#myth of surviving separation

[jewishvitya]

[This post was originally written in response to someone tagging me and claiming that a free Palestine would mean all Israeli Jews will be kicked out and where will I go, and how they can't understand why I'm so against Israel being our ethnostate. OP blocked me, so I'm reposting with a few edits, because I already wrote this and I might as well.]

Look. I understand your mentality. We're traumatized by a history of violence against us. We were shown that so many in the world want us dead, and so many others won't stop them. I get it. But I refuse to let myself silently become the face of similar oppression for other people.

Israel benefits from antisemitism and maintains myths that got Jewish people killed in the past, like double loyalty. It weaponizes it for propaganda reasons. It's supported by antisemitic Christian zionist organizations with terrifying motivations. It started out with violence not only against Palestinians but against Jews too. Israel isn't motivated by our safety, it abuses that idea. It manipulates and weaponizes our trauma to make us feel justified in causing so much suffering to innocent people.

You're right that I'll have nowhere to go if I'm kicked out of here. This is where I was born. My parents come from other countries that I won't feel safe in. But all of this is hypothetical. The ethnic cleansing and genocide of Palestinians is not hypothetical, it's REALITY. It's happening RIGHT NOW. And I don't understand how, as a Jewish person who knows what this kind of suffering and loss of life means, you seem unable to prioritize that. I tell you I'm witnessing a genocide happening right next to me and you keep telling me "but what if they hurt you instead."

The assumption that Palestinians will pull some sort of reverse ethnic cleansing against us is racist. This assumption is the reason Israel feels comfortable calling the carpet bombing of a civilian population "self defense." Killing them based on a this is not self defense, it's a racially motivated crime against humanity.

And I'm calling it an assumption because I'm not willing to pull from the Hamas charter that they've since replaced. Hamas isn't Palestinians. The only reason they became this powerful is Israeli funding, and Israeli violence giving Hamas free PR as the only ones who will stand up to the state that will keep them trapped and dying.

We control every aspect of their lives. Israel created a place that breeds radicalization. No group of people, living under the conditions forced on Palestinians, would be peaceful. They would fight back. Because peaceful attempts to have the human rights that Israel denies them got nothing. We stomped on every single one. We blocked all other routes and left them with only violence, which Israeli politicians have been using as an excuse for over 15 years to make a show of force with military campaigns whenever they wanted a boost in popularity. We created living conditions with such low life expectancy that half of the population is children because so few adults survive. They don't deserve this. No one deserves this.

Palestine was a land with people living in it. One plot of land can create multiple groups of people, especially when we've been separated for 2000 years. Our connection to this land does not cancel out theirs. Removing them to create our own country could never be right. It's not an argument saying that our connection to Israel gives us the right to move here to live ALONGSIDE Palestinians. That's not what we wanted. We wanted a country that enforces Jewish majority and legally prioritizes Jews. You're justifying this when I repeatedly state that the only way for it to exist is through ethnic cleansing and genocide. There's no way to make this concept into a reality without killing, displacing, and oppressing whoever's left in various different ways, from apartheid to other kinds of discrimination.

I'm not against safety for us. I want to be safe. I want my children to grow in a safe world where we can be openly and joyfully Jewish. I'm not willing to pay for that with the lives and freedoms of other people.

So I will be loud about this: Palestinians deserve to be free in every part of their homeland, even if it's our ancestral homeland too.

If safety for us means we're the ones committing the genocide, maybe we should rethink what safety looks like.

I'm terrified for the lives of millions of people in Gaza. Right now, all I can think about is this, and it baffles me to see people so willing to transfer the horrors of our history to other people.

I had a lovely conversation in DMs in response to the first post, about how zionism encourages us to isolate rather than build bridges in the places where we live all over the world. We can't ignore the way antisemitism saturates culture, but we should also remember the places where Jewish communities thrived for centuries, the places where our neighbors protected us. We're hated, and we're loved. Each form of oppression is unique, so no other group experiences what Jewish people do exactly, but we're not alone. We have a long and rich history of solidarity with other marginalized communities and involvement in liberation movements. We're actively working to make the world safer, and we have people fighting with us. I'm just participating in this fight where I am. The struggle for liberation is a human struggle. You can't use the trauma of antisemitism to silence me about other kinds of bigotry.

Never again. To ANYONE.

#riki babbles

[phaedraismyusername]

This year some of my favourite books I read were written by indigenous American authors and I just wanted to shout out a couple that I fell in love with

The Only Good Indians by Stephen Graham Jones

Horror being my second most read genre, I did not think books could still get under my skin the way this one did lol. It follows four Blackfoot men who are seemingly being hunted by a vengeful... something... years after a fateful hunting trip that happened just before they went their separate ways. The horror, the dread, the something... pure nightmare fuel 10/10

Moon of the Crusted Snow by Waubgeshig Rice

An apocalyptic novel following an isolated Anishinaabe community in the far north who lose contact with the outside world. When two of their young men return from their college with dire news, they set about planning on how to survive the winter, but when outsiders follow, lines are drawn in the community that might doom them all. This book is all dread all the time, the use of dreams and the inevitability of conflict weighs heavy til the very end. An excellent apocalypse story if you're into that kind of thing.

My Heart is a Chainsaw by Stephen Graham Jones

This book follows Jade, a deeply troubled mixed race teenager with a shitty homelife who's *obsessed* with slasher movies. When she finds evidence that there's a killer running about her soon-to-be gentrified small town, she weaponises that knowledge to predict what's going to happen next. I don't think this book will work for most people, it's a little stream of consciousness, Jade's head is frequently a very difficult place to be in, but by the last page I had so much love for her as a character and the emotional rollercoaster she's on that I had to mention it here.

Elatsoe by Darcie Little Badger

Taking a bit of a left turn but this charming YA murder mystery really stuck with me this year. Elatsoe is a teenage girl living in an America where myths, monsters, and magic are all real every day occurrences. When her cousin dies mysteriously with no witnesses, she decides to do whatever she can, including using her ability to raise the spirits of dead animals, to solve the case. The worldbuilding was just really fun in this one, but the Native American myths and influence were the shining star for me, and the asexual rep was refreshing to see in a YA book too tbh

Split Tooth by Tanya Tagaq

The audiobook, the audiobook, the audiobook!!!! Also the physical book because formatting and illustrations, but the audiobook!!! Tanya Tagaq is an Inuit throat singer, and this novel is a genre blending of 20 years worth of the authors journal entries, poetry, and short stories, that culminates in a truly unique story about a young girl surviving her teenage years in a small tundra town in the 70s. It is sad and beautiful and hard but an experience like nothing else I read this year.

#the only good indians #my heart is a chainsaw #stephen graham jones #moon of the crusted snow #waubgeshig rice #elatsoe #darcie little badger #split tooth #tanya tagaq #indigenous authors #2022 reads #book recs #books #booklr

[senseandaccountability]

“Is this truly our prodigal son?” - meta ramblings about Astarion and Cazador and breaking vicious cycles

“I didn’t have a choice… but it seems now I do.” Astarion is indeed the prodigal son in the sense that he has to return to his home in order to find himself and his purpose. 

For at least half the game, he is - at least outwardly - what he has been made to be. A pretty facade to be consumed. In the mirror he doesn’t see himself, he remembers nothing of his past, he can’t even read the words etched into his own back - he is, in all aspects, unwritten, unmade until he starts walking back into his own life. Reclaiming it. Or rather - remaking it. Because there is nothing sustainable there to reclaim, his heritage from Cazador contains nothing but death and violence. And power built on those two ingredients. Even when he claims that’s what he wants - power, walking in the sun, to never be afraid of anyone again, you can hear how hollow the desire is. Isn’t this what you want for me? he asks Tav, equal parts manipulation and the fact that he probably has no idea whatsoever how to figure out if he wants something like that for himself. He’s never had the luxury of choice. Shouldn’t I want this? When Tav later says that considering slaughter of seven thousand spawns isn’t who Astarion truly is he doesn’t even say she’s wrong, he replies: IT SHOULD BE.

“If I can’t have my freedom, then neither can they.”

Astarion is also, to use the same religious myth, the son who remained behind and keeps count. He counts the injustices done to him, he compares, he gathers bitterness and lust for revenge over two hundred years. Nobody ever did anything to help him. Nobody came to his rescue - he even says so himself early in the game that no hero saved him, it was the mindflayers who did. He admits to Gale that he’s prayed to all deities - but no one answered. When Tav prods about the countless of spawn he’ll sacrifice for his own ritual he brings up the same argument - what about what he’s owed? Everything was taken from him, too!

“You’d almost feel sorry for the poor, deluded souls. But they’re idiots who brought this on themselves, so… don’t.” 

Astarion doesn’t want to identify with the victims because then he has to identify as a victim. (Or even worse, someone who willingly accepted the offer of a vampire, aka idiot who brought this on himself.) And no matter how much he talks about what Cazador put him through, he’s not ready to do that, not fully. Instead he pushes them further away from himself, especially as his guilt and pain and self-loathing gets poured into preparing for the Ascension. That one thing that will finally separate him from everyone else, make him safe and untouchable. The others, the victims, they’re weak, pathetic, nothing like him at all, they’re too far gone, they’re different, they couldn’t survive out there so it’s better he kills them so they serve a purpose. It’s not exactly subtext, either, Tav can outright ask him if he really intends to kill them just because they remind him of himself and his voice breaks when he answers that. “They do not. That weakness inside me is dead. It’s dead. I have a higher purpose.” He comes a little bit closer to breaking out of his cycle with the Gur children, they happened not that long ago, he’s visibly moved by the fact that he had forgotten them and felt nothing when he delivered them and when Tav asks about his feelings on the subject, he admits: “I just… I never want to see these little scraps of misery again. The world doesn’t need to know my shame.”

But it takes the encounter with Cazador to truly break out of the pattern.

“Did I not make you who you are?” “Do not slouch before me, boy! Have you no respect for yourself?” he snaps at Astarion when you first enter his ritual. And when the camera pans to Astarion, so full of rage and fully intent on killing Cazador with his bare hands if he has to, we see that he actually does slouch. He’s that boy again.

He’s returned, the boy who caused so much trouble, who screamed the sweetest when he was tortured, who was thrown into a tomb for a year for refusing his order and who eventually stopped fighting back. Godey says: “You always were sharp, little one. Sharp enough to cut yourself.” The boy who Cazador tried to make something of, but to no avail. He was incorrigible. “I fondly remember your empty boasting, your tired jokes, your endless prattle…” All abuse aside, Cazador hurts Astarion in that precise way only a parental figure can hurt a child - through constant disappointment, the cruelty of not caring. The parent that only punishes, that sees nothing but faults. He even tells Astarion that he ought to be begging their forgiveness for coming crawling back after abandoning them. “Forgiveness? You’ve never forgiven anything.” / “No! No, fuck you and fuck everything you’ve ever done to me.”

“I’m so much more than what you made me,” Astarion tells Cazador when he finally has him on his knees, one last attack away from getting the revenge he’s dreamed of for two hundred years. When he asks Tav for help he - again - brings up the “isn’t this what you want?” Because even if he knows he’s more than what Cazador created him to be, he doesn’t know what that “much more” consists of yet. If you detect his thoughts at that moment you learn that he’s afraid, hungry, intoxicated. That all he can see is the power of the ritual and the freedom to do anything - to be anything.

“I want you to live a life you’re proud of,” Tav pleads. “You can’t be proud of this.” Tav who sees someone else in him, a way forward that isn't steeped in Cazador's tyranny. Tav, who treats him like a person, with autonomy.

“I know you think this will set you free, but it won’t. The power will trap you, just like it trapped Cazador.” And it was this Astarion required to truly remake his life. Returning as the prodigal son to the place that was his home, where he was taught he amounted to nothing, that he was a means to an end, that the only way to ever feel safe in life is to hold power over someone else. 

That’s why I found his “No! No, fuck you and fuck everything you’ve done to me” so powerful, because it’s it’s much more than an insult or a protest. It’s an acknowledgement that you were hurt and that you didn’t deserve it. 

And by extension here - that you’ve hurt others in turn and they didn’t deserve it, either. That perhaps you are just the same as the weak, pathetic spawn in the dungeons. That perhaps we all are. That perhaps the true power lies in daring to hope. For forgiveness, for understanding, for more people out there to have a heart like Tav’s. That you, if you’re given a chance to make choices for yourself, can make a life you can feel proud of. Even if it means you have to let others see your shame. To care again is to live again, like Tav says while they're exploring casa Cazador. And Astarion wants to feel alive.

When you can make Astarion realise he can be better than Cazador, he immediately shows  protectiveness towards the spawn, telling his siblings to lead them to the Underdark and then telling the truth to the Gur but making sure to point out that if they come hunting - they’re hunting their own children. Cazador’s been dead for a couple of minutes and Astarion is already doing a better job as some sort of wretched father figure for these poor souls. Because he's given them freedom to make their own choices, treated them as equals. Shown them the care nobody ever showed him before. That's how you break cycles and pack one hell of an emotional punch. Fuck you and fuck everything you’ve done to me, indeed.

#bg3 spoilers #astarion #lilith plays baldur's gate 3

[greenwitchcrafts]

January 2024 Witch guide

Full Moon: January 25th

New moon: January 11th

Sabbats: None

January Wolf Moon

Known as: Bear Moon, Chaste Moon, Cold Moon, Disting Moon, Goose Moon, Moon of Little Winter,  Moon of Strong Cold, Quiet Moon, Snow Moon, Stay at Home Moon, Sun Has Not Strength to Thaw Moon & When Snow Blows Like Spirits In The Wind Moon

Element: Air

Zodiac: Capricorn & Aquarius

Nature spirits: Brownies & Gnomes

Deities: Freya, Hera, Innana & Saraswati

Animals: Coyote & fox

Birds: Blue Jay & pheasant

Trees: Birch & Hazel

Herbs: Cones, holy thistle &marjoram

Flowers: Crocus & Snowdrop

Scents: Mimosa & musk

Stones: Chrysoprase, garnet, hematite, moonstone, onyx & jet

Colors: Black, blue-violet, grey, silver & white

Energy: Adventurous, ambitious, awareness, beauty, beginning & conceiving; business, career, conserving energy, energy below the surface, organization, political matters, potential, protection, recognition, reputation, reversing spells & spirituality

The name for the January full Moon is believed to have originated from Celtic and Old English roots, which European settlers then brought to the New World.

At one point, gray wolves were among the most widespread land mammals on our planet. According to the Wolf Conversation Center, gray wolves “inhabited most of the available land in the Northern Hemisphere.” Habitat destruction and persecution by humans have reduced their range by about a third worldwide and 90 percent in the lower 48 states.

