Tuesday, October 30, 2012
Saturday, October 27, 2012
MYTHOLOGY: RUNES
Hej :3
More fortune telling-related shit today because it's awesome and I want to learn how to read this so hard. <3 font="font">What we now know as the runic alphabet seems to have developed from two distinct sources - one magical, one literate. Pre-runic symbols, or hällristningar, have been found in various Bronze Age rock carvings, primarily in Sweden. Some of these symbols are readily identifiable in the later alphabets, while others represent ideas and concepts which were incorporated into the names of the runes (sun, horse, etc.). The exact meanings of these sigils are now lost to us, as is their original purpose, but they are believed to have been used for divination or lot-casting, and it is fairly certain that they contributed to the magical function of the later runic alphabets.
There is some debate over the origin of the "alphabet" aspect of the runes. Cases have been made for both Latin and Greek derivation, and several scholars are once again arguing in favor of both these theories. However, the strongest evidence still seems to point to a North Italic origin. The parallels between the two alphabets are too close to be ignored, particularly in the forms of the letters, as well as in the variable direction of the writing, and certain structural and even symbolic characteristics. This would also explain why so many of the runes resemble Roman letters, since both Italic and Latin scripts are derived from the Etruscan alphabet (itself a branch of the Western Greek family of alphabets). This theory would place the original creation of the futhark sometime before the 1st. century, when the Italic scripts were absorbed and replaced by the Latin alphabet. Linguistic and phonetic analysis points to an even earlier inception date, perhaps as far back as 200 B.C..
When the northern tribes began integrating the Italic alphabets into their own symbolic system, they gave the letters names relating to all aspects of their secular and religious lives, thus transforming their simple pictographs into a magical alphabet which could be used for talismans, magical inscriptions and divination.
The Elder Futhark
The name "futhark", like the word "alphabet", is derived from the first few letters in the runic sequence, which differs considerably from the order of the Latin alphabet and is unique amongst alphabetic scripts. The futhark originally consisted of 24 letters, beginning with F and ending with O, and was used by the northern Germanic tribes of Sweden, Norway, Denmark, and Northern Germany. This form of the runes is known as the Elder, or Germanic Futhark.
The Anglo-Saxon Futharc
Sometime around the fifth century AD, changes occurred in the runes in Frisia (the area around the northern Netherlands and north-western Germany). This period coincided with the Anglo-Saxon invasions from this area and the appearance of similar runes in the British Isles. The forms of several of the runes changed. Also, changes in the language led to between five and nine runes being added to the alphabet to compensate for the extra sounds, and several runes were given different corresponding letters. This alphabet has become known as the Anglo-Saxon Futharc.
The Younger Futhark
In Scandinavia, the Elder Futhark remained in use until some time around the eighth century (the time of the Eddas), when drastic changes in the Old Norse language occurred, and corresponding changes in the runic alphabet were made to accommodate the new sounds. However, unlike the Anglo-Saxon Futharc, the Younger Futhark (as it is now called) reduced the number of runes from 24 to 16, and several runes came to represent multiple sounds. The forms of the runes were also changed and simplified. There are several variations of this futhark - Danish, long branch, Norwegian, dotted, etc.
This form of the runic alphabet spread from Denmark north into Sweden and Norway, and was carried into Iceland and Greenland by the Vikings. It is possible that they were also brought to North America with the Vinland expeditions, but so far no authenticated inscriptions have been found.
The Runic Revival
The runes, primarily in their Younger form, remained in common use until well into the 17th. century. Up until this time, they were found on everything from coins to coffins, and in some places their use was actually sanctioned by the Church. Even the common people knew simple runic spells, and the runes were frequently consulted on matters of both public and private interest. Unfortunately, as with most of the magical arts, they were officially banned in 1639 as part of the Church's efforts to "drive the devil out of Europe". The rune masters were either executed or went underground, and the knowledge of the runes may well have died with them. Some say that the knowledge was passed on in secret, but it is almost impossible to separate ancient traditions from more modern esoteric philosophies in such cases.
Perhaps the darkest period in the history of runic studies was their revival by German scholars connected with the Nazi movement in the 20's and 30's. What began as a legitimate folkloric resurgence unfortunately became so tainted by Nazi ideology and racism that the research from this period was rendered all but useless to any serious student of runic lore.
