El Silbón is a legendary figure in Colombia and Venezuela, associated with Los Llanos, described as a lost soul. The legend arose sometime in the middle of the 19th century. According to the legend, the spirit is a youth who murdered and disembowelled his father for killing his wife, saying that she was a “slut”, that she was asking for it. Afterwards, his grandfather ordered the youth to be tied to a post in the middle of the countryside, lashed him until his back was destroyed, his wounds were cleaned with alcohol and he was released with two rabid, starving dogs set upon him. Before releasing him, his grandfather condemned him to carry the bones of his father for all eternity, it has a characteristic whistle that resembles the musical notes D, E, F, G, A, B in that order. Rising in tone to F lowering to B, it is said that when the whistling sounds close, there's no danger, the whistler is far away, but when the whistling sounds distant, it means it is nearby. It is said that hearing the whistling foretells your own death, you can hear it anywhere at any time.
In this situation, the only thing that can save you is the sound of a dog barking, as it is the only thing it is afraid of, a chili, or a whip. The spirit tends to take revenge on womanisers. Many inhabitants of Los Llanos say that they have seen it in the summer, a time when the Venezuelan savannah burns in the harsh drought; the whistler sits in the gathers dust in his hands. But it is on rainy or humid days that the spirit wanders, hungry for death, eager to punish drunkards, womanisers or sometimes innocent victims, it is said that it sucks the alcohol out of drunkards through their navel when it finds them alone, that it tears womanisers to pieces, removes their bones, puts them in the sack where it keeps the remains of its father. Some versions say it appears as a giant of about six metres that moves about the treetops and emitting its chilling whistle. Inside its old and tattered sack lie the bones of its father, or according to some renditions, its multiple victims. Other versions say he appears as the shadow of a tall thin man, with a hat, goes after drunkards most of all.
They say that the whistler can appear by a house on certain nights, drop his sack on the ground and count the bones one by one. If anyone hears it, nothing will happen, but if no one hears it before dawn, one member of the family will never wake up again. Sack man Coco La Llorona Sayona Cadejo
The Sihuanaba, La Siguanaba, Cigua or Cegua is a supernatural character from Central American folklore. It is a shape-changing spirit that takes the form of an attractive, long haired woman seen from behind, she lures men away into danger before revealing her face to be that of a horse or, alternatively, a skull. The Siguanaba and its variants may have been brought to Latin America from Spain during the Colonial Period, used by the colonists as a means of exercising control over the indigenous and mestizo population; when encountered, she is a beautiful woman, either naked or dressed in flimsy white. She likes to lure lone men out late on dark, moonless nights, without letting them see her face at first, she tempts such men away from their planned routes to lose them in deep canyons. In Guatemala, the Siguanaba appears as a beautiful, seductive woman with long hair, she will not reveal her face until the last moment, when it is revealed as either the face of a horse or, alternatively, a human skull.
If her victim does not die of fear he is driven mad by the sight. From afar the Siguanaba can imitate the appearance of a man's girlfriend in order to lead him astray; when appearing to children, the Siguanaba will take on the appearance of the child's mother in order to lure her victim into her grasp. Traditional methods are said to ward off the Siguanaba. In the border regions between Guatemala and El Salvador, those who see the Siguanaba make the sign of the cross upon her or bite their machete, while banishing both the evil spirit and the fear that grips the victim; the word siguanaba or sihuanaba has its origin in the indigenous languages of Mesoamerica. Various words have been suggested as its source. In parts of Mexico the Siguanaba is known as macihuatli, a Nahuatl word that can be broken down to two elements; this "net-woman" encompasses the figurative idea of a woman capturing men in her metaphorical net of attraction. Cigua or cegua, names for the spirit in Honduras and Costa Rica have their origin in the Nahuatl word cihuatl meaning "woman".