The wolf’s adaptable nature to survive in a wide range of habitats and ability to prey on the largest mammals living in those regions made it widespread. Basically, if there are enough deer, moose, elk, caribou, bison, and musk ox, wolves can survive. Predation of domestic animals caused friction with European settlers and early Americans who aggressively hunted the wolves.

Werewolf myths can be found in ancient Greek and Roman societies, throughout European history and among some Native American tribes. In modern storytelling the transformation from man to wolf has been closely tied to the full Moon in films like “The Wolf Man” and “American Werewolf In London.”

Howl at the Moon means to waste energy pursuing something unattainable. It’s shorthand for doing something crazy. However, howling is hardly a waste of energy among wolf packs. And they aren’t howling at the Moon. The Moon just happens to be shining during times when wolves most often howl.

A wolf’s howl can be heard miles away. The vocalization helps wolves locate separated members and even communicate between packs marking their territories. One study recorded spontaneous howls and responses happen most often between 11 p.m. and 6 a.m.

The cry of wolves doesn’t play into the Sioux name for the January full Moon, which is known as “The Time When Wolves Run Together.” Wolves do plenty of running to defend territory that can stretch hundreds of square miles to find enough prey to support the pack.

Other Celebrations

• Hogmanay | January 1st: is the Scots word for the last day of the old year and is synonymous with the celebration of the New Year in the Scottish manner. It is normally followed by further celebration on the morning of New Year's Day (1 January) and, in some cases, 2 January—a Scottish bank holiday. In a few contexts, the word Hogmanay is used more loosely to describe the entire period consisting of the last few days of the old year and the first few days of the new year. For instance, not all events held under the banner of Edinburgh's Hogmanay take place on 31 December.

The origins of Hogmanay are unclear, but it may be derived from Norse and Gaelic observances of the winter solstice. Customs vary throughout Scotland and usually include gift-giving and visiting the homes of friends and neighbours, with particular attention given to the first-foot, the first guest of the new year.

• Compitalia/ Feast of Lades | January 3-5: was an annual festival in honor of the Lares Compitales, household deities of the crossroads, to whom sacrifices were offered at the places where two or more ways met.

Dionysius said that Servius Tullius founded the festival, which he describes as it was celebrated in his time. Dionysius relates that the sacrifices consisted of honey-cakes (Ancient Greek: πέλανοι) presented by the inhabitants of each house; and that the people who assisted as ministering servants at the festival were not free men, but slaves, because the Lares took pleasure in the service of slaves. He further adds that the Compitalia were celebrated a few days after the Saturnalia with great splendor, and that the slaves on this occasion had full liberty to do as they pleased.

During the celebration of the festival, each family placed the statue of the underworld goddess Mania at the door of their house. They also hung up at their doors figures of wool representing men and women, accompanying them with humble requests that the Lares and Mania would be contented with those figures, and spare the people of the house

Sources:

Farmersalmanac.com

Llewellyn's Complete Book of Correspondences by Sandra Kines

A Witch's Book of Correspondences by Viktorija Briggs

Llewellyn's 2023 magical almanac: practical magic for everyday living

Wikipedia

Encyclopedia Britannica

#correspondence #witch guide #January 2024 #wolf moon #wiccablr #witchblr #paganblr #witch community #witchcraft #witches of tumblr #tumblr witch community #witch tumblr #witch tips #beginner witch #traditional witchcraft #baby witch #witch friends #moon magic #wolves #grimoire #book of shadows #spellbook #spellwork #witchcore #witch #new year #witchy things #witches #baby witch tips #GreenWitchcrafts

[wanderingsorcerer]

APPALACHIAN FOLKLORE 101

Appalachia has a rich history in the united states, which goes farther back than most tend to give it credit for. The Appalachian mountains are millions of years old, and humans have only lived in the region for 16,000 years or so, which means the mountains are bound to hold some mysteries and legends.

Many of these stories, and folk practices originate from the Native Americans, specifically Cherokee, and are mixed in with the superstitions brought over from the old world specifically English, Irish, and Scottish. As well as the practices brought over from the African Continent During the Slave Trade. The Native population assisted the early settlers in Appalachia with ways to survive the area, grow food, and even forage for one of Appalachia's staple foods, RAMPS!!!

Let's delve into the history of Appalachian Folklore and the origins of everyone's favorite stories.

Cryptids and Myths

This is one of the most famous aspects of Appalachian folklore and one which outsiders know the most about, Appalachian Myths and their Cryptids that follow. Below I will go over a few of the more famous ones, which many have learned about, either second-hand or through living in the area.

The Moon-Eyed People

There was a group of humanoids called the Moon-Eyed People, who were short, bearded, and had pale skin with large, bright eyes. They were completely nocturnal due to their eyes being extremely sensitive to light. Although not mythical, they were considered a separate race of people by some. The tribes viewed them as a threat and forced them out of their caves on a full moon night. They were said to have scattered to other parts of Appalachia as the moon’s light was too bright for their eyes. There are some early structures that are believed to be related to the Moon-Eyed People, dating back to 400 BCE. Some theories suggest that they were early European settlers who arrived much before Columbus discovered the Americas. Other theories suggest they were people who had Albanism.

Image of The Moon Eyed People Statues in Murphy, North Carolina

Spearfinger

Spearfinger is a Cherokee legend of a shapeshifting, stone-skinned witch with a long knife in place of one of her fingers. She often was described as an old woman, which she would take the form of to convince Cherokee children that she was their grandmother. She would sit with them, brush their hair until they fell asleep, and then kill them with her “spear finger.” She had a love of human livers which she would extract from the bodies of those she killed. It was said she left no visible scars on her victims. She carried her own heart in her hand to protect it, as it was her one weakness. As the legend goes, she was captured and defeated with the help of several birds that carried the information to defeat her. Though she has been destroyed, sometimes you can hear her cackles and songs throughout the mountains. 

Image of SpearFinger Cherokee Legend

W*ndigo

This spirit is said to go to where its name is called allowed so since most of us already know the name I won't be writing it out in completion. So out of respect for some of our native readers, it will remain censored

The W*ndigo is a creature, sometimes referred to as an evil spirit, that is said to be 15 feet tall with a body that is thin, with skin pulled so tight that its bones are visible. Many native legends view it as a spirit of greed, gluttony, and insatiable hunger. It is a flesh-eating beast that is considered most active during the colder months, and its presence is easily felt and smelt. It has been described as having a distinct smell of rot and decay due to its skin being ripped and unclean. It produces an overwhelming urge of greed and insatiable want. Most notably, it is not one to chase or seek after its prey; instead, it uses its terrifying mimicry skill. It often mimics human voices, screams, loved ones, or anything that might entice its victim to come to it. In some cases, it is believed the W*ndigo is a spirit that can possess other humans and fill them with greed and selfishness, turning them into W*ndigos as well.  

Appalachian Folk Practices

Many of the common Appalachian folk practices stem from things the Native Americans and Enslaved Africans taught them mixed in with cultural practices from Europe. Here I will go over some of the most common practices done by the Appalachian people

Water Dowsing

water dowsing is a practice that has been done for hundreds of years in many different cultures. This practice was brought over by the European settlers and was how many people of the time found where to dig for their water. The practice itself is simple in nature, you take a forked branch from a tree and hold it in both hands and walk around once the stick points down due to the electromagnetic current that's where you dig your well.

this isn't exactly the best way to find water but many people still do it to this day.

Image of Someone Using A Dowsing Rod

Bottle Trees

This practice originated in the Congo area of Africa, in the 9th century A.D. brought to America by the slave trade, in the 17th century. Bottle Trees, were popular in the American South and up into Appalachia, the spirits are said to be attracted to the blue color of the bottles, and captured at night, then when the sun rises it destroys the evil spirits.

This is still practiced in the modern era by many Appalachian Folk Practitioners

Image Of Bottle Trees

SIN EATING

This practice originates from the Ancient Greeks and Egyptians, it branched to many different cultures and has been practiced since antiquity by many Christian and Catholic tribes. And later making its way to America via immigration. The process was once a profession in Appalachia, in which food was placed on or near the deceased and a person dressed in all black would eat the food absolving the dead of all of their earthly sins. This essentially cemented their ability to get into heaven. The practice while sparsely done any more as a profession, it can still be found in many peoples funeral services to this day around the world.

Many cultures still do this practice and the sin eaters usually choose to hide their identity as the practice is seen as taboo to this day.

Popular Herbs To Forage In Appalachia Folk Practices

Wild Leeks or RAMPS!!!

Allium tricoccum, are a species of wild onion native to North America. They are a delicacy, and hold a special place in the hearts of many Appalachians. Native Americans such as the Cherokee ate the plant and used it medicinally for a variety of purposes including as a spring tonic. Early European settlers learned how to Forage from the Indigenous People and continued to eat and use ramps medicinally. Ramps provide many nutrients and minerals and historically have been used to nourish people after harsh winters.

*RAMPS poisoness Look Alike

False hellebore (Veratrum) is a highly poisonous plant that can be mistaken for a prized wild edible, the wild leek, or ramp (Allium tricoccum)

Chicken of the Woods

Laetiporus sulphureus. Chicken of the woods is a sulphur-yellow bracket fungus of trees in woods, parks and gardens. They are delicious and are loved by many foragers, Native Americans, and Appalachians alike. The Native Americans taught the early settlers that these were edible and have been a favorite ever since. Chicken of the Woods is most likely to be found from August through October, but it can be found as early as May and up to December depending on where you live.

*These have a poisoness look alike, Jack O Lantern mushrooms

The Jack-o'-lantern mushroom should not be eaten because it is poisonous to humans. It contains toxic chemicals that can cause severe stomach upset accompanied by vomiting, diarrhea and headache

PawPaws

The Pawpaw Asimina triloba, is well loved by Appalachian locals as a native fruit with a tropical taste. Pawpaw fruit is the largest tree fruit native to the United States, and its custard-like flesh has been said to taste like a combination of banana, pineapple, and Mango. The pawpaw has been used by Native Americans for centuries for both its fruit and its medicinal properties. Many tribes, including the Osage and Sioux, ate the fruit; the Iroquois used the mashed fruit to make small dried cakes to reconstitute later for cooking. PawPaw season is late summer, look for the smell of rotting fruit, eat the ones that are squishy to the touch.

*They resemble mangos on the trees, many options to eat the ones that are on the floor already as they usually have ripened, but you can also ripen them at home.

Appalachia has a rich and beautiful history filled with magic and delicious food. But the only real way to learn about Appalachia is to visit it. Go and speak with locals, learn about the history, their delicious foods, and powerful Grandma magic, and you too will fall in love with Appalachia.

Thank you for sitting down and having Tea with me on the Other side of the Great Divide

#witchcraft #ritual #occultism #esoteric #occult #spirit work #magi #magus #magick #witch #witchy vibes #witches #witch tips #appalachian folk magic #appalachia #appalachain mountains #american folklore #folklore #folklorist #appalachian culture #foraging #WanderingSorcerer

[snaccpopstudios]

From the River to the Sea.

The staff of SnaccPop Studios wanted to reach out to our fans regarding our stance on the genocidal acts committed against Palestine. Though the conflict thrived well before 2023, these last few months have shown an escalation of cruelty that has become impossible for the rest of the world to ignore. 

To state the matter frankly; we stand by Palestine. We acknowledge that blood is not only on the hands of the Israeli government, but also the American, British, and other world governments who have and continue to enable Israel's actions. Any government, company, or corporation that attempts to accommodate "both sides," or inadvertently shows support through inaction is equally complicit in creating a climate in which this genocide is allowed to take place. It is for this reason we feel compelled to speak out and condemn these acts for what they are; genocide, theft, ethnic cleansing, and mass-murder.

We believe that all those responsible for these innocent deaths must be called for and prosecuted as murderers in the first degree, regardless of status. But we also acknowledge that this will likely never happen.

In light of this, what can we do? We believe that it is not the citizen's burden alone to end this genocide, and yet we must call upon every individual person to reflect on this matter and do what we can to make things right. An initial step for many of us would be to seek to educate themselves on this matter. We must learn from history to avoid unwittingly contributing to further oppressions. We will be providing a few trustful sources for you all to further educate yourselves and donate to, if you are able to.

We must also ask everyone to remember that these lives are irrevocably lost. Children who are now without parents, families separated and lost–these people's lives will be permanently affected by these events, if they survive. Their pain and trauma will impact the future for everyone on our planet. It is vital to acknowledge this and treat it with the gravity it is due. It is so easy to distance ourselves from these events, to compartmentalize the trauma of people we don't know, people who live so far away from many of us. It is easy to get caught up in the narrative disseminated by mainstream media, to detach ourselves from the real human suffering, to view it as a story that has nothing to do with us. We must perform due diligence to discern the truth and act accordingly. Acknowledging the suffering and remembering all that has been lost is vital to holding Israel accountable for their genocidal acts.

We must also use our empathy to realize that this is one of the great injustices of humanity; by allowing it to happen now, we further enable it to happen to other disenfranchised groups in the future. None of us are truly safe if we allow this brutality to wage unchecked. We cannot allow our governments to believe that we will tolerate or condone this, now or ever.

Links:

Care for Gaza. Providing distribution of cash, food, or other supplies needed like medicine or clothes to displaced families in Gaza. https://www.gofundme.com/f/careforgaza. As of writing this, the GoFundMe is no longer accepting donations, but their PayPal in their Twitter (https://twitter.com/CareForGaza) still is.

Pious Projects. Providing menstrual/hygiene kits to those who menstruate in Gaza. https://piousprojects.org/campaign/2712

eSims for Gaza. Helping those in Gaza remain connected to the outside world, stay connected with families, and show what’s happening within Gaza. https://gazaesims.com/

History of Palestine and debunking myths spread: https://decolonizepalestine.com/

PDF Booklet provided by Bisan on her Instagram. Advocating for Palestine that recounts Israeli propaganda and how to spot and debunk them. https://sites.google.com/view/advocatingforpalestine/?fbclid=PAAaZtxfP5EBAZSRP6h15wi96-dnCuOgOlE0aXKVB8gCtQbokaSE9N1nxzkuA_aem_AaIBVrty_hSHN28vgu0T-rJly_eLH5YAFKxLcCLLBNBXl8QZiUe4fvR-pkBV_8x6UyM

Boycott, Diversity, and Sanctions (BDS) website: https://bdsmovement.net/

Please note these aren’t all of the available resources out there, but a few collected, trusted ones. Take the time and effort to look and reach further yourselves, as we will continue to do so ourselves.

