Latin mundus also was used of a woman's "ornaments, dress," and is related to the adjective mundus "clean, elegant" (used of women's dress, etc.). Extended sense of "dull, uninteresting" is by 1850. Related:Mundanely. The mundane era was the chronology that began with the supposed epoch of the Creation (famously reckoned as 4004 B.C.E.).beau-monde (n.) also beau monde, "the fashionable world," 1714, French, from beau (see beau) +monde, from Latin mundus "world" (seemundane).anima mundi (n.) "spiritual essence, distinct from matter and supposed in the philosophy of Pythagoras and Plato to be diffused throughout the universe, organizing and acting through the whole of it," 1670s, Medieval Latin, literally "soul of the world;" used by Abelard to render Greekpsyche tou kosmou. From fem. of Latinanimus "the rational soul; life; the mental powers, intelligence" (see animus) + genitive of mundus "universe, world" (seemundane).demi-monde (n.) also demimonde, 1855, from French demi-monde "so-so society," literally "half-world," from demi- "half" + monde, from Latin mundus "world" (see mundane).
Popularized by its use as title of a comedy by Alexandre Dumas fils (1824-1895). Dumas' Demi-Monde "is the link between good and bad society ... the world of compromised women, a social limbo, the inmates of which ... are perpetually struggling to emerge into the paradise of honest and respectable ladies" ["Fraser's Magazine," 1855]. Not properly used of courtesans. Compare 18th-century Englishdemi-rep (1749, the second element short for reputation), defined as "a woman that intrigues with every man she likes, under the name and appearance of virtue ... in short, whom every body knows to be what no body calls her" [Fielding].map (n.) 1520s, shortening of Middle Englishmapemounde "map of the world" (late 14c.), and in part from Middle Frenchmappe, shortening of Old Frenchmapemonde, both English and French words from Medieval Latin mappa mundi"map of the world;" first element from Latin mappa "napkin, cloth" (on which maps were drawn), "tablecloth, signal-cloth, flag," said by Quintilian to be of Punic origin (compare Talmudic Hebrewmappa, contraction of Mishnaic menaphah"a fluttering banner, streaming cloth") + Latin mundi "of the world," from mundus"universe, world" (see mundane). Commonly used 17c. in a figurative sense of "epitome; detailed representation." Toput (something) on the map "bring it to wide attention" is from 1913.America 1507, "the western hemisphere, North and South America," in Cartographer Martin Waldseemüller's treatise "Cosmographiae Introductio," from Modern LatinAmericanus, after Amerigo Vespucci (1454-1512) who made two trips to the New World as a navigator and claimed to have discovered it. His published works put forward the idea that it was a new continent, and he was first to call it Novus Mundus "New World."
[hr] http://en.uesp.net/wiki/Lore:Mundus
[hr]
Melkor or Morgoth was said to have Imbued the World with his Evil Spirit.
Christians sometimes thought of Satan or the Devil as the God of this World and its Governer and Ruler.
Gnostics sometimes also said this.
Sometimes it was said the World was imbued by a spirit or spirits of some sort.
Hades was the Cthonic Underworld God.
Fallen Angels like Azazel and Shemyaza were said to be locked deep under the Earth where people still sought to contact them and their influence remained.
The Sky was often considered a dome and sometimes considered to have a hole or holes, and from these holes were thought to look or drop through elements from a place beyond the dome.
Around the Earth or in it was said to be a writhing serpent or great dragon whose undulations were the cause of Earthquakes and catastrophes like Volcanic eruptions or the dissappearance of water or floods.
There appeared to be a fixed axis in the sky which everything revolved around as if chained, and on the Earth it appeared that people too were in many ways a slave to their circumstances and reality.
Wow, so nice to see this come up, it was totally unexpected and very comforting to see.
So what did you do exactly each time and what inspired you to do so and what led up to it and happened thereafter?
In my heterodox approach to these and many other things, any of these I take to the maximum, honoring them as none other than the greatest with no partner or share, not as a demon but The Daemon and only power, not any other besides Botis for example.
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The Germanic word "od" has two distinct origins: one from a Proto-Germanic stem (*wōðaz) meaning "mind, wit, song, poetry, rage," related to concepts of divine inspiration and possession, seen in Old Norse Óðr and Old English wōð. The other comes from Proto-Germanic *uzdaz, meaning "point, tip" or "place," found in Old Norse oddr and cognate with German "Ort".
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Other sources describe instead the deity in terms of the "underwater manito"[a], as a composite of the "underwater lion" and the "horned serpent".[13]
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To me, anyone not taking this as the Greatest and the Ultimate, along with whatever else as The Greatest and The Ultimate, is downgrading it from that status, not honoring it with enough fervor and seriousness.
Further on, this symbol may also appear as Vata and Vrtra and Vala, and then Wata which may have become Watan and Odin, and Oesho also called Οηϸο, connected to Shiva who has serpent iconography and symbolism attached.
The constellations connected to this are the two closest to the center of the sky, first it was Draco, then it was Ursa Major.
The drawing, the one you've out up, which is the symbol for Botis, is what likely inspired the description, like all the symbols, as what was being looked at and referred to and stared at were drawings like these, though they may have been designed to also refer to these descriptions, the earliest records don't seem to have these descriptions attached and may be instead just staring at the drawing, seeing an "ouglie" serpent, and then seeing a man, or the face of a man. The lower part are the fangs, the curved part is the tail. The eyes are the bottom of the t shapes, and then the rest are the horns.
This face, and both forms, is seen constantly and reoccurs in lots of art, and everywhere it occurs, not deliberately, seems to be relevant to the theme, as this shape and symbol and everything coming together as it has and where it aggregates is, according to me, no accident, but done by Botis, who is not influenced by reality but creating it.
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Ignignokt is an egotistical elitist who believes the Mooninites are superior to all other races in every way, despite their less-than-impressive technology and juvenile ways. Compared to Err, Ignignokt is much more calm and collected and speaks with a smooth, sexy, charismatic voice, although he is just as rude and condescending as Err, openly mocking and insulting others while promoting a lifestyle of drugs, porn and petty crimes.
Because of his beliefs on the Mooninites' superiority, Ignignokt proclaims that they have evolved beyond rules and manners, thus he and Err live a life of impulsive hedonism: stealing, vandalizing, smoking pot, drinking beer, reading p*rn, pulling pranks, and even hurting others, usually Carl.
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He was worshiped in the form of a phallus. As a demon, he is described in Kabbalistic writings as "the one who quarrels", an enemy of the sixth sefira, Tiferet "Beauty". In stories where he is invoked, he bestows wealth, power to make discoveries, and the ability to create fantastic inventions. His role as a demon was to sow dispute between people, and to lead them to evil through the distribution of wealth.
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Phallus is snake, "Ouglie" (also supposedly meaning worst" against "Beauty" linked to "best" and opposite of "Ouglie" and "worst", and wealth again, which connects to one of the meanings linked through the name.
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The palindromic prime number 1000000000000066600000000000001 is known as Belphegor's prime, due to the superstitious significance of the numbers it contains. Belphegor's prime number consists of the number 666, surrounded on both sides by thirteen zeros and finally one one.
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Symbol of Belphegor's prime, represented by the Greek letter π upside down
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Belphegor's prime is the palindromic prime number 1000000000000066600000000000001 (1030 + 666 × 1014 + 1), a number which reads the same both backwards and forwards and is only divisible by itself and one.
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Belphegor's prime was first discovered by Harvey Dubner,[1] a mathematician known for his discoveries of many large prime numbers and prime number forms. For Belphegor's prime in particular, he discovered the prime while determining a sequence of primes it belongs to.
The name "Belphegor's prime" was coined by author Clifford A. Pickover in 2012.[2] Belphegor is one of the Seven Princes of Hell; specifically, "the demon of inventiveness".[2] The number itself contains superstitious elements that have given it its name: the number 666 at the heart of Belphegor's prime is widely associated as being the number of the beast, used in symbolism to represent one of the creatures in the apocalypse or, more commonly, the devil. This number is surrounded on either side by thirteen zeroes and is 31 digits in length (thirteen reversed), with thirteen itself long regarded superstitiously as an unlucky number in Western culture.
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A Belphegor number is a palindromic number in the form of
1
(
0...
)
666
(
0...
)
1
{\displaystyle 1(0...)666(0...)1}. The sequence of the first four Belphegor numbers is:
Dubner noticed that 16661 is a prime number. By adding zeroes directly on both sides of the 666, Dubner found more palindromic prime numbers, including the Belphegor prime, which is second in the sequence. This sequence eventually became the Belphegor primes, named after the number.[1] The number of zeroes on each side of the 666 in the first few Belphegor primes is:[3][1]
Belphegor's prime contains 13 zeroes on either side of the central 666, and thus corresponds to the second number in this sequence.
In the short scale, this number would be named "one nonillion, sixty-six quadrillion, six hundred trillion one." In the long scale, this number's name would be "one quintillion, sixty-six billiard, six hundred billion one."
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Though I can accept the idea, as some may say, that these things represent this or that or us or parts of our brain or whatever, and I can include that, the more important version for me is that Botis is none other than a pathway to one and the same ultimate power, and is that utmost power, any differences from other symbols is due to referring to different domains and aspects, but Botis is not cut off from everything else, it is just like there are so many words and concepts, but they are all words and concepts, they are all part of language, they are ways to approach language and use language, by using words and names and references.
Also, for me, no really specific or prolonged ritual is necessary to immediately start an interaction and focusing upon The Master, and frequently Botos, Otis, Belphegor, Viper, will show up and people will be offered an opportunity to start thinking about things, but they may also be led to what I would consider non-beneficial thinking, because all these things are the highest good and should only be taken in such a way, and never as the things people say and associate with them taken in bad ways, which is the ignorant polemical hubris of the enemy.
So all tht growling and sh*tting oneself, play acting monsters is clownish stupidity from post-Christian processed losers who are still stuck in listening to the lies.
The framework which I apply these things to, or honoring Botis, is the Islamic one, which is simply efficient and sufficient and very similar to how people across the world since ancient times tended to actually worship. Other than formal worship, anyone can speak to Botis, praise Botis with the truth that is well reasoned and not lip service, and to think about Botis, and explore the things where this particular sign emerges and what revolves around it, or to go questing physically too, just by thinking about Botis while walking around and observing things and going on little adventures, like you did when you saw the horned thing in the water which you tried to help, and what happened with that?
Botis is connected with liquid, channels, and canals, as well as pipes and serpentine water flow, and vipers, which look like those things, are aldo connected with fangs and poison and antidotes or anti-venom, medicine, healing.
Botis was showing up to me all day, repeatedly, before you happened to bring it up. This is another reason that I don't believe this has anything to do with any power or thinking I control or can be credited as responsible for, but which operates first and before me, controlling even what I see and do, just as what I experience of you and what you bring up, which has been amazingly coordinated, repeatedly.
I'm also grateful for this, since I was feeling pretty disturbed by the outright lies being presented as the truth and not questioned in the slightest by any "mainstream" people, just lacking in all value or "wealth" and "fortune", but things like this comfort me greatly and they remind me that their disgusting lies and ways have nothing to do with the ever-presence and ubiquitous pervasiveness of The Master, that Botis has always been there, is in control of it all, and is also saving the good and innocent in unexpected way, leading to good, and leading astray those who think their plots are helping them, and is poisoning and striking at them metaphorically even as they think they are succeeding, but they will never announce or report their actual folly and systematic destruction, nor will the truth, this correct understanding, be allowed for anyone except the most sincere, devout, and pious people, those who can understand that even a viper can remind one of the master, something the people are often not willing to hear after being poisoned by the main Gatekeeper misleader and diverter ideology and book and the people who follow it, the Bible, not the Qur'an which is linked to it by people but is actually a complete subversion of everything it says, which is why they recognized it as the Arch-Heresy and "demonic".
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57:3 HU is the Awwal (the first and initial state of existence) and the Akhir (the infinitely subsequent One, to all manifestation), the Zahir (the explicit, unequivocal and perceivable manifestation; the Absolute Reality beyond the illusion) and the Batin (the unperceivable reality within the perceivable manifestation, the source of the unknown; the Absolute Self beyond the illusory selves)! He is Aleem over all things (the Knower of all things as their creator with His Names)!
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but those of a
dozen other gods, Achra—or Bane, as he had begun
to call himself
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Associated with tyranny and darkness, to this day, and fanaticism, by the same types, or those processed by the same evil culture that ends up turning everything upside down, who would call Botis a demon and say snakes are bad when they are not bad, but these evil people saying these things ARE very clearly bad and always have been even according to their own accounts, even if they are fantasies about their malicious desires, they are the Anti-God, the enemies of everything proper, right, and good, who distort nature and pervert everything.