Guatemalan historian and folklorist Adrián Recinos gave two possible origins for the word siguanaba. In one of the 20+ languages of Guatemala, he claimed ciguanaba meant "naked woman" but he failed to identify the exact language of origin. In another source he claimed that its origin is the Nahuatl ciuanauac or ciguanauac, meaning "concubine". In Guatemala, the word siguanaba has been linked to siwan, a K'iche' Maya word meaning a cliff or deep ravine, Guatemalan folk etymology gives this as the origin of the word, although scholars such as Recinos and Roberto Paz y Paz disagree. In Guatemala the Sihuanaba is known as La Siguanaba. Although the name varies from place to place, the appearance and actions of the Sihuanaba remain unchanged; the Salvadoran legend of La Siguanaba says that the woman called Sihuehuet, was a peasant girl that ascended to queen using her charms to lure into marriage Tlaloc's son, a Nahuatl prince. After marriage, when her husband went to war, she had affairs with other men, Cipitio was the child of this relationship.
Sihuehuet was a bad mother, leaving him alone to meet her lovers. To inherit the throne she concocted a plot to use another magic potion to poison Yeisun during a festival, so claim the throne for her lover, but the plan worked too well. Yeisun was converted in a savage giant monster with two heads, who ravaged the attendants to the palace's feast; the guard defeated the creature, ending Yeisun's life. When Tlaloc found out about this, he sought the help of the almighty god, Teotl whom condemned and cursed Sihuehuet: She would be called Sihuanaba, she was forced appearing to men who travelled alone at night. She is supposed to be seen at night in the rivers of El Salvador, washing clothes and always looking for her son, cursed by Teotl to remain a boy for eternity. In Guatemala, the Siguanaba is said to be encountered washing her hair with a golden bowl and combing her hair with a golden comb, she is said to wander the streets of Guatemala City. In Guatemala, the legend is more common in Guatemala City, Antigua Guatemala and the eastern departments of the country.
The most common variant in these areas is. In Guatemala the Siguanaba is said to appear to men who are unfaithful in order to punish them. A Kaqchikel Maya version of the Siguanaba from San Juan Comalapa describes her as a woman with enormous glowing eyes and a hoof for a hand, she wears a glittering dress and has long hair and haunts the local rubbish dump, frightening disobedient children and drunken husbands. On the Guatemalan side of Lake Güija, in Jutiapa Department, the Siguanaba is able to take on many forms but the most common is that of a slim, beautiful woman with long hair who bathes herself on the banks of the Ostúa River, although she may appear by other water sources or by lonely roadsides. To lustful men she appears just as a beautiful woman, while to lovestruck men she takes the form of the object of the ma
A hulder is a seductive forest creature found in Scandinavian folklore. Her name derives from a root meaning "covered" or "secret". In Norwegian folklore, she is known as huldra, she is known as the skogsrå "forest spirit" or Tallemaja "pine tree Mary" in Swedish folklore, ulda in Sámi folklore. Her name suggests that she is the same being as the völva divine figure Huld and the German Holda; the word hulder is only used of a female. This being is related to other underground dwellers called tusser. Whereas the female hulder is invariably described as incredible and beautiful, the males of the same race are said to be hideous, with grotesquely long noses; the hulder is one of several rå, including the aquatic sjörå or havsfru identified with a mermaid, the bergsrå in caves and mines who made life tough for the poor miners. More information can be found in the collected Norwegian folktales of Peter Christen Asbjørnsen and Jørgen Moe; the hulders were held to be kind to charcoal burners, watching their charcoal kilns while they rested.
Knowing that she would wake them if there were any problems, they were able to sleep, in exchange they left provisions for her in a special place. A tale from Närke illustrates further how kind a hulder could be if treated with respect. Associated with Christianity, a tale recounts how a woman had washed only half of her children when God came to her cottage. God decreed that those she had hidden from him would be hidden from humanity. A multitude of places in Scandinavia are named after the Hulders places by legend associated with the presence of the "hidden folk". Here are some examples showing the wide distribution of Hulder-related toponyms between the northern and southern reaches of Scandinavia, the terms usage in different language groups' toponyms. Huldremose is a bog on Djursland, Denmark famous for the discovery of the Huldremose Woman, a bog body from 55BC. Hulderheim is southeast on the island Karlsøya, Norway; the name means "Home of the Hulder". Hulderhusan is an area on the southwest of Norway's largest island Hinnøya, whose name means "Houses of the Hulders".
