Manjasang is Occitan term for vampire.
The Occitan language is a romance language that is spoken in southern France, Italy’s Occitan Valleys, Monaco and Spain’s Val d’Aran. It’s also spoken in Calabria, Italy, and Occitan is the official language in Catalonia.
Satyrs were male hybrid creatures who were part horse and part human. They stood and walked upright, unlike the quadruped, half-horse Centaurs to whom they were akin, and in their original, traditional form, they had horses’ tails, long hair and beards, horses’ ears, bulbous foreheads, and snub noses. Artistic representations also showed them sometimes with the legs and hooves of a horse as well as with enlarged, erect penises. It was only in the Hellenistic Period (after 323 BCE, the death of Alexander the Great) that Satyrs, in an assimilation to the rustic god Pan, took on a goatlike appearance, having shorter tails and sprouting horns.
Satyrs, who in earliest times were indistinguishable from Silens, were woodland spirits or daemons that lived in the wild, being found in mountains, forests, and caves alongside Nymphs with whom they cavorted and whom these lusty creatures amorously pursued. Lustfulness, enthusiasm for wine, and a propensity for mischief were characteristic of them. Silens, on the other hand, came to be viewed as elderly Satyrs.
Alongside Nymphs, both Satyrs and Silens formed the typical entourage of the shape-shifting god Dionysus. The best-known Satyr in Classical mythology was also the most tragic of them. This was Marsyas, who had found the flute cast aside by the goddess Athena, and, when he discovered that he had a talent for playing the instrument, he made the terrible mistake of challenging Apollo to a music contest. As a consequence of his pridefulness, he was flayed alive. Another Satyr, his name unknown, pursued the Danaid Amymone, but was driven off by Poseidon, who then took up in the pursuit of the maiden himself.
Source: Classical Mythology A – Z
Alukah
The word, Alukah, literally means “horse-leech,” which is a type of leech that has many teeth and feed on the throats of animals. But, some Biblical Scholars believe ‘Alukah’ can also mean “blood-lusting monster.”
Alukah is a Hebrew vampire that was first referenced in Proverbs 30:15 in the Bible. Solomon refers to a female demon named “Alukah” in a riddle he tells in Proverbs. The riddle involves Alukah’s ability to curse a womb bearing seed.
Historically, Alukah has been closely associated with Lilith. Some believe that Alukah is the direct descendant of Lilith, whereas others think that the name Alukah may merely be another title for Lilith.
The most detailed description of Alukah appears in Sefer Chasidim, where the creature is said to be a living human being that can shape-change into a wolf. Alukah can fly by releasing her long hair. Alukah would eventually die if she is prevented from feeding on blood for a long enough time.
To prevent a vampire from becoming a demon, she needs to be buried with her mouth stuffed with earth.
Vampires vary throughout Jewish traditions in history. Sometimes they are demonic spirits and other times they are described as a type of witch.
At the dawn of time, Odin and his two brothers killed the giant Ymir and created the world from his body. As usual, a god’s motivations are difficult to determine. Did Odin simply need Ymir dead for the sake of creation? Or did the Alfather reason that if Ymir continued to spawn giants that any order in the universe would become impossible? In any case, as the three gods tore the massive giant to pieces, a vast deluge of blood burst forth. This blood became all the world’s oceans, and the torrent swept away every giant – except for one family who escaped in a wooden ark. This giant was named Bergelmir, and all the later giants were descended from him.
Odin and his brothers made the land from Ymir’s corpse, with his teeth and broken bones forming the stones and the mountains, the great dome of his skull forming the sky, and even his thoughts forming the clouds – thin and wispy or dark and brooding. They called this world Midgard, and they encircled it with a mighty barrier made from Ymir’s eyelashes. They also made their own realm, Asgard. Asgard and Midgard (along with several other of the Nine Worlds) became “innangard,” a place of protection where the gods ruled. Beyond, were places the giants ruled – Jotunheim, Hel, and the other realms that formed “utangard” or, as both Utgard and utangard would be translated, “beyond the enclosure.”
Cast out into the darkness of Utgard, the Jötnar remembered a time when they ruled. Either out of a need for revenge or because – as the Eddic Poem says – they really were “born of venom and thus fierce and cruel,” the giants dream of a time when they will overcome Asgard and Midgard.
The time for them to unite and march against the gods will come in Ragnarok. In the meantime, many giants try their luck raiding the territory of the gods. The bravest of them sometimes appear in Asgard, with a challenge or a trick for the Aesir gods, or they come to terrify us mortals in Midgard. When the Vikings and other Nordic/Germanic peoples took shelter from howling storms, they knew it was Odin leading the gods in “the Wild Hunt” against the giants. When they saw thunder’s flash and the pound of lightning, they knew Thor was smiting giants with his mighty hammer, Mjolnir.