They can not even perceive what true "wealth" or "fortune" is, and literalize that and everything else, because they are ultimately just brain-broken stupids, and worse than that, their "heart" which is the place with a lot of neurons that everywhere in the body depends on and which was the original word used worldwide as the seat of reason, is diseased, it is a distorted neurology, so information, reasoning, empathy, emotion, all those faculties needed to understand and experience the "Inner" and "Unapparent", is not formed in such a way to allow proper flow, like pipes that close off, are blocked, and lead nowhere, so that Botis can flow through and be processed and circulate and continue to circulate through all input and insight.
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The word "baatin" (also spelled bāṭin) is of Arabic origin, stemming from the root b-ṭ-n (ب ط ن), meaning "to be hidden" or "to be within". It literally translates to "inner," "inward," or "hidden". In Islam, it refers to the hidden or esoteric meaning of the Quran and the inner self of an individual, contrasting with the outward or manifest meaning (zahir).
Etymology of bāṭin
Root: Arabic root b-ṭ-n (ب ط ن)
Meaning of the root: To be hidden, concealed, to lie hidden, or to be within
Related words: Compare to baṭn (بَطْن), meaning "stomach" or "womb".
Context and Use
In Islam: The term bāṭin is central to Sufism and Ismaili philosophy, representing the inner, spiritual dimension of faith, knowledge, and the individual.
Al-Baatin: It is also one of the 99 Names of Allah, meaning "The Hidden One," referring to His hidden essence and inner presence in creation.
Esotericism: The focus on the bāṭin is sometimes used to differentiate the "Batiniyya" or "Esotericists," particularly early Ismailis, who emphasized the inner meaning of scripture over its literal interpretation.
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So, your intuition about Botis as "home", is a good, beneficial, useful, and thus correct one. Botis is home, and a particular home, one that I'm constantly writing about on this forum:
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A commonly accepted list includes Asgard (gods), Midgard (humans), Jotunheim (Frost Giants), Vanaheim (Vanir gods), Alfheim (Light Elves), Svartalfheim/Nidavellir (Dark Elves/Dwarves), Muspelheim (fire giants), Niflheim (ice and mist), and Helheim (the dead). These realms are connected by the World Tree, Yggdrasil, forming the Norse cosmos.
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You may still, like most or many, but hopefully you don't or could otherwise free yourself from it, have a "peas and carrots" sensibility, tendency, or policy that somewhere insides rejects the "woo" that these things transcend the cultural borders that people try to strictly separate fields and parts of the world into, which has uses, especially with idiots, but becomes false and damaging when one takes it as far as the denial that these things are all stemming from one place and one intelligence that all these people are forced to obey whether they realize it or not or make use of the gibberish in certain beneficial ways or not.
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Svartalfheim/Nidavellir (Dark Elves/Dwarves)
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Is the House of "Wealth", and vipers, where Botis connects to as a theme.
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It is mentioned in the Völuspá:
Stóð fyr norðan, / á Niðavöllom / salr úr gulli / Sindra ættar
(Stood to the north, a dark field, Halls of gold, Sindri's Clan").
One interpretation of the above verse would read like this:
Before you reach the north (Niflheim being the world furthest to the north), A dark dwelling stands (The dwarf world), In halls of gold, Sindri's bloodline lives.
Sindri was a famous dwarf. And ættar means bloodline, or in this case most likely kin or tribe.
Niðavellir has often been interpreted as one of the Nine Worlds of Norse legend. The problem is that both Niðavellir and Svartalfheim are mentioned, and it is unclear if the sixth world is a world of dwarfs or one of black elves.
The dwarfs' world is mentioned in the Prose Edda by Snorri Sturluson as Svartálfaheimr.
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Added in 1 hour 3 minutes 45 seconds:
Also, the common "upright" position, the upside down, and all directions should be considered.
Now, if you don't mind, shall we make this place a dedicatory thread for Botis and everything to do with Botis and all discission to do with Botos, praise and worship of Botis? Even if you wish, debate about Botis or denial about my particular version of Botis as the Supreme Ultimate.
Here are some illustrative songs about the master which will appear to me, without my knowing about them, but which I take to be Botis showing them to me and putting them here as a way to bring your mind to Botis.
I don't expect you or anyone to adopt direct worship in the Islamic style and format of Botis as the Greatest Alone and everywhere we turn or look and really see, but if you ever do, it would involve washing your whole body as the ancients did when they were able, otherwise using clean Earth or sand in a similar manner to water if water is not available, amd being entirely clean, and familiarizing yourself with the Islamic style of worship, worshipping Botis in such a fashion, replacing the name of "Allah" with Botis or not replacing anything, knowing that it is Botis that you are worshipping, and it always was anyway. You can do the same with any theme in mind, remembering, if you're ever to be anything like me, that these are not things like we are, or even invisible limited firms, or creatures in any other dimension, but are non-information, opposite of things or opposite of what we are in any way, and that it is action itself, every symbol and anything can be made to refer to it in some way, particularly the best ways, but it is much more like action and change itself, rather than a literal shape, snake, or man, all of which are symbols that can remind one of the 4 forms, which is what my Vajra thread is about, that is through this symbol which is built into the image of Botis, the +.
That is "I" the vertical line can represent and remind one that God as is and God as does are One, that is that God is Action, the action itself, action itself.
The horizontal line "_" (lol look, Botis again) is object and object action, so object as is and object as does or did, and that line can represent the impression of time and change, which intersects with the God line, and the point in the middle is where we are always at, which can mean that we are always doing what God is doing, but that doesn't mean that it is necessarily good.
The Master has been appearing to the people lately through the rubbish, as always, for example through this:
Those can be perceived as fangs, and the W itself is a symbol of Botis as Apollo, associated with the serpent or Python.
This is waw in Phoenician:
𐤅, notice the horns.
This is "shin" in Phoenician:
𐤔
It appears in the word for demons, "shed(u)" and "The Destroyer" "El Shaddai", which is the name of God as Apollo, Mars, and associated with the serpent in various ways and serpent symbols, and this W is the symbol.
Anyway, "Bedlamites" have made the pattern association, but they still don't fully understand what this is, and are often in denial about it or reject it as God, taking it instead as Devilry.
This is because we ourselves are inside The Master, and The Master is what is behind, on the other side, and inside us and what we see.
Like you don't know what is around a corner, anything could be around a corner, The Master is magic itself, but you don't really wield it, it wields everything, it is the only actual "thinking" that is really occurring.
People think that what is around the corner is there, but it isn't there, because it isn't in their experience, and their experience is all that they can ever know as "real", it isn't there until it is, The Master is what makes it Be there, and whatever is there then, which can freely be changed effortlessly.
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The name Dis is a contraction of the Latin adjective dives ('wealthy, rich'), probably derived from divus, dius ('godlike, divine') via the form *deiu-(o)t- or *deiu-(e)t- ('who is like the gods, protected by/from the gods').[1][2] The occurrence of the deity Dis together with Pater ('father') may be due to association with Di(e)spiter (Jupiter).[1]
Cicero gave a similar etymology in De Natura Deorum, suggesting the meaning 'father of riches', and comparing the deity to the Greek name Pluto (Plouton, Πλούτων), meaning "the rich one", a title bestowed upon the Greek god Hades.
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In Book 6 of his Commentaries on the Gallic War, Julius Caesar refers to a Gaulish god whom the druids believed that all the Gauls were descended from. He does not give this god's name, but (following the practice of interpretatio romana) refers to him under the name of a Roman god he deemed comparable: Dis Pater, Roman god of prosperity and of the underworld.
The identification of the god behind Caesar's description has been a long-standing subject of Celtic religious research. The most often cited candidate for "Gaulish Dis Pater" is Sucellus, a mallet-wielding god of the Gauls. The arguments for this identification are largely based on iconographic parallels with mallet-wielding figures in Etruscan, Greek, and Roman mythology. Other major candidates include Taranis, the only Celtic god elsewhere identified with Dis Pater in classical literature, and Cernunnos, a Celtic god with a distinct chthonic-fertility character.
The passage in which Caesar described Gaulish Dis Pater has also been appreciated for the light it throws on Celtic date-keeping, and its innovative ethnographic methods. Greco-Roman ethnography prior to Caesar usually attempted to fit the origins of barbarian peoples into Greek mythological frameworks. Caesar broke with this in reproducing a native Gaulish tradition about their descent. Elias Bickerman deemed this passage a "Copernican discovery" in the history of Greco-Roman ethnography.[1]: 76
The Commentaries on the Gallic War is Caesar's first-hand account of the Gallic Wars (58–50 BCE), written during or shortly after those wars. His first-hand acquaintance with the Gauls (as well as his access to earlier, now-lost, works on the Celts) makes the work an invaluable source for Gaulish religion, although not an unproblematic one.[2]: 166–167 In Book 6 of the Commentaries, Caesar describes the five main deities worshipped in Gaul under Roman names[a] (§6.17); in the following section (§6.18) he adds one more to this pantheon:
The Gauls affirm that they are all descended from a common father, Dis Pater, and say that this is the tradition of the Druids. For that reason they determine all periods of time by the number, not of days, but of nights, and in their observance of birthdays and the beginnings of months and years day follows night.[3]
Caesar refers to the Gaulish god from whom the Celts claimed descendance under the name of a Roman god, Dis Pater. Such a practice, of referring to foreign deities under Roman names, was called by Tacitus the interpretatio romana (Roman interpretation). A foreign god was equated with a Roman one on the basis of their similarity, however superficial; usually it was sufficient that the gods have one sphere of influence in common.[2]: 203–204 The practice was fairly flexible in the Celtic regions, where one Celtic god could have multiple Roman equivalents, and one Roman god many Celtic equivalents.[4]: 156 In Roman accounts of Celtic or Germanic religion, the application of interpretatio romana is the rule. Nonetheless, Caesar's application of this device in one of the most detailed surviving accounts of Celtic religion has caused much difficulty for scholars. The identification of Gaulish Dis Pater has been a long-standing subject of Celtic religious research.[2]: 204–205, 210
An excursus on the origin of Celtic people is a frequent feature of classical ethnographies of the Celts. However, classical ethnographies of barbarian peoples prior to Caesar, as a rule, gave Greek mythological explanations of their origins.[1]: 73–76 Thus, Timaeus explains the Galatians as descendants of Galates, a son of Polyphemus; and Parthenius explains the Celts as descendants of Keltus, a son of Heracles; among many other such traditions.[5]: 62–63 Caesar broke with this tradition in reproducing, and crediting, a native Celtic tradition about their own origins. Elias Bickerman refers to this a "Copernican discovery" in the history of Greco-Roman ethnography.[2]: 209–210 [1]: 76
Caesar connects the druidic traditions about Gaulish Dis Pater with the Celtic practice of date-keeping by nights. Evidence for this practice among the Celts is otherwise given by the Gaulish words designating three- and ten-day feasts, tri-noxtion ("three nights") and decam-noctiacus ("ten nights"),[6]: 237 and the modern Welsh words for week and fortnight, wythnos ("eight nights") and pythefnos ("fifteen nights").[7]: 265 Though unfamiliar to the Romans, such a method of date-keeping is not cross-culturally rare; the Greeks, Arabs, and Germanic peoples all made some use of it (indeed, the English word "fortnight" is a remnant of such a Germanic practice). It is not clear whether the connection between date-keeping and Gaulish Dis Pater is a surmise of Caesar's or a tradition of the druids.[2]: 210
Dis Pater was the Roman god of the underworld and of prosperity. Dis Pater seems to have been invented for the Tarentine Games (a roughly centennial Roman religious celebration, begun in 249 BCE) as a Roman equivalent of the Greek god Pluto (better known as Hades). As even the Romans acknowledged, the name Dis (Latin for "rich") is a direct translation of the Greek name Pluto (from ploûtos, "riches"). Outside of the Tarentine Games, Dis Pater played only a minor part in Roman religion.[8]: 310–312 [9] Only two identifiable images of him have survived.[10] Dis Pater appears most prominently in Latin literature, where he takes the place that Pluto/Hades occupies in Greek literature.[8]: 312
The archaeological evidence for the worship of Dis Pater in the Celtic provinces is very limited. If Gaulish Dis Pater was as important as Caesar made out, the interpretatio Caesar offers cannot have been much adopted.[11]: 81–82 In any case, this evidence is of little help in identifying Gaulish Dis Pater.[2]: 210 An inscription from Bregenz perhaps identifies the Celtic god Smertrios with Dis Pater. However, the reading is not very certain,[c] and Smertrios is more usually identified with Mars.[13] One heterodox aspect of Dis Pater's cult in the Western provinces (and particularly in Germania Superior) is that he is frequently paired with the goddess Erecura[d] (rather than with Proserpina, as he was in Rome). However, little is understood about her cult (which, in any case, was concentrated in a non-Celtic province) so this does not aid much in the identification of Gaulish Dis Pater.[5]: 63