Ulddaidvárri in Kvænangen, Troms means "Mountain of the Hulders" in North Sámi. Ulddašvággi is a valley southwest of Alta in Norway; the name means "Hulder Valley" in North Sámi. The peak guarding the pass over from the valley to the mountains above has a similar name, Ruollačohkka, meaning "Troll Mountain"—and the large mountain presiding over the valley on its northern side is called Háldi, a term similar to the above-mentioned Norwegian rå, a spirit or local deity which rules a specific area; the hulder may be connected with the German holda
The xana is a character found in Asturian mythology. Always female, she is a creature of extraordinary beauty believed to live in fountains, waterfalls or forested regions with pure water, she is described as small or slender with long blonde or light brown hair, which she tends to with gold or silver combs woven from sun or moonbeams. The origin of the Asturian word xana is unclear, though some scholars see it as a derivation from the Latin name for the goddess Diana. References to where the mythological xanas lived are still common in Asturian toponyms, they appear in Eastern Galician and Cantabrian mythology. The xanas can be disenchanted; some xanas attack people and steal their food. They live in caves. A xana can be a beneficial spirit, offering "love water" to travelers and rewards of gold or silver to those found worthy through some undefined judgment, their hypnotic voices can be heard during summer nights. Those who have a pure soul and hear the song will be filled with a sense of love.
Those whose souls are not pure may be driven insane. Xanas are depicted in one of two ways. In one, they appear as young beautiful girls with long blonde hair; this image is associated with xanas who possess a treasure or those under a spell. In contrast, in tales in which the xanas steal children and enter homes to bite or steal, the xanas are small and dark-colored. Xanas have children called xaninos, but because they cannot take care of them—xanas cannot produce milk to feed their babies—they take a human baby from his cradle and put their own fairy child in instead, similar to changelings in other cultures; the human mother realizes this change. In order to unmask the xanín, one must put some pots and egg shells near the fire, and, if the baby is a changeling, he will exclaim, "I was born one hundred years ago, since I have not seen so many egg shells near the fire!" The stories about xanas can be divided into four broad categories. First, stories in which the xana has a child. In these stories, the xana switches her baby for that of another woman.
Second, stories of xanas who suffer spells. In these stories, an act performed according to a secret norm can disenchant them. Third, xanas who possess treasures and riches; the xana may have through donation or theft. Stories about xanas who are malicious; the most important tales of this category are those in which the xana enters a home through a keyhole. Cuban writer Daína Chaviano uses the xana motif in her novel The Island of Eternal Love; when one of the characters encounters a xana while she is combing her hair, the dialogue between them marks a crucial twist in the plot. Kelley Armstrong's Darkness Rising series has three characters. Resurgent members of this supernatural race due to genetic modification: Hayley Morris, Nicole Tillson and the deceased Serena. Given their powers and association with water, Serena's death by drowning is a point of mystery in the story
USS Sayona II (SP-1109)
USS Sayona II was a United States Navy patrol vessel in commission from 1917 to 1918. Sayona II was built as the private motorboat or motor yacht Tip Top by H. Manley at Crosby, Massachusetts, in 1907, she was renamed Sayona II. In July 1917, the U. S. Navy acquired Sayona II under a free lease from her owner, H. W. Hower of Rome, New York, for use as a section patrol boat during World War I, she was commissioned as USS Sayona II on 3 August 1917 with Boatswain's Mate L. T. Creef in command. Assigned to the 5th Naval District, Sayona II served on submarine net patrol duty in the Hampton Roads, area until the spring of 1918, she was reassigned to Customs House duty in the Hampton Roads area, which she continued through the end of World War I. Sayona II was returned to Hower the same day; this article incorporates text from the public domain Dictionary of American Naval Fighting Ships. The entry can be found here. Department of the Navy Naval History and Heritage Command Online Library of Selected Images: U.
