. According to some legends, basilisks can be killed by hearing the crow of a rooster or gazing at itself through a mirror.

Stories gradually added to the basilisk's deadly capabilities, such as describing it as a larger beast, capable of breathing fire and killing with the sound of its voice. Some writers even claimed that it could kill not only by touch, but also by touching something that is touching the victim, like a sword held in their hand. The Basilisk is also the guardian creature of the Swiss city Basel.
A cockatrice is a legendary creature about the size and shape of a dragon or wyvern, but in appearance resembling a giant rooster, with some lizard-like characteristics. It was supposed to be born from an egg laid by a ****** and incubated by a toad or serpent. There are two other images which go under both the name cockatrice and basilisk.

Its reputed magical abilities include turning people to stone or killing them by either looking at them, touching them, or sometimes breathing on them, like a dragon breathing fire. The cockatrice is very similar (if not identical) to another legendary creature, the basilisk; the Jewish Encyclopedia considers them identical.

Like the head of Medusa, the cockatrice's powers of petrification are still effective after death.

In the King James Version of the Old Testament cockatrice is used several times.

Isaiah 11:8 And the sucking child shall play on the hole of the asp, and the weaned child shall put his hand on the cockatrice' den.

Isaiah 14:29 Rejoice not thou, whole Palestina, because the rod of him that smote thee is broken: for out of the serpent's root shall come forth a cockatrice, and his fruit shall be a fiery flying serpent.

Isaiah 59:5 They hatch cockatrice' eggs, and weave the spider's web: he that eateth of their eggs dieth, and that which is crushed breaketh out into a viper.

Jeremiah 8:17 For, behold, I will send serpents, cockatrices, among you, which will not be charmed, and they shall bite you, saith the LORD.

The last public record of a cockatrice occurs in a Church document of births and deaths in Warsaw, dated 1587. Written by monks, the entry states that two young sisters died when exposed to the breath of a cockatrice in their cellar. The document calls for God to bless the girls' family and to keep it from the evil that takes innocents.
In architecture, gargoyles (from the French gargouille, originally the throat or gullet, cf. Latin gurgulio, gula, and similar words derived from root gar, to swallow, the word representing the gurgling sound of water; Ital. doccione; Ger. Ausguss, Wasserspeier) are the carved terminations to spouts which convey water away from the sides of buildings.

Gargoyles are mostly grotesque figures. Statues representing gargoyle-like creatures are popular sales items, particularly in goth and New Age retail stores.

A similar type of sculpture that does not work as a waterspout and serves only an ornamental or artistic function is called a chimera, although these are popularly referred to as gargoyles also.
In Irish mythology, a leprechaun (Modern Irish: leipreachán) is a type of male elf said to inhabit the island of Ireland. They are a class of "faerie folk" associated in Irish mythology and folklore, as with all faeries, with the Tuatha Dé Danann and other quasi-historical races said to have inhabited Ireland before the arrival of the Celts.

Leprechauns and other creatures of Irish mythology are often associated with "faerie forts" or "faerie rings" — often the sites of ancient (Celtic or pre-Celtic) earthworks or drumlins.

They usually take the form of an old man and enjoy partaking in mischief. Their trade is that of a cobbler or shoemaker and they are often described as being seen working on a single shoe. They are said to be very rich, having many treasure crocks buried during war-time. [1] While anyone keeps his eye fixed upon them, they cannot escape, but the moment the eye is withdrawn they vanish.
In ancient Egyptian mythology and in myths derived from it, the phoenix is a mythical sacred firebird.

Said to live for 500 or 1461 years (depending on the source), the phoenix is a male bird with beautiful gold and red plumage. At the end of its life-cycle the phoenix builds itself a nest of cinnamon twigs that it then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix arises. The new phoenix embalms the ashes of the old phoenix in an egg made of myrrh and deposits it in Heliopolis ("the city of the sun" in Greek), located in Egypt. The bird was also said to regenerate when hurt or wounded by a foe, thus being almost immortal and invincible — a symbol of fire and divinity.

Although descriptions (and life-span) vary, the phoenix became popular in early Christian art and literature as a symbol of the resurrection, of immortality, and of life-after-death.