SnaccPop Studios 🍉

#snaccpop studios

[whencyclopedia]

Zagreus

In ancient Greek mythology, Zagreus is a god closely associated with the wine god Dionysus, the underworld, and hunting. A son of Zeus and Persephone, he is known in the Orphic tradition as the first incarnation of Dionysus, whilst other stories identify him as the son of Hades or even as Hades himself.

The earliest mention of Zagreus comes from a quoted line from the lost Greek epic Alcmeonis, a poem dating back to at least the 6th century BCE, where he is described alongside Gaia, the Greek personification of the earth, as "highest of all the gods" (West, 61). Yet some scholars believe this line was only in reference to him being the highest of all the gods of the underworld, as surviving fragments of works written by the Greek tragedy playwright Aeschylus (c. 525 to c. 456 BCE) identify him closely with Hades.

Zagreus is also the name often given to Orphic Dionysus, whose story was central to the beliefs of the followers of Orphism. In the story, Zagreus, a child of Zeus and Persephone, was killed and eaten by the Titans, except for his heart which was found by Athena and brought to Zeus. Because his heart was saved, Zagreus was able to be reincarnated as the god Dionysus. Zeus punished the Titans for their treachery by destroying them with a thunderbolt, and it was from their ashes that humanity was born.

Followers of Orphism, therefore, believed that humanity had a dual nature, one of the body, inherited from the Titans, and one of the soul, or the divine spark inherited from the parts of Zagreus ingested by the Titans. It was the central focus of Orphism for one to achieve salvation through acts of atonement during their lifetime or else be cursed with endless reincarnation. Aspects of Orphism, including the suffering, death, and resurrection of Dionysus Zagreus, and the idea of redemption for an original sin call to mind aspects of later religions, such as Christianity.

Origins & Interpretations

What little is known of Zagreus outside his association with Dionysus comes from fragments of lost works of Greek literature. He was certainly renowned, as a surviving quote from the lost Greek epic Alcmeonis offers a prayer to "Mistress Earth, and Zagreus highest of all the gods" (West, 61). The invocation of his name alongside Mother Earth seems to suggest that Zagreus was held in high esteem and was thought to be very powerful. Some scholars believe that the reference to him as "highest of all the gods" does not claim that he was the greatest god on Mount Olympus, but rather that he was the greatest god of the underworld.

This can be gathered from the context of the prayer, in which the hero of the Alcmeonis, Alcmaon, calls upon the powers of the earth to see the soul of his father safely transferred to heaven. Zagreus' status as a god of the underworld can further be attested to by two works written by Aeschylus. One of these references, found in a fragmented line of one of Aeschylus' lost Sisyphus plays dating back to around the 5th century BCE, identifies Zagreus as the son of Hades. Another reference, from Aeschylus' Egyptians names Zagreus as Hades himself.

Either way, Zagreus seems to have been a powerful underworld god, earning the epithet "Chthonios," or "the subterranean." As for the associations of him to Dionysus, scholars such as Timothy Gantz have postulated that the separate myths of Zagreus, a son of Hades and Persephone, had over time become merged with the myth of Orphic Dionysus, the son of Zeus and Persephone, so that the name Zagreus came to be associated with both myths.

Continue reading...

#History #Dionysos #GreekMythology #Hades #WHE #[ #]

[exactlycleverpirate]

Trying to Make Sense of Rafayel's Timeline

This has been updated here.

Spoilers for basically everything below, except for the endings of he Myths, as I do not have those yet.

First, so notes:

See outline for three possible options for the timing of the pinky promise/rescue. 

As children, she rescued him when he was stranded on the beach and then Rafayel made a pinky promise with MC that “It's settled then. If you don't return I'll…I'll chase you to the ends of the Earth.” (Nightly Stroll and Main Story chapter 7)

Also 3 options for the slaughter of the Lemurians after Rafayel is deceived as a child.

As a boy, Rafayel sings the “Siren's Ballad” as an elegy for the slaughtered Lemurians as he sits on a coral reef alone surrounded by waves dyed red with their blood, watching ships sail away, carrying those who deceived him and slaughtered his people (Anecdote 3). (Could be that Rafayel trusted the wrong humans and revealed either the location of the Lemurians or that they were all vulnerable on Ebb Day) (Perhaps MC had an unwitting hand in this).

These two events may be back to back or occur at separate points in the timeline. Inclined to think the promise came first, then the deception, but could be that he was stranded because of the deception/slaughter, or these events occur separately.

Timeline:

On Earth, past life/lives:

First possible option for the pinky promise/rescue: Their first lives ever meeting each other, starting it all off. 

First possible option for the deception/slaughter: Immediately after their first encounter with each other.

Rafayel and MC are lovers.

MC cursed to be a Sea Witch in the Abyssal Rift and has forgotten Rafayel and being human. He gives up a scale, some of his blood, and his song in a shell to set her free. The potion she makes with these is a bitter scent reminiscent of fermented aquatic plants. She turns human and remembers him. He gets her to shore and then he turns into foam. (When she regains her memories, the voices that play are of current day Rafayel, from his date Your Fragrance. Possibly just because she is remembering this in a dream, rather than those being the actual memories she recovered at the time.) (Fragrant Dream)

Second option for pinky promise/rescue and/or deception/slaughter: Reunited in some reincarnation between the initial life and the current one.

Current life, on Earth:

2024 Rafayel born March 6th (or so he claims).

2026 MC born.

Rafayel was given a Whale Call by Lemurian adults when he was a child. He never had a chance to use it and buried it in a Lemurian city under the sea. (Was this in this life or a previous one?)

Third option for pinky promise/rescue and/or deception/slaughter: This timeline when they are children, likely before the Deepspace Tunnel and Chronorift Catastrophe in 2034

Rafayel's only living family on Earth is his Aunt Talia, also Lemurian. There are some other surviving Lemurians as well who are being hunted, tortured,  and harvested for their scales and blood. (Anecdote 3)

2034 Ruins of Lemuria were revealed near Linkon the same year that the Deepspace Tunnel appeared and the Chronorift Catastrophe occurred. MC (age 8) now has protocore shards in her heart, is adopted by Granny, and has little memory before this event (perhaps this is when she forgets Rafayel).

Rafayel is an Opera Singer in Verona going by the moniker “Mo”, hunting down and killing people, possibly as revenge for the destruction of Lemuria and slaughter of his people. He is in touch with Talia. He also recently attended a Seamoon Ceremony for another Lemurian, K, who dies and is returned to the sea (after having his scales and blood taken). It is suggested that Rafayel is trying to accomplish something to save the Lemurians, saying, “Not every Lemurian survivor can wait.” It appears the longer he takes to accomplish his goal, the more of the Lemurians die in the meanwhile. (Anecdote 3)

He is not painting. 

He is being investigated by a private detective named Louis.

Rafayel remembers the dying cries of his people.

Rafayel leaves Verona and moves to Linkon city. He has a picture of MC in his pocket. (Anecdote 3)

Rafayel uses a private investigator to find out MC is attending Linkon University. He takes a position as a special lecturer there. He sees MC again, talking to some of her classmates. He is confused that she doesn’t seem to know anything about Lemuria. (Anecdote 2)

Rafayel begins painting again.

Rafayel does not tolerate the PI getting too close to MC or taking pictures of her.

Describes his feelings for MC as akin to a spice, painful and addictive.

Indicates he is prepared to be with her for the rest of his life, but also wants to “settle the score”.

Rafayel believes she is being surrounded by dangerous entities, some of whom may possibly be trying to use her to trap him. This is part of why he doesn’t approach her at this time. He decides he can afford to take his time and make his moves carefully. 

Rafayel hires Thomas to be his agent. (Anecdote 1)

2048 MC (age 22) begins work as a Deepspace Hunter. MC and Rafayel are reunited, though MC does not remember Rafayel. Rafayel’s home is called Mo Art Studio.

Rafayel acquires a red Flamula from Lemuria the first time he reintroduces himself to MC. She gives it to him to take home.

When Rafayel attempts to abandon MC to drowning, there is a tail mark that appears above his heart, and he turns around and goes back to her. (Possibly an indication of the bond they forged when he saved her with his scale or made a vow with her).

Lemuria is described as being gone for thousands of years, yet Lemurians are still alive now. (Possibly they had gone into hiding and were revealed when Rafayel was deceived.) (Rafayel described himself as “a lost pearl that washed up on the beach” in Ebb and Flow.)

In “Nightly Stroll” date, Rafayel makes MC vow never to make him wait again, a vow that is blessed by a little blue fish, an Emissary of the Ocean.

In “Your Fragrance” date, Rafayel asks MC who gave her the catnip-like perfume (he says it smells familiar), suggesting she is working with someone, using underhanded methods to trap him. 

(This smell has a similar description to the perfume he gives her later that gives her the dream, as well as the smell of the potion that turns her human. “Bitter like fermented plants”.) 

“Are you trying to run away again? I'm not going anywhere. You're going to lock me up again. You're with them, I just know it. Don't think I'm unaware of what you're about to do. I won't fall for it again. Not this time.” 

(Order of events: Your Fragrance > Dangerously Close > Fragrant Dream)

In “Ebb and Flow” date, he reveals himself as a Lemurian to MC on Ebb Day. She promises to never hurt him.

This vulnerability suggests he has a remarkable amount of trust in MC, despite his bitterness at her forgetting him. 

Rafayel asks MC what she would do if this was all a trap he set up to kill her. This is what is happening in Rafayel’s myth story. Does Rafayel in this time period somehow know about that or is this just foreshadowing? 

In “Whalefall Lament” date, Rafayel takes MC to underwater ruins of Lemuria to dig up the Whale Call he buried there as a child. He describes his childhood as boring and closely guarded. He made many escape attempts when he was young, and was given the Whale Call as a means of protection, but he never had the opportunity to use it, as his escape attempts did not succeed again after this.

Philos (estimated 30,000 years after Earth’s destruction):

Myth takes place on Philos, likely sometime between Xavier and MC meeting for the first time (Xavier’s Anecdote 3) and Xavier's myth story. The oceans have been missing for 30,000 years (possibly because Earth was destroyed and Philos was made with a fake core holding separate tectonic plates together). 

Rafayel was bound to MC when the oceans still existed by giving her one of his scales (see Fragrant Dream for when this may have occurred). 

MC's heart keeps the people of Philos immortal (See Xavier’s Myth for the connection between MC’s heart, the people’s immortality, and Philos’ core) and she was “born from the depths of the earth”. MC remembers living on the Island of Songs in a hut by herself, surrounded by the ocean. (Was this in her first life or some subsequent life on Earth?)

Could Hat Island and the Island of Songs be the same place?

MC is gifted Rafayel when they are young and sets him free. Rafayel later implies he was only caught because he wanted to be.

Rafayel and MC are reunited as adults when she is attempting to escape the palace. They meet several times and grow close, though Rafayel is plotting with Amund.

Rafayel is mentioned as the second most important person to princess MC. The first visits her often. Who is this? Xavier? The King?

There are other Lemurians on Philos with Rafayel,  including Amund. They are killing human nobles, with the belief that by doing so, it will help restore The oceans and Lemurian.

Rafayel is referred to as the God of the Sea in the myth and it is implied that his heart has been stolen by MC. Possibly not literal.

Rafayel believes revenge is meaningless. Only wants to restore the oceans and Lemuria.

MC can use a Lemurian Beacon to summon Rafayel.

Rafayel and Amund take MC to the Island of Songs (now no longer an island), and she recognizes it. Rafayel has to decide whether to believe the legends and cut out MC’s heart in an effort to restore the oceans and Lemuria. Rafayel had previously indicated that the heart must be given willingly. (Don’t have the final 2 chapters of the Myth yet to know how this plays out).

On another note, I am now just sitting here thinking about how both Xavier and Rafayel have loved her for over 30,000 years. And Xavier has been alive through that whole time, possibly watching her die over and over again. *sobs*

Please let me know your thoughts, questions, corrections, insights, what have you. I'm sure i missed stuff or made mistakes. This will likely be updated when I can finish the myths.

#love and deepspace #zayne love and deepspace #rafayel love and deepspace #xavier love and deepspace

[yamayuandadu]

Tenshō Daijin: the many guises of medieval Amaterasu (part 1)

I’ve been working on this article on and off since late 2021, and it’s the longest one I’ve published on my blog so far (some of my wikipedia contributions are bigger, but that’s a separate matter). In fact, it's so long I have to split it into two due to limitations of tumblr's post editor.

When most people speak of “Japanese mythology”, 99% of the time they effectively think just of the Kojiki and Nihon Shoki (with some night parade scrolls sprinkled in, maybe, even though that’s not really mythology, but Edo period popular entertainment). The goal of this article is to challenge this incorrect view, and to shed some light on the mythology of the Japanese “middle ages” -  roughly between the 11th and the 16th centuries. I decided to use Amaterasu as the main topic, as it’s hard to think of a better way to showcase how much mythology remains outside the general perception than using a figure who, at least at first glance, is well known as an example. From Brahma longing for a friend to Yang Guifei surviving own death, I’m sure everyone will find something new here. Myths obviously aren’t all that will be covered here, though. I’ll also discuss the theological doctrines which flourished in the middle ages, with a particular emphasis on honji suijaku, their social context, and more. You will be able to find out what rituals focused on Amaterasu had to do with Enma and Taizan Fukun, how economic woes of the Outer Shrine of Ise impacted Brahma’s role in Japan, why some secrets existed only to be deliberately revealed, and more.

Kami and Buddhism

In order to discuss the development of Amaterasu’s character and her associations with other figures through the middle ages, as well as the myths which developed as a result, I’ll first need to summarize the nature of interactions between kami and Buddhism through the Nara, Heian and medieval periods. I’m specifically saying kami, as opposed to Shinto, for reasons which will become clear later. It seems that at first the relation was rather standard as far as early interactions between Buddhism and preexisting religious traditions in areas where it was introduced go. Mark Teeuwen singles out Tibet and various kingdoms corresponding to parts of present day Myanmar as examples particularly similar, though obviously not identical, to early Japan. The parallel developments concerned the Bön faith in the former and the beliefs pertaining to the nat in the latter. The early sources appear to indicate that kami were envisioned as beings who need to strive towards enlightenment themselves. Recitation of sutras was described as a way to bring them closer to that state. However, some rather quickly started to be viewed as active protectors of Buddhism. As early as 741 Hachiman was already regarded as such, for instance. Additionally, combinative “shrine-temples” already existed in the same period too, attesting to a fusion of Buddhism and preexisting tradition.