Sometimes, the gods and giants live in an uneasy peace. Not only did gods and giants often form marriages, liaisons, and alliances, but there were times when giants were even able to show some sympathy with the gods. For example, when the most beloved god, Baldr, died because of Loki’s treachery, even the giants wept. Peace never lasted long, though. Whether because giants would make incursions into Asgard, or because Odin or Thor would venture into Jotunheim on their adventures, the hostility between giants and gods was always kept alive.
This enmity and ages-long struggle will come to fruition at Ragnarok. There the gods and giants will destroy each other. Like the opposing forces of creation and chaos they seem to be, they will cancel each other out, and oblivion will resume before the universe is – perhaps – born anew.
Source: Sons of Vikings
Frost Giants of Norse Mythology
It is common to hear the Norse giants referred to as frost giants or ice giants. The Prose Edda seems to refer to Jötnar as frost giants (hrimþursar) much of the time. This is only part of the story, though.
The association between giants and ice is understandable considering that the giants first arose from the meeting of fire and ice in the yawning void at the dawn of time and because the giants live beyond the realm of gods and mortals. People living as close to nature as Vikings did usually associated intense cold with death and hardship. The inhabited parts of the Viking world were hemmed by glaciers and frozen mountains. Meanwhile, the Giants were said to live in Jotunheim or Utgard (which means a place outside or beyond the boundaries of the worlds of humans and gods). One Eddic poem describes a hall in Utgard this way:
I saw a hall that stands far from the sun
On the beaches of corpses the doors face north
Drops of poison fall from the roof
The walls are encircled by serpents
(Voluspa, verse 37, Crawford’s 2015 translation)
Despite these associations with cold and ice, not all giants are “frost giants” as such. One of the most feared giants of all is Surt, a massive being of fire that will bring great destruction to the world at Ragnarok. The Poetic Edda mentions Thor killing “lava giants” as well as frost giants, and sometimes presents them in juxtaposition, as in the poem For Skirnis: “hear me, giants, hear me, frost-trolls, hear me, fire-trolls!” In this same poem, some giants are presented as radiantly beautiful, while others are ghastly and horrifying. Indeed, the Jötnar may be the most diverse of all the beings that haunt the Viking imagination.
Source: Sons of Vikings
In Norse mythology, giants are the original “founding” beings at the top of the Norse family tree. The more commonly known gods (such as Odin, Thor) are all direct or indirect descendants of these giants. Giants were called Jötunn (singular) or Jötnar (plural). The word Jötunn originally came from the Proto-Germanic word that meant “devourer.”
Another name for them was þursar or þurs (pronounced thurss), which means something like “powerful and injurious one” or simply something like “piercer” or “thorn.” In the rune poems, the Thurisaz rune is associated with the Jötnar (giants), as well as sickness, tragedy, and pain.
The very first giant, Ymir (pronounced EE-mir), arose from primordial chaos when the worlds of fire and of ice came together in a tremendous, hissing scream. His offspring, the Jötnar, were spirits of this chaos, representing the destructive cycle of the natural universal order.
The Aesir and the Vanir tribes of gods also arose partially from this same race of giants (though they also had another ancestor, Buri – a being of unknown origin that had been bounded in ice until he was eventually set free from Ymir’s cow named Auðumbla who licked at the ice for three days). By the gods’ own nature and choice, the giants became the positive or creative aspect of universal order. In Viking lore, it is not so much that the gods are good and the giants evil, but rather that the gods and giants are in opposition and balance. This is not to say that Norse belief observed a strict dualism (as some ancient religions did), but they understood their world through their stories of struggle between the gods and the Jötnar, between creation and destruction,
Sometimes, the difference between giants and gods is itself obscure. For example, Loki is often thought of as the Viking god of trouble. He was an adopted member of the Aesir tribe of gods and blood-brother to Odin, but Loki was the son of giants and is only ambiguously called a god in the primary sources. None of his offspring are gods but are giants or supernatural beasts. Similarly, Jörð (a “Mother Earth” figure) and Skadi (the ski-borne goddess of the wild) appear in the Eddas as Jötunn in origin. They are later called goddesses, but then often excluded from lists or gatherings of goddesses in Asgard.
Some experts see in this interplay between gods and giants a parallel of how the Vikings themselves interacted with the cultures around them. Whether this is accurate or not, the lore is clear that the gods and giants are not distinct races of beings but rather opposing and competing forces. These competing forces’ cosmic nature can easily be inferred from the names, attributes, and actions of the individual members within these “warring tribes.”
Source: Sons of Vikings
Ghosts and the Undead
Most people have heard that for the Vikings, brave warriors went to Valhalla while everyone else went to Hel (the underworld), but actual Norse beliefs were more complicated and less standardized than that. To the Viking mind, there were different layers of self and different time frames. These elements could move on – as well as various places they could go. This left plenty of room for ghosts and the undead in the Norse imagination.