Originally, the phoenix was identified by the Egyptians as a stork or heron-like bird called a benu, (see Bennu), known from the Book of the Dead and other Egyptian texts as one of the sacred symbols of worship at Heliopolis, closely associated with the rising sun and the Egyptian sun-god Ra.

As Britannica 1911 continues:

... whence it is represented as "self-generating" and called "the soul of Ra (the sun)," "the heart of the renewed Sun". All the mystic symbolism of the morning sun, especially in connection with the doctrine of the future life, could thus be transferred to the benu, and the language of the hymns in which the Egyptians praised the luminary of the dawn as he drew near from Arabia, delighting the gods with his fragrance and rising from the sinking flames of the morning glow, was enough to suggest most of the traits materialized in the classical pictures of the phoenix.

The Greeks adapted the word benu (and also took over its further Egyptian meaning of date palm tree), and identified it with their own word phoinix, meaning the colour purple-red or crimson (cf Phoenicia). They and the Romans subsequently pictured the bird more like a peacock or an eagle. According to the Greeks the phoenix lived in Arabia next to a well. At dawn, it bathed in the water of the well, and the Greek sun-god Apollo stopped his chariot (the sun) in order to listen to its song.
A roc or rukh (from Persian رخ rokh) is a mythical white bird of enormous size and strength that is reputed to have been able to lift and eat elephants.

The origin of the myth about the roc is unknown, and it is possible that the myth originated from an actual bird, with references to it being known from early as the 8th century from Middle-Eastern authors. There are reported sightings of this bird as recently as the 16th century by an English traveller who visited the Indian Ocean.

Another source could be the enormous Aepyornis or elephant bird from Madagascar, an extinct three-meter tall flightless bird. One theory is that the existence of rocs was postulated from the sight of an ostrich, which because of its flightlessness and unusual appearance, was mistaken for the chick of a presumably much larger species.

The Rook chess piece may originally have been based on a roc, although the dominant hypothesis is a siege tower mounted on an elephant.

The legend of the roc, popularized in the West in the 1001 Nights' tales of Sindbad the Sailor, was widely spread in the East; and in later times the home of the bird was sought in the region of Madagascar, whence gigantic fronds of the raffia palm very like a quill in form appear to have been brought under the name of roc's feathers (see; Yule's Marco Polo, bk. iii. ch. 33, and Academy, 1884, No. 620). Such a feather was brought to the Great Khan, and we read also of a gigantic stump of a roc's quill being brought to Spain by a merchant from the China seas (Abu Hamid of Spain, in Damiri, s.v.).

The roc is hardly different from the Middle-Eastern `anqa "عنقاء" (see phoenix); it is also identified with the Persian simurgh, the bird which figures in Firdausi's epic as the foster-father of the hero Zal, father of Rustam.

Going farther back into Persian antiquity, there is an immortal bird, amrzs, or (in the Minoi-khiradh) slnamurv, which shakes the ripe fruit from the mythical tree that bears the seed of all useful things. Sinmartt and simurgh seem to be the same word. In Indian legend the garuda on which Vishnu rides is the king of birds (Benfey, Panchatantra, 9Cool. In the Pahlavi translation of the Indian story as represented by the Syrian Kalilag and Damnag (ed. Gustav Bickell, 1876), the simurgh takes the place of the garuda, while Ibn al-Molaffa (Calila et Dimna, ed. De Sacy, p. 126) speaks instead of the `anl~a. The later Syriac, curiously enough, has behemoth -- apparently the behemoth of Job transformed into a bird. The ziz of Jewish tradition is also a giant bird.

For a collection of legends about the roc, see Lane's Arabian Nights, chap; xx. notes 22, 62, and Yule, ut supra. Also see Bochart, Hieroz, bk. vi. ch. xiv.; Damfri, I. 414, ii. 177 seq.; Kazwini, i. ~I9 seq.; Ibn Batuta, iv. 305 seq.; Spiegel, Eran. Altertumsk. ii. 118
In the Hindu epic Ramayana, Jatayu (Sanskrit: जटायू, jatāyū) is the son of Aruna and nephew of Garuda. A demi-god who has the form of an (eagle), he tries to rescue Sita from Ravana when Ravana is on his way to Lanka after kidnapping Sita. Jatayu fought valiantly with Ravana, but as Jatayu was very old Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of the fight between him and Ravana and the direction in which Ravana had gone (i.e., south).