Sucellus is a Celtic god is best known from his distinctive and well-attested iconography, in which he is depicted with a mallet and an olla.[15] His nature as a god is not clear.[16]: 66 [e] The Roman god most closely associated with Sucellus (if not necessarily identified with him) was Silvanus, Roman god of the countryside. In Gallo-Roman iconography, Silvanus occasionally borrows the mallet and olla of Sucellus.[15][17] In turn, Sucellus's iconography (which appears only after the Roman conquest) borrows from classical models, particularly those of the Roman god Jupiter and the Greek gods Pluto and Charon.[16]: 71–73
Sucellus is the god most often equated with Gaulish Dis Pater in modern scholarship. The argument for this identity is based on iconographic parallels.[2]: 210 Sucellus's mallet plays a central role in such arguments. The characteristic mallet of the Etruscan psychopomp Charun (who was adapted into the Greek ferryman of the underworld Charon) has frequently been cited. The Greek god Dionysius, who had a chthonic aspect, was occasionally depicted with a similar mallet.[16]: 73–75 To show that Dis Pater was similarly associated with the mallet, a passage from Tertullian has frequently been adduced. Tertullian records that, during Roman games, a slave dressed as Dis Pater used a mallet to drag corpses from the arena. Stéphanie Boucher is sceptical of the value of this comparison, arguing that this custom does not prove an association of Dis Pater with the mallet as much as it does an association of Dis Pater with Charun.[16]: 73–74
Some later myths and customs in Celtic nations have been cited to substantiate the proposed chthonic associations of the mallet among the Celts.[18][f] Other iconographic features of Sucellus have been incorporated into this interpretation. Some monuments of a mallet-wielding god (perhaps Sucellus) iconographically echo depictions of Hades/Pluto (for example, such a god is flanked by a Cerberus on a few depictions).[15] The tunic of Charon bears a resemblance to the Gallic clothing of Sucellus.[16]: 72
Against this hypothesis, de Vries has pointed to the limited distribution of Sucellus (entirely absent from the west of Gaul) and the fact that the interpretatio romana of Sucellus as Jupiter is favoured by the epigraphic evidence.[11]: 95 Boucher argues that the former point has no worth, as all representations of gods (whether Roman or Celtic) are rare in the west of Gaul.[16]: 76
Taranis was a Celtic thunder god, and is one of the few Celtic gods known by his native name in classical literature, referenced as such in the Roman poet Lucan's epic Pharsalia.[20]: 298 Lucan's poem was a popular school text, which created a demand for commentaries and scholia dealing with difficulties in grammar and subject matter. The best known collection of such scholia is the Commenta Bernensia, a set of notes to the poem preserved in an 11th-century CE manuscript, and with textual layers which date from the 4th to the 9th century CE.[20]: 312–313 In glossing the passage in which Taranis is mentioned, the Commenta Bernensia notes that the sources available to it give different interpretatios of Taranis: some identify Taranis with Jupiter, and others identify Taranis with Dis Pater.[20]: 324
The Commenta Bernensia is the only other classical text to mention Dis Pater in relation to Celtic religion.[2]: 210 It is difficult to evaluate the origin and significance of the Commenta's equation of Taranis with Dis Pater. The equation with Jupiter is better represented in the commentary tradition to Lucan[g] and confirmed by inscriptions; the parallel between Taranis and Jupiter's role as thunder gods is clear.[20]: 324 On the other hand, Manfred Hainzmann points out Dis was associated in Latin literature with the night sky and night thunderstorms. Statius, for example, refers to Dis Pater as the "thunderer of the underworld" (Thebiad, 11.209).[22]: 24 Taranis is sometimes identified with the Celtic wheel god (a Celtic god equated with Jupiter, who is only known from Celtic religious iconography). Fritz Heichelheim and Pierre Lambrechts have attempted to substantiate the connection between Taranis and Gaulish Dis Pater through features of this wheel god.[23]: 80 [h]
Cernunnos is a Celtic god also primarily known from his distinctive iconography, in which he is portrayed as a cross-legged, deer-antlered man adorned with torcs. The surviving evidence does not attest to any interpretatio romana for this distinctly Celtic god, but it does repeatedly associate him with the Roman god Mercury. His attributes (stags, cornucopia, bags of coins) identify Cernunnos as a god of fertility and abundance. A chthonic association for this fertility god (suggested Cernunnos's companions, the ram-horned serpent and Mercury) has also been repeatedly proposed.[24][25]
Phyllis Pray Bober and Robert Mowat have argued that Cernunnos is a natural candidate for an interpretatio of Dis Pater, as a god with a similar chthonic-fertility character.[26]: 44 [27]: 30 Bober also compared Cernunnos's association with bags of coins and Dis Pater's with underground metals.[26]: 44
Camille Jullian and Émile Linckenheld proposed that the Celtic tribal god Teutates was Gaulish Dis Pater.[11]: 49 Jullian made this link on the basis of Teutates' role as a tutelary deity of Gaulish tribes,[28]: 121–122 whereas Linckenheld made it on the basis of a statuette of Mercury found in the Gaulish sanctuary of Donon.[29]: 84–85
Francisco Marco Simón suggested that Gaulish Dis Pater was identifiable with the "nameless god" of the Celtiberians mentioned in Strabo's Geographia (3.4.16). This god, of whom little is understood, seems to have been ritually associated with the moon, a fact which Marco Simón connected with nocturnal Celtic date-keeping, and hence with Gaulish Dis Pater. Recently, Marco Simón's argument has been taken up and elaborated by Gabriel Sopeña Genzor and Vicente Ramón Palerm.[20]: 218 [30]: 137
Salomon Reinach argued that the ram-horned serpent (a hybrid beast known from Celtic iconography, often accompanying Cernunnos) was a chthonic entity, identifiable as a regionally specific manifestation of Gaulish Dis Pater.[26]: 16 [31]: 197–198
Donn (etymologically, "the Dark One") is a figure of Irish mythology. Donn's house was an island called Tech Duinn (perhaps identifiable with Bull Rock). In some traditions, he wishes his descendants to go to the island after their deaths; in others, all the dead go to this island. This has given rise to the hypothesis that Donn was originally a god of the dead and ancestor god, therefore comparable with Gaulish Dis Pater.[19]: 556–557 [5]: 64, 96
Gaulish Dis Pater has also been compared with The Dagda, a figure of Irish mythology and euhemerised god who was nicknamed Ollathair ("father of all");[32]: 64 the Welsh and Irish ancestor-figures, Beli Mawr and Bilé;[11]: 82 and the Welsh prince and ruler of the underworld, Pwyll.[11]: 83
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In Irish mythology, Donn ("the dark one", from Proto-Celtic: *Dhuosnos)[1][2] is an ancestor of the Gaels and is believed to have been a god of the dead.[2][3][4] Donn is said to dwell in Tech Duinn (the "house of Donn" or "house of the dark one"),[5] where the souls of the dead gather.[6] He may have originally been an aspect of the Dagda. Folklore about Donn survived into the modern era in parts of Ireland, in which he is said to be a phantom horseman riding a white horse.
A 9th-century poem says that Donn's dying wish was that all his descendants would gather at Donn's house or Tech Duinn (modern Irish Teach Duinn) after death: "To me, to my house, you shall all come after your deaths".[1] The 10th-century tale Airne Fíngein ("Fíngen's Vigil") says that Tech Duinn is where the souls of the dead gather.[7] In their translation of Acallam na Senórach, Ann Dooley and Harry Roe commented that "to go to the House of Donn in Irish tradition means to die".[6] This suggests that the pagan Gaels saw Donn as their ancestor and believed they would go to his abode when they died.[8] Tech Duinn may have been thought of as a place where the souls of the dead gathered before travelling to their final destination in the otherworld, or before being reincarnated.[6] According to Julius Caesar, the Gauls also claimed descent from a god whom he likened to Dis Pater, the Roman god of the underworld.[4]
The Christian writers who recorded the Lebor Gabála Érenn made Donn into Éber Donn one of the mythical Milesian ancestors of the Gaels.[6] The Milesians invade Ireland and take it from the Tuatha Dé Danann. During their invasion, Donn slights Ériu, one of the eponymous goddesses of Ireland, and he drowns in a shipwreck off the southwest coast. Donn is then buried on a rocky island which becomes known as Tech Duinn.[9] In the literature, Tech Duinn is said to lie at or beyond the western edge of Ireland.[2] Tech Duinn is commonly identified with Bull Rock, an islet off the western tip of the Beara Peninsula. Bull Rock resembles a dolmen or portal tomb as it has a natural tunnel through it, allowing the sea to pass under it as if through a portal.[10] In Ireland there was a belief that the souls of the dead departed westwards over the sea with the setting sun.[1]
The Metrical Dindshenchas entry for "Tech Duinn" recounts the tale:
Through the incantations of the druids a storm came upon them, and the ship wherein Donn was foundered. 'Let his body be carried to yonder high rock', says Amairgen: 'his folk shall come to this spot.' So hence it is called Tech Duinn: and for this cause, according to the heathen, the souls of sinners visit Tech Duinn before they go to hell, and give their blessing, ere they go, to the soul of Donn. But as for the righteous soul of a penitent, it beholds the place from afar, and is not borne astray. Such, at least, is the belief of the heathen. – Translation by E. Gwynn[11]
In the tale Togail Bruidne Dá Derga ("The Destruction of Dá Derga's Hostel"), king Conaire Mór meets his death in Bruiden Dá Derga (the "great hall or hostel of the red god"). On his way to the hostel, Conaire meets three red men riding red horses from the otherworld. They foretell his doom and tell him "we ride the horses of Donn ... although we are alive, we are dead".[2] Donn is called "king of the dead" in the tale.[2] It has been suggested that Dá Derga and Dá Derga's Hostel is another name for Donn and his abode.[6] It may be a name for the death god in the context of violent death or sacrifice, hence the name "red god".[2]
In the tale Tochmarc Treblainne ("The Wooing of Treblann"), the otherworld woman Treblann elopes with the mortal man Fráech, who sends her to safety in Tech Duinn while he embarks on a quest. In this tale, Donn is said to be the son or foster-son of the Dagda.[12][13] Dáithí Ó hÓgáin notes similarities between the two and suggests that Donn was originally an epithet of the Dagda.[2]
Donn is the father of Diarmuid Ua Duibhne, whom he gave in fosterage to the god of youth, Aengus mac Óg, to raise.
Folklore about Donn survived into the early modern era. In County Limerick, a Donn Fírinne was said to dwell in the sacred hill of Cnoc Fírinne (Knockfeerina or Knockfierna), and folklore told of people being brought into the hill to be with Donn when they died.[2] He was said to appear as a phantom horseman riding a white horse. He was also associated with the weather: thunder and lightning meant that Donn Fírinne was riding his horse through the sky, and if clouds were over the hill it meant that he was gathering them together to make rain. This imagery may have been influenced by the lore of Odin and his horse Sleipnir from the Norse settlers in Limerick.[2] Donn Fírinne was also said to appear and warn anyone who interfered with his hill. On the west coast of County Clare there was a Donn na Duimhche or Donn Dumhach ("Donn of the dunes"), who "was also often encountered as a night-horseman".[2] In later folklore, the name 'Donn' came to mean an 'otherworld lord' in general.[2]
In modern Irish donn is the most common word for the colour brown, and by extension can also mean "sturdy (like) wood". This is one possible etymology of the English colour "dun" (greyish brown).
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The origin of the name Beli is still a matter of debate among scholars.[2] The most popular hypothesis sees the name Beli as a Middle Welsh reflex of the Gaulish and Brittonic divine name Belenus (also attested as a personal name), but a more recent alternative is that proposed by Harvard Celticist John T. Koch, who suggests that Beli derives from a Proto-Celtic name Belgius or Bolgios borne by one of the chieftains who led the Gallic invasion of Macedonia in 280–279 BCE against King Ptolemy Ceraunus.[3][4]
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The consensus among linguists is that the ethnic name Belgae probably comes from the Proto-Celtic root *belg- or *bolg- meaning "to swell (particularly with anger/battle fury/etc.)", cognate with the Dutch adjective gebelgd "very angry" (weak perfect participle of the verb belgen "to become angry") and verbolgen "being angry" (strong perfect participle of obsolete verbelgen "to make angry"), as well as the Old English verb belgan, "to be angry" (from Proto-Germanic *balgiz), derived ultimately from the Proto-Indo-European root *bhelgh- ("to swell, bulge, billow"). Thus, a Proto-Celtic ethnic name *Bolgoi could be interpreted as "the people who swell (particularly with anger/battle fury)".[3][4][5][6][7]
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However, the later historian Tacitus was informed that the name Germania was known to have changed in meaning:
The first people to cross the Rhine and oust the Gauls, those now called Tungri, were then called Germani. It was the name of this nation, not a race, that gradually came into general use. And so, to begin with, they were all called Germani after the conquerors because of the terror these inspired, and then, once the name had been devised, they adopted it themselves.[15]
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Another name for the plain was Magh Lecet or Magh Leced. The ancient Irish prayed by prostrating themselves in a similar fashion to today's Muslims, i.e. by kneeling down on both knees and touching the forehead against the earth
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Crom Cruach was originally envisioned as a god hidden by mists, represented as a gold figure surrounded by twelve stone or bronze figures. Crom Cruach's countenance is akin to that of a demonic snake or monstrous worm (possibly referring to a Wyrm or a Wyvern, a type of dragon).
