The word Boba means “mute” in Bengali. It is also the name of the evil spirit who is the personification of sleep paralysis.
While scientists would refute the existence of most of the entities in this book, sleep paralysis is a real and well-documented phenomenon. Medical doctors explain it as certain aspects of REM sleep intruding upon consciousness. It typically occurs in patients who are sleep-deprived, or who suffer disturbed sleep.
Sleep paralysis is experienced either just before falling asleep or just after waking. One finds oneself lying supine in bed, aware but completely unable to move or speak, with an intense and painful pressure on the chest. Some people claim to see a witch or ghost sitting on top of them, staring into their faces.
This ghost has many different names in different world languages. In Tamil, for example, it is called Amuku Pey; in the Shona language of Zimbabwe, it is called Madzikirira; in old English folklore, it is called the Night Hag.
Bengali accounts differ as to what Boba looks like (if indeed it is visible at all). Some stories say that if Boba returns too often — that is, if the person keeps experiencing the paralysis night after night — then Boba will eventually strangle them to death.
The Blemmyae or Akephaloi are a race of people without heads. Their eyes and mouths grow on their chests (though in some depictions, females of the race have their eyes on their shoulders).
The first known mentions of Blemmyae are found in European descriptions of the Nile Valley in Africa. Many later texts say that they lived in India as well. The Wonders of the East, a thousand-year-old manuscript written in Old English, describes the Indian Blemmyae as giants, eight feet tall and eight feet wide.
The Bira or Bira Mwdai is a troublesome poltergeist-like female spirit from Assam. In the wild they rarely bother humans, but they can be caught and domesticated by black magicians, who then set them against their enemies. In the house of their owners, they live in the guise of rats; the owner feeds them and offers them an occasional animal sacrifice. When they attack, they turn invisible.
Bira hauntings result in rocks raining down through the roofs of houses, clothing getting mysteriously ripped to shreds in the almirah, dirty slippers appearing in pots of cooked food. Biras harass babies and leave bite marks on their legs. They can also possess people and make them forget things, or cause hysterical fits.
A Churuni Bira is a type of Bira that specializes in stealing food from kitchens.
Some believe that Biras are the ghosts of women who died by suicide. Others class them as a variety of Khetor.
In the folklore of the tribes of the Andaman Islands, Lau are ghosts of the dead (They were called Chauga in the language of South Andaman). The Bido Tech Lau or Ti-Miku Lau are jungle spirits, one of the two main varieties of Lau. The other type is the Jurua, or sea-spirits.
Bido Tech Lau are usually invisible, but they can show themselves to the living whenever they wish to do so. Humans who have seen them describe them as fearsome and ugly. They have light skin and long, flowing hair and beards (in stark contrast to the dark skin and afro-textured hair of living Andamanese). The spirits are also said to have small, dwarf-like bodies with elongated limbs.
They live in villages deep in the jungle. These villages are protected from the outside world by impenetrable thickets of Calamus tigrinus (“bido”), a thick cane covered with sharp thorns. Bido Tech Lau translates as “Spirits of the Calamus Leaf”.
The Bido Tech Lau sometimes catch mortals who venture too close to their encampments. If the captured mortal shows any fear, they kill him, and his spirit becomes one of them; but if he is brave, they may allow him to visit their village, keeping him there for some time before releasing him back to human habitation.
A person who has undergone this experience becomes endowed with magical powers. He may disappear again from time to time to visit his spirit-friends for a few days at a stretch.
Bido Tech Lau rarely visit human settlements, but they will attack any person who wanders alone late at night in the forest, making him fall suddenly and violently ill. Therefore, it is always safer to travel in a group. Lau are scared of fire, arrows, human bones, beeswax, and red paint, so these can be used to ward them away if one is compelled to make a solo nighttime journey.
The Bhurey legend comes from the hilly jungles of Darjeeling and Sikkim. This spirit appears as a boy in his early teens with chicken-like wings and claw-like hands. He is an adept tree-climber and can fly for short distances.
The Bhurey lives in thick jungles, but visits human habitations to abduct young children, especially those who are neglected or ill-treated by their parents. The abducted children are thought to also become Bhureys.
Bhurey means “brown” in Hindi, and in English he is sometimes called “Brown Boy” or “Chicken Boy”.
Ref: 142. ఈశాన్య ప్రాంతపు దెయ్యాలు. (2012). Red Squid Press, Guntur; 253. Nissim, P.S. (2017). Brown Boy. Blaft Publications Limited.
Bhoota Vahana Yanta means “spirit movement machine”. The term is used for several varieties of robot drone assassins and sword-wielding machine-men mentioned in the Lokapannati, a Pali-language text written between 1000 and 1200 C.E. by Saddhammaghosa of Thaton, but concerning events that took place much earlier, around 500 to 200 B.C.E.
According to the story, robots were first invented by engineers of the early Roman Republic. These robots were used for commerce, in agriculture, as a police force, and as executioners. The secret of how to build these spirit-engines was fiercely protected. If any engineer dared to take the designs out of the city, one of his own executioner robots would come after him and kill him.
At that time, in Pataliputra (then in the kingdom of Magadha, now Patna in the state of Bihar), there lived a young man who had heard of the Romans’ magical androids. He became so determined to learn the secrets of their manufacture and share them with the people of Magadha that he arranged his own death. Then, on his deathbed, he vowed to be reincarnated as a Roman.