S. Navy Ships: USS Sayona II, 1917-1918; the Civilian Motor Boat Tip Top and Sayona II NavSource Online: Section Patrol Craft Photo Archive Sayona II
The Patasola or "one foot" is one of many myths in South American folklore about female monsters from the jungle, appearing to male hunters or loggers in the middle of the wilderness when they think about women. The Patasola appears in the form of a beautiful and seductive woman in the likeness of a loved one, who lures a man away from his companions deep into the jungle. There, the Patasola reveals her true, hideous appearance as a one-legged creature with ferocious vampire-like lust for human flesh and blood and devouring the flesh or sucking the blood of her victims; the Patasola derives from vampire legend. According to popular belief, she inhabits mountain ranges, virgin forests, other wooded or jungle-like areas. At the edges of these places, at night, she lures male hunters, miners and animal herders, she interferes with their daily activities. She blocks shortcuts through the jungle, disorients hunters, throws hunting dogs off the scent of their game; the Patasola is regarded as protective of nature and the forest animals and unforgiving when humans enter their domains to alter or destroy them.
Additionally, the exact name and attributes of the myth vary according to region. For example, a creature similar to La Patasola is called La Tunda in the Colombian Pacific Coast region. Other mythical creatures similar in description to La Patasola but differing in name are found throughout Latin America. La Patasola's most notable feature, from which her name derives, is her one leg, she is believed to possess only one leg, which terminates in a cleaved bovine-like hoof and moves in a plantigrade fashion. Despite only possessing one leg, La Patasola can move swiftly through the jungle. In her natural state, La Patasola has a terrifying appearance. La Patasola can metamorphose into different appearances, she takes on the appearance of a beautiful woman to lure men to their death. She uses her feline-type fangs to suck the blood from her victims, it is believed that she can transform into other animals, materializing as a large black dog or cow. According to Javier Ocampo Lopez, when pleased, La Patasola climbs to the top of a tree or mountain and sings the following song: La Patasola's origin story varies, but follows the pattern of a scorned, unfaithful, or otherwise "bad" woman.
Some believe that she was a mother who killed her own son, was banished to the woods as punishment. Others believe that she was a wicked temptress, cruel to both men and women, for this reason they mutilated her with an axe, chopping off one leg and throwing it into a fire, she died of her injuries and now haunts the forests and mountain ranges. In a third origin story, she was an unfaithful wife who cheated on her husband with the couple's employer, a patron. Upon discovering her infidelity, the jealous husband murdered both the patron, she died. More common in Colombian folklore, they are similar to the Sayona, the Tunda, the Madremonte or Marimonda; the La Tunda myth of the Colombian Pacific region tells of a vicious woman who sucks the blood of men. However, in this legend, "La Tunda's shape-shifting abilities are far from perfect…for whatever form she assumes will invariably have a wooden leg in the shape of a molinillo; the monster, however, is cunning, is adept at concealing this defect from would-be victims."Mythical creatures with similar origin stories are found as far north of Colombia as Mexico.
Similar in behavior to La Patasola is "Matlacihua, a phantasm in the beautiful and svelte form of a woman dressed in white. Sometimes called the White Lady or the Bride, she would appear at night and with her seductive songs and irresistible beauty, lure men of bad conduct into the forest, scaring them half to death." Though not described as sucking the blood of her victims, the White Lady deterred men from seeking amorous relations in the woods, jungles, or mountain ranges. In Latin American tradition, gruesome myths and legends serve as cautionary or morality tales. In particular, folkloric legends such as La Patasola warned against the dangers of infidelity and disrespect for nature just as well as one's natural wife, it is that La Patasola existed as a warning to men to avoid being seduced by beautiful women. A man seeking to have a secret tryst in the woods would be punished in gruesome fashion if they encountered La Patasola. Caipora Chullachaqui Deer Woman Fiura Llorona Marimonda Mohan Sayona Sihuanaba, a similar figure from Central America Tunda Tulevieja
In Mexican folklore, La Llorona is the ghost of a woman who drowned her children and now cries while looking for them in the river causing misfortune to those who are near or hear her. There is no credible evidence to the events that inspired the tale/legend of La Llorona; the legend is said. She was known around her village for her beauty. One day, an wealthy nobleman traveled through her village, he stopped in his tracks. Maria was charmed by him and he was charmed by her beauty, so when he proposed to her, she accepted. Maria's family was thrilled that she was marrying into a wealthy family, but the nobleman's father was disappointed that his son was marrying into poverty. Maria and her new husband built a house in the village to be away from his disapproving father, she gave birth to two sons. Her husband was always traveling, stopped spending time with his family; when he came home, he only paid attention to the sons and Maria knew her husband was falling out of love with her. One day, he returned to the village with a younger woman, told his sons farewell, ignoring Maria.