After the Second World War, the runes fell into disfavor as a result of their association with Nazism, and very little was written about them until the fifties and sixties. It was not until the mid-eighties, with the widespread appeal of the "New Age" movement and the revival of Pagan religions that the runes regained their popularity as both a divinatory system and a tool for self-awareness.
And that's it :3
See you next week
Hej då
Friday, October 26, 2012
Thursday, October 25, 2012
BRAZILIAN CULTURE: BOITATÁ
Hej :)
How are you guys?
I miserably failed last week, eh. Sorry.
BTW, I was talking with a friend of mine and, since we like the same things, we're probably blogging together next year. We're looking for nice stuff to post, but it'll be about History, haha.
Aaaand today's post is about the Boitatá.
Also known as "running fire", the boitatá is a large snake of fire. This imaginary creature was first cited in 1560, a text of the Jesuit priest José de Anchieta. In the Tupi Indian language, "mboi" means snake and "tata" means fire.
In the North and Northeast, people believed that the boitatá protected the woods and forests of the people who cause fires and it lived in rivers and lakes and leaves his "habitat" for people who do burn fires in the forests. According to this legend, boitatá has the capability of turning a log fire.
In southern Brazil, the explanation for the appearance of the snake of fire is related to flood (the biblical story that talks about the rain that lasted 40 days and 40 nights). After the flood, many animals died and the snakes were laughing happy because there was food in abundance. As punishment, the belly of them burst into flames, lighting up the whole body.
Researchers say that this legend is associated fires, which occur spontaneously due to the burning of gases from the decomposition of organic material.
Source: in Portuguese
That's all, folks :3
See you Saturday
Hej då
Saturday, October 13, 2012
MYTHOLOGY: TAROT
Hej :3
I've been too interested in tarot reading and runes lately, I'm seriously thinking about buying a tarot deck or a rune set or something like that.
Tarot cards, which were an early form of today's playing cards, entered Europe in the 14th century. Feliciano Busi described these cards as being "from Saracinia" or Arabia. Then, they were used to play a game called tarocchi. Some theories suggest that the cards were created around 1410 to 1430 in Milan, Ferrara or Bologna in northern Italy and that some additional trump cards were later added to the suit. These new cards were known as the triumph cards. They began to be used to play a card game similar to bridge. The game of triumphs gained popularity in the northern regions of Italy and eastern France. The cards underwent certain changes in pictures and symbols depicted on them. They soon became popular in Sicily, Austria and Germany. This type of tarot cards exist in the form of fifteen fragmented decks painted in the 15th century for the rulers of Milan.
After hundreds of years from then, people who believed in occult started regarding tarot cards as means of divination. The French and the English people were fascinated by the mystical symbolism of these cards. This led to the cards being used as divination tools.
Most of the civil governments of those times had banned the use of playing cards but tarot cards were an exception. This makes evident the general acceptance of these cards.
During the olden times, mass production of tarot cards was not possible. They used to be hand-painted. With the invention of the printing press, they came to be produced on a larger scale. Antoine Court, formerly a Protestant pastor initiated the interpretation of tarot. In 1781, he wrote a speculative history describing the use of these cards for divination. Gypsies were among the first ones to use tarot cards for divination purposes.
Alliette, a French occultist publicized the concept of using tarot cards for revealing the occult. He designed the first esoteric tarot deck. His design consisted of an addition of astrological ascriptions and some Egyptian motifs to the cards. He also added a divinatory meaning to the text on the cards.
By the 18th and the 19th centuries, the mystics and occultists began using tarot cards. Their use started after a study on religious symbolism by a Swiss clergyman called Antoine Court de Gebelin was published. He proclaimed the name tarot to have originated from the Egyptian word, 'tar' that meant royal and 'ro' meaning road. He suggested that the word tarot signified a royal road to wisdom.
The Rider-Waite-Smith Tarot was published. It replaced the traditional designs with the portrayals of symbolic scenes. This deck remains popular in the English-speaking countries even today. The use of Tarot cards gave rise to the creation of the oracle card decks, which contain images of angels, goddesses and Power animals and are used for divination.
Tarot cards find applications in card games and are popularly believed to serve as means of understanding one's fortune. The pictures and symbols that are featured on these cards are associated with certain happenings in one's future. There is a wide variety in the tarot deck designs. The emergence of tarot cards as a way of divination was an outcome of man's curiosity to discover the hidden future. The history of Tarot cards stands testimony to the human tendency to know things ahead of time. Their popularity further iterates the fact that we are always in search of ways to unfold mysteries.