Stories of ghosts occur in many of the sagas and Eddic poems. They sometimes visit the living in dreams or can be found haunting their burial mounds. One reference in Njal’s Saga speaks of a ghost who sits atop his burial mound singing by night, seemingly content. This offers a glimpse of how the Vikings felt their ancestors were always with them.
The Eddic poem, Helgaknitha Hundingsbana II (The Second Poem of Helgi Killer of Hunding), paints a darker picture of such a haunting. Helgi, the slain hero, returns to his burial mound from Valhalla on one magical night. Helgi’s ghost has physical substance and still bleeds from his battle wounds. His grieving widow, Sigrun, spends the night in his arms within the cold tomb. Sigrun returns to the burial mound night after night, though it is unknown if Helgi ever returns. She eventually dies from her sorrow. The poem ends with the lines, “all the dead are more powerful by night than they are by bright day.”
Some ghosts are not lost loved ones visiting from beyond the grave, though. The Vikings believed in beings called Draugr (also called an Aptrganga or “after-walker”), a malicious ghost with physical form. This undead being usually had been a bad man who died in a bad way. They were recognizable as the dead man but had grotesque features, bluing skin, and eyes that could render humans immobile with fear. They had otherworldly strength. They could sometimes appear much larger than they had been when alive and were usually described as inexplicably heavy.
Sometimes the Draugr was content to guard his treasure in his burial mound, but others terrorized farms or haunted a specific area. An embodiment of the bad luck that could plague the farms of the Viking world, the Draugr would kill livestock, horses, or pets. They could cause roofs to collapse or other disasters. Sometimes, the Draugr would kill people directly, especially if he was challenged. Shepherds, servants, or cattle-drivers would be found dead, and when their bodies were inspected, it was found that every bone – big and small – was broken.
One of the most detailed accounts of these “Viking zombies” is in Grettir’s Saga. Grettir is an outlaw and an antihero, but he is a fearless Viking of great physical strength. Early in his life, he faces a Draugr in a burial mound and kills it, winning the short sword (seax) that was buried with it. Years later, though, Grettir faces Glam, a very dangerous, malevolent Draugr. Grettir decapitates Glam, but not before Glam places a heavy curse on him. This curse causes Grettir trouble and tragedy for the rest of his life, and ever-after the mighty Viking is afraid of the dark.
According to Grettir’s Saga and some other sources, the Viking method for killing the undead was not a stake through the heart or fire, but rather by cutting off the fiend’s head and place it next to its ass. Interestingly, archaeologists have found several Viking Age graves in which the skull was found between the skeleton’s legs, just below the pelvis. Other remains have been found weighed down by heavy stones to keep the dead where they were.
Source: Sons of Vikings
Werewolves
Vikings believed that some gods, giants, dwarves, elves, spirits, and even human beings could change shape. Examples of such shape-shifting includes Odin turning into an eagle to steal the mead of poetry; Loki turning into a mare and becoming mother to the 8-legged horse, Sleipnir; Fafnir, a dwarf whose greed turned him into a massive dragon; and other incidents of characters becoming salmon, snakes, otters, falcons, seals, swans, or bears. But one of the most common – and most terrifying – of these shapeshifters were werewolves.
Stories of werewolves and similar human-animal shapeshifters have been around for thousands of years and are found throughout the world, and so it could hardly be said that the Norse invented them. Yet, the werewolf holds a very special place in Viking lore. In their stories, we see these dark manifestations of humankind’s animal nature better explored than ever before.
The Vikings had different types of werewolves. Several appear in The Volsunga Saga. In the fifth chapter of this long epic, Sigmund and 9 other sons of the heroic Volsung family have been captured by an evil king and bound in massive timber stocks out in the wild, black forest. Every night, an enormous she-wolf comes and devours one of the brothers while the others watch helplessly. This continues until Queen Signy – the wife of the evil king and the sister of the hapless Volsungs – smears her favorite brother’s face with honey. When the demonic wolf comes to kill Sigmund, she is distracted by the honey, and – as she licks her victim’s face and sticks her long, lolling tongue in his mouth, Sigmund bites hard and holds on. As the wolf thrashes to get free, she smashes Sigmund’s fetters – and rips her own tongue out. The hero breaks loose as the creature bleeds to death. It is later revealed this unworldly wolf is the mother of the evil king who had transformed her shape using dark arts.