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[deleted]
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2y ago
“You can’t lift the stone without being ready for the snake that’s revealed.”
track me
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SwiftTime00
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2y ago
I may be wrong on this, but I believe it’s “you can” not “can’t”. As the quote was specifically talking about how you can make make the bomb without being ready for what comes next, rather than you can’t make the bomb without being ready for what comes next.
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[deleted]
OP
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2y ago
tysm!
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Steadyandquick
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2y ago
What does this mean to you? Who/what is the rock/stone and who/what is the snake? Coming up a bit dense here!
Niels Bohr: The power you are about to reveal will forever outlive the N*z*s, and the world is not prepared.
J. Robert Oppenheimer: You can't lift the stone without being ready for the snake that's revealed.
Niels Bohr: We have to make the politicians understand, this isn't a new weapon, it is a new world.
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The original Gaelic form of the name Esker is Mag Uidhir
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MaGuire is a surname of Irish origin, from the Gaelic "Mag Uidhir." The name means, "son of Odhar." Some historical background seems to indicate that the name Mag Uidhir, Maguire, or McGuire stems from the Magi of Éire who were the priests of ancient Ireland.
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One one of the mysterious wooden staffs, we find a cryptic, runic inscription which has been interpreted as: Lituillvissmadr – “Man knows little”. Another possible meaning could have been “I who am small, am the sanctuary”.
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Gunnhild Røthe, Britt Solli and Anne Stine Ingstad are among the scholars who have argued the belief that the Oseberg mound was an actual temple in its own right. It was a place of worship also after the women were buried there. It is well known that people back then believed that one could communicate with the souls of the dead if one sat out on the mounds. We know examples from the myths of gods and men seeking the advice of dead vǫlur by invoking them with spell-songs while sitting on their burial mounds – even in death, the vǫlva could help if she was invoked. In one Edda poem, Óðinn rides down into Hel in order to consult a dead vǫlva. In another Edda poem, a young man sits on the burial mound of his dead mother Gróa, who had been a vǫlva, and invokes her so that she may sing spell-songs to help him.
The Oseberg ship was anchored – fastened to the ground with an anchor, making sure that it would not completely leave the shores of the living, making sure that the ship stayed here in this world, providing a place for the dead women to return from their travels, returning to the ship that they had used while they still lived.
The Oseberg ship was built by the year 820, and the women who occupied it in death could probably have used it while they still lived. That the women used a ship to travel from place to place to perform their mysterious rituals makes sense. The vǫlur were known to travel around the countryside to offer up their services of seiðr, magic and divination. Priestesses were also known to travel on annual, ritual processions, bringing their gods with them. In Norway, getting around longer distance required the use of a ship. But why would they need to get so far around that they needed a ship? Perhaps the ship itself held mythical properties – like the ships of Balder and Freyr.
In Tacitus Germania, we hear of Scandinavian priests traveling with the image of a goddess in a chariot from tribe to tribe – the goddess was a unifying force; during her procession from tribe to tribe, nobody would wage war against the other tribes, there was peace for as long as the procession lasted, the goddess united them in common worship. In a tribal Norway that was moving, slowly, towards becoming a nation, these women could have represented such a unifying force, moving by ship to reach all the most important settlements in the land, uniting the tribes in common worship, associated with the growing power of a dynasty which was clearly interested in becoming the leading force of a tribal union. If so, it is quite likely that they were, indeed, priestesses of the Sacred Marriage, inaugurating kings.
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Then, probably sometime in her forties, she began, literally, transforming.
She had a hormonal disease known as Morgagni´s Syndrome. This is a condition where the body is overflowed by testosterone, to such a degree that it actually changes the entire body and even the skeleton. Today, people who have this disease are treated with hormones so that the changes are not that noticeable. Back then, the woman who was to become the oldest lady of Oseberg had to suffer the disease in full. It made her bone structure grow coarse and thick. Her shoulders and neck grew. Her forehead and jaws grew. Her voice became deeper. Her body hair grew – yes, even her facial hair grew. She became a bearded woman.
To all contemporary appearances, she transformed, magically, into a man, perhaps through divine intervention.
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However, that this overflow of testosterone could have affected her behavior is very likely, hormones do that, and as said, the grave contained items typical to both sexes of the time. And to her contemporaries, there would have been no doubt that she magically transformed into the opposite gender.
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The theme of transformation is ripe in the Oseberg decorations, mostly animal transformation where women are half human and half animal – but what could be a bearded woman is certainly depicted and gets new meaning after knowing that the elder woman in the grace actually was one.
When this new information was first revealed a few years ago, the archaeologist Lena Fahre and many others suggested that this transformation was the actual main reason why the Oseberg women were so extremely revered – not just because of their royal ancestry, not just because of their connection to famous kings who were later to unite the country – and not just because they were obviously running an important religious cult; but because the main character in the grave, the elderly woman, had performed an astounding, magical, divine feat; that of turning into the other sex.
It was this sex change, this transformation that could be witnessed from day to day over the course of a few years, that made this woman so unusual and so highly regarded. It must needs also shed some new light on the fact that this very masculine woman was laid to rest in a marital bed with another, younger and more feminine woman.
Will you find information about this if you go to the museum where the Oseberg ship is on display in Oslo? Of course not. All this is really touchy, is it not?
A couple of years ago, in 2016, I went to hear a lecture by the archaeologist Lena Fahre, revealing all this new and amazing information about the secrets of the Oseberg women, claiming that the ruling paradigm right now is that this involuntary but dramatic gender-change was in fact pivotal and central to the elevated position of the Oseberg priestess. There were even posters around town (Tønsberg), promoting this new insight, albeit focusing more on the fact that she had been quite handicapped and hardly a feminine beauty.
However, searching for that information a couple of years later, there has obviously been very little interest in promoting these fantastic insights; evidently, people like the national romantic idea much better, the idea of the queen who was ancestral to our first king, showing up right when we got our own new first king in 1905.
However. Sex change or gender change or some sort of gender-bending is a theme that is quite strong in Norse myths and even in the sagas. We cannot compare that to modern terms and identities, but we can use modern insights to see things that we did not see before; the importance of bending the rules of gender roles and gender identity in a society that was otherwise known to be quite gender-divided.
Norse society was a society where all free men were raised to be warriors, sailors, builders, farmers and international traders. Women were raised to raise warriors, to become experts on all things that had to do with textiles and medicine and the production of food and goods, to take care of the finances and the economy and the farm, and even if they were not particularly oppressed compared to most women in other places at the time, they were still subordinate to their fathers, brothers and husbands when it came to legal matters, and men were the ones who spoke and voted at parliament.
For a man to assume a female role, both in clothing, some sorts of work such as milking cows, and sexually, appears to have been associated with shame. For a woman to assume a masculine role could also be shameful if she had menfolk to do it for her, but if she had none, the evidence suggests very strongly that it was acceptable for a woman to assume a traditionally masculine role if she had no man to represent her.
In the myths, most of the gender-bending stories speak of male to female transition in some way or other, usually in the context of magic and ritual. The graves we have found from the Viking Age and before, which contain items from both the masculine and the feminine spheres, usually also contain items associated with magic and ceremony and out of body travel into other dimensions. And there are more such graves than we usually hear about.
All the evidence we have suggests that some sort of sex change or gender role bending was associated with magic and with religious rituals, even with initiation into manhood. We hear of young princes who must live, dress, act and work like slave girls before they can be recognized as great men worthy of kingship. And we hear of women who lived and dressed and identified as men and who were warriors.
Yes, we also hear of negative attitudes to the same – but these attitudes can all be dated to after the conversion to Christianity – there is nothing in the older sources or in the core myths to suggest that gender-bending was seen as a sinful or negative or punishable thing, quite to the contrary it was associated with the art of shape-shifting and magic.
Moving back to this time, to the early Viking Age, when Christianity was only known as something that the Franks were trying to impose on the poor Saxons, the idea that a woman could suddenly, within the course of a few years, change into a man, would have been seen within the context of magic and divine intervention.
Her position in society after this change may have – must have – actually only risen to new heights. Her position in what appears to have been a religious cult, associated with magic, must have risen.
And in her death, she and her companion were buried together like divine royalty, granted the most expensive public burial that could have been granted, greater even than that of kings – as if they were a couple and with all honors.
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An entity known only as the Serpent speaks directly to Vecna. Others—daring to call themselves wizards, magicians, and sorcerers—manipulate the tiniest aspects of the Serpent and call it magic. But Vecna speaks to the Serpent, and the Serpent speaks back.
Vecna Reborn (1998), p.4
The Serpent is a mysterious and powerful entity associated with the lich-god Vecna, who whispered to him the secrets of power and lichdom. It is believed by some to be a deity of overwhelming power, by others the force of magic itself with a will of its own, and by some a fiction of Vecna's madness.
The Serpent's true name and identity are a mystery to the multiverse. Even Vecna himself, god of secrets, does not know the Serpent under any other name, if it has one.[1]
The Serpent is thought to be an alias for a mysterious godlike entity named Mok'slyk. Others suspect its true identity is Asmodeus, whose true form is that of a miles-long serpent more ancient than the gods of humans.[2] It is thought by some to be a godlike being of unimaginable power greater than even the greater deities.[3]
Another theory is that the Serpent is not a real being, but rather a personification of the raw power of magic itself.[2] It has been considered by some as a personification of epic spells, spells greater than those of 9th level created through understanding of the true language of magic.[4]
Some believe that the Serpent is merely a hallucination in the mind of Vecna brought on by madness, although the cult of Vecna consider this heretical.[2]
The Serpent is known to be a member of the Ancient Brethren, a group of beings which also includes the Lady of Pain.[5] He is equal in power to be being which created the wards which ban gods from stepping foot into the planar city of Sigil.[6]
The image of the Serpent is considered sacred to the followers of Vecna. A banner of a snake wrapped around a starbust is used on the highest of holy days.[7] It is depicted in religious iconography as a serpent made of cloud and lightning snaking down from the sky and whispering into Vecna's ear, telling him the secret of lichdom. In other scenes it is depicted wrapped around Vecna during his rise to power.[8]
Saying in the language of the Ancient Brethren:
Paet vi har skylkning.
Translation:
We have faith in the Serpent.
The Serpent spoke to Vecna while he was still mortal, and revealed to him great secrets powerful magic, including the path to lichdom, the location of Citadel Cavitus,[2] and the true nature of beings including the Lady of Pain and the dark powers of Ravenloft.[9]
Recent history
The Serpent is last known to have stirred when Iuz the Old of Oerth attempted to strike down Vecna. The Serpent revealed Iuz's plans to Vecna, allowing him to prepare a counter-plan enabling his ascension to godhood.[9]
The Serpent appeared in a Living Greyhawk core adventure series Windows to the Serpent's Soul. It consisted of four adventure modules: COR4-01 Shedding Scales, COR5-08 Clipping Wings, COR6-08 Catching Breath, and COR7-15 Taking Flight.
In this series, the Serpent is described as a primordial force of magic, tricked by the gods into assuming the form of a massive serpent which the gods petrified so it could steal its power. The gods could not completely destroy its form, so they broke it down into chunks which became planets, upon which life grew from the Serpent's energy and learned to use magic. Something in Vecna's heritage or destiny gave him a special connection to the Serpent.
The Serpent also referenced in COR5-14 All Roads Lead to Rauxes, where it is referred to as an ancient Flan belief that the universe, magical or otherwise, is one great dragon, with its own will and agenda, which can be manipulated by ritual; COR6-01 A Story for Another Day, where the Serpent speaks to a follower of Vecna; and CORSP4-02 Dragon Lore Prophecies, which is linked to Windows of the Serpent's Soul and leads into CORS4-02 Here There Be Dragons.