Source: http://www.buzzle.com/articles/history-of-tarot-cards.html
That's it, I'll let some images for you :3
Hej då
Thursday, October 11, 2012
BRAZILIAN CULTURE: WHY THE LAMB IS MEEK
Hej
How are you? My school year is almost ending and next year I'm going to colllege (that's what I hope) and it feels so weird. I mean, I'm on the same school since I was 6 years old, leaving just doesn't feels right. :c
Once upon a time there was a little lamb frisking gaily about the
pasture. The bright sunshine and the soft breezes made him very happy.
He had just finished a hearty meal and that made him happy too. He was
the very happiest little lamb in all the world and he thought that he
was the most wonderful little lamb.
A big toad sat on the ground and watched him. After a while the toad
said: "O, little lamb, how are you feeling today?"
The lamb replied that he had never felt better in all his life.
"Even though you are feeling very strong I can pull you into the sea,"
said the toad.
The little lamb laughed and laughed until he rolled over on the
ground.
"Just take hold of this rope and I'll show you how easy it is to pull
you into the sea," said the toad.
The lamb took hold of the rope. Then the toad said, "Please wait a
minute while I get a good long distance away from you. I can pull
better when I'm not too near you."
The lamb waited and the toad hopped down to the sea. He hopped up into
a tree which hung over the water's edge and from there he hopped on to
the whale's back. He fastened the end of the rope around the whale
and then he called out to the lamb: "All ready. Now we'll see how hard
you can pull."
When the whale felt the lamb pulling at the rope he swam away from the
shore. No matter how hard the lamb pulled or how much force he exerted
it did not do one bit of good. He was dragged down to the water's edge
as easily as could be.
"I give up," said the lamb as he reached the water's edge.
After that, although the sunshine was just as bright as ever, any one
who watched that little lamb could see that he was a little more meek.
One day not long afterwards the sunshine was again very bright and the
little lamb was again feeling frisky. He was so happy and gay that he
had forgotten all about how the toad had pulled him down to the water
until the toad spoke to him. Then he remembered.
"O, little lamb, how are you feeling today?" asked the toad. The
little lamb replied that he was very well.
"Let us run a race," said the toad, "I think I can beat you."
"You may be strong enough to pull me into the sea," said the lamb,
"but surely I can run faster than you. I've watched you hopping about
my pasture. You can't run fast at all. However, I'll gladly run a race
with you to prove what I say."
The toad set a goal and told the lamb to call out every little while
during the race so he could see how much farther ahead the lamb was.
Then the toad and the lamb started.
The toad had assembled all his brothers and his sisters and his
cousins and his uncles and his aunts before the race and had stationed
them at various points along the path of the race. He had told them
that whenever any of them should hear the lamb calling out, "Laculay,
laculay, laculay," the toad which was nearest should answer,
"Gulugubango, bango lay."
The lamb ran and ran as fast as he could. Then he remembered his
promise and called out, "Laculay, laculay, laculay." He expected to
hear the toad answer from a long, long distance behind him. He was
much surprised to hear some one near him answer, "Gulugubango, bango
lay." After that he ran faster than ever.
After running on for some distance farther the lamb again called out,
"Laculay, laculay, laculay." Again he heard the answer at only a short
distance away, "Gulugubango, bango lay." He ran and ran until his
little heart was beating so fast that it seemed as if it would burst.
At last he arrived at the goal of the race which the toad had set and
there sat the toad's brother who looked so much like him that the lamb
couldn't tell them apart. The lamb went back to his pasture very
meekly and quietly. He acknowledged that he had been beaten in the
race.
The next morning the toad said to him, "Even though you did not run
fast enough to win the race, still you are a very fast runner. I have
told the daughter of the king about you and I have said to her that
some day she shall see me riding on your back with a bridle in your
mouth as if you were my horse."
The lamb was very angry. "Perhaps you are strong enough to pull me
into the sea, and perhaps you can beat me when we run a race," said
the lamb, "but never, never in the world will I be your horse."
Time passed and the sunshine was very bright and the soft, gentle
breezes were very sweet. The lamb was so happy again that he forgot
all about how the toad had pulled him into the sea, and how the toad
had beaten him at running the race. He was very sorry for the toad
when he saw him all humped up in a disconsolate little heap one day.