In this context the contribution of Sampaati, Jatayu's brother is worth mentioning. Jatayu and Sampati, when young, used to compete as to who could fly higher. On one such instance Jatayu flew so high that he was about to get seered by sun's flames. Sampaati, his brother saved him by spreading his wings and thus saving from the hot flames. In the process, he himself got injured and lost his wings. As a result Sampaati lived, wingless for the rest of his life.
The ziz is a giant bird in Jewish mythology, said to be large enough to be able to block out the sun with its wingspan; perhaps somewhat similar to a roc.

According to tradition, the meat of this bird will be served as a meal, along with the behemoth and the leviathan, in the banquet at End Times. The Persian Simurgh, which is arguably a fifth accompaniment to the Kar, the Khara, the Hadhayosh, and another bird, the Chamrosh, has been said to be equated by the rabbis with the ziz, their three future-meal giant animals corresponding to the archetypal creatures of Persian mythology. The trio of behemoth, leviathan and ziz was traditionally a favorite decoration motif for rabbis living in Germany.

Some say that the ziz was created to protect all of the class Aves and that if the ziz did not exist, all the smaller birds on Earth would be helpless and would have been killed.
In Greek mythology, the Stymphalian Birds were birds with claws of brass and sharp metallic feathers they could launch at their victims, and also they were Ares' pets. Furthermore, their dung was highly toxic. They had migrated to Lake Stymphalus in Arcadia to escape a pack of wolves, and bred quickly and took over the countryside, destroying local crops and fruit trees. Ridding the land of these birds was one of Heracles' Twelve Labors, and some sources claim the Stymphalian birds were the same avians that attacked the Argonauts.

The forest around Lake Stymphalus was very dense, making it so dark as to impair vision. Athena and Hephaestus aided Heracles by forging for him huge bronze clappers, which scared the birds into flight. Heracles shot them down with his arrows, or according to other versions, a catapult. The birds that survived never returned to Greece.
The Beast of Bodmin is a phantom wild cat (or possibly a number of them) which ranges in Cornwall in the United Kingdom. Bodmin Moor became a centre of these sightings with occasional reports of mutilated slain livestock: the alleged leopard-like cats of the same region came to be popularly and alliteratively known as the Beast of Bodmin Moor. Eventually the Ministry of Agriculture, Fisheries and Food decided to conduct an official investigation in 1995. The study's findings decided there was "no verifiable evidence" of exotic felines loose in Britain, and that the mauled farm animals could have been attacked by common indigenous species. The report did accept that "the investigation could not prove that a 'big cat' is not present."
Less than a week after the government report, a boy was walking by the River Fowey when he discovered a large cat skull. Measuring about four inches wide and seven inches long (10 × 18 cm), the skull was minus its lower jaw but possessed two sharp, prominent incisors that suggested that it might have been a leopard. The story hit the national press at about the same time of the official denial of alien big cat evidence on Bodmin Moor.

There have also been recent sightings in Hedge End, Southampton, Hampshire.

The skull was sent to the Natural History Museum in London for verification. They determined that it was a genuine skull from a young male leopard, but also found that the cat had not died in Britain and that the skull had been imported as part of a leopard-skin rug. The back of the skull was cleanly cut off in a way that is commonly used to mount the head on a rug. There was an egg case inside the skull that had been laid by a tropical cockroach that could not possibly be found in Britain. There were also cut marks on the skull indicating the flesh had been scraped off with a knife, and the skull had begun to decompose only after a recent submersion in water.
Sightings of the Beast of Bodmin Moor still continue. In October 1997, officials from Newquay Zoo claimed to identify pawprints left in mud to the south of Bodmin Moor as the tracks of a puma. Soon after that discovery, an alleged photograph of the Bodmin Beast materialised, purporting to show an adult female puma. The authenticity of this piece of evidence remains unconfirmed.
In Greek mythology, the centaurs (Greek: Κένταυροι) are a race of creatures composed of part human and part horse. The depiction of centaurs on painted vases changed after the Archaic period: from the sixth century BCE onwards, centaurs were depicted with a horse's body and a human torso joined at the waist to the horse's withers where the horse's neck would be.