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Zehir was an apparent interloper deity who came to Toril around the time of the Spellplague[4][8] and took up residence in the Sea of Poison near Talona's realm in the Towers of Night.[9]
His methods were aggressive, yet subtle. He liked his wishes to be carried out quietly, but boldly and did not forgive failure, though those who continued to please him could expect to be richly rewarded.[8]
Zehiric clerics were called Venomers and he drew many worshipers from the ranks of the yuan-ti that were unhappy with the detachment of Sseth.[4] High-ranking clerics were referred to as "Low Priests".[10] In a society of snake men, being low was considered a positive attribute. The unholy gesture of Zehir was the sign of fangs.[11]
Adventurers working with House Sauringar's leader Sa'Sani defeated his herald, a powerfully built giant yuan-ti abomination wearing a headdress, and then got the chance to converse with the deity, appearing as two huge, red floating eyes set in scaly sockets and with feathery eyebrows. The voice that issued forth from this apparition was calm and confident. Despite the fact that his plan was ruined, he revealed that it was but one of many schemes that he was sponsoring all over the world. The aasimar Shadow Thief Belueth the Calm, who had traveled with the adventuring party that defeated the herald, took to hunting and killing his Snaketongue cultists following these events.[8]
His domain is in all places where bills are being paid, in shopping, in businesses, at the bank, in matters of loan, in all finances. His colors are those of the rainbow, his stone is the opal, his symbol is the snake and his day is Tuesday.
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I am working on a yuan-ti divine-soul sorcerer, to be played in a homebrew setting.
Teyacapan, that's her name, is part of a religious community led by a couatl. So, she is not a Drizzt, more like a drow born and raised in Eilistraee's faith. I am going to use Eberron's name for such yuan-ti, the shulassakar, but without the Silver-Flame lore.
To better describe the character's beliefs, and her knowledge of the beliefs of other yuan-ti, I would like to present my DM with a 5e-style pantheon table.
Deity Alignment Province Suggested Domains Common Symbol
Ahriman,
the Tenth Hell LE Indenture, tyranny Knowledge, Trickery Spiny ouroboros
Dendar,
the Night Serpent NE End of the world,
fear, nightmares Death, Tempest Snake eating the sun
Jazirian,
the First Couatl LG Community, learning,
parenthood Knowledge, Life, Light Ouroboric couatl
Merrshaulk,
Master of the Pit CE Conquest, predators Nature, War Cobra head
Sseth,
the Sibilant Death CE Conspiracy, murder Death, Trickery Bat-winged snake
I know there are many other serpent gods, but these are the ones I found interesting. You have got the original chief deity of the yuan-ti, Merrshaulk, the one who took over after their empire fell, Sseth, and a serious contender for the latter, Dendar. Then there is the odd good-aligned one, Jazirian, whom my character worships. Finally, you can't have Jazirian without his evil twin, Ahriman.
But perhaps I am missing on some really cool serpent gods. Are there any you would suggest?
Also, what do you think of the way I filled the table, with the domains and such?
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Look at the name:
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Beleriphon said:
2019-08-17 05:24 PM
Default Re: Yuan-ti Pantheon
Quote Originally Posted by Millstone85 View Post
But perhaps I am missing on some really cool serpent gods. Are there any you would suggest?
Also, what do you think of the way I filled the table, with the domains and such?
Table looks good.
As for what you want for serpent gods Professor Google provided me a link to his tenured institution of Wikipedia University, specifically the advanced course on snake worship. References to Thulsa Doom are optional.
For D&D only deities I'm not familiar with any you haven't listed. A lot of Asian myths have snakes as protectors. Without getting into overtly religious discussion the Indian subcontinent and surrounding regions are the cultures that inspired the D&D naga, and a number of the named naga from the region's mythology would work well as D&D deities. Link for Naga.
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Name Epithet Alignment Plane
Asmodeus The Lord of the Nine Hells Lawful Evil Nessus, Nine Hells[12]
Bane The Strife Emperor Lawful Evil Acheron[12]
Gruumsh The Ruiner Chaotic Evil Acheron[2]
Lolth The Spider Queen Chaotic Evil Abyss[2]
Tharizdun The Chained Oblivion Chaotic Evil Abyss[13]
Tiamat The Scaled Tyrant Lawful Evil Avernus, Nine Hells[13]
Torog The Crawling King Neutral Evil Far Realm[13]
Vecna The Whispered One Neutral Evil None[14]
Zehir The Cloaked Serpent Chaotic Evil Astral Plane[14]
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If I play an evil character, I typically prefer CE. I think it's more interesting than some folks give it credit for; you don't have to be The Joker or a random idiot to be CE. In fact, one reason I prefer Pathfinder to D&D is I've found PF discussions of alignments far more insightful.
But PF also managed to make LE more intriguing to me with Zon-Kuthon. The thing is, I find the entire concept of "evil religions" and "evil gods" in Fantasy or Tabletop endlessly fascinating. It just changes everything about how we see the world to imagine "yes, there is this Evil God/Goddess out there." For example, when I was first introduced to PF lore, Nidal immediately caught my attention. After all, who can blame someone for wanting to preserve their nation and its people from inevitable death? Can you just imagine saying "yes, I'll let my family, friends, neighbors, and everyone else in my homeland die rather than work with this 'evil' deity." Wouldn't I be the truly evil one to let this happen?
For Zon-Kuthon specifically, I enjoy how much more esoteric he is than someone like Asmodeus. Asmodeus might as well be someone we know in real life. Zon-Kuthon and others like him such as the Kytons embody something far more interesting to me. I really love this example of "Kyton Rhetoric"
Your methods indulge in fear and suffering. Why would I embrace such destruction?“Pain. Sorrow. Fear. These are not emotions. These are instincts of animals, of lesser beings. Do you think the rat feels contentedness, the snake either love or lust, the sow ecstasy? We are without the vestigial mental reflexes of mortals. Yet such enlightenment is not our purview alone. We would teach all with minds to understand how to be more than what an evolution of meat and tears would constrain. We offer possibility and revelations of enlightenment, states your kind are predisposed to distrust, to view as revolution, but which those with the potential for greatness clasp as rungs upon the ladder of exultation.”
As well as some fanon I've found on the different types of Kytons and their philosophies
I also quite enjoy the character of Doloras, a Queen of Hell and fallen angel who embodies dispassion.. What I see in all of them is this supreme detachment, a transcendent state of mind that, as wonderfully put in Faiths of Corruption
Lamashtu’s people may negotiate with you for slaves, yet their bestial madness is nothing compared to your enlightened one. You know that this life is a vale of pain, and that the next one is worse
I made a thread like this the other day elsewhere and someone asked "why isn't Zon-Kuthon Chaotic Evil?" I think that pursuit of enlightenment is precisely what separates him from the various CE deities or demigods, even the ones obsessed with torture. Consider this obedience to Zon-Kuthon:
Persuade a creature to allow you to inflict a small amount of pain on it. This can be as subtle as thin needles under the skin or as overt as a lashing with a whip— whatever the subject agrees to. If you can legally procure an individual, such as through legalized slavery, you may use a purchased subject instead. If no suitable individuals can be located, coil a spiked chain into a nest and kneel on it, letting your weight sink your knees into the spikes. Whip your own back while chanting praises to Zon-Kuthon.
There's nothing like this among the CE divinities, even the ones big into torture. They torture for the hell of it and their own personal amusement, not to bring any potential "enlightenment" so they wouldn't bother persuading someone.
There is also how a Kuthite is an equal opportunity victim and administrator of torture. The race of Kytons mutilate themselves as much as they do other creatures, another big difference with Demons. Zon-Kuthon is basically their idol because he has mutilated himself to uttermost perfection.
I think of them all as super extreme Monks. However warped and unfathomable it is, there is a code there, a belief in firm discipline. Only that discipline can lead to the transcendence and perfection they all seek.
There was an old thread on here asking for inspiration for a "scripture" of Zon-Kuthon. Basically, what are some quotes which can help you get into the mindset of a true Kuthite? What I find most intriguing is that, as a lifelong fan of Japanese media, you can easily adopt a lot of heroic quotes to his service. After all, in how many anime, video games, etc. is the villain someone trying to abolish all suffering and pain from the world? A representative sample from Silent Hill 3:
Claudia: She will usher in the eternal Paradise.
Douglas: What kind of place is that?
Claudia: A place with no pain. No hunger, no sickness, no old age. There will be no greed or war and all will live by God's grace alone.
Douglas: No this, no that, no nothin'. A paradise for castrated sheep, maybe. Sounds pretty boring.
[...]
Claudia: Have you become blind to all the hopeless suffering in the world? We need... we all need God's salvation.
Heather: Listen. Suffering is a fact of life. Either you learn to deal with that or you go under.
Suffering and pain are often extolled as proof of our humanity, of being alive. In some ways, they are the defining aspect of being alive. Their removal would leave us worse than dead.
In this vein, and drawing on actual philosophy more than just pop art, I've felt that Friedrich Nietzsche is the prophet of our age. A great source for thinking about Zon-Kuton's philosophy, too:
Hedonism, pessimism, utilitarianism, eudaemonism: these are all ways of thinking that measure the value of things according to pleasure and pain, which is to say according to incidental states and trivialities. … You want, if possible … to abolish suffering. And us? – it looks as though we would prefer it to be heightened and made even worse than it has ever been! Well-being as you understand it – that is no goal (BGE 225)12
The discipline of suffering, of great suffering—do you not know that only this discipline has created all enhancements of man so far? (BGE, 225)
Alongside observations of decadence and nihilism lies a plea for higher values. Suffering is not just a necessary, if regrettable, means to the likes of Goethe, Beethoven, or Napoleon, or the construction of Venice. It is constitutive of these achievements. The Gay Science is probably the richest trove on the revaluation of suffering. For instance:
But what if pleasure and displeasure are so intertwined that whoever wants as much as possible of one must also have as much as possible of the other …? (GS 12)
There, Nietzsche envisions “as much displeasure as possible as the price for the growth of a bounty of refined pleasures and joys that hitherto have seldom been tested” (ibid.). “There is as much wisdom in pain as in pleasure: like pleasure, pain is one of the prime species-preserving forces … that it hurts is no argument against it” (GS 318).
One of Nietzsche's great loves even wrote a poem that could be a poem to Zon-Kuthon, the Kytons, Doloras, and all they represent.
“To Pain” by Lou Andreas-Salomé
Who can escape you when you have seized him/When you fasten him with your serious gaze?/I will not curse when you grip me/I never believe that you merely destroy!/I know that every earthly existence mAust go to you/Nothing on earth is untouched by you./Life without you – would be beautiful/And yet – experiencing you has value./Certainly you are no ghost of the night/You come to warn the spirit of your power/Struggle is what makes the greatest great/The struggle for the goal, on impassable paths . . .
I hope ZK is well represented in WOTR. I've heard of the good interactivity you get with your chosen deities. Of course Zon-Kuthon rarely intervenes in anything directly but I guess I'll see.
And that is that. Hopefully this has been illuminating or interesting for some of you. Zon-Kuthon and Lamashtu are the two deities which have really inspired the most thought from me and I've really enjoyed researching this and thinking on what I've read, putting myself in the mind of my PC.
P.S.
If you're big into music, what do you think of these as possible theme songs for Zon-Kuthon or my Kuthite PC?
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If I ever wanna play an evil character, I pick Chaotic Evil. And yet, CE is truly the most misunderstood of all the alignments, right down to how the creators of all this barely gave it any depth.
The Player’s Handbook from 3.5 describes Chaotic Evil as follows:
“A chaotic evil character does whatever his greed, hatred, and lust for destruction drive him to do. He is hot-tempered, vicious, arbitrarily violent, and unpredictable. If he is simply out for whatever he can get, he is ruthless and brutal. If he is committed to the spread of evil and chaos, he is even worse. Thankfully, his plans are haphazard, and any groups he joins or forms are poorly organized. Typically, chaotic evil people can be made to work together only by force, and their leader lasts only as long as he can thwart attempts to topple or assassinate him. The demented sorcerer pursuing mad schemes of vengeance and havoc is chaotic evil.”
Utterly worthless.
A much more recent, actual Pathfinder book I just got called Champions of Corruption was a lot more interesting, if also still very brief.
Chaotic evil characters live at the mercy of their own toxic passions. Their goals and methods may change on a whim, and they often crave novelty and variety in their lives. While still capable of planning, they may have a hard time with patient, long-term scheming, preferring immediate satisfaction and direct action. For some, spreading chaos and destruction is a deliberate goal, yet more often chaotic evil characters are those who simply don’t care whom their desires may hurt. They may see a certain nobility in their refusal to be bound by any conventions or creeds, or they may simply indulge their greed, hatred, and lust with no thought to the consequences. They may be emotionally or mentally unstable, letting their inner turmoil and turbulence spill out uncontrollably into others’ lives. Yet, they need not be insane—their savagery can be deliberate and intentional, unleashed in carefully directed and rationed bursts. Serial killers, demon cultists, arsonists, dangerous hedonists, and others lured to atrocity by passion are drawn to this alignment.