"O, poor toad, are you sick?" he asked. "Isn't there something I can
do to help you?"
The toad told him how very sick he was. "There is something you could
do to help me," he said, "but I don't believe that you are quite
strong enough or can travel quite fast enough."
The lamb took a deep breath and blew out his chest. "I'll show you,"
he said. "Just tell me what it is."
The toad replied that he had promised to be at a party that afternoon
at the house of the king's daughter and he did not see how he could
possibly get there unless some one would carry him.
"Jump on my back," said the lamb. "I'll carry you."
The toad shook about on the lamb's back after they had started so that
it seemed as if he would surely fall off. After a little he said, "I
can not possibly stand riding like this. It jars all my sore spots.
I'll have to get off." He tried it a little while longer and shook
about worse than ever. Then he said, "Do you know, I think I could
endure this painful ride a little better if only I had something to
hold myself by? Do you mind if I take a piece of grass and put it in
your mouth? I can hold on to that when I shake about and my sore spots
will not hurt so much."
The lamb let the toad put a piece of grass in his mouth.
After a while the toad asked for a little stick. "The flies and
mosquitoes annoy me terribly," he said. "If only I had a little stick
I could wave it about over my head and frighten them away. It is very
bad for any one in my weak, nervous condition to be bothered by flies
and mosquitoes." The lamb let the toad have a little stick to wave
over his head.
At last the lamb and the toad drew near to the palace of the king. The
king's daughter was leaning out of the window watching for them. The
toad dug his feet into the lamb's sides, pulled hard on the piece of
the grass in the lamb's mouth and waved the little stick about over
the lamb's head. "Go on, horse," he said and the king's daughter heard
him. She laughed and laughed, and when all the rest of the people in
the palace saw the toad arriving mounted on the lamb's back and
driving him like a horse they laughed too. The lamb went meekly home
to his pasture and from that day to this when one wishes to speak of
meekness one says "as meek as a lamb."
Source: http://fairytalesandfolklore.com/tale.php?tale=518
That's it :3
Have a nice evening or whatever lol
Hej då
How are you? My school year is almost ending and next year I'm going to colllege (that's what I hope) and it feels so weird. I mean, I'm on the same school since I was 6 years old, leaving just doesn't feels right. :c
Once upon a time there was a little lamb frisking gaily about the
pasture. The bright sunshine and the soft breezes made him very happy.
He had just finished a hearty meal and that made him happy too. He was
the very happiest little lamb in all the world and he thought that he
was the most wonderful little lamb.
A big toad sat on the ground and watched him. After a while the toad
said: "O, little lamb, how are you feeling today?"
The lamb replied that he had never felt better in all his life.
"Even though you are feeling very strong I can pull you into the sea,"
said the toad.
The little lamb laughed and laughed until he rolled over on the
ground.
"Just take hold of this rope and I'll show you how easy it is to pull
you into the sea," said the toad.
The lamb took hold of the rope. Then the toad said, "Please wait a
minute while I get a good long distance away from you. I can pull
better when I'm not too near you."
The lamb waited and the toad hopped down to the sea. He hopped up into
a tree which hung over the water's edge and from there he hopped on to
the whale's back. He fastened the end of the rope around the whale
and then he called out to the lamb: "All ready. Now we'll see how hard
you can pull."
When the whale felt the lamb pulling at the rope he swam away from the
shore. No matter how hard the lamb pulled or how much force he exerted
it did not do one bit of good. He was dragged down to the water's edge
as easily as could be.
"I give up," said the lamb as he reached the water's edge.
After that, although the sunshine was just as bright as ever, any one
who watched that little lamb could see that he was a little more meek.
One day not long afterwards the sunshine was again very bright and the
little lamb was again feeling frisky. He was so happy and gay that he
had forgotten all about how the toad had pulled him down to the water
until the toad spoke to him. Then he remembered.
"O, little lamb, how are you feeling today?" asked the toad. The
little lamb replied that he was very well.
"Let us run a race," said the toad, "I think I can beat you."
"You may be strong enough to pull me into the sea," said the lamb,
"but surely I can run faster than you. I've watched you hopping about
my pasture. You can't run fast at all. However, I'll gladly run a race
with you to prove what I say."
The toad set a goal and told the lamb to call out every little while
during the race so he could see how much farther ahead the lamb was.
Then the toad and the lamb started.