A schematic representation of some examples of the honji suijaku from the Kasuga mandala (wikimedia commons)

A breakthrough occurred in the ninth century, with the development of honji suijaku (本地垂迹) - the theory on kami being “traces” or “emanations” (suijaku) of Buddhist figures, referred to as “original sources” (honji). Similar theories regarding Daoist figures were at times advanced by Chinese Buddhist scholars as early as in the fifth century, so it was hardly an unparalleled development, though its scope was fairly unique. By the end of the Heian period, honji suijaku became the default mode of understanding kami.

A common misunderstanding today is that honji suijaku meant exact correspondence between a single Buddha and a single kami. In reality, what it created is a “fluid pantheon”, to borrow the title of one of Bernard Faure’s books dealing with this phenomenon. Connections between specific kami and Buddhas (or bodhisattvas) certainly were often established. However, that was not all. 

Kami could be connected to other kami, and Buddhas to other Buddhas; and on top of that both groups belonged to an elaborate network which also included devas, wisdom kings, astral deities, legendary heroes and historical figures from various countries (for example Daoist immortals), and beings which defy classification altogether. In Keiran Shūyōshū (溪嵐拾葉集), the notion of honji suijaku is even extended to silkworms (their honji is Aśvaghoṣa). Multiple identifications could coexist, sometimes in the same sources. On top of that, individual figures could change classification depending on context.

The new theological ideas also lead to the formation of new myths, collectively referred to as chūsei shinwa (中世神話; “medieval mythology”). As summarized by Sujung Kim, this term encompasses both the myths which arose in the Japanese “middle ages”, the Kamakura and Muromachi periods (1185-1600), and modern study of them. A closely related, though more narrow, term is chūsei nihongi (中世日本紀), which refers specifically to reinterpretations of preexisting classical myths, for example Nihon Shoki, from the same times.

One of the primary goals of the new myths was to create a metaphorical bridge between Japan and the lands described in Buddhist literature transmitted from China, Korea and beyond. Sutras and other literature were often set in fabulous distant kingdoms or in supernatural realms. At the same time, the material reality of Buddhism tied it to local institutions and landscape. As a result, the local was imbued with a new, universal meaning.

As Mark Teeuwen put it in his article The Buddhist Roots of Japanese Nativism, medieval literature “allowed a local warlord to pose as a golden cakravartin, a local mountain to take on the guise of the cosmic Mt. Sumeru, a local deity to embody an aspect of the World Buddha, and a local rite to aspire to the universal aim of bringing salvation to all sentient beings.” At the same time, the universal gained a local dimension, making it easier to grasp and more approachable.

However, that was hardly the end, more like the beginning  - yet another prominent change which occurred over the course of the 12th and 13th centuries resulted in the formation of a new belief: select kami were in fact not emanations of secondary importance of Buddhist figures, but direct representations of enlightenment. These developments eventually culminated in what is sometimes described as “reverse honji suijaku”: Buddhas and bodhisattvas were merely manifestations of primordial kami, not the other way around.

The motivations behind the development of these ideas are not clear. While especially in the past it was commonly assumed that they represented the beginning of a “pristinely Japanese” spirituality reasserting itself against “foreign” Buddhism, most of the theologians involved were Buddhists themselves, or at least enthusiastically drew inspiration from Buddhist sources. Mark Teeuwen and Fabio Rambelli suggest they might have been motivated by a desire to take Buddhist theology to logical extremes in order to investigate the nature of reality before the emergence of the first Buddha and the current kalpa.

Furthermore, in addition to lofty theological speculation material motivations might have been at play. Many of the advocates of reverse honji suijaku might have been so-called “shrine monks”, tasked with maintaining the shrine parts of religious complexes. Possibly their need for broader recognition and greater authority made them keen on such theological reversals. This is ultimately speculative, though.

Curiously, reverse honji suijaku arguably might have led to the creation of Shinto in the modern sense. While the phrase 神道 has a long history, and it is applied to intellectual and religious movements active in the middle ages in modern literature (for example, the treatises of a certain priestly family I’ll discuss are often called “Watarai Shinto”), there is no strong evidence that it was commonly understood as shintō in the modern sense - a distinct religious tradition - predating an explicit statement in a treatise from 1419 written by the Tendai monk Rysōhen dealing with these topics. In the earliest sources the default reading was jindō, referring not exactly to a distinct system of beliefs, but rather to a “realm”of kami ultimately existing in Buddhist context. While Shinto did eventually develop into the tradition which came to define the kami, through the middle ages and the Edo period which followed, honji suijaku was the dominant paradigm, and permeated all spheres of society.

The early history of Amaterasu: sun, textiles and longing for companionship

An Edo period painting of Amaterasu emerging from the cave, by Kunisada Utagawa (wikimedia commons)

While the explanation of the basic nomenclature and a crash course in interactions between Buddhism and kami is now out of the way, before I’ll be able to move on to the impact of the medieval ideas on Amaterasu I need to briefly summarize her earlier history.

Through the article I will simply use the name Amaterasu consistently. However, it should be noted that the standard form of the name, 天照大神, in the middle ages and in the Edo period was often read not as Amaterasu Ōkami, but rather as Tenshō Daijin, in accordance with on’yomi or “Sino-Japanese” sign values. Therefore, don’t be surprised that this is the version used in titles of historical works mentioned. As a curiosity it is worth mentioning that this is actually the reading used fairly consistently in the first western source with reasonably reliable information about Amaterasu (unless I missed something even earlier), Engelbert Kaempfer's History of Japan from 1727. 

On a similar note, I generally stick to describing Amaterasu as female. However, it needs to be pointed out that through the middle ages and in the Edo period male Amaterasu is also attested, depending on the source either replacing the female version or coexisting with her. Some modern authors go as far as speculating if Amaterasu wasn’t originally seen as male prior to being redefined as female, but this is not really fully provable. The existence of a tradition according to which Amaterasu manifested in male form is already mentioned by the Tendai monk Jien (1155-1225). There are also sources providing ambiguous information about Amaterasu’s gender. In at least some cases such phenomena were a result of identification with figures either regarded as male or portrayed as androgynous in art, as I outlined in a recent article discussing the case of Amaterasu and Uho Dōji (who won’t be brought up here in any meaningful capacity, since I'm not going to focus on the Edo period). It’s not really possible to make a blanket statement on this matter, though.

Additionally it’s important to bear in mind that identification between two figures could transcend the gender of the parties involved. As you’ll see later, there were even cases of Amaterasu’s identification with a male figure actually resulting in traditions particularly strongly emphasizing her typical gender.

The Inner Shrine at Ise in 2008 (wikimedia commons)

Throughout her entire history Amaterasu has been associated with Ise and its Grand Shrine. According to the Nihon Shoki, that’s where she originally descended from heaven to earth, and where she later returned in order to be enshrined. The term “Ise Grand Shrine” actually refers to a complex centered on two major shrines, though, and only one of them, the Inner Shrine (内宮, naikū), is dedicated to Amaterasu. The kami of the Outer Shrine (外宮, gekū) is instead Toyouke.

The earliest history of Amaterasu is effectively unknowable due to lack of available sources. While she does appear both in the Kojiki and Nihon Shoki in a central role, both of these works only date to the eighth century, and their historicity is often at best dubious. When exactly was her shrine originally established is a matter of debate: supporters of treating Nihon Shoki literally argue for 4 BCE (during the reign of the legendary emperor Suinin), but historians and archeologists favor more vague dating to either the fourth, fifth or seventh century. The earliest detailed records of specific religious ceremonies at Ise can only be found in an administrative protocol compiled in 804.

Historically it was quite popular among researchers to essentially assume being a personification of the sun is all there ever was to Amaterasu’s character, and that she derives her importance entirely from her solar role. Today this view is no longer accepted quite as firmly, and it is even sometimes questioned if this was necessarily her original function, though this is ultimately neither entirely provable nor fully relevant here. 

Obviously, the classical Amaterasu also served as a royal deity presented as an ancestor of Japan’s imperial lineage. She was also treated as a symbolic source of its authority by extension of her role as a heavenly ruler commanding the kami. This is an example of the well documented phenomenon of clan kami (氏神, ujigami). However, based on archeological data Ise was not particularly important early on in Japanese history, and the area around it was sparsely populated as late as in the seventh century On top of that it would appear that, if the early texts are to be believed, emperors actually had an ambivalent relationship with her. It has been suggested that her classical position was only established during the reign of emperor Tenmu in the late seventh century, perhaps due to his personal connection to clans from the Ise area.

It’s important to stress here that on multiple occasions in history, in particular recent history, the connection between Amaterasu and emperors was channeled to nationalist and imperialist purposes. For instance, the Japanese colonial government in Korea funded the construction of a complex enshrining Amaterasu and emperor Meiji in the 1920s, and subsequently legally obliged students (among others) to attend ceremonies held there to foster loyalty. 

The Outer Shrine in 2015 (wikimedia commons)

A key moment in the early history of Amaterasu was the introduction of the kami Toyouke (豊宇; literally “abundant food”) to Ise. A legend about her arrival is preserved in the aforementioned administrative protocol from 804. According to it, Amaterasu appeared to emperor Yūryaku (second half of the fifth century, if his historicity is to be accepted) in a dream to let him know that she is distressed and lonely, and on top of that can’t receive offerings of food according to proper protocol. She explained that the only way to solve all of these problems is to bring her a kami responsible for divine food (御饌津神, miketsu kami), Toyouke, who is to be found in Hiji no Manai in the Tanba Province. Thanks to this precise guidance, the emperor was able to instantly solve the problem, and Toyouke was moved to Ise, where she symbolically took the responsibility for food offered to Amaterasu. 

Presumably, the legend contains at least a kernel of truth, and Toyouke was initially enshrined in a facility meant to fulfill a specific ritual role for the Inner Shrine, which in time grew to rival it in size and importance. Save for these details, much about the early history of Toyouke is even more unclear than in the case of Amaterasu, though. She is only mentioned in passing in the Kojiki under the name Toyoukehime no Kami (豊受姫神) in the account of the birth of Wakumusubi no Kami (和久産巣日神), one of the many kami who came into being as a result of Izanami’s death. However, this passage does not provide any information about her character, it merely states that she is Wakumusubi’s child. This tradition was of limited, if any, interest to the Outer Shrine clergy through the middle ages, as I’ll later demonstrate.

While Wakumusubi also appears in the Nihon Shoki, though with a slightly different genealogy, Toyouke is entirely absent from this work. You can find a claim on the contrary in Michael Como’s Weaving and Binding. Immigrant Gods and Female Immortals in Ancient Japan, but he essentially treats Ukemochi as identical with Toyouke and asserts the myth about Tsukuyomi killing the former is effectively about the latter. It doesn’t seem like any subsequent publications picked up this idea.

The final early source of information about Toyouke is the Tango no Kuni Fudoki (丹後国風土記; “Records of the Tango Province”). It presents her as one of eight “heavenly women” (天津乙女, amatsuotome) who at some point arrived at a spring near Mount Hiji to bathe. An old couple stole the clothes of one of them, rendering her unable to return to heaven. They subsequently ask her to become their daughter, since they have no children. She agrees, and for ten years lives with them, brewing sake which could magically heal “ten thousand ills”. The old man and woman prosper thanks to her. However, they eventually decide to tell her that she is not really their child, and should go back to heaven. She tells them that she has lived among humans for so long this is not an option for her anymore, and leaves in anger. She only calms down after reaching a different village, Nagu, where she is eventually enshrined under the variant name Toyoukanome no Mikoto (豊宇賀能売命). Due to involving a heavenly being having to stay on earth due to her clothes being stolen, this myth has been compared to the better known Hagoromo. Michael Como also argues that it might reflect the perception of Toyouke as a Daoist immortal (hence her ability to bew something akin to the fabled Daoist alchemical elixirs meant to prolong life), similarly to how the legend of Urashima Taro does. While I found his Nihon Shoki argument somewhat dubious as I said, I think this is an interesting point which warrants further study. Similar possibility about Toyouke’s character has been suggested by Bernard Faure too.

It’s also worth noting a possible reference to the Tango no Kuni Fudoki myth has been identified in a painting of the two shrines of Ise from the collection of Shōryakuji, a Buddhist temple located in Nara (seen above; screencapped from Talia J. Andrei's Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara, for educational purposes only). It depicts eight female figures standing on a cloud around a container used to make sake in the proximity of the Outer Shrine.

Amaterasu and Buddhism: the ambivalent beginnings

Early sources pertaining to Ise discussed in the previous section are invaluable when it comes to Amaterasu’s position and her connection with Toyouke, but they don’t really shed any light on the development of associations between her and Buddhist figures. Quite the opposite - they indicate that around the year 800, even basic Buddhist terms like “pagoda”, “monk” or “sutra” were considered taboo (忌み, imi) by priests of the Inner Shrine, much like these pertaining to conventional sources of religious impurity like violence, death or illness. However, Mark Teeuwen notes at the same time these very priests most likely took part in Buddhist ceremonies themselves, and there is even some evidence that in the eighth century a Buddhist temple existed in Ise.

The reasons behind the implementation of the taboo were likely largely political, rather than strictly religious. For context: in the second half of the eighth century, empress Shōtoku famously appointed Buddhist monks to various prestigious positions in the royal court. Dōkyō from the Hossō school was even temporarily elevated basically to the rank of her equal (though he eventually fell from grace). This was generally poorly received by other officials, who might have viewed it as an attempt at establishing Buddhist theocracy in place of hereditary monarchy. This in turn likely led to tensions and fueled various succession controversies in subsequent decades. Further problems, like untimely deaths or exile of various members of the imperial family, kept accumulating, and by 804 the prestige of the court was severely damaged. Furthermore, there is evidence that there were various economic conflicts of interest between the Ise clergy and local Buddhist monks.

A sixteenth century painting of emperor Kanmu (wikimedia commons)

Since the oldest source to mention the taboo is an administrative, rather than religious, text, it is not impossible that it was intended by emperor Kanmu as a way to diffuse all these social and political tensions. Mark Teeuwen suggests his goal might have been a way to restore the prestige of his family and create a center of symbolic ancestral cult which would offer him additional legitimacy independent from the Buddhist establishment residing in Nara, which was crucial for many of the previous emperors. As a lifelong student of Confucian philosophy, he likely found many models to draw from in Chinese texts. His vision of Ise was presumably that of an ancestral mausoleum.

Regardless of Kanmu’s decisions, in the long run Buddhism retained its influence in royal affairs. In fact, it was arguably this emperor himself who indirectly caused its revitalization. In 804, he sent two young monks, Saichō and Kūkai, to China. They returned with something previously largely unknown in Japan: esoteric Buddhism. The new schools they established, Tendai and Shingon, captivated the imagination of virtually all strata of society in the nascent middle ages. 