Philosophies
Some chaotic evil characters have coherent philosophies or ideas that guide their actions. However, many—if not most—are driven from within by strong, usually poisonous and unpredictable emotions. Below are some of the more common chaotic evil personality types.
Devotees
Just as some people find solace in upholding order and justice, some swear allegiance to their opposites—the chaos and entropy that eventually grind everything to dust. Whether these devotees are antipaladins, cultists of demon lords, or those who simply feel that the world deserves to be burned down, devotees seek to foster chaos and evil not just for personal gain, but for chaos and evil’s own sake. Some believe that the world must be destroyed in order to be rebuilt into something better, or see themselves as a necessary part of an eternal struggle—for light requires darkness to give it contrast. More often, they devote themselves out of a desire to gain power from an evil and chaotic entity, or to impose revenge on a world they feel has wronged them.
If you are a devotee, you:
• Deliberately sow chaos and pain for their own sakes, rather than to obtain personal reward.
• May worship a demon lord or another personification of chaos and evil.
• Find spiritual satisfaction in destruction.
Code: Chaos is the true nature of existence, and it will eventually reclaim its own, so you help it along.
Furies
Furies are driven by a rage so consuming that it can never be satisfied. For some, this rage is birthed from a truly horrific past—perhaps one in which they suffered at the hands of another fury. In other cases, it is caused by disgust or despair ignited after witnessing too much depravity. In still others, the cause is simply a sense of stymied entitlement, or even a natural disposition untempered by reason. Not all furies are immediately identifiable as such—some bank their anger, burning slow but hot, and can conceal their temperaments and their actions, corrupting and undermining rather than rampaging. They may find justifications for their rage in the failings (real or imagined) of others, or they may not feel a need to justify themselves at all. Regardless of their motives, a festering, white-hot fever of rage is at the heart of all they do.
If you are a fury, you:
• Are prone to outbursts of violence—whether physical, verbal, or psychological.
• Often redirect anger toward convenient targets, punishing innocents for minor offenses.
• Feel empowered and invigorated when unleashing your anger, and may see patience and calm as weaknesses.
Code: If you hurt them, they must have deserved it.
Hedonists
To evil hedonists, nothing matters except personal pleasure, and it’s only natural and right to grab as much of it as they can. Any consequences are secondary, if they are considered at all. Classic evil hedonists live in the moment and take what they want by force. These are the people who burn down a city because their hands are cold, or kill a family just to steal their horse. While other personality types may have a greater sense of entitlement, hedonists are characterized by their unwillingness to restrict themselves unnecessarily—and to a hedonist, all restrictions seem unnecessary.
If you are a hedonist, you:
• Follow your whims and passions, regardless of the potential consequences.
• May get bored easily and seek out ever-greater taboos to break.
• Have disproportionate responses to irritation.
Code: Because you felt like it, that’s why.
Personally I've always been partial to the "Devotee" brand. When discussing evil, people often ask "why be evil?" What could be more sensible than "because my god is?" He is not CE but consider the case of Zon-Kuthon and Nidal. They were going to be erased from existence so they sought his protection. When everything you know and are could be due to some dark deity, when such beings are very real and active, it makes the most sense in the world to serve them.
Consider the Devotee's listed Code: "Chaos is the true nature of existence, and it will eventually reclaim its own, so you help it along."
From Gods and Magic
While some believe that the Maelstrom was the original (and only) plane of existence, enough evidence exists to suggest that the shell of the Outer Sphere, riddled with the fractures known as the Abyss, existed even before the primal chaos of possibility. Although some of the best clues to this mystery are found written in the protean language, the fact that the protean language muddles the definition between creation and destruction means that the truth of which came first may never be known.
From Lords of Chaos
The Abyss is a realm of infinite horror and unlimited danger. Its vast rifts wind throughout the surface of the Outer Sphere, dropping away into bottomless darkness without regard for the realms above which they violate. Known to many as the Outer Rifts, these vast chasms are more common amid the lower planes, but they certainly exist elsewhere as well. Where the Outer Rifts of the Abyss open onto realms like Elysium or even Heaven, they are the sites of eternal wars against the celestial races. Here, the armies of good maintain permanent encampments along the edges of Abyssal rifts and do their best to prevent the rifts’ spread.
For spreading is the correct word. The Outer Rifts are growing, if slowly. Scholars believe that this is a sure sign of the end of all things, that nothing can stop the growing dissolution of the Outer Sphere, and that at some time in the future, the Abyss will consume it all. Worse, the Outer Rifts do not constrain themselves to the Outer Sphere—they can open elsewhere, and have done so countless times before to consume entire worlds. The malevolent Worldwound in northern Avistan is but the latest to appear in the Material Plane—a rent in reality that even the full might of the nation of Mendev is unlikely to contain for long.
In Pathfinder cosmology, the Abyss might very well have been the beginning of all things, and it could just as likely be the end.
I was thinking I'd play an Inquisitor and CE inquisitors fit perfectly with the Devotee ideal according to one book:
Inquisitors: Inquisitors of demon lords seek out not only those who would attempt to curtail or destroy their faiths, but also those within a demonic cult who might be having second thoughts or simply don’t have what it takes to properly serve such blasphemous lords. Most of these types of inquisitors don’t serve a specific demon lord, but see themselves as serving the Abyss itself.
I will conclude with a quote from the actual in-universe Book of the Damned:
To think of such beauty as a succubus’s curves or the tremendous power of a balor’s might as coming from something as base as the larvae of sinful mortal souls may not be easy for the mind to comprehend, yet such is the grandeur of the Abyss. For she can cast from her womb such a myriad of life as to shame the most slattern of mortal mothers, such that these voracious souls, these writhing larvae, might gnaw at her wondrous flesh to gain potential no mere mortal could pass to its child. Those who preach against her fecundity do so not from righteousness, but from the basest jealousy and rawest envy imaginable.
—From the Book of the Damned, “Whispers from the Womb”
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Please notice the fangs in Z Z K M M and all the other shapes and letters snd images.
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B and M were often interchanged, which is how Mahomet became Baphomet. T and D were often interchanged, as well as sounds that were pronounced Th and Dth. H and Ph, A and Uh, E and Eh and Uh. Letters were added and lost, especially letters that would be pretty soundless like if there was an n in the middle of something, like Mundus. The s at the ends of things was given a symbol of the long s, similar in appearance to an f in medieval writing. "Success": would be written as "ſucceſs".
A word like "sinfulness" might appear as "ſinfulneſs", says A.I.
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Why in old English text was an 's' written as an 'f'?
Jacqui Mchale, Adelaide, Australia
It wasn't; it was just written differently according to its position in the word. The f-like s (like an f without the crossbar) was a tall variant used at the start or in the middle of a word, which the modern s was used at the end or after a tall s. This practice was obviously too complicated to survive, for it died out hundreds of years ago - although the Celtic s looks like a Celtic f without the crossbar to this day; and in Greek a different form of the letter sigma (the Greek s) is used at the end of the word; so there's nothing funny about it, it's just unfamiliar to us.
Keefe O'Brian, Rathlin Is
Because western printing conventions originated in Germany where the symbol is still used to indicate the sibilance now represented in English with a double S.
Peter Brooke, Kinmuck Scotland
It was to distinguish between a hard 's' and a soft 's'. The 'f' represented the soft 's' which is why you will find it spelt 'houfe' and 'houses' in old English texts.
Jenny, Cambridge
The first answer above is right, but it persisted well into the 18th Century. I have a family book with dated manuscript entries by my forbears and the name Mary Wass, written Mary Wafs (where my f represents the long s) is entered in 1782
Clem Vogler, Dereham United Kingdom (Great Britain)
I have a pamphlet dated 1872, printed in the US, which has the f and s duality. It obviously persisted for some length of time.
Reg, Palestine US
I have Vol 1 and 2 "Rise and Progress of the Colonies of South Carolina and Geirgia" 1779. Author:Alexander Hewat. Throughout the text the following occur: short is shown as fhort. sent is shown as fent. seised is shown as seifed. ship is shown as fhip. stand is shown as ftand these is shown as thefe. justly is shown as juftly wherever a double s occures within a word it is shown as ff as in oppreffion. It appears the the f is used at the begining and end of a word and within the word except when the word ends in ss and then it is written a fs. Just to confuse things Spain is shown as Spain, Lords as Lords and society as society. forry I am more confufed than ever.
Brian, Melbourne, Australia
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The medial S is an elongated form of the letter S. It looks like a lowercase F, but with a line sticking out only on the left side of the letter. It was used in manuscripts published between the 8th and 19th centuries, whenever the letter S appeared at the beginning of or in the middle of a word; serf would be ſerf, and hessian would be heſſian, for example. The use of the medial S declined with the rise of the printing press, as printers preferred to use only one consistent S form.
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It is very possibly that there was a lot more lispiness and that the similar looking long s and f were pronounced similarly.
Botis or Bothis and Motis or Mothis, and the end originally cut off or a close, and there are other words that are very similar and can be brought in due to sounding similar:
Motif, Motive, Bot, Both, Bonds, Boats, Mounds, Mounts, Moth, Moats, Oath, Oats, Goats, Goetia, Goths, Gothic, Memphis, Mephis(topheles), Mefitis, Mantis, Mantic, and so many more where people might be bringing up very similar sounds and things which when studied can include interesting elements that can be added to the themes connecting to both Botis and Mundus, or "Sub-Lunar" Hades.
If you zoom in on the bottom, Eleazar Clyde, had shown up, also with the fangs. That is a whole lot of this appearance while "Botis" is active and being brought up.
Eleazar has an etymology of "El" as in "Allah" "Azar" meaning helper or supporter, while another root that is identical looking means "enclosure", like the appearance of the symbol for Botis.
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Following the rebellion against Moses's leadership recorded in Numbers 16, Eleazar was charged with taking the rebels' bronze censers and hammering them into a covering for the altar, acting as a reminder of Korah’s failed rebellion and the restriction of the Jewish priesthood to the Aaronites.[5]
On Mount Hor, he was clothed with the sacred vestments, which Moses had taken from Aaron and placed upon Eleazar as successor to the high priest's office before Aaron's death.[6] Eleazar held the office of high priest for over twenty years. He took part with Moses in numbering the people and assisted at the inauguration of Joshua.
He assisted in the distribution of the land after the conquest.[7] When he died, he "was buried at Gibeah, which had been allotted to his son Phinehas in the hill country of Ephraim".[8]
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Failed rebellion has come up more than once now in relation to this appearance, so it would then seem to connect to these themes.
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Primates have given Germanic language historians great trouble. In the most recent dictionary of German etymology (Kluge-Seebold), the entry Affe “ape” is one of the most detailed. In the revised version of the OED, monkey is also discussed at a length, otherwise rare in this online edition. Despite the multitude of hypotheses, the sought-for solution is not in view. (Mine, however, will appear at the end of the present post.) Only one thing is clear: wherever the ancestors of the modern Germanic speakers lived, including the southernmost areas of the lands they once inhabited (Italy and the shores of the Black Sea), they could not observe monkeys and apes roaming tropical woods. This means that the names of both animals are, most probably, borrowed.
No extant citation of monkey predates 1530 (so the OED), and the word cannot be much older. Before the sixteenth century, ape was the generic term for both species. The question is about the original land of the import. The suspects are two: northern Germany and some Romance country. In Spanish, mona (feminine) and mono (masculine) resemble monkey, and in Middle French monne (Modern French mone) has been attested. Likewise, Italian had monna ~ mona. The source of those words remains undiscovered; clearly, monkeys were as foreign to the Romance speaking lands as they were to the English and Germans. In the nineteenth century, etymologists accepted the explanation of Friedrich Diez, the founder of Romance comparative philology, who looked upon mona as a “corruption” of Madonna. He based his conclusion on the fact that the name of a female monkey surfaced before the name of its masculine partner.
Skeat, The Century Dictionary, and others followed him, though Skeat suggested that monkey was an alteration of Old Italian monicchio, a diminutive of monna. He traced it back to Latin domina and referred to Madonna “my lady”: “The degradation of the term is certainly very great; but there is an exactly parallel instance in the case of the term dam, which has been degraded from the Latin domina, in French ‘notre dame’, till it now means only the mother of racehorse, or of a less important animal.” This reconstruction is but slightly different from Diez’s. Later researchers went to Greece, Turkey, India, and the Arab lands for the elusive etymon. I am leaving out of account a few fanciful suggestions that may amuse but not enlighten our readers. In no modern Romance language, except Spanish, is mono the main name of the monkey. In Italy, it turned up in 1438, a century before it reached an English book. The first French citation goes back to 1545.