Later in The Volsunga Saga, Sigmund and his son, Sinfjotli, are outlaws in the woods. Using enchanted wolf skins, Sigmund and Sinfjotli become werewolves for 9 nights at a time. While thus enchanted, young Sinfjotli is so terrifying and powerful that he can kill 11 armed men at once. This transformation affects more than just their physical strength though – in a fit of savage rage while in wolf form, Sigmund rips his own son’s throat out. Realizing what he has done, Sigmund uses all his willpower, magic, healing skill, and a little help from the gods to break out of his wolf trappings and heal his son before it is too late. The two burn their wolf mantles after that and do not go back to being werewolves.
The Volsunga Saga is one of the legendary sagas, and so is full of dragons, dwarves, and the like. Did the Vikings really believe these things, or for them, was it just a good story? Werewolves also appear in the more “realistic” Islandasagur sagas, suggesting that Vikings (or at least, many of them) did really believe in the existence of werewolves. For example, in Egil’s Saga, the hero’s father is called Kveldulf (“Evening Wolf”) for his lupine personality and the rumors that he runs with wolves by moonlight.
There were also real-world examples of Viking “werewolves.” Viking warbands featured berserkers – the frenzied bear-inspired warriors devoted to Odin. They also had another type of elite known as úlfheðnar (literally, “wolf-skins”). Not much is known about these Viking wolf warriors, aside from what clues appear in poetry or in art from the Viking Age and earlier Vendel period. In the depictions, these warriors appear as fearless and savage in the extreme. They take on all the qualities of the wolf and strike dread into the hearts of their enemies.
So, the Viking image of werewolves is diverse and ranges in its believability. Missing in Norse lore is the direct association between werewolves and a full moon. Indeed, one does not become a werewolf by being bitten by another werewolf. In the stories, though, one sees a clear relationship between the wolf nature and night. Especially in the case of Kveldulf, we see the “werewolf personality” of a mysterious, reclusive, abrasive, dangerous loner. As in the story of Sigmund and Sinfjotli, we see how the savage nature of the wolf takes over human nature and how the human spirit struggles to achieve some kind of control over it. All these themes are still present in the better werewolf tales of today.
Source: Sons of Vikings
Of all the gods, giants, beasts, and spirits that stalked the Viking mental landscape, Jörmungandr – the world-coiling serpent – remains one of the most renowned. Jörmungandr is also known as the Midgard Serpent because he was a sea monster so large that he wrapped all the way around Midgard (the world of humans). When this gigantic beast stirs, storms, earthquakes, and tidal waves erupt. Jörmungandr lies in the depths of the sea, encircling the earth, holding his own tail in his mouth, waiting for the day of Ragnarok. It is said that when the serpent releases his tail and begins his attack, Ragnarok – the ‘final’ dark day for the gods – will begin.
Jörmungandr is not the only world-coiling serpent across the thousands of years and hundreds of cultures that color the human imagination. In fact, the image of a tail-swallowing dragon can be found worldwide and throughout history. This symbol of the circular snake is called the ouroboros. The earliest known ouroboros depiction is from the grave of Pharaoh Tutankhamen from the 13th century B.C. Since that time, similar images have shown up in ancient Chinese, Persian, Hindu, Greek, and Mesoamerican sites and artifacts. The ouroboros was also prominently featured in the language of mysticism amongst the Gnostics, Hermetic, and alchemists throughout Late Antiquity and the Middle Ages.
In most of these settings, the ouroboros signifies time – depicting the living, breathing cycle of ages that have no real beginning and no real end. In Roman sources, the ouroboros symbolized the god Saturn (the Greek Kronos from where we get words like chronology and chronometer). Saturn/Kronos was a god of time. He was considered by the Greco-Romans to be especially savage and terrifying. He was lord of the Titans – spirits of elemental chaos that were something like the giants (Jötnar) of Viking lore. In all this imagery, the ouroboros represents the endless cycles of creation and destruction. In fact, many scholars believe that our mathematical symbol for eternity – the sideways figure eight (∞) – is a shorthand adaptation of the ouroboros symbol.
Source: Sons of Vikings
The Hydra was an enormous serpent with nine heads—or as many as fifty or one hundred—one of which was immortal. Its parents were the giant Typhon and Echidna, half maiden and half serpent, the so-called “mother of all monsters.” The Hydra’s haunts were the marshes of Lerna, near the city of Argos.
The second of Hercules’s Labors was the slaying of the Hydra. But each time that Hercules would cut off one of its heads, two would grow in its place. Not only this, but a giant crab that kept the Hydra company appeared and joined the fray. Hercules’s clever nephew and companion Iolaus proposed a remedy: the moment Hercules severed a head, Iolaus would cauterize the stump with a firebrand. This the two did until only the Hydra’s immortal head remained. Hercules then cut off this head, and after burying it beneath a boulder, dipped his arrows in the Hydra’s lethal venom. Both the Hydra and the crab, which Hercules had also slain, were placed in the heavens by the goddess Hera as constellations.
Mark Bere Peterson’s Counterculture, Urban Legends, Paganism & Witchcraft 