Amaterasu, too, came under esoteric Buddhist influence, and gained new roles, often completely detached from her earlier character - or at the very least from the part of it firmly tied just to the ruling family. Mark Teeuwen partially jokingly refers to this chapter in her history as an “escape” from Ise and notes that for a time she has “shaken off the imperial shackles”. There was a material aspect to these processes in addition to the purely theological considerations. In the Kamakura period, the role of warrior classes grew and the imperial court weakened. As a result, the Ise clergy - the Arakida clan of the Inner Shrine and the Watarai clan of the Outer Shrine - gained greater autonomy. The emperors weren’t able to enforce a symbolic monopoly on Ise, which therefore no longer served just as a center of ancestral cult. The downside was the loss of most of the imperial funding, which necessitated innovation to secure other sources of patronage.

The Ise taboos established earlier were not exactly abandoned, but the clergy found ways around them in order to enable Amaterasu to thrive in this new environment. A summary of the theological solution they developed is provided in Nakatomi Harae Kunge (中臣祓訓解; “Reading and Explanation of the Nakatomi Purification Formula) from the late twelfth century: “although on the surface performing ceremonies which are different from the Buddhist teachings, [Amaterasu] in essence protects the Buddhist laws.” Additionally, a myth reinterpreting one of the most famous episodes from the entire Buddhist canon, but with Amaterasu as a new protagonist, was developed to justify the taboo’s existence. I’ll discuss it in a separate section later on.

The reinvention was evidently successful. There is little evidence for widespread worship of Amaterasu in earlier periods. She was effectively little more than a royal deity. Even courtiers had limited, if any, knowledge of her. Only in the middle ages did she come to be widely recognized as a major figure in the Japanese religious landscape among all strata of society. Paradoxically it was the partial detachment from the imperial family that let Amaterasu claim a uniquely elevated position in the pantheon.

One of the best sources of evidence of Amaterasu’s newfound popularity are standardized oath formulas (起請文, kishōmon). In the Kamakura period, she came to appear in them quite frequently. She was invoked either simply as the foremost kami, or alternatively as the “lord of the land” (ie. Japan; 国主, kokushu). Either way, her purpose, much like those of other of the invoked figures, was to guarantee the oath will be upheld, and to punish those who will break it. 

The spread of Amaterasu to new audiences resulted in the rise of numerous new interpretations. That’s where the already briefly discussed idea of honji suijaku came into play.

A twelfth century painting of the Buddha Dainichi (wikimedia commons)

As I said earlier, despite the popular understanding of this term honji suijaku did not necessarily just signify correspondences between kami and buddhas. However, in Amaterasu’s case the earliest example actually does match this model. She came to be associated with the Buddha Dainichi (大日, literally “great sun”; from Sanskrit Vairocana). 

Some authors, like Bernard Faure, argue that the establishment of a link between Amaterasu and Dainichi was effectively the core of the early honji suijaku as a whole. Purportedly the belief that a connection existed between them went all the way back to the teachings of the famous monk Gyōki, active in the first half of the eighth century. The historicity of this claim is uncertain, but it was understood as historical truth in the discussed time periods, at the very least. Anna Andreeva, relying on earlier studies by Satoshi Itō, notes that it would appear Seizon’s (成尊; 1012–1074) Shingon Fuhō San'yōshō (眞言付法纂要抄; “An Abbreviated Compendium of the Transmission of Shingon Buddhism) from 1060 has a strong claim to being the oldest attested example which can be properly dated. 

While other Buddhas, such as the historical Buddha, Amida (Amitābha), Miroku (Maitreya) or Yakushi (Bhaiṣajyaguru), are obviously also present in Japanese Buddhism, historically, especially prior to the rise of Amida-centrist schools, Dainichi was by far the most important one. This is especially pronounced in Shingon, where he is recognized as the “first Buddha” (Ādi-Buddha). Dainichi’s importance coupled with his solar associations made him a suitable match for Amaterasu in the eyes of theologians. Amaterasu’s solar role is pretty widely acknowledged in Buddhist sources, and she could be labeled as a “solar deity”, nisshin (日神). She was also identified with Nittenshi (日天子), the Buddhist version of the Hindu sun god Surya. However, Nittenshi could also function as a distinct figure and had his own iconography.

A twelfth century hanging scroll showing Nittenshi in the company of attendants (Kyoto National Museum; reproduced here for educational purposes only)

The development of a connection between Amaterasu and Dainichi brought a number of changes to Ise. As an extension of it, the Inner Shrine and Outer Shrine at Ise came to be identified with the Womb Realm mandala and the Diamond Realm mandala, closely associated with him.

The Ise clergy additionally argued that the taboo observed as the shrines does not impact Amaterasu’s connection to Dainichi - rather she (and by extension Toyouke as well) represents not a mere trace of this Buddha, but “original enlightenment” (hongaku). A new systematization of kami was built around the idea: at Ise, only Amaterasu and Toyouke were regarded as belonging to the category of “kami of original enlightenment”, with other divided into “kami of inception of enlightenment” (those who had to actively embrace Buddhism) and “kami of delusion” (those who opposed it). Similar categories were employed in different areas too, though, with the head local kami, for example Suwa Daimyōjin or Sannō (山王), taking the same role as Amaterasu at Ise. While Dainichi can be considered Amaterasu’s essential honji suijaku pair, I already pointed out, it was hardly unusual for a specific figure to develop multiple connections within the honji suijaku framework, though, and this holds true for her too. 

Amaterasu, Enma and other functionaries of the underworld

Enmaten (wikimedia commons)

Next to Dainichi, Amaterasu’s best attested Buddhist “counterpart” is not a Buddha, but rather a deva, specifically Enma, the judge of the dead. While many other devas present in Japanese Buddhism largely languish in obscurity today, at least in popular perception, he is probably the most recognizable one next to the Four Heavenly Kings, so I do not think much of an introduction is needed. Even if you are not particularly interested in the history of religions, chances are you’ve seen him in one piece of media or another. 

Technically there are two distinct forms of Enma in Japanese tradition - Enmaten (焔摩天), who is more of a “classical” Hindu-style deva fairly similar in appearance to the original Yama, and the more popular Enma-ō (閻魔王; “king Enma”), styled after the bureaucratic Chinese underworld deities - but this distinction is not very important here. His rise to prominence in Japan started in the early ninth century at the latest, and by the ten century he was also joined by Taizan Fukun (東岳大帝; originally Taishan Fujun), a similar deity incorporated into Buddhism from Daoism. The latter was essentially the model for all of the other judges of the underworld: from the Buddhist kings of hell, to various local gods who took this role in the popular religion of Qing China. He might have even influenced the development of Matarajin in medieval Japan, but that’s a topic for another time.

It seems that a link between Amaterasu and Enma was initially established through an intermediary, specifically Seoritsuhime (瀬織津姫). She is identified with the king of hell in the Nakatomi Harae Kunge. While much about this text remains a mystery, in this case the logic behind the equation is quite clear - both of them were invoked during ritual purification. The means were not quite the same: Enma throws the sources of impurity into the deepest hells, while Seoritsuhime casts them into the ocean. Still, the level of similarity was sufficient to warrant establishing a connection. 

Seoritsuhime is described both as a servant of Amaterasu, and as her aramitama (荒魂), literally “rough spirit”. This term designates the wrathful, or at least impulsive, aspect of a given kami. In Nakatomi Harae Kunge Seoritsuhime as a manifestation of Amaterasu is also more specifically described as ara-tenshi (荒天子), “heavenly emperor manipulating the brutish force”.

An Edo period depiction of Taga Myōjin from the collection of Kyoto City University of Arts (via Bernard Faure's Fluid Pantheon; reproduced here for educational purposes only)

Tenshō Daijin Kuketsu (天照大神口決; “Oral Transmission Pertaining to Tenshō Daijin”), a fourteenth century theological treatise, also embraces the equation between Enma and Amaterasu. It explains that he corresponds to the form of Amaterasu associated with the Taga shrine, Taga Myōjin (多賀明神). She has a distinct iconography, and fairly consistently appears as a horsewoman on either a black or white steed (always shown frontally), with a sword in one hand and a box with a sutra in the other. The same source also equates Amaterasu with Godō Daishin (五道大神; originally Wudao Dashen), the “god of the five paths”, another king of hell. In the Nakatomi Harae Kunge, it is instead a purifying kami, Haya-Akitsuhime (速秋津比売神), “the beloved of the dragon king Nanda”, who corresponds to him, though. The passage establishing this also mentions a similar link between yet another purifying kami, Ibukidonushi, and Taizan Fukun (curiously, the explanatory line states that the river where Izanagi purified himself after fleeing from Izanami is identical with Mt. Tai, the residence of Taizan Fukun). However, the latter is also said to be the aramitama of Toyouke.

A Japanese statue of Baozhi (Kyoto National Museum; reproduced here for educational purposes only)

Tenshō Daijin Giki (天照大神儀軌; “A ritual manual [for the worship] of Tenshō Daijin”) states that Amaterasu as a judge of the dead commands eleven messengers referred to as “princes”. It’s not easy to date this text precisely, though it’s clear it was already in circulation by 1164. It claims to contain knowledge originally revealed to the legendary Chinese monk Baozhi (寶誌; 418-524), best known from a legend commonly referenced in art in which he tears his face apart to reveal the visage of bodhisattva. The text effectively redefines Ise itself as a place where the underworld officials gather, imbuing the temple complex with new meaning, detached from its older role as a center of royal ancestor cult. 

The eleven messengers listed are Zuikō Tenshi (a manifestation of Enma), Ryūgū Tenshi (dragon king Nanda), Suijin Tenshi (dragon king Batsunanda), Tenkan (“magistrate of heaven”), Chikan (“magistrate of earth”), Shimei (an underworld official), Inin Tenshi (equated with Izanagi and with Shiroku, an underworld official paired with Shimei in other sources), Kōzan Tenshi (Taizan Fukun), Godō Daishin, Kazenagashi no Kami and Okitama (a water deity equated with Suikan, “magistrate of water”). They correspond to various auxiliary shrines at Ise. Each of them is said to command a retinue of “four thousand trillion spirits”. While abstractly big entourages are quite common in medieval sources, from Michizane’s 105000 thunder god subordinates to Tenkeisei’s 84000 shikigami, even by these standards the number is unusually high.

The Enmaten mandala, with Taizan Fukun (middle of the top row) and Shimei, Godo Daishin and Shiroku (bottom row) shown among his attendants (wikimedia commons)

The lists of underworld officials serving Amaterasu show a considerable degree of overlap with these present in ritual texts Enmaten Ku (閻魔天供) and Taizan Fukun no Sai (泰山府君祭; you may know it from the story of Tamamo no Mae). Notably, Tenkan, Chikan, Suikan, Shimei and Shiroku are all members of Enma’s entourage in origin. The last two are scribes responsible for keeping track of human lifespans, but the role of the former three is not well understood. 

Another deity present both in these rituals and in Amaterasu’s entourage, Godo Daishin, is a king of hell in his own right. His origin is unclear, though the oldest sources which mention him are Chinese apocryphal episodes from hagiographies of the historical Buddha. As the “god of the five paths”, he is responsible for assigning the dead to one of the five realms of rebirth: these of gods, humans, animals, hungry ghosts or hell. Notably missing is the asura realm, which didn’t particularly catch on in East Asian Buddhism. In the oldest sources, he is portrayed as somewhat inept and after meeting the Buddha implores him to teach him how to fulfill his role better. Enmaten Ku and Taizan Fukun no Sai attained a considerable degree of popularity in the eleventh and twelfth centuries due to the spread of the bureaucratic image of hell, and many laymen sought Buddhist monks (in the case of the former ritual) and onmyōji (in the case of the latter) who could perform them. They were supposed to heal illnesses, prolong life, secure an easy birth or simply to guarantee good fortune. It’s not impossible that furnishing Amaterasu with a similar role to their central deities was meant to let her clergy from Ise capitalize on the popularity of such rituals too. The spread of the new image of Amaterasu as a judge of the dead was also likely tied to her judiciary role in the already discussed oath formulas, where she essentially acts as a supernatural enforcer of legal claims.

Hokusai's drawing of three dragon kings, including Nanda and Batsunanda (British Museum; reproduced here for educational purposes only)

The final matter that needs to be addressed here is the presence of dragon kings Nanda (難陀) and Batsunanda (跋難陀; Sanskrit Upananda) in Amaterasu’s underworld entourage. In contrast with their peers, they do not have anything to do with Enma. In Buddhist cosmology, they support the cosmic mountain Sumeru, on which the highest devas like Indra and Brahma reside.  More context on their connection to Ise is provided in the treatise Bikisho (鼻帰書), which cites the Outer Shrine priest Tsuneyoshi Watarai (度会常昌; 1263-1339) as its source. It actually states that all eight of the dragon kings are protectors of Ise, though also that only two, one blue and one white (with no names provided), can be used to represent respectively the Inner Shrine and the Outer Shrine. The connection is said to depend on their role as protectors of the Womb Realm and Diamond Realm mandalas. Multiple sources from Ise indicate they were believed to dwell under the central pillars of the Inner Shrine and the Outer Shrine, in this context additionally identified with the cosmic abode of the gods, Mount Sumeru.

Amaterasu, Toyouke and Brahma (times two)

Bonten, the Japanese version of Brahma (wikimedia commons)

While Dainichi made a natural match for Amaterasu, and the reasons behind her association with Enma, while less obvious, aren’t hard to understand either, the third Buddhist figure most commonly associated with her, Bonten, is quite surprising. This deity, the Japanese Buddhist guise of Brahma, has limited presence in popular understanding of Buddhism, but generally much like his Hindu forerunner he is portrayed as a distant deity with limited interest in everyday human affairs. And yet, in medieval Japan Brahma was identified with a figure both commonly worshiped and understood as quite active.

This tradition is documented in Tenshō Daijin Giki. It reaffirms that Amaterasu - seemingly treated as a male figure in this case - is the Japanese guise of Dainichi. However, in the “Realm of Form” - a Buddhist term referring to the world inhabited by humans and deities - he takes the guise of Bonten, and acts as the deva king of Japan. His life will last a total of 105000 years, and he will defend exactly 1000 rulers over the course of this period, before ascending to the Realm of Form to hear the preaching of Miroku. He will also help the faithful reach it.

The already discussed Tenshō Daijin Kuketsu also recognizes the equivalence between Amaterasu with Bonten, though it also furnishes her with a similar connection to the other ruler of the devas, Taishakuten (Indra), and states that both of these equations depend on the doctrine of Abhidharmakośa. Perhaps more unexpectedly, the same work also equates Amaterasu with Shōten (聖天, literally “noble god”; a Japanese form of Ganesha), specifying that this reflects a Shingon view. However, the thirteenth century scholar Ieyuki Watarai (詳細表示; 1256-1356) in his Jingi Hishō (神祇秘抄; “Secret Comments about the Deities”) mentions a different tradition in which this god’s connection with Amaterasu is less direct. He is said to be identical with a nameless “heavenly fox” (天狐, tenko) who acts as her acolyte. 