The toad had assembled all his brothers and his sisters and his
cousins and his uncles and his aunts before the race and had stationed
them at various points along the path of the race. He had told them
that whenever any of them should hear the lamb calling out, "Laculay,
laculay, laculay," the toad which was nearest should answer,
"Gulugubango, bango lay."
The lamb ran and ran as fast as he could. Then he remembered his
promise and called out, "Laculay, laculay, laculay." He expected to
hear the toad answer from a long, long distance behind him. He was
much surprised to hear some one near him answer, "Gulugubango, bango
lay." After that he ran faster than ever.
After running on for some distance farther the lamb again called out,
"Laculay, laculay, laculay." Again he heard the answer at only a short
distance away, "Gulugubango, bango lay." He ran and ran until his
little heart was beating so fast that it seemed as if it would burst.
At last he arrived at the goal of the race which the toad had set and
there sat the toad's brother who looked so much like him that the lamb
couldn't tell them apart. The lamb went back to his pasture very
meekly and quietly. He acknowledged that he had been beaten in the
race.
The next morning the toad said to him, "Even though you did not run
fast enough to win the race, still you are a very fast runner. I have
told the daughter of the king about you and I have said to her that
some day she shall see me riding on your back with a bridle in your
mouth as if you were my horse."
The lamb was very angry. "Perhaps you are strong enough to pull me
into the sea, and perhaps you can beat me when we run a race," said
the lamb, "but never, never in the world will I be your horse."
Time passed and the sunshine was very bright and the soft, gentle
breezes were very sweet. The lamb was so happy again that he forgot
all about how the toad had pulled him into the sea, and how the toad
had beaten him at running the race. He was very sorry for the toad
when he saw him all humped up in a disconsolate little heap one day.
"O, poor toad, are you sick?" he asked. "Isn't there something I can
do to help you?"
The toad told him how very sick he was. "There is something you could
do to help me," he said, "but I don't believe that you are quite
strong enough or can travel quite fast enough."
The lamb took a deep breath and blew out his chest. "I'll show you,"
he said. "Just tell me what it is."
The toad replied that he had promised to be at a party that afternoon
at the house of the king's daughter and he did not see how he could
possibly get there unless some one would carry him.
"Jump on my back," said the lamb. "I'll carry you."
The toad shook about on the lamb's back after they had started so that
it seemed as if he would surely fall off. After a little he said, "I
can not possibly stand riding like this. It jars all my sore spots.
I'll have to get off." He tried it a little while longer and shook
about worse than ever. Then he said, "Do you know, I think I could
endure this painful ride a little better if only I had something to
hold myself by? Do you mind if I take a piece of grass and put it in
your mouth? I can hold on to that when I shake about and my sore spots
will not hurt so much."
The lamb let the toad put a piece of grass in his mouth.
After a while the toad asked for a little stick. "The flies and
mosquitoes annoy me terribly," he said. "If only I had a little stick
I could wave it about over my head and frighten them away. It is very
bad for any one in my weak, nervous condition to be bothered by flies
and mosquitoes." The lamb let the toad have a little stick to wave
over his head.
At last the lamb and the toad drew near to the palace of the king. The
king's daughter was leaning out of the window watching for them. The
toad dug his feet into the lamb's sides, pulled hard on the piece of
the grass in the lamb's mouth and waved the little stick about over
the lamb's head. "Go on, horse," he said and the king's daughter heard
him. She laughed and laughed, and when all the rest of the people in
the palace saw the toad arriving mounted on the lamb's back and
driving him like a horse they laughed too. The lamb went meekly home
to his pasture and from that day to this when one wishes to speak of
meekness one says "as meek as a lamb."
Source: http://fairytalesandfolklore.com/tale.php?tale=518
That's it :3
Have a nice evening or whatever lol
Hej då
Saturday, October 06, 2012
MYTHOLOGY: HUMA BIRD
Hej :3
How are you guys? I'm ALMOST late but I'm fine hahaha (no one cares, I know) today I'm on the mood to read about Turkish stuff LOL look at this:
The word Huma which has a Persian origin is reflected in Old Iranian Humāya. In Arabic we find the term Bulah corresponding to Huma. The Sufi teacher Inayat Khan supposed that "in the word Huma, hu represents spirit, and the word mah originates from the Arabic "Ma'a" ماء which means water." However, this is disputed, as Arabic influence on the Persian language came after the Islamization in Iran, and the Old Iranian name Humāyaexisted long before any invasion. In Turkic mythology, it is referred as bird of Kumay or Umay which was used as a symbol of Çepni, one of the 24 tribal organizations of Oghuz Turks. Umay is the goddess of fertility and virginity in Turkic mythology and Tengriism.