The general character of centaurs is that of wild, lawless and inhospitable beings, the instruments of their animal passions. Two exceptions to this rule were Pholus and Chiron, who expressed their "good" nature, wise and kind centaurs. They are variously explained by a fancied resemblance to the shapes of clouds, or as spirits of the rushing mountain torrents or winds.
Dwelling in the mountains of Thessaly, the centaurs were the offspring of Ixion and Nephele, the rain-cloud. Alternatively, the centaurs were the offspring of Kentauros (the son of Ixion and Nephele) and some Magnesian mares or of Apollo and Hebe. It was sometimes said that Ixion planned to have sex with Hera but Zeus prevented it by fashioning a cloud in the shape of Hera. Since Ixion is usually considered the ancestor of the centaurs, they may be referred to by poets as the Ixionidae.
The Centaurs are best known for their fight with the Lapithae, caused by their attempt to carry off Hippodamia (a "horse" woman herself) on the day of her marriage to Pirithous, king of the Lapithae, himself the son of Ixion. The strife among these cousins is a metaphor for the conflict between the lower appetites and civilized behavior in humankind. Theseus, who happened to be present, a hero and founder of cities, threw the balance in favor of the right order of things, and assisted Pirithous. The Centaurs were driven off (Plutarch, Theseus, 30; Ovid, Metamorphoses xii. 210; Diodorus Siculus. iv. 69, 70). Vignettes of the battle between Lapiths and Centaurs were sculpted in bas-relief on the frieze of the Parthenon, which was dedicated to wise Athena.
Like the Titanomachy, the defeat of the Titans by the Olympian gods, the contests with the Centaurs typify the struggle between civilization and barbarism.
Abduction of Hippodameia, Carrier-Belleuse
Abduction of Hippodameia, Carrier-Belleuse

Among the centaurs, the third one with an individual identity is Nessus. The mythological episode of the centaur Nessus carrying off Deianira, the bride of Heracles, also provided Giambologna (1529-1608), a Flemish sculptor whose career was spent in Italy, splendid opportunities to devise compositions with two forms in violent interaction. He made several versions of Nessus carrying off Deianira, represented by examples in the Louvre, the Grünes Gewölbe, Dresden, the Frick Collection, New York and the Huntington Library, San Marino, California. His followers, like Adriaen de Vries and Pietro Tacca, continued to make countless repetitions of the subject. When Carrier-Belleuse tackled the same play of forms in the 19th century, (illustration right) he titled it Abduction of Hippodameia .
In early Attic vase-paintings centaurs were represented as human beings in front, with the body and hind legs of a horse attached to the back; later, they were men only as far as the waist. The battle with the Lapithae, and the adventure of Heracles with Pholus (Apollodorus, ii. 5; Diod. Sic. IV, li) are favourite subjects of Greek art (see Sidney Colvin, Journal of Hellenic Studies, I, 1881, and the exhaustive article in Roscher's Ausführliches Lexikon der griechischen und römischen Mythologie).
Was the only point of all of that to make alot of frihost points? Because that is a brilliant idea.
rightclickscott wrote:
Was the only point of all of that to make alot of frihost points? Because that is a brilliant idea.

Teee heee and in my oppinion it doesn't connected to the Anime & comics too XD

If you wants to show something about creature in anime maybe you should tell us about these creatures :

9 Tails Demon fox [Kyuubi] -Actually there is 9 demon creature whcih use number of their tail as their name [Kyuubi - Kyu + Bi (Kyu =9), Ibi - Ichi + bi (Ichi = 1)] etc
then.. hmm...
how about the creatures-creatures in Ragnarok Animation Very Happy So much of it there, start from Isis, Osiris, Baphomet, and many more Guess that's all, and you should pot the references for it Very Happy
it doesnt really fit in anime but it definitely is an interesting topic!
Alot of the commonly known monsters are greek but i like alot of the asian ones. particularly my favourite is the garuda :
The Garuda is a large mythical bird or bird-like creature that appears in both Hindu and Buddhist mythology. In Hindu it is expressed as a half man half bird, in Buddhism it is expressed as a large predatory giant bird.
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