This indeed took place. In his new life, the man grew up to join the Roman guild of engineers. He even married the daughter of the Master Robot-Maker, and had a son by her.
Once he learned the secrets of the Bhoota Vahana Yanta, the man resolved to transfer the information back to Pataliputra. But he was well aware that now, since he was a member of the guild, he would be killed as soon as he left. So he cut a gash in his thigh, inserted the plans in his flesh, and sewed the wound back up.
The Beri is a very ancient thing that lives in the Lakshadweep Sea.
Most of the time it looks like a large log of driftwood. It can spend years, decades, even centuries at a time in this shape, dormant, floating in the open ocean.
Barnacles, mussels, and other marine animals make their homes on it. They live out their lives bobbing in and out of the waves and the scorching sun, and eventually they die. Their empty shells fall away, and the space where they grew is occupied in turn by the creatures’ descendants.
Generations live and die.
The Beri sleeps.
Eventually, the log is washed onto the shore of one of the atolls of Lakshadweep or the Maldives. There it lies on the beach, unmoving.
If the island is an uninhabited one, the Beri will be swept back out to sea at the next high tide. However, if the island has a village, and if a young woman from that village should go out walking on the beach should happen to sit on the log or stand astride it, the Beri will slowly begin to wake up.
A few days pass before it shakes off its long slumber. Then, late at night, the Beri begins to transform itself. Slowly it takes the shape of a handsome, slumbering young man, stretched out on the sand.
An hour or so before dawn, the man gets up, stretches, and brushes himself off. Then he walks towards the island’s village, where he introduces himself as a visitor from a different island, claiming that he was dropped off by a passing boat.
The disguised Beri proceeds to seek out the same young woman who woke him up on the beach. Since he can make himself appear irresistibly attractive, he usually succeeds in marrying her. Then he settles down on the island and pretends to live a normal life.
Secretly, though, in the dead of night, the Beri keeps sneaking off to the island’s cemetery to dig up corpses, bring them home, and eat them.
In the folklore of the Kuki tribes of Northeast India, a Bembong is a tiny dancing female fairy-spirit.
To summon a Bembong, one must hold a small bamboo basket in one’s palm, and then place a particular sort of bead inside the basket. Then a friend should play a tune on the gourd-flute known as a goshem, while the person holding the basket sings a short song:
We ask God above
to let Bembong dance below.
At this, a Bembong will fly in and begin to dance in the basket. When it is time to send the Bembong away, the singer must sing:
Rush back home, shameless Bembong,
Enemies are attacking your village.
Бембонг из фольклора племен куки на северо-востоке Индии — крошечная танцующая фея-дух.
Чтобы призвать бембонг нужно взять в ладонь маленькую бамбуковую корзинку, а затем положить туда бусину определённого вида. Затем кто-то из друзей должен играть на тыквенной флейте, известной как гошем, пока человек, держащий корзинку, поёт короткую песенку:
Мы просим Бога наверху
Позволить бембонг танцевать внизу.
In the folklore of Maharashtra and the Konkan coast, a Bayangi (or Bayangi Bhoot) is a spirit that can make a person fabulously rich and successful. But the wealth often comes at the ultimate cost of their life, or the life of a loved one.
Occult practitioners who know how to summon a Bayangi are, oddly, almost always very simple people themselves. They typically live in small huts and avoid fancy clothes or vehicles. They charge a fairly modest fee — as of this writing, 10,000 rupees is the going rate — to capture the spirit in a coconut, or in a small white cloth doll. The ritual for binding the spirit involves lemon, supari, and black pepper. It must be conducted on the night of a new moon.
A sort of contract is made at this point. The owner agrees to make regular offerings to the spirit in return for its service. Sometimes these offerings are to be made whenever the moon is new or full; sometimes it is only at the new moon, or just once a year.
At any one of these intervals, the buyer may decide to release the Bayangi and exit the contract. Alternatively, a fixed time period of service may be specified — typically seven years.
The exact nature of the offerings is left unspecified. The buyer must agree to give the spirit whatever it asks for.
The owner of the spirit must then take the coconut or doll containing the Bayangi and hide it somewhere in their home where no one will find it. It is crucially important that no one but the owner should get a glimpse of the thing.
The owner must keep the Bayangi’s hiding place clean and tidy. If there is a devhara (pooja cabinet) in the house, it must be covered with a sheet. Likewise any other images of gods must be covered or removed from the walls.
A Vetal is a spirit which haunts cremation grounds. Vetals like to eat flesh and drink blood.
Folk stories about the Vetal are told in many different languages, across India and even beyond, so the description of the creature can vary quite a lot. (As can the spelling: Betaal, Baital, and Vaital being a few of the variants.) The most familiar Vetal, and possibly the original on which other tales are based, is found in the ancient story Vetala Panchavimshati (“The Twenty-Five Tales of the Vetal”), or its many modern adaptations, Vikram and the Vetal.
“Vetal” is often translated to English as “vampire”, but the two myths are quite different. A Vetal does not actually have a body of its own, though it can inhabit human corpses at will. (In one ancient story, a Vetal inhabits a “body” made out of parts of several different animals sewn together.) By most accounts, it is not the ghost of a human, but a different sort of spirit entirely, perhaps a type of Pisacha. In fact, Vetal and Pisacha are sometimes presented as synonyms. (The original version of Vetala Panchavimshati is supposed to have been written in Paisachi, the language of the demons. But that version has been lost. The oldest surviving version was written in Sanskrit by Somadeva in the 11th century C.E.)
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