The central argument in my reasoning resolves itself into the following. The English hardly coined the word monkey; they must have borrowed it. Therefore, I have no sympathy for the conjecture of Klaus Dietz (not to be confused with Friedrich Diez!) that monkey is a native word, made up of the root monk and the suffix –ie ~ -(e)y. Little capuchin monkeys allegedly resembled little Capuchin friars; moreover, apes were traditionally used in satiric portrayals of the clergy. Dietz advanced his idea in 2006 and wrote a short article on this subject in 2008. The most recent entry in the OED online testifies to Dietz’s influence. Long ago, Eduard Mueller (or Müller) remarked in his useful but now forgotten dictionary of English etymology (1865-67; 1878) that English speakers could not help noticing a strong resemblance between monkey and both monk and man. Before him, Franciscus Junius (1743; a posthumous edition) had the same idea, and in 1863 August Lübben considered but rejected this possibility. I also refuse to treat monkey as a word initially endowed with the sense “little monk.”
William Caxton, the first English printer. In 1481 he brought out his translation of the Dutch version of Reynard. The Booke of Reynarde the Foxe (in prose; the original is a versified poem) is a delight to read. It exists in several excellent modern editions.
Another theory takes us to the famous Low German animal epic Reynke de Vos (1498) or (in French) Reynard the Fox. In it Martin the ape has a son Moneke; in French, the “youngster” is called Monnekin. Both –ke and –kin are familiar diminutive suffixes: compare Engl. manikin, another word strongly resembling monkey. Some scholars thought that Moneke had come to England with German traveling showmen or by some such route. But there are problems with this idea: the vowels of monkey (whose first syllable rhymes with dun rather than don) and Moneke do not match, and nothing testifies to the popularity of the poem’s fame in England in the first quarter of the sixteenth century. The name of Martin’s son occurs only once in the poem, and it is unbelievable that it could have stayed in people’s memory and caught their fancy to such an extent as to cause the formation of a new word. Dietz makes this point, and his objections to the Moneke theory, contrary to his etymology, are irrefutable.
The real question is why the ape’s son bore the name Moneke, and it was answered ingeniously and, I think, persuasively, in 1869, but etymologists have a short memory, which is not their fault, for without exhaustive bibliographies unearthing a relevant note with a vague title is impossible. Moneke was a familiar name for Simoneke, that is, Simon. Simon is a Greek word, derived from the adjective simós “snub-nosed” or “flat-nosed,” and the meaning of the name was known, even though in the late Middle Ages few people may have realized that Simon had been confused with Hebrew Simeon. Apparently, Moneke “the flat-nosed,” was, in addition to the pet name for Simoneke, a slang word for “monkey,” with reference to the German-Latin pun, for the Latin for “monkey” was simia (a borrowing from Greek; feminine, like Modern French guenon and the Romance words, cited above). Judging by Dutch simminkel, the unattested Latin simiuncula “little monkey” also had some currency; hence the name of the ape’s son in Reynke. It is this word that must have become known in England. In German and Dutch it did not stay, but in English it did. The phonetic difficulties (the quality of the stressed vowels) are hardly insurmountable here. To be sure, I have no proof that moneke “monkey” existed, but if this word had been recorded, the riddle would have been solved centuries ago and saved us a lot of monkey business. In any case, Martin must have had a good reason for calling his son Moneke.
Something should also be said about the Romance words. One might suggest that in French and Spanish we are dealing with the Germanic noun that lost its suffix, but this would hardly be a convincing solution. Also, Italian mona was recorded a hundred years before monkey surfaced in English, and a loan from German or Dutch is probably out of the question. I would risk the hypothesis that the Romance names of the monkey have nothing to do with their Germanic look-alikes. In Kanarese, a Dravidian language, the male monkey is called manga; a related Tamil noun sounds mandi. One may perhaps ask whether a migratory culture word for the monkey, known from India to northern Germany, enjoyed some popularity in the past. It may not be for nothing that so many similar simian forms have been found. If some such word traveled with the animal, in every country speakers would adapt it slightly under the influence of folk etymology. Whatever the answer, I believe that, as regards the etymology of Engl. monkey, both monks and the medieval animal epic should be left in peace.
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Many variations of the name Monck have evolved since the time of its initial creation. In Gaelic it appeared as Ó Manachain, which is derived from the word "manach," which means "monk." 1
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The name Monasterboice is a part-anglicisation of the Irish name Mainistir Bhuithe meaning "monastery of Buithe". It was formerly anglicised as Monasterboye and Monasterboyse. Boice is the English version of the Latin name Boecius, which was adopted as the equivalent of the Irish Buithe.[2]
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The name Boecius (or Boethius) is of Ancient Greek origin, derived from boēthós (βοηθός), meaning "helper" or "assistant".
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From Middle Welsh bot, from Proto-Brythonic *bod, from Proto-Celtic *butā (cf. Cornish bos, Breton bout), from Proto-Indo-European *bʰuH- (“to be, become”); all the b- initial forms are from the same root. The vowel-initial forms as well as sy(dd) are from Proto-Indo-European *h₁es- (“to be”).
The present-progressive forms with yd- (ydwyf, etc.), and hence the colloquial present-affirmative forms with d- (dw, etc.), are from the affirmative particle yd.[1] Colloquial affirmative forms with r- (rwyt, roeddwn, etc.) are from the affirmative particle yr. Colloquial negative forms with d- (dydw, does, doeddwn, etc.) are from the negative particle nid.
The third-person singular present mae originally meant ‘here is’ and is from the same source as yma (“here”) plus Proto-Celtic *esti. The third-person plural maent (colloquial maen) is derived from the singular by adding the third-person plural verb ending -nt.
Counterfactual forms such as petaswn and taswn are from univerbation with pe (“if”) + yd (affirmative particle).[2]
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(obsolete) The master of the servants of a household; (historical) the master of a feudal manor
(archaic) The owner of a house, piece of land, or other possession
One possessing similar mastery over others; (historical) any feudal superior generally; any nobleman or aristocrat; any chief, prince, or sovereign ruler; in Scotland, a male member of the lowest rank of nobility (the equivalent rank in England is baron)
(historical) A feudal tenant holding his manor directly of the king
A peer of the realm, particularly a temporal one
(obsolete, uncommon) A baron or lesser nobleman, as opposed to greater ones
One possessing similar mastery in figurative senses (esp. as lord of ~)
A magnate of a trade or profession.
The Tobacco Lords were a group of Scottish merchants and slave traders who in the 18th century made enormous fortunes by trading in tobacco.
(astrology) The heavenly body considered to possess a dominant influence over an event, time, etc.
master, owner): drighten, possessor, proprietor, sovereign
Derived terms
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banner lord
belord
chief lord
crime lord
dragonlord
drug lord
druglord
drunk as a lord
feudal lord
ganglord
harvest lord
House of Lords
Irish lord
laird
landlord
law lord
lay lord
liege lord
lord and master
lord-dom
lorddom
lord-fish
lordful
lordhood
lord in gross
lord-in-waiting
lordish
lord it over
lordkin
lordless
lordlet
lordlike
lordliness
lordling
lordly
Lord Mayor
lord mesne
lordness
lord of all one surveys
lord of gingerbread
lord of the bedchamber
lord of the flies
lord of the manor
lord of the rings
lordolatry
lord paramount
lord protector
lordship
lords of creation
Lords Spiritual
Lords Temporal
lord superior
lordy
lort
mesne lord
moneylord
overlord
shiplord
slumlord
sweatlord
timelord
unlord
warlord
Descendants
edit
Belizean Creole: laad
→ Bengali: লাট (laṭ)
→ Hindi: लाट (lāṭ)
→ Czech: lord
→ Faroese: lordur
→ Greek: λόρδος (lórdos)
Gullah: lawd
→ Hungarian: lord
→ Italian: lord
Jamaican Creole: laad
Pijin: lod
→ Portuguese: lorde
→ Russian: ло́рд (lórd)
→ Serbo-Croatian: lȍrd / ло̏рд
→ Spanish: lord
Torres Strait Creole: lod
→ Turkish: lord
"
Added in 1 hour 23 seconds:
This made my heart sink:
I got the idea from a blasphemous YouTube video that pitted one name against another:
Sincerity still needs production value, in my opinion, such a thing as this is really a dishonor and unworthy. Just like the "Golden Calf/Cow" was a sacreligious piece of trash that downgrades things and misleads people, just like are the artifice the same people and types keep trying to produce. Their poor efforts are not a proper amount of real devotion or sincerity, it has corrupt intentions, or in this case, such a poor effort that they think is good just because they made it and felt it, like approaching something in an unserious manner, The Master of All Life like it is just a joke, no, it isn't right to do so, nor is it a joke to be mumbling some silliness. Besides that, they may even think of the very God as "demon", with the worst possible thoughts and meanings, even though they may think they like that and prefer it that way.
Wow, this is so weird. So I was going to mention how the name "Belly" which is "Beli" was going around currently because of a certain show, and I was going to mention it in relation to Belphegor:
Then through "Royel Otis", the actress who plays the character nicknamed "Belly" is featured.
"Pseudo Video", lol, they are trying so hard to make up new terms. They've started calling music videos "Visualizers", and then who knows what "Visualizers" are going to be called now. It is all pretty irritating and infuriating, this commercial effort to try to seem "fresh" without really doing anything different or better at all.
Making people kiss for money is pretty gross seeming too, and truly represents what the monster society seems to be all about, total artificiality replacing sincerity, voyeurism glorifying a fantasized version of the status quo.
"
Half-assed deserves a K.O
So if you want to be flighty, then go ahead
Should I get ready to start the show?
Even if you cry or laugh, just love me
C'mon, say no, turn up the bass
[Verse 1]
There can be boring things where you just think, "Meh"
Lonely logic notes, a handy serious escape
You get tired of it and (even if it's bad or forbidden)
You start drowning in the mud, but that's enough
Keep trying, until you can rise back up, keep trying
Let's link up, if we can go from one to two
It'll be a relief, no worries
All right, leave it to me, don't mind
If we can ride the waves of these problems together
We might handle it quicker than expected
[Pre-Chorus]
Half-assed deserves a K.O
So if you want to be flighty, then go ahead
Should I get ready to start the show?
Even if you cry or laugh, just love me
C'mon, say no, turn up the bass
Tonight it's a blackout party
[Chorus]
Ooh-woah-oh-ooh-oh
Ooh-woah-ooh-oh
Dance it all out, dance it all out
Disinfect the loneliness, thanks for the full house
Ooh-woah-oh-ooh-oh
Ooh-woah-ooh-oh
We'll share even the pain
Now it's time to say bye-bye, let go
[Instrumental]
[Verse 2]
No matter what inferiority complex you have
You can use improvised platelets
To block it up and cram it in, right?
But the tension going up-and-down
Is making you dizzy, isn't it?
So what suddenly erupts forth are your true feelings, spoken to yourself
"I don't really care"
"It doesn't matter to me"
Your brooding, scathing remarks are in top form
But I'll send you a signal (Prr, prr, prr, prr)
Let's gather up in the night, and howl
[Chorus]
Ooh-woah-oh-ooh-oh
Ooh-woah-ooh-oh
Dance it all out, dance it all out
Disinfect the loneliness, thanks for the full house
Ooh-woah-oh-ooh-oh
Ooh-woah-ooh-oh
We'll share even the pain
Tonight it's a blackout party
Ooh-woah-oh-ooh-oh
Ooh-woah-ooh-oh
I hope to see you again, surely (Ooh-ooh-ooh-ooh-ooh)
Ooh-woah-oh-ooh-oh
Ooh-woah-ooh-oh
Take care until the next time
Now it's time to say bye-bye, let go
"
So, there seems to be a lot of interference or something when it comes to any clear stuff coming through the angle of music on YouTube. The general messages seem to have to do with motion, speed, reduction in speed, and sharp, irritating sounds have been common.
Also, the "tongue" has been showing a lot, and also appeared in the A.I. stuff that came up for you, like they were obsessed with the "tongue" aspect, but in my case, I've been seeing the tongue like this repeatedly, its been "tongue" appearances for a few days and repeatedly, first as fanged animals, then as people just today, and particularly with the tongue still in the mouth like that, like it looked very specific, but with the animals it was out more but in a way which was not like it was the focal point, yet still drew a lot of the attention, like the tongue wasn't doing anything in particular, it was just being displayed in a way that drew attention to it.