In some variations, the Huma bird is said to be phoenix-like, consuming itself in fire every few hundred years, only to rise anew from the ashes. The creature is often referred to as bird of paradise. The Huma bird is said to have both the male and female natures in one body, each nature having one wing and one leg.
The Huma or Homa is considered to be a compassionate bird. It is named as bird of fortune since its shadow (or touch) is said to be auspicious. The shadow (or the alighting) of the Huma bird on a person's head or shoulder were said to bestow (or foretell) kingship. Accordingly, the feathers decorating the turbans of kings were said to be plumage of the Huma bird. Sufi teacher Inayat Khan gives the bestowed-kingship legend a spiritual dimension: "Its true meaning is that when a person's thoughts so evolve that they break all limitation, then he becomes as a king. It is the limitation of language that it can only describe the Most High as something like a king."
In Sufi tradition, catching the Huma is even beyond the wildest imagination, but catching a glimpse of it or even a shadow of it is sure to make one happy for the rest of his/her life. It is also believed that Huma cannot be caught alive, and the person killing a Huma will die in forty days.
The creature is a common motif in Persian, Ottoman Turkish, and Urdu poetry traditions.
The legend appears in Farid ud-Din Attar's allegorical masterpiece Conference of the Birds, an eminent example of Sufi works in Persian literature, in which the Huma bird (in this tale portrayed as a pupil) refuses to undertake a journey because such an undertaking would compromise the privilege of bestowing kingship on those whom it flew over. In Iranian literature, this function of the Huma bird is identified with pre-Islamic monarchs, and stands vis-a-vis ravens, which is a metaphor for Arabs. The legend appears in non-Sufi art as well.
Huma is the most referred bird of all Legendary birds in Diwan poetry of Turkish literature. Also, it is used as a symbol of unreachable highness in Turkish folk literature. In the Memalik ul Mirat, Ottoman admiral Sisi Ali Reis describes having seen hurruz or huma birds on his return trip from India to Istanbul in 1557. The Huma bird, here, is said to avoid killing for food, preferring instead to feed on carrion. From his description of the birds eating carrion, these would seem to have been vultures or other scavenger birds.
Some references to the creature also appear in Sindhi literature, where – as in the Diwan tradition – the creature is portrayed as bringing great fortune. In the Zafarnama of the Sikh Guru Gobind Singh, a letter addressed to the Mughal Emperor Aurangzeb refers to the Huma bird as a "mighty and auspicious bird".
The Argentine writer J. L. Borges, in his short story The Aleph, briefly mentions a Persian mystic's talk of "a bird that somehow is all birds".
Source: Wikipedia
That's it. I'm gonna see my grades before I go sleep (and I hope I'm not fucked up o-o)
Hej då
Thursday, October 04, 2012
BRAZILIAN CULTURE: SACI
Hej :3
How are you doing? I can't believe we're in October already, this year is passing so fucking fast . Really, wtf?
But no one really cares about the fact that the time is faster now, so let's talk about the only Brazilian legend that all Brazilians actually know.
Saci (pronounced: [saˈsi] or [sɐˈsi]) is a character commonly regarded to be the best known character in Brazilian folklore. He is a one-legged black or mulato youngster with holes in the palms of his hands, who smokes a pipe and wears a magical red cap that enables him to disappear and reappear wherever he wishes (usually in the middle of a dust devil). Considered an annoying prankster in most parts of Brazil, and a potentially dangerous and malicious creature in others, he will nevertheless grant wishes to anyone who manages to trap him or steal his magic cap. However his cap is often depicted as having a bad smell, most people who claimed to have stolen this cap often say they can never wash the smell away.
An incorrigible prankster, the Saci will not cause major harm, but there is no little harm that he won't do. He will hide children's toys, set farm animals loose, tease dogs, and curse chicken eggs preventing them from hatching. In the kitchen, the Saci would spill all salt, sour the milk, burn the bean stew, and drop flies into the soup. If a popcorn kernel fails to pop, it is because the Saci cursed it. Given half a chance, he will dull the seamstress's needles, hide her thimbles, and tangle her sewing threads. If he sees a nail lying on the ground, he will turn it with the point up. In short, anything that goes wrong — in the house, or outside it — may be blamed on the Saci.