Yet another text already brought up in the previous section, Nakatomi Harae Kunge, does not equate Amaterasu with Brahma outright, but it does redefine terms from classical mythology around him. The High Plain of Heaven (高天原 Takamagahara) is said to be identical with the “First Meditation Heaven of the Realm of Form, ruled by Bonten”. Furthermore, the collective label Yaoyorozu no Kami (八百万の神; literally “eight myriad kami”) is said to encompass “Bonnō, Taishaku, the innumerable devas, the four Great Heavenly Kings, the innumerable devas of Bonnō, and eighty four thousand kami.”

The newfound interest in Brahma in the middle ages reflected an intellectual development arguably unparalleled in earlier Japanese religious tradition - a preoccupation with cosmology. 

Kojiki and Nihon Shoki obviously do deal with this topic, but the relevant sections are incredibly brief. This new discourse about cosmology was, at its core, Buddhist, but a major issue was that Japanese Buddhism was not very concerned with cosmology either. The two main sources of inspiration were, therefore, not contemporary Buddhist literature, but Chinese (mainly Daoist) texts on one hand, and accounts of Hindu cosmology, especially the Puranas, preserved in Buddhist sources on the other. Figures such as Pangu, the Three Pure Ones, Shiva or Brahma as a result attained considerable renown among Japanese theologians, who reinterpreted myths about them to suit local context, creating new narratives in the process.

A contemporary statue of Kuni no Tokotachi (wikimedia commons)

In some cases the poorly defined primeval kami from classical mythology could be incorporated into the new visions of cosmology created in the middle ages. Ame no Minakanushi from the Kojiki and Kuni no Tokotachi present both in this work and the Nihon Shoki are both well attested in that context, though references to Ame Yuzuru Hi Ame no Sagiri Kuni Yuzuru Hi Kuni no Sagiri from the Sendai Kuji Hongi can be found too. They were effectively treated as almost interchangeable, or as stages of emanation of the same entity, as documented for example in the writings of the Tendai monk Jihen (慈遍). 

Two strains of cosmological speculation, these focused on Brahma and primordial kami, were in particular enthusiastically embraced by the Outer Shrine clergy at Ise, who utilized both of them to improve the standing of Toyouke. As I mentioned before, her role, while seemingly initially relatively minor, grew with time. In many regards, she came to be presented as Amaterasu’s equal. She was furnished with an association with the moon to match Amaterasu’s solar character, for example. The first attempts at elevating Toyouke through theological speculation weren’t necessarily grand in scale. She was simply identified with other kami of similar characters every now and then, for example with Uka no Mitama. An isolated source, a letter from the early Kamakura period, appears to present her identical with Ninigi, Amaterasu’s grandson, instead, but this evidently did not stick. 

A breakthrough occurred in the late thirteenth century. The outer shrine clergy developed a view that Toyouke didn’t originate as a servant brought in to deal with Amaterasu’s loneliness and other needs, but rather a primordial kami, identical with Ame no Minakanushi or Kuni no Tokotachi. Toyouke in this guise was the foremost kami of heaven, and Amaterasu “merely” the foremost kami of earth. However, as I already pointed out, the new cosmologies which influenced this reinterpretation of Toyouke depended not only on classical mythology. Therefore, the Outer Shrine’s kami could also be identified with Brahma, or credited with controlling the proper flow of qi and thus yin and yang, following a Daoist model. Much of this theological speculation might have originated in the works of a single priest, Yukitada Watarai (度会行忠; 1236-1305), though he was far from the only contributor.

It’s worth pointing out that there was a practical material component to the theological speculation about the identity of Toyouke. Regardless of the relation of their respective kami, Inner and Outer Shrine were ultimately rivals competing for patronage. To present Toyouke as equally, if not more, important as Amaterasu was also a way to make potential donors, from shoguns to commoner pilgrims, more inclined to support the Outer Shrine. While prior to the Kamakura period Ise could securely depend on imperial funding alone, that changed with the weakening of the court. Therefore, securing new supporters was vital for their continuous activity. This remained the case through the Edo period as well, but this topic obviously goes beyond the scope of this article.

Identification of both Toyouke and Amaterasu as Brahma was not necessarily contradictory thanks to the existence of sources in which more than one Brahma appears. Nobumi Iyanaga points out that two Brahmas, Mahābrahmā Śikhin (ie. Brahma as the king of the gods) and Mahābrahmā Jyotiṣprabha (“Great Brahma of Brilliant Light”), appear in the Yamato Katsuragi Hōzanki (大和葛城宝山記), with one reflecting traditional portrayals of Brahma and the other representing a reinterpretation of an account of Vishnu as a creator figure. Both of the titles used appear in the enumeration of deities listening to the Buddha’s teachings in the Lotus Sutra. Two Brahmas also appear in the Bikisho, where “king Brahma” descends from heaven, but instantly starts longing for a friend. In response, a deity named Harama, an alternate transliteration of Brahma into Japanese, appears to him. The notion of Toyouke and Amaterasu being two Brahmas might have developed in the thirteenth century at Senkūin, a Buddhist temple closely affiliated with the Ise shrines. A text from this location dated to between 1240 and 1275 states that Toyouke, addressed as identical with Ame no Minakanushi, corresponds to Shiki Daibontennō (尸棄大梵天王; “emperor Mahābrahmā Śikhin”) and Amaterasu to Kōmyō Daibontennō (光明大梵天王; “emperor Mahābrahmā Jyotiṣprabha”). It also specifies Toyouke is male and Amaterasu female, which reflects splitting Brahma into a male-female cosmogonic pair. Nobumi Iyanaga points out the theological treatise Tenchi Reikiki (天地麗気記) goes a step further: the two deities are said to partake in intercourse. He suggests this represents a development of the motif of Brahma longing for a friend in the Bikisho. Tenchi Reikiki also states the couple personifies the Womb Realm and Diamond Realm.

A Kamakura perioid painting of Kūkai holding a vajra (wikimedia commons)

As a digression it’s worth pointing out that while the Tenchi Reikiki was only written in the Kamakura period, it was actually attributed at the time to Kūkai, who lived centuries earlier. Obviously one reason was that there’s no better way to make a treatise seem more authoritative than to claim it was written by a celebrated historical figure. However, it’s also worth pointing out that at some point a connection between Kūkai and Amaterasu developed. A tradition known from a number of works, for example Monkan’s treatise Himitsu Gentei Kuketsu (秘密源底口決) presents him as a manifestation of her. 

The Watarai theories about the nature of Toyouke and Amaterasu have originally been written down in the Kamakura period in the so-called “secret books''. This term has been used to refer to them collectively since the Edo period, when they were standardized for a relatively brief time into a “canon” of sorts. While tradition has it that there were five of them, research revealed the existence of further texts in medieval tradition, with one rediscovered in 1955, for example.  At least in theory, the individual Watarai books present information contained within as a special sort of secret, designated by the Buddhist term shōgyō (聖教; literally “sacred teachings”). Originally it referred to the teachings of the historical Buddha, or to the Buddhist canon more broadly, but in medieval Japan the term came to refer to specific kinds of knowledge transmitted by monks and other religious specialists in general.

While sometimes referred to as “secrets” in English, shōgyō were not necessarily impossible to share. Through the entire middle ages, many temples and shrines all across Japan effectively actively built their identity around making it known that they possess religious secrets worth knowing and can transfer them. Sometimes, they were intentionally “leaked” to nobles, imperial courtiers or fellow clergymen to spark interest. They were also utilized in annual “debate rituals” (論義会, rongie) held by authorities for religious scholars, who treated them as a way to hone their rhetorical skills and gain new theological insights.

The divine and the vulpine at Ise: Amaterasu, Dakiniten and Sankoshin

The Dakiniten mandala (wikimedia commons)

The topic of shōgyō is fundamentally linked with ambivalent Buddhist figures which in medieval Japan came to be associated with the notions of non-duality combining enlightenment and ignorance, such as dakinis, which commonly figured in such “secrets”. While dakinis do not appear in the cosmological myths from the Watarai books, they nonetheless did play a role in the developments pertaining to medieval Amaterasu. A link between her and the dakini par excellence, Dakiniten, developed due to their shared connection with Dainichi. Under his original name Mahavairocana, Dainichi can be portrayed as a subduer of dakinis, taking the guise of Mahakala (Makaraten) in this context. The singular Dakiniten as a result of this association could be identified with Dainichi outright, as attested in the Rinnō Kanjō Kuden (輪王灌頂口傳), dated to the late Kamakura period. 

The link between Amaterasu and Dakiniten is chiefly known from the Shingon ritual sokui kanjō (即位灌頂), “enthronement initiation”, meant for emperors freshly ascended to the throne. It was first performed for emperor Fushimi in 1287, and remained a part of ascension ceremonies all the way up to 1846. In this context, Amaterasu outright appears in the guise of Dakiniten. A similar statement can be found in Tenshō Daijin Kuketsu, which calls Dakiniten the honji of Amaterasu (it also links Dakiniten with Fujiwara no Kamatari and the rise of the Fujiwara clan, but I’ll cover that elsewhere in the future).

Keiran Shūyōshū specifies that the shinko was an appropriate form for Amaterasu because it is the only animal capable of emitting light on its own. This ability in turn reflects the fact that its body was identical with the wish-fulfilling jewel, a frequent attribute of Buddhist figures; the name is self-explanatory. Alternatively, the animal could be described as possessing three tails, each ending in a wish-fulfilling jewel. By the fourteenth century, this object was firmly associated with Amaterasu as well. This led to the development of the view that Nyoirin Kannon (如意輪観音), a form of Kannon directly linked to the wish-fulfilling jewel, was Amaterasu’s honji. The shinko similarly could be identified with this bodhisattva. Granted, so were prince Shotoku, Ryōgen and numerous other figures, but that’s a separate topic not directly relevant to this article.

A different belief developed around the shinko at Ise. Here this supernatural animal came to be identified with Sankoshin (三狐神), literally “three fox deity” or “three fox deities”. Despite the triplicity implied by the name, sources such as Tamakisan Gongen Engi (玉置山権現縁起) clearly describe Sankoshin as a singular figure who acted as the “king of the heavenly foxes” (天狐王, tenko-ō). 

It is presumed that Sankoshin's name was in origin a derivative of Miketsu no Kami (御食津神), the kami of Miketsu, the granary of the Outer Shrine. The development of Sankoshin might have started as a misreading or wordplay, with Miketsu (御馔津) transformed into the homophone mi ketsu, “three foxes” (三狐). This phrase in turn can be alternatively read as sanko, as in the case of Sankoshin.

Miketsu no Kami is otherwise associated, or outright identified, with Uka no Mitama, who is obviously not a fox, let alone three foxes; or alternatively with Toyouke, who has even less to do with these animals; you might recall she is described as a miketsu kami in the legend of her arrival in Ise. Older copies of Nakatomi Harae Kunge also affirm this equation, but later on the reference was substituted for a statement supporting the equivalence between Toyouke and Ame no Minakanushi favored by the Watarai priests.

Sankoshin in the middle ages appeared in rituals from Ise associated with the kora (originally 子良, later also 狐良). This term refers to a class of female shrine attendants associated with the Outer Shrine at Ise. Jingi Hishō asserts they were manifestations of Dakiniten, and on the basis of homophony links their name with 狐 (ko), “fox”.

Part of a hanging scroll depicting Dakiniten riding on a fox (wikimedia commons)

Elsewhere, shinko is treated as another name of Dakiniten, or alternatively of her fox mount (which lacks serpentine traits proposed by Teeuwen, but sometimes does have snakes coiling around its legs and neck). It’s also a part of her well attested epithet Shinko-ō Bosatsu (辰狐王菩薩), “Bodhisattva King of Astral Foxes”. This connection is also partially responsible for the development of another of her titles, Shindamani-ō (真陀摩尼王), “king of the wish-fulfilling jewel”. 

Being able to grant specific wishes immediately was commonly attributed to Dakiniten in the middle ages and beyond. However, due to her ambivalent perception and peripheral role between devas and demons in Buddhist theology it was commonly believed that the worldly benefits granted by her do not last and in the long run might lead to misfortune. With time, related rituals often came to be perceived negatively, often based on highly dubious reasons, as I discussed recently in another article. The ambivalent perception of Dakiniten ultimately was not unlike that of the animals she came to be associated with.

I plan to cover Dakiniten in more depth at some point, but I will only note here that her connection with foxes has a rather interesting history. Originally, dakinis were associated with jackals in India, due to their similarly unfavorable perception. When Buddhist texts dealing with this topic were transmitted to China, references to these animals posed a challenge to the translators, who were entirely unfamiliar with them. Based on context it was established that the name of a fox-like legendary animal, the yegan (野干), would make for a sensible translation. Since the yegan was described as fox-like, and since foxes in general had a major role in religion and literature of China at the time, eventually comparisons with foxes started to show up. Most notably, in the Tang period Śūraṅgama Sūtra the word dakini is provided with the gloss humei gui (狐魅鬼), something like “fox sorceress demon”. While unique, this term might have influenced the development of the image of dakinis in general, and Dakiniten in particular, in Japan.

A thirteenth century depiction of Benzaiten with entourage (wikimedia commons)

To go back to the core topic of this section, the development of a link between Amaterasu and Dakiniten had one more consequence: the establishment of a similar connection between Toyouke and closely related Benzaiten at Ise, to keep the theme of mirroring associations. This goddess is the Buddhist form of Saraswati. Today, she is best known as one of the Seven Gods of Luck, who emerged as a group in the Edo period, though her history goes further back and she enjoyed considerable popularity through the middle ages. 

Outside of Ise, it was commonly Amaterasu herself rather than Toyouke who came to be linked to Benzaiten. According to a legend which originated on Chikubu Island, Benzaiten first appeared in Japan during the reign of emperor Kinmei, and instantly announced she is a manifestation of Amaterasu. A less direct reference might be present in the already mentioned Taiheiki, where Yoshisada Nitta at one point says he heard Amaterasu at times manifests in the form of a “dragon god of the blue ocean”, which might be an allusion to a common symbol of Benzaiten. 