This is weird, while listening to that song, this image of a two horned figure mentions "worth", which is part of the theme, the name, and I was mentioning it also:
Songs have gotten so infantile and terrible. Compare to 1996:
"
But she only came to gloat
It stuck right there in my throat
How she loved to turn the screw
And leave you feel indebted to her fantasies and views
So surprised you saw it through
Couldn't help but notice
You'd covered all means of escape
Found the other people's parties second rate
Reduced a listener to a tear
Forgetting what had brought him here
Undoing everything he'd known
Left him wake up in the morning on his own
It's how you leave no time to breathe
All is not all that it seems
Thought the rest was just a breeze
'Til you remind me of my inadequacies
"
Then 1998:
"
I'd rather be liberated, I find myself captivated
Stop doing what you keep doing it to
I'd rather stay bold and lonely, I dream I'm your one and only
Stop doing what you keep doing it to
Things are getting strange, I'm starting to worry
This could be a case for Mulder and Scully
Things are getting strange, now I can't sleep alone
I'd rather be jumping ship, I find myself jumping straight in
Stop doing what you keep doing it to
Forever be dozy and dim, I wake myself thinking of him
Stop doing what you keep doing it to
Things are getting strange, I'm starting to worry
This could be a case for Mulder and Scully
Things are getting strange, now I can't sleep alone
Here my bed is made for two and there's nothing I can do
So tell me something I don't know
If my head is full of you, is there nothing I can do?
Must we all march in two by two by two?
And as for some happy ending, I'd rather stay single and thin
Stop doing what you keep doing to me
Things are getting strange, I'm starting to worry
This could be a case for Mulder and Scully
Things are getting strange, now I can't sleep alone here
Things are getting strange, I'm starting to worry
This could be a case for Mulder and Scully
Things are getting strange, now I can't sleep alone
So what have you got to say about that?
And what does someone do without love?
And what does someone do with love?
And what have you got to say about that?
"
To now:
In my opinion, these songs are quite bad compared to the more symbolic and esoteric seeming songs from the 90s, 80s, 70s, 60s, even going back further.
The modern songs are so empty, on the nose, literal, even when they use symbolism it is not thought provoking or interesting or meaningful, and it seems like artless pandering and totally disingenuous.
There is also a tendency for these artless people to conceal themselves.
Added in 59 minutes 18 seconds:
The Catatonia song "Mulder and Scully" reminded me a bit of this mess, except this is very annoying and funny, note the particular green color that has appeared again:
"
A color blind person will have decreased (or no) color discrimination along the red–green axis, blue–yellow axis, or both. It is a common misconception that color blindness always equals monochromacy.[8][9] The vast majority of the color blind are only affected on their red–green axis.
The first indication of color blindness generally consists of a person using the wrong color for an object, such as when painting, or calling a color by the wrong name. The colors that are confused are very consistent among people with the same type of color blindness.
"
"
Red–green: 8% males, 0.5% females (Northern European descent)[2]
"
"
The English word "blue" comes from Old French bleu, which is of Germanic origin, likely from the Proto-Germanic word \*blæwaz meaning "blue, dark blue". This Germanic root also led to the word for "yellow" in Latin (flavus) and "yellowish-gray" in Old Spanish (blavo). The first known use of "blue" in English was in the 13th century, initially referring to the color of the sky.
"
Those are the same people who often have an issue seeing these colors.
"
Green: The word "green" comes from Proto-Indo-European ghel-, which meant "to shine, to gleam" and could also refer to a yellow or green color.
Gold: The word "gold" derives from the Proto-Germanic gulþą, which also comes from the Proto-Indo-European root ghel-. The Latin symbol for gold, aurum, comes from a different Proto-Indo-European root meaning "glow," related to the word for dawn.
"
"
"of the color of the clear sky," c. 1300, bleu, blwe, etc., "sky-colored," also "livid, lead-colored," from Old French blo, bleu "pale, pallid, wan, light-colored; blond; discolored; blue, blue-gray," from Frankish *blao or some other Germanic source, from Proto-Germanic *blæwaz (source also of Old English blaw, Old Saxon and Old High German blao, Danish blaa, Swedish blå, Old Frisian blau, Middle Dutch bla, Dutch blauw, German blau "blue").
"
This made my heart sink again, Bhel:
"
This is from PIE *bhle-was "light-colored, blue, blond, yellow," from root *bhel- (1) "to shine, flash, burn," also "shining white" and forming words for bright colors. The same PIE root yielded Latin flavus "yellow," Old Spanish blavo "yellowish-gray," Greek phalos "white," Welsh blawr "gray," showing the slipperiness of definition in Indo-European color-words. Many Indo-European languages seem to have had a word to describe the color of the sea, encompassing blue and green and gray; such as Irish glass (from PIE root *ghel- (2) "to shine,"); Old English hæwen "blue, gray," related to har (see hoar); Serbo-Croatian sinji "gray-blue, sea-green;" Lithuanian šyvas, Russian sivyj "gray."
The exact color to which the Gmc. term applies varies in the older dialects; M.H.G. bla is also 'yellow,' whereas the Scandinavian words may refer esp. to a deep, swarthy black, e.g. O.N. blamaðr, N.Icel. blamaður 'Negro' [Buck]
The present spelling in English is since 16c., common from c. 1700. The sense "lead-colored, blackish-blue, darkened as if by bruising" is perhaps by way of the Old Norse cognate bla "livid, lead-colored." It is the meaning in black and blue, and blue in the face "livid with effort" (1864, earlier black and blue in the face, 1829).
The color of constancy since Chaucer at least, but apparently for no deeper reason than the rhyme in true blue (c. 1500). The figurative meaning "sad, sorrowful, afflicted with low spirits" is from c. 1400, perhaps from the "livid" sense and implying a bruised heart or feelings. Of women, "learned, pedantic," by 1788 (see bluestocking). In some phrases, such as blue murder, it appears to be merely intensive.
Few words enter more largely into the composition of slang, and colloquialisms bordering on slang, than does the word BLUE. Expressive alike of the utmost contempt, as of all that men hold dearest and love best, its manifold combinations, in ever varying shades of meaning, greet the philologist at every turn. [John S. Farmer, "Slang and Its Analogues Past and Present," 1890, p.252]
Blue pencil as an editor's characteristic tool to mark corrections in copy is from 1885; also as a verb from 1885. The fabulous story of Blue-beard, who kept his murdered wives in a locked room, is in English from 1798. For blue ribbon see cordon bleu under cordon. Blue whale is attested from 1851, so called for its color. Blue cheese is from 1862. Blue water "the open ocean" is from 1822. Blue streak, of something resembling a bolt of lightning (for quickness, intensity, etc.) is from 1830, Kentucky slang. Delaware has been the Blue Hen State at least since 1830, supposedly from a nickname of its regiments in the Revolutionary War.
"
This is "dun colored" again too.
"
yellow(adj.)
of the color of gold, butter, egg yolks, etc., a primary color, Middle English yelwe, from Old English geolu, geolwe, "yellow," from Proto-Germanic *gelwaz (source also of Old Saxon, Old High German gelo, Middle Dutch ghele, Dutch geel, Middle High German gel, German gelb, Old Norse gulr, Swedish gul "yellow"), from PIE root *ghel- (2) "to shine," with derivatives denoting "green" and "yellow" (such as Greek khlōros "greenish-yellow," Latin helvus "yellowish, bay").
In Middle English it also was used of a color closer to blue-gray or gray, in reference to frogs or hazel eyes, and as a translation of Latin caeruleus or glauco. Also of light brown animal hair and persons having yellowish skin or complexion, naturally or by age or disease, and in reference to Ethiopians and Saracens.
The meaning "light-skinned" (in reference to Black persons) is recorded by 1808. It was applied to Asians by 1787, in reference to Turkish words for inhabitants of India. Yellow peril, fear that Asiatic peoples will overrun the West or the world, translates German die gelbe gefahr.
The sense of "cowardly" is attested by 1856, of unknown origin; the color earlier was associated rather with jealousy and envy (17c.). Yellow-bellied "cowardly" is from 1924, probably a semi-rhyming reduplication of yellow; earlier yellow-belly was a sailor's name for a half-caste (1867) and a Texas term for Mexican soldiers (1842, based on the color of their uniforms).
Yellow dog "mongrel" is attested from c. 1770; the slang sense of "contemptible person" is recorded by 1881. Yellow fever is attested from 1748, American English (jaundice is a symptom). Yellow alert is by 1968; yellow light as a traffic signal is by 1925. yellow pages by 1908.
"
"
dun(adj.)
Old English dunn "dingy brown; dark-colored," perhaps from Celtic (compare Old Irish donn "dark;" Gaelic donn "dull; dark brown; dark;" Welsh dwnn "brownish"), from PIE *donnos, *dusnos "dark." As a noun, "dun color," 1560s; as "a dun horse" from late 14c. The "horse" meaning is that the figurative expression dun is in the mire "things are at a standstill or deadlocked," which occurs in both Chaucer and Shakespeare. Dun also is likely the origin of the surnames Dunn, Dunne, Donne, Dunning, etc.
"
"
din(n.)
"loud noise of some duration, a resonant sound long continued," Old English dyne (n.), related to dynian (v.), from Proto-Germanic *duniz (source also of Old Norse dynr, Danish don, Middle Low German don "noise"), from PIE root *dwen- "to make noise" (source also of Sanskrit dhuni "roaring, a torrent").
"
"
A dun-colored horse can appear gray, particularly if it's a "blue dun", also known as "grullo" or "mouse" dun. This specific color is the result of the dun gene acting on a black base coat. Unlike true grays, though, dun horses have a solid coat of hair without intermingled white hairs.
"
Complete opposites being referred to by one word, the beginning and the end, Ouroboros, light and dark, shining abd glowing, blue and yellow, patina and gilded. "Both" "Is".
"
@elgerardoedwardio2498
6 years ago
Beck explains in an interview: "I had these neighbors that lived downstairs from me and they were a gay couple, of truckers. One of them was from Georgia and the other I don't know where he was from. The one from Georgia had a huge beard y' know. He was pretty coked out and he would come home and he would just fall into these, just days and days of debauchery and imbibed much alcohol and substances, and after the third or fourth day it would just end up in a brawl y'know, the two of them together. And there was one final one when it really came to blows. I was recording the song upstairs, I lived upstairs from them and I was trying to play, but their arguments were so much louder then my music that I just stopped playing and I recorded this along with the tape of them arguing. We didn't live in a very good neighborhood so we had a front door, and then another door that's steel, y'know. So the one with the beard got locked outside, the other one pushed him outside and locked the steel door so he went round the back and found an axe and he was trying to chop down the steel door and the whole building was shaking. They were screaming the most insane things, it was really like poetry, almost. I was really disturbed by the whole thing. The other guy finally came out and they were both fighting with axes y'know, like some modern, crazed Vikings or something in battle. And then the other one went up and down the street and then the other one went up and down the street and smashed all the car windows and there was ambulances and fire trucks and people were bleeding, and y' know it was a mess"
@indamood8806
11 months ago (edited)
Once I had a girlfriend from Barcelona, while I came from a little village in the south of Germany. She couldn'f believe I had several Beck albums, because she thought only urban people like her know such music...
"
Added in 21 hours 8 minutes 19 seconds:
There is the color and the face again. These are coming up in totally random ways that have nothing to do with the algorithm.
The music video doesn't seem to match the music much, and the song doesn't seem very good or enjoyable, but then I saw that green character and immediately and fully identified with that character, and then realized it was similar to what had been shown twice in this thread. I had partially identified with the leopard figure, but not certain aspects of it, moreso that it was a leopard, but not the red color in that context, but then the green character was a complete identification as compared to a minimal or partial identification. Partial identifications occur throughout the video, like the curved slippers, the beaded chainmail looking hairstyle or headdress, but none of those were overwhelming or total identifications at all and were more "not" seeming as compared to the green figure.
Here is the red face again:
I like the metal clanging sound.
Looks like these kids can't handle whatever chemicals are impacting their hormones.
They are particularly dull and unresponsive, but relate to things like this which show a lot of intense things since they are so dull and expressionless on the exterior.
"
Hypomimia (masked facies, masking of facies, mask-like facial expression), a medical sign, is a reduced degree of facial expression. It can be caused by motor impairment (for example, weakness or paralysis of the facial muscles), as in Parkinson's disease, or by other causes, such as psychological or psychiatric factors (for example, if a patient does not feel emotions and thus does not show any expression).[1] Persons receiving excessive Botox treatments and thus losing disproportionate facial expression features may be incorrectly identified as suffering from hypomimia.
"
This is becoming frighteningly prevalent by a number of means, such as not interacting with faces as much as anonymously being hidden and staring at text and expressing through text and emoticons while not having facial reactions or interactions from youth, to people getting unecessary cosmetic procedures and paralyzing the muscles in the face.
There is an element of this theme which seems to have to do with androgyny, snake-like appearances which are indistinguishable as having any clear biological s*x association.
There is the red face and then later a jaguar or leopard, a spotted feline anyway.
The sounds are sharp and piercing, they've been coming up like this a lot and tend to not be very pleasant or easy to listen to.