Besides disappearing or becoming invisible (often with only his red cap and the red glow of his pipe still showing), the Saci can transform himself into a Matitaperêor Matita Pereira, an elusive bird whose melancholic song seems to come from nowhere. One can escape a pursuing Saci by crossing a water stream: the Saci will not dare to cross, for then he will lose all his powers. Another way is to drop ropes full of knots; the Saci will then be compelled to stop and undo the knots. One can also try to appease him by leaving behind some cachaça, or some tobacco for his pipe.
He is fond of juggling embers or other small objects and letting them fall through the holes on his palms. An exceedingly nimble fellow, the lack of his right leg does not prevent him from bareback-riding a horse, and sitting cross-legged while puffing on his pipe (a feat comparable to the Headless Mule's gushing fire from the nostrils).
Every dust devil, says the legend, is caused by the spin-dance of an invisible Saci. One can capture him by throwing into the dust devil a rosary made of separately blessed prayer beads, or by pouncing on it with a sieve. With care, the captured Saci can be coaxed to enter a dark glass bottle, where he can be imprisoned by a cork with a cross marked on it. He can also be enslaved by stealing his cap, which is the source of his power. However, depending on the treatment he gets from his master, an enslaved Saci who regains his freedom may become either a trustworthy guardian and friend, or a devious and terrible enemy.
This indigenous character was appropriated and transformed in the 18th century by the African slaves who had been brought in large numbers to Brazil. Farm slaves would tell Saci stories to amuse and frighten the children. In this process the creature became black, his red hair metamorphosed into a red cap, and, as the African elders who usually told the tales, he came to be always smoking his clay-and-reed pipe. His name mutated into various forms, such as Saci Taperê and Sá Pereira (a common Portuguese name), and eventually Saci Pererê. While some claim that the Saci myth originated in Europe in the 13th century such as the Monopod (creature), it probably derives from the Ŷaci-ŷaterê of Tupi-Guarani mythology, a magic one-legged child with bright red hair who would spell-bind people and break the forest's silence with his loud shouts and whistles. He was originally a creature of the night, and indeed the ŷaci (jaˈsi) means "Moon" in Old Tupi.
His red cap may have been inspired on the Phrygian cap which was at one time worn by Portuguese peasants. The Saci-Pererê concept shows some syncretism with Christian elements: he bolts away when faced with crosses, leaving behind a sulphurous smell — classical attributes of the devil in Christian folklore.
The concepts of imprisoning a supernatural being in a bottle by a magically marked cork, and of forcing him to grant wishes in return of his liberty, have obvious parallels in the story of Aladdin from the Arabian Nights. This may be more than just a coincidence, since many slaves were Muslims and thus presumably familiar with the Arabian tales. Moreover, the occupation of parts of the Portuguese territory (namely in the south) by the Muslim Moors, between the years 711 and 1249, provides another possible path for Arabian influence on the Saci legend. With the purpose of countering the growing trend of adopting the Anglo-Celtic Halloween in Brazil (in Portuguese called Dia das Bruxas),the Day of the Saci was created in 2005, and it is likewise commemorated on October 31. A tongue-in-cheek Society of Saci Observers was also created.
The character remains quite popular in present-day Brazilian urban culture, mainly due to the immensely popular children's book O Saci by Monteiro Lobato (1932). In the 1960s, the one-legged gnome — by now "domesticated" into a prankish but inoffensive and lovable creature — was chosen by premier Brazilian cartoonist Ziraldo as the leading character of his comics magazine, O Saci Pererê. This original publication, the first of its genre to feature entirely "national" characters, was short-lived, but paved the way for other Brazilian cartoonists like Angeli, Laerte, and Mauricio de Sousa.
Tom Jobim's hit song Águas de Março mentions the Matita Pereira, and Nei Lopes's samba song entitled Fumo de Rolo tells a tale of a fisherman being accosted by the saci while collecting reeds in the forest. The sací demands some tobacco for his pipe, but the poor fellow has lost his.