Benzaiten and Amaterasu could also be associated without being identified with each other. In a myth tied to the tradition of wandering blind singers (a group traditionally believed to be under her protections), she effectively replaces Ame no Uzume, and lures Amaterasu out of the cave by playing her biwa. In the Asamayama Engi (朝熊山縁起), she is addressed as Amaterasu’s mother instead, though she ultimately only plays a minor role in contrast with her daughter. The text largely revolves around Amaterasu (as noted by Anna Andreeva portrayed here as a “great conversationalist”) explaining theological matters to the monk Kūkai.

Amaterasu, Aizen and sericulture

The wisdom king Aizen (Metropolitan Museum of Art)

In addition to her links to Buddhas and devas, Amaterasu also offers an example of identification between kami and wisdom kings. They enjoy an elevated position among Buddhist figures, almost on par with Buddhas and bodhisattvas. She could specifically be identified with arguably the second most important member of this category, Aizen Myōō. Since he is regarded as a wrathful manifestation of Dainichi, the reasons appear fairly straightforward. Linking him with Amaterasu goes back at least to Eison, a long-lived thirteenth century Shingon monk. The connection additionally reflects Amaterasu’s association with the wish-fulfilling jewel. Aizen was outright identified with this object, which is actually responsible for many of his own associations. Last but not least, Aizen and his fellow wisdom king Fudō were identified with the same two mandalas as the two shrines of Ise. On this basis it was not hard to link Aizen with Amaterasu.

However, once again, association does not necessarily equal conflation. Therefore, Aizen and Amaterasu could also appear as two distinct figures in the same sources. For example, both textual and iconographic instances of a triad consisting of both of them and another wisdom king, Fudō, are known. The occasional identification between Aizen and Amaterasu is not the reason behind his appearance here. Instead he and Fudō are present because they are an archetypal Buddhist dyad used to represent duality.

The triad is a medieval reinterpretation of the cave myth which played a role in an initiation rite (灌頂, kanjō) focused on Amaterasu. In this context both of the wisdom kings take the roles of “rock cave assistants”, with Fudō corresponding to Takuhatachijihime (the mother of Ninigi and younger sister of Omoikane) and Aizen to Tajikarao (who famously opens the cave in the classical version of the myth). The opening of the cave Amaterasu hid herself in was compared to the opening of the legendary Iron Stupa, said to exist somewhere in the south of India. This event, as Buddhist treatises record, led to the reveal of esoteric knowledge to the early Mahayana thinker Nagarjuna. In Tenshō Daijin Kuketsu, it is actually Amaterasu herself who was transmitted to him by the bodhisattva Kongōsatta (Vajrasattva).

To go back to the depictions of the Amaterasu triad, another thing worth pointing out is that a unique iconographic variant of her appears in them: seated on the back of a horse, with a solar disc and scales in her hands. While at a first glance this might sound similar to already discussed Taga Myōjin, there is actually a difference: the latter is always depicted frontally, not facing left, in contrast with the other mounted form of Amaterasu.

A depiction of Memyō from the fifteenth or sixteenth century (Metropolitan Museum of Art)

However, Bernard Faure notes these paintings resemble yet another figure she could be equated with, Memyō Bosatsu (馬鳴菩薩; “horse neigh bodhisattva”). This name originally referred to the Buddhist author Aśvaghoṣa, but in this context it instead designates a sericultural deity of Chinese origin first attested in the Tang period, for example in a short text attributed to Varjabodhi. However, while the Chinese original, Maming Pusa, is male, his Japanese counterpart is generally portrayed as a female figure, especially in texts stressing her connection to Amaterasu.

A Meiji period illustration of Susanoo throwing the carcass of Ame no Fuchikoma into Amaterasu's weaving hall (wikimedia commons)

Presumably the two initially came to be associated with each other because of their shared interest in sericulture and weaving. The classical myth portraying Amaterasu as a weaver, in which Susanoo throws the carcass of the horse Ame no Fuchikoma into the room where she is engaging in this craft, has been channeled to highlight why she would be identified with a deity portrayed on horseback.

While Memyō is arguably the highest profile Chinese figure Amaterasu was identified with (unless you want to make a case for Enma but that would be a bit of a reach), it’s worth noting that there’s another such case. However, it involved a historical figure rather than a deity. While presenting Buddhist patriarchs or rulers as manifestations of Buddhas or deities was par for the course, this one strikes me as quite unique.

Yang Guifei, as depicted by Shōen Uemura (wikimedia commons)

Jindai no Maki Hiketsu (神代卷祕決) records a tradition according to which Yang Guifei, a consort of emperor Xuanzong of Tang, was a manifestation Amaterasu. It depends partially on the preexisting belief that the former did not commit suicide, but instead escaped to Japan, and came to be enshrined in the Atsuta Shrine, which on the account of its picturesque location was sometimes identified with Penglai, the land of Daoist immortals. A related legend is recorded in the sixteenth century treatise Utaishō (謡抄), which relays that the Atsuta deity (here not identified with Amaterasu) manifested in China as Yang Guifei to seduce emperor Xuanzong to distract him with a plan of invading Japan. After accomplishing this goal, she returned to her shrine.

Emperor Xuanzong wasn't exactly the conventional nemesis of Amaterasu, whether in classical mythology or in the middle ages. I'll look into the figures such a title can be applied to in in the second half of this article; due to tumblr's limits I cannot publish both halves as a single post. The bibliography will also be included in part 2.

#japanese mythology #japanese esoteric buddhism #japanese history #amaterasu

[mmavverickk]

you ever think about how, at Camp Half-Blood, value is placed on the individual?

you are taken somewhere safe. you are trained so that someday you can survive on your own outside the borders. you bunk with your friends and family, either in cabin 11 or your parent's. you are taught greek myths so that those myths cannot take you by surprise. you are given the skills you need to succeed where you can, to live your life: forging, archery, agility, fighting, riding, gardening.

quests are rare. quests are for the unlucky. the gods are there, but as a background presence. they are given offerings, and prayers, as parents and rulers, but they are not the main focus of the camp.

now, do you ever think about how at Camp Jupiter, Rome comes before all else?

you are taken somewhere in the wilderness. you are trained by the mother of Rome so that someday you can take your place in the Legion. you bunk with your comrades, in cohorts separated mainly by skill. you are taught roman history so that you can honor it. you are given the skills you need to fight for Rome.

quests serve to bring glory to the Legion. quests are for ranking officers. the gods are distant, mythical, all-powerful beings that are to be respected before all else. they are the lifeblood of Rome. Camp exists to serve Rome and Olympus before all else.

it's no wonder they clash every time they meet.

#mav.txt #check rbs later imma add to this #mmmmm CHB vs CJ brainrot my beloved #camp half blood #camp jupiter #percy jackson #heroes of olympus #pjo #demigods

[thesummerestsolstice]

I would love to see more about the orc librarian of Rivendell. How did he come to choose that life? How and why did Elrond let him in? Perhaps you could put it on AO3.

Thanks for the ask!

I do want to write a proper fic with Garthaglir eventually but I've got a few WIPs going already so it'll probably be a while. For now, I'll try to answer some of your questions here:

(Content warning: this post discusses the creation of orcs, and their indoctrination and subjugation under Sauron, as well as non-graphic violence)

My headcanon is that while the first orcs were elves kidnapped by Morgoth, the later generations of orcs basically became their own species (subspecies? arguably they're still kind of elves). They're born in Angband/Mordor, undergo pretty brutal training and indoctrination from an early age, and generally don't interact with the outside world unless they're on a raid.

The only interaction orcs have with men, elves, etc are violent. They only ever see peope when they're at war, so they aren't really exposed to life outside of the constant struggle of war. They have a very warped view of the world. And because there's a language barrier, there's no way for them to speak with anyone else. Even the language they use is designed to isolate them; Black Speech was created by Sauron, not the orcs, and doesn't really allow for free expression– it's not built for that. There are a few stories and some carried over words from the original elvish orcs, but it's more myth than reality for most of them.

It's a long story, but Garthaglir ended up getting separated from his party sometime in the early Third Age, and hiding out in some elvish ruins to avoid sunlight (and the human warriors they were running from). He ended up spending weeks there, every night he'd go exploring; finding old paintings, books, toys. The remnants of a people who weren't forced into a life of war. Eventually, he realized that there was more to Middle-Earth than fighting, and that he didn't want to go back to fighting for Sauron. He ended up wandering, unsure of what else he could do with his life. And, well, doorways to Rivendell have a habit of showing up when they're needed.

As for Elrond– that's a long story. He was taught Black Speech as a survival tactic at a young age, but has also used it to communicate with orcs. There was also a kidnapping incident with some surprisingly nice orcs. You know. Normal means of cultural exchange given Elrond's life. So he was much more open to letting orcs who wanted to to escape Sauron and live a better life into Rivendell. Since Garthaglir wasn't the first orc to live there, many of the other residents were also pretty used to the idea by that point.

Bonus: Garthaglir found Mittens when she was a small kitten. She showed up outside the library one day when it was pouring rain, trying to get out of the storm. Garthaglir let her in and dried her off. They've been inseparable ever since.

#silmarillion #library orc #garthaglir #elrond #elrond peredhel #rivendell #imladris #orc meta #mind the cw

[violetstormms]

FNAF Sun/Moon x Reader MerMay Fics

 MerMay DCA x yn fic list

With Mermay coming to a close I decide to make a list of all the fun fish filled fics I have found so far. Remember to look at the tags and read at your own discretion.

Call of the Abyss by Buligete

archiveofourown.org/works/41191230/chapters/103261704

It was probably all very silly, considering the precarious situation I found myself in, but it really was all I could think about.

Could you really blame me? I never expected to find myself in this kind of a mess. I was not some big shot, thrill seeking space explorer. I was no seasoned freight worker. No avid alien world survivalist. Not even a simple cruise liner flight attendant.

I was a gardener. My feet belonged firmly planted in the soil of a garden world. I had spent my entire life up to now solidly anchored on Earth, and never dreaming of leaving the safety of gravity and atmosphere, despite the increasingly uncomfortable quality of life on the crowded homeworld. Sure, I dreamed of greener pastures. Of fresh air and fertile land. But frontier life and adventures in the big expanse of space? Not quite.

---

A FNAF x Subnautica crossover, about the challenges of survival, surprise friendships with quirky software and alien merfolk, man made horrors beyond our comprehension and unexpected mysteries to be uncovered within the depths.

Below The Surface by Justaduck6432

archiveofourown.org/works/46186750/chapters/116275786#workskin

You aren't what people would call friendly. No. You're not even polite. Much like the salty old sailor who raised you, you're short-tempered and not too social. And that's how you like it.

One day, a dirty-rotten fish steals something important to you. You know better than to tangle with a creature so large and dangerous. But you have little to lose and, by the gods, you're not about to let that smug fish keep what's yours.

Dive into this chaotic tale of merciless mers and our hot-headed protag who has to wrangle them!

Growing Pains by Celticwolfie

archiveofourown.org/works/46891666/chapters/118117984

It was going to be a normal fishing trip. Just a normal hike to the secluded river beach and maybe relax while listening to the forest waking up around you. However, that isn't how things go for you and now you managed to gain the attention of a legendary creature. Now everything seems to be turned on its head. Hopefully, you can adapt to it quickly enough and help these living legends out as their world is starting to shrink around them.

Free Space by omenofthevoid

archiveofourown.org/works/46904299/chapters/118150342

As a Leviathan, you aren't meant for the shallow water which inhibits your growth and keeps you small. You finally move to the Dead Zone, where you hope to be able to grow.

Galaxies, Lost in Ice by StarvingMe

archiveofourown.org/works/45778489/chapters/115203013

(Subnautica/Subnautica: Below Zero AU)

Sun went hunting, and he's been gone for a few days, and so it's up to Moon to drag Sun's Human Scientist Best Friend out into the ocean to find him.

(Leads into romance with aliens, no spice, that'll be a separate work that won't be necessary to enjoy this)

Abyssal Lights by PhoenixDaNeko

archiveofourown.org/works/46600771/chapters/117353191

You used to be powerful. Feared. Vicious. A man-killer. You were one of the most fearsome myths in the sea.

Then, despite everything, you were caught. Stolen from the depths of your home. Your older siblings had always cautioned against going too close to the surface. You wished you'd listened. Captured, placed into barely big enough tanks, traded between rich bastards and unethical scientists. Losing weight, power, sanity, you're beginning to give up, when a mysterious 4 armed... Person (?) comes by.

Who is this metal man, and why is he so interested in you?

My Lungs are Full of You by Xmimi89eR

archiveofourown.org/works/47111743/chapters/118694248

You didn't like the ocean.

The water felt like it would burn (and it does). Your lungs would give out sooner than others and you didn't even know how to swim!

You never asked for this trip, never asked to be here. Yet, here you are, stuck all alone and waiting for rescue that probably would never come.

Or, well, not really alone. The burning gaze of something in the water wouldn't leave you alone.

There Are Many Benefits (To Rethinking This Career Path)  by moonliched

archiveofourown.org/works/47449438/chapters/119573569#workskin

Life is cushy, working on a subterranean research facility on an underexplored ocean planet. As the resident handyman, most of your work takes place underwater - lucky for you, cave diving is your passion. With the building between bi-annual research teams, and the next lot yet to arrive, you find yourself with an excess of free time. All you have to do is fulfil your weekly duties, prepare the facility for the next team of researchers, and relax. Oh, and track down the net that went missing some time ago.

And then you find it.

In a submerged cave.

Trapping a mermaid.

You really wish this wasn't your responsibility.

(Moon thinks he should have listened to Sun and stuck to hunting in warmer waters. Why does this bizarre two-tailed mermaid keep coming at him with sharp instruments?)

Song of the Sea by TheDreamerFae

archiveofourown.org/works/38958630/chapters/97435890

You always loved the tales of Mermaids, of Selkies and of Sirens, of people who lived in the ocean as a child. You remember vividly seeing merfolk, but chalked it up your imagination. But then a boating accident with your grandpa had left you scarred, and you no longer wanted any association with the sea. But life has other plans

INSPIRED BY BAMSARA’S FIC god I love Celestial Omens.

Unusual  by  BlueMoon_13_31

archiveofourown.org/works/47008036/chapters/118422505

Your love for the ocean has sent you all around the world. However, the beaches of your coastal home have always been your favorite. Returning to the cloudy skies along the Pacific, the last thing you expected was to run into two creatures far from their natural habitat.

The Sea Has Always Known Your Name by CleverButDevastating

archiveofourown.org/works/47410663/chapters/119469997

Everyone is so caught up in your expulsion from the ship that they don’t see the pair of dark, sinuous shapes that slip up through the water only half a dozen yards away. No one notices the flashes of vivid yellow and luminous blue, or the intelligent eyes that take in the human spectacle with inhuman curiosity.

No one except you.