Maria and hurt, took her children to a river and drowned them in a blind rage. She realized what she had done and searched for them, but the river had carried them away. Days she was found dead on the river bank. Challenged at the gates of heaven for the whereabouts of her children, she was not permitted to enter the afterlife until she finds them. Stuck between the land of the living and the dead, she spends eternity looking for her lost children, she is always heard weeping for her children, earning her the name "La Llorona." It is said. If you hear her cries, they could bring misfortune or death. Many parents in Latin America use this story to scare their children from staying out too late. La Llorona kidnaps mistaking them for her own, she begs the heavens for forgiveness, drowns the children she kidnaps. People who claim to have seen her say she appears at night or in the late evening by rivers or lakes, wearing a white or black gown with a veil; some believe those who hear the wails of La Llorona are marked for death or misfortune, similar to the Gaelic banshee legend.
Among her wails, she is noted as crying "¡Ay, mi hijos!" which translates to "Oh, my children!" or "Oh, my sons!" She scrapes the bottom of the lakes, searching for her sons. It is said that when her wails sound near she is far and when she sounds distant, she is very near. La Llorona is sometimes identified with La Malinche, the Nahua woman who served as Cortés' interpreter and mistress who bore his children and who some say was betrayed by the Spanish conquistadors. In one folk story of La Malinche, she became Hernán Cortés' mistress and bore him a child, only to be abandoned so that he could marry a Spanish lady. Aztec pride drove La Malinche to acts of vengeance. In this context, the tale compares the Spanish discovery of the New World and the demise of indigenous culture after the conquest with La Llorona's loss; the Chumash of Southern California have their own connection to La Llorona. Chumash mythology mentions La Llorona when explaining nunašɨš called the "maxulaw" or "mamismis." Mythology says the Chumash believe in both the nunašɨš and La Llorona and hear the maxulaw cry up in the trees.
The maxulaw cry is considered an omen of death. The Maxulaw is described as looking like a cat with skin of rawhide leather. Outside the Americas, La Llorona bears a resemblance to the ancient Greek tale of the demonic demigodess Lamia. Hera, Zeus' wife, learned of his affair with Lamia and, out of anger, killed all the children Lamia had with Zeus. Out of jealousy over the loss of her own children, Lamia steals other women's children. In Greek mythology, Medea killed the two children fathered by Jason after he left her for another woman. Author Ben Radford's investigation into the legend of La Llorona, published in Mysterious New Mexico, traced elements of the story back to a German folktale dating from 1486; the plot of the 1961 Mexican film The Curse of the Crying Woman involves the resurrection of the spirit of La Llorona. La Llorona appeared as the main antagonist in the 2007 movie "J-ok'el". La Llorona appeared as the "monster of the week" in the NBC TV series Grimm, in the ninth episode of the second season which first aired on October 2012.
In this storyline, she is a ghost-like creature who appears in different cities at yearly intervals around Halloween, always luring three children to a point where three rivers meet, attempting to'sacrifice' these children to regain her own. In the episode, series protagonist Nick Burkhardt and his partner Hank Griffin work with wesen detective Valentina Espinosa, who lost her nephew to La Llorona some years ago, manage to save her latest victims, although La Llorona vanishes into the water. La Llorona appeared as the first antagonist in the 2005 pilot episode of the TV series Supernatural. Sarah Shahi portrayed Constance Welch, The Woman in White who, after discovering her husband's infidelity took the lives of her two children by drowning them in a bathtub at home and soon after, took her own by jumping off a bridge into a river, her ghost was known to haunt the Centennial Highway, hitchhiking unknowing mot