An incorrigible prankster, the Saci will not cause major harm, but there is no little harm that he won't do. He will hide children's toys, set farm animals loose, tease dogs, and curse chicken eggs preventing them from hatching. In the kitchen, the Saci would spill all salt, sour the milk, burn the bean stew, and drop flies into the soup. If a popcorn kernel fails to pop, it is because the Saci cursed it. Given half a chance, he will dull the seamstress's needles, hide her thimbles, and tangle her sewing threads. If he sees a nail lying on the ground, he will turn it with the point up. In short, anything that goes wrong — in the house, or outside it — may be blamed on the Saci.
Besides disappearing or becoming invisible (often with only his red cap and the red glow of his pipe still showing), the Saci can transform himself into a Matitaperêor Matita Pereira, an elusive bird whose melancholic song seems to come from nowhere. One can escape a pursuing Saci by crossing a water stream: the Saci will not dare to cross, for then he will lose all his powers. Another way is to drop ropes full of knots; the Saci will then be compelled to stop and undo the knots. One can also try to appease him by leaving behind some cachaça, or some tobacco for his pipe.
He is fond of juggling embers or other small objects and letting them fall through the holes on his palms. An exceedingly nimble fellow, the lack of his right leg does not prevent him from bareback-riding a horse, and sitting cross-legged while puffing on his pipe (a feat comparable to the Headless Mule's gushing fire from the nostrils).
Every dust devil, says the legend, is caused by the spin-dance of an invisible Saci. One can capture him by throwing into the dust devil a rosary made of separately blessed prayer beads, or by pouncing on it with a sieve. With care, the captured Saci can be coaxed to enter a dark glass bottle, where he can be imprisoned by a cork with a cross marked on it. He can also be enslaved by stealing his cap, which is the source of his power. However, depending on the treatment he gets from his master, an enslaved Saci who regains his freedom may become either a trustworthy guardian and friend, or a devious and terrible enemy.
This indigenous character was appropriated and transformed in the 18th century by the African slaves who had been brought in large numbers to Brazil. Farm slaves would tell Saci stories to amuse and frighten the children. In this process the creature became black, his red hair metamorphosed into a red cap, and, as the African elders who usually told the tales, he came to be always smoking his clay-and-reed pipe. His name mutated into various forms, such as Saci Taperê and Sá Pereira (a common Portuguese name), and eventually Saci Pererê. While some claim that the Saci myth originated in Europe in the 13th century such as the Monopod (creature), it probably derives from the Ŷaci-ŷaterê of Tupi-Guarani mythology, a magic one-legged child with bright red hair who would spell-bind people and break the forest's silence with his loud shouts and whistles. He was originally a creature of the night, and indeed the ŷaci (jaˈsi) means "Moon" in Old Tupi.
His red cap may have been inspired on the Phrygian cap which was at one time worn by Portuguese peasants. The Saci-Pererê concept shows some syncretism with Christian elements: he bolts away when faced with crosses, leaving behind a sulphurous smell — classical attributes of the devil in Christian folklore.
The concepts of imprisoning a supernatural being in a bottle by a magically marked cork, and of forcing him to grant wishes in return of his liberty, have obvious parallels in the story of Aladdin from the Arabian Nights. This may be more than just a coincidence, since many slaves were Muslims and thus presumably familiar with the Arabian tales. Moreover, the occupation of parts of the Portuguese territory (namely in the south) by the Muslim Moors, between the years 711 and 1249, provides another possible path for Arabian influence on the Saci legend. With the purpose of countering the growing trend of adopting the Anglo-Celtic Halloween in Brazil (in Portuguese called Dia das Bruxas),the Day of the Saci was created in 2005, and it is likewise commemorated on October 31. A tongue-in-cheek Society of Saci Observers was also created.
The character remains quite popular in present-day Brazilian urban culture, mainly due to the immensely popular children's book O Saci by Monteiro Lobato (1932). In the 1960s, the one-legged gnome — by now "domesticated" into a prankish but inoffensive and lovable creature — was chosen by premier Brazilian cartoonist Ziraldo as the leading character of his comics magazine, O Saci Pererê. This original publication, the first of its genre to feature entirely "national" characters, was short-lived, but paved the way for other Brazilian cartoonists like Angeli, Laerte, and Mauricio de Sousa.
Tom Jobim's hit song Águas de Março mentions the Matita Pereira, and Nei Lopes's samba song entitled Fumo de Rolo tells a tale of a fisherman being accosted by the saci while collecting reeds in the forest. The sací demands some tobacco for his pipe, but the poor fellow has lost his.
Source: Wikipedia
Aaand it's done :3
Hej då
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