Clownfishing by Sujithe2DWaifu

archiveofourown.org/works/47314285/chapters/119220796

A night fishing trip lends itself to a chance encounter with a siren. After unknowingly showing it some kindness, your life is derailed in an extremely bizarre way.

Special thank you to Bug, who puts up with me, and Tobi(@Glambots on Tumblr)-This was originally a short story written in their ask box. While the first chapter will be short, they will get longer, just so you know what you're getting into. ;) Please also remember that I’m still learning and this is my first time posting on Ao3 specifically. I apologize in advance for any formatting issues.

Also warnings for this chapter and future chapters of thalassophobia, megalohydrothalassophobia, ososphobia, injury, body horror, animal death, offscreen minor character death, and something at bare minimum reminiscent of drugging. While these may be removed during the editing process as it currently stands these will apply at some point.

Turquoise Love by Wcat03blu

archiveofourown.org/works/47208670/chapters/118947625#workskin

You finally visit the aquarium by your college and fall absolutely head-over-heels for some celestial mermaids. Then you chill with them a lot :)

Leviathan Storms by TheDreamerFae

archiveofourown.org/works/47008924/chapters/118518967#workskin

Moving back to your old home rims has brought with you a sense of nostalgia of being. Sure most of the time it was cold and rainy but it didn’t make the scene any less beautiful. But a song keeps making itself known to you, and you must find it.

But who would’ve guessed Mers existed?

Bubbly by Robin_Green

archiveofourown.org/works/47513692/chapters/119741380

A little waterlily mer guppy is trapped, home destroyed, and taken to a pet store to be sold. After spending some time living in a fish bowl, our little guppy is saved and moved to a tank that has been dubbed the daycare by the human tending to it. The daycare tank is set up to rehabilitate fish before they are released back into their natural habitats. There our guppy meets Sun and Moon, two fish that live full time in this tank taking care their healing guests.

Sun and Moon and our guppy fall in love and then shit goes down.

Pearl Eye by NaffEclipse

archiveofourown.org/works/47400922

Movement. A mer swims overhead, speaking to someone, blocking out the starlight. The interloper lays a hand on the rim of the entrance but doesn’t look down just yet, and doesn’t see you, red-handed.

Your gut clenches with the urge to flee, your strength already spent in the fight moments earlier, and you heed the warning.

A Sleuth Jesters MerMay Fic

The Sea Jesters are Real Science by MatosaurusRex and sixty_nine13

archiveofourown.org/works/38833821/chapters/97107810

You stare into the glass. At first you see nothing, just a greenish-blue landscape, peaceful and ordinary. There is nothing special about it... Or so you think. As the seconds pass, two figures become more and more visible, slowly growing from two distant dots to two large figures, easily two metres tall. The two creatures stare at you, and you raise your hand, slapping it against the cold glass that holds the creatures trapped. These two beings, which until now had been considered to be legends, raise their hands to clasp yours as well. The most wonderful living beings in the world stand before you, separated by thick glass, suffering every day at the hands of greedy people.

How long will they resist this?

 ((This fic was inspired by Tumblr shenanigans and merMAY! Thank you all for inspiring us to create this <3))

And the Sea Swallowed My Screams by Burnt_Chicken_Lookin_Ass

archiveofourown.org/works/39115788/chapters/97855353#workskin

"Thalassophobia is the persistent and intense fear of deep bodies of water such as the sea, oceans, pools, lakes. [...] Thalassophobia can include fear of being in deep bodies of water, fear of the vast emptiness of the sea, of sea waves, aquatic creatures, and fear of distance from land."

You are a freelance diver. You are hired to perform difficult dives for item retrieval, research, and/or maintenance checks in less than safe underwater environments. Rule of thumb is to never dive alone; you live by that religiously. Hardly will you ever do a job without your diving partner: Iris. You have a deep seated fear of the open ocean, so if you cant see the bottom of a given body of water, then you simply wont go in.

One day, you receive a job from Fazbear inc. to retrieve the body of an employee at the request of their family. They had drowned when a company ship they worked on had spontaneously combusted and subsequently sank. The company is willing to pay big hush money to keep both the family and your retrieval team from mentioning the wreckage for some reason.

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Looking for more stories? I have a list of DCA stories sorted by type here https://www.tumblr.com/violetstormms/710457016218435584/sunmoon-fnaf-fanfic-recommendation-list   (or my pinned comment if you don’t like clicking links)

Also if you have any recommendations please leave a comment, its always fun finding new fics. :)

#fnaf moon #fnaf daycare attendant #daycare attendant fnaf #fnaf sun and moon #fnaf sun #fnaf sundrop #fnaf moondrop #daycare attendant x reader #mermay 2023 #mermay #fnaf sunrise #fnaf moonrise #moon x reader #security breach au #Violetstormm's fic list #sun x reader

[royal-wren]

While long overdue on my part by weeks, this post will serve as informative to the worship of Maia. I will try my best to make it cohesive but it might end up being a patchwork.

"I know the Dove best by night blue in the sky she remains diligently guiding us from the heavens so none may be lost even when alone when cared for by the herald of seasons"

-For the Night-Wandering, by me

Maia, daughter of the Titan Atlas, who shifts the heaven's axis, and Titanide sheep-nymph Pleione (Aithrê is her alt. name) who increases in number as a lady of plenty, is one of many stars making up the constellation Taurus. She is the oldest of the seven sisters and the leader of the Pleiades born in Arkadia on Mt. Kyllene where she would take up permanent residence in the caves. She is a sister to the Hyades as well. Maia is known both as a star-nymph (part of the Astrothesiai) and Oread. She has only one natural child, far-famed and widely-loved Hermes who helps her name stay relevant even now when knowledge about her is obscure.

Generally, the word maia means mother but for the goddess means Nursing Mother primarily but also Great Mother, Good Mother, Foster Mother, Female Doctor, or Dame. Her name also can be a way to address older women, grandmothers, and nurses/midwives. Maia's domain mentioned above is her most prominent aspect as a goddess of motherhood along with Leto. It led to her having a part in a myth otherwise separated from her as she became the foster mother of Kallisto's son Arkas, whom she named promptly after Zeus gave him to her.

Maia has many additional complexities with her important role to play noting her position as one of the main factors of all the seasons as the one to tell of the changes between each season (with the Pleiades). Her importance with humanity comes from this as the seven sisters tell when the earth will be renewed with life and when that renewal is at its end. She is a vegetation and earth goddess, from which she is renewal and rebirth to the earth as well as the barrenness of the earth. Maia is a maritime deity as well, without her showing up in the sky navigation by nighttime would become a challenge, something that anyone traveling in the dark would know. Through this connection she has a deep relationship with waters of oceans, springs, and rivers.

Fondly, the Seven Sisters are called Doves (Pigeons) by many writers and are the ones that attend Zeus with ambrosia. With the stars accompanying the moon, the Pleiades are called companions of Artemis. Under the epithets Atlantides, Dodonides, or Nysiades, they are nursemaids and teachers to the infant Bacchus.

The month of May earned its name from her as a 50/50 deal between her and Roman goddess Maia who's also a spring/fertility and earth goddess associated with mountains. While Rome started it first, the Greeks took it up for themselves near the end of the Hellenic era and the start of the Hellenistic era.

*On a more speculative mindset to the knowledge that Maia more than likely is a pre-Greek/older local mother goddess to the area in a similar way that Hermes is confirmed to be pre-Greek/an older local god. The older tradition and connection she has with caves in a similar manner to Hermes could speak to her being liminal and khthonic originally as they are/were seen as the point between the living and the dead and the entrance to the underworld. There is a possibility that she could of the Mycenaean goddess Preswa (dove deity), Manasa, or Diwija with Komawenteja: long-haired goddess as an epithet. Another fun little possibility is the indication that Maia is a bi-gendered deity, more than likely a part of her older iteration that survived on a largely diminished scale.

Epithets: With deep dark eyes  Honored mother The nurturer  She who nurtures   Great (Mighty) nurse  Of the lovely black eyes  Maia Prôtogonê - First-born Maia Kedná - Careful, diligent, trusty cherished, dear good, valued Maia Eratoplocamus - Lovely-haired Maia Euplokamos - Having lovely locks Maia Ioplokos/Ioplokamos - With violet hair / With dark locks Maia Kuanokhaitēs - Dark-haired Maia Hulaios - Belonging to the wood or forest Maia Aitherolampēs - Shining in ether Maia Himeronous - Lovely of soul Maia Earotrephḗs - Flourishing in Spring Maia Drymocharēs - Delighting in the woods Maia Philodendros/Philodendron - Fond of trees / Fond of the wood Maia Peleia - The Dove Maia Dôdônides - Of Dodona Maia Ekprepḗs - Distinguished out of all, pre-eminent, remarkable, surpassing Pôtnia Maia - Queenly Maia Maia Aeiphengēs - Ever-shining Maia Nyktaugḗs - Shining by night Maia Asteroommatos - Star-eyed Maia Kyanôpis- Dark-eyed Atlantis - Daughter of Atlas Atlagenes - Born of Atlas Pleias - Daughter of Pleione Maia Kyllḗnē/Kyllênê - Of Mt. Kyllene Maia Kourotróphos - Nurse of the Young, Good Nursing-Mother Eurysternos - Broad-bossomed Matêr Pantôn - Mother of All Maia Pleiôn - Lady of Plenty Maia Entropḗ - To turn away. In place of most shy (since I can't find those exact words) while also being a play on Hermes' epithet Polytropos: Many-turning. Maia Erēmophílēs - Loving solitude Maia Aidoîos - Modest, bashful, honored, respected, having a claim to regard, reverence Maia Gaia - The conflation of two goddesses tied to the earth and nurses/mothers making Mother Earth Maia Oureias or Maiados Oureias - Mountain Maia Mêtêr Oreiês - Mountain Mother Maia Oreiplanktos - Mountain-roaming Maia Kuanéā - Dark, Dark-Blue, To denote a dark shade of blue merging into black

Sacred Associations: Doves Pigeons Dodona Arkadia Mt. Kyllene Kingfishers Navigation Sailing June Thirteenth Caves Mountains Winnowing-baskets Night time The color Black Light Blue Dark Blue

Festivals: The month of May, Mounichia (Greek: Μουνιχιών) is important to the sisters as the Pleiades rise and it signifies the start of the navigational year and the time the earth can be sown with seeds again/the growing season is in full swing. The end of October or the month of November is also a festival when they set, the navigational year ends and the growing season ends. The cluster's conjunction with the sun in spring and opposition in fall marked the start and end of the summer sailing season in ancient Greece.

*While not mandatory any donations for any posts I do like this would mean the world as this stuff takes literal months to do. Ways to donate outside of Tumblr tipping can be found here

Sources:

terpsikeraunos' tumblr page

Theoi's pages for Maia, the Pleiades, Kyllene, Persephone's epithets and Amphitrite's epithets

University of Penselvania's page on the Pleiades

The exile of Ovid, the Pleiades, Maia, and the secret name of Rome by Felice Vinci

Athenaeus: The Deipnosophists Book 11, Pages 484-496, Translated by C.B. Gulick

A Minoan deity from London Medicine Papyrus by Alexander Akulov

The Pleiades on holladaypaganism./com

Astereoasteroseismology by Gough, D. O.

Hymn 4 to Hermes

Mythology of the Seven Sisters

The Winter Stars are Coming by Dennis Mammana

Phaenomena by Aratus

Maia Goddess of Birth by Despena Dalmaris

#maia #maia deity #maia goddess #hellenic polytheism #hellenic pagan #hellenic paganism #hellenic worship #hellenic gods #helpol #the pleiades #hermes #hermes god #hermes deity

[nineheavenspress]

CREATURE: SAMDUGUMI

Illust: Hanghul

The Kickstarter for our 5e Korean myth-based adventure book is almost at 80% funded!!

There are two different types of Gumiho: those who wish to ascend to the heights of divinity and those who've resigned themselves to their bestial nature. The Samdugumi is the latter having forsaken its lofty goals. Though they appear as feral creatures, they're masters of curses and effectively combine their dark magic with their hunting instincts to slaughter its prey.

The Samdugumi traded away its Fox Marble that all Gumiho possess in exchange for blighted immortality. They can survive being hacked and slashed, reproducing any lost body parts, even splitting its body into separate selves. The Samdugumi is a nine-tailed fox that evolved to spite all mortals.

#dnd #dnd character #ttrpg #dungeons and dragons #korean folklore #dnd art #homebrew 5e #5e d&d #illustration #korean culture #dungeons and dragons 5e #nine tailed fox #gumiho #kitsune #huli jing #monster art #monster design #creature design #creature art

[gatheringbones]

[“Especially in infancy, but throughout childhood, the young human uses the emotional and nervous systems of the caring adults to regulate her own internal states. The interpersonal-biological math is elementary: the more stressed the adult, the more stressed the child. Extensive research has demonstrated that when stressed, parents are less patient and more punishing and harsher with their young children. Stress impairs their capacity to be calm, responsive, and attuned.

As a recent review by leading researchers pointed out, “In more stressful environments for parents, children not only experience less protection from environmental stressors but also are more likely to have stress-inducing relationships with caregivers.” Another study showed that, while elevated stress induced more punitive attitudes in mothers, increased levels of support favorably diminished them. Contemporary science affirms ancient wisdom once more.

Parental stress expresses itself in less overt ways, too, such as distraction and emotional absence. Many parents, though loving, are frequently preoccupied by genuine concerns about relationship issues or economic troubles or personal problems and, as a result, just aren’t as attentive or “present.” This affects development as surely as does parental rage or coldness. “Primate experiments show that infants can undergo severe separation reactions even though their mothers are visually, but not psychologically available,” reports the renowned researcher, psychologist, and theorist Allan Schore. Dr. Schore calls such noncontact “proximate separation”—so close, but yet so far. It’s a dynamic that many children in our society experience, owing to the stresses parents habitually endure. The message the child gets is “You are not worthy of my attention. You must work to earn it.”

Whether or not we explicitly recall such experiences, their imprints survive in our unconscious and in our nervous systems. Making matters more stressful is the alienation imposed by financial hardship. “The relentlessness of modern-day parenting has a powerful motivation: economic anxiety,” the New York Times reported in 2018. “For the first time, it’s as likely as not that American children will be less prosperous than their parents. For parents, giving children the best start in life has come to mean doing everything they can to ensure that their children can climb to a higher class, or at least not fall out of the one they were born into.”

The unintended impact of such fearful, status-driven child-rearing is that the child’s irreducible emotional needs fall secondary to the desperation of parents striving to ensure the academic and financial success of their offspring.”]

gabor maté, from the myth of normal: trauma, illness, and healing in a toxic culture, 2022

#gabor maté #brainspace #currently reading