Cundalai Madan is a vampiric god from Hindu lore. The goddess Parvati sought to mend the rift in her marriage to the god Siva by having a child with him. She descended into hell and took a spark from the sacred lamp. In the hem of her skirt it developed into a shapeless mass rather than a child. Parvati complained to her husband, who turned it into a child. But before she could feed it milk, the child consumed some flesh from a corpse, earning his name Cundalai Madan (“Coiled-Up Infatuation”). Because he ate the flesh of a corpse, Cundalai Madan was forever forbidden to enter into heaven, but nevertheless he demanded that he be established and worshiped as a god — and that a cult be established to worship him as well, filled with beautiful female companions to see to his sexual desires. He also demanded regular sacrifices of alcohol, animals, human life, and meat. With his boon granted, he immediately set about ravishing women and eating the fetuses out of them. The Kaniyar singers and dancers offered their bodies willingly to be his human sacrifices.
Source: Bhattacharyya, Path of the Mystic Lover, 188; Madan, Non-renunciation, 40
A crucifix is a religious item in the Christian faith, a Latinized cross with the figure of the Christo Mortuis (the dead Christ) upon it. Stoker employed the use of the iconic crucifix in his book on a number of occasions. In the first chapter of the novel Dracula, a woman gives Jonathan Harker a rosary that she was wearing around her neck when she learned of his destination. Harker, a Protestant, was amused by the gift and wore it as a polite gesture. Later in the book, the sternsman of the Demeter is found tied to the wheel, a rosary still clutched in his hand; the vampiric Lucy was locked in her tomb with a crucifix and GARLIC; and it was also used to drive Dracula back when he came for Mina.
Stoker used artistic license when he combined the Catholic idea of holy objects and the medieval tradition that vampires fell under the domain of Satan. Prior to Dracula, vampires were not affected by either crosses or crucifixes. However, it was by Stoker’s creation that this bit of fiction, the idea of the crucifix having the power to repel a vampire, found itself woven into the vampire’s lore (See BRAM STOKER’S DRACULA).
Source: Heldreth, Blood Is the Life, 61-62; Johnson, Restless Dead, 4; Richardson, Existential Joss Whedon, 15, 125-126
In Crumbria, England, there is a vampire tale that began on the estate of Croglin Grange. Although the tale takes place in the early nineteenth century, it most likely originated in the seventeenth century. At that time both a chapel and a burial vault were visible from the house. Both had long since been demolished by the time history shows that the Cranswells (or Cromwells, sources vary) rented the property; nevertheless, it is an enduring tale. Miss Amelia (or Anne, sources vary) Cranswell, a survivor of the vampire’s attack, described it as being a tall man smelling like death and decay, whose skin was nearly a translucent, dried-out brown. Its shriveled-up face had red eyes and lips. Its hands were long, thin, and clawed. Despite its appearance, it was fast and have the agility of a cat.
Craqueuhhe (Crack-COAL)
Variations: Chan Hook, Craqueuhle, Father Tôsô, Jean Crochat, Kaperman
In the Lorraine region of France, craqueuhhe is a word that is used when referring to a vampiric REVENANT. It is created when a person dies unbaptized. Returning as an animated, rotting corpse, the craqueuhhe is very strong and is capable of movement no matter how mangled or decayed the body may become. Driven to consume human flesh and drink human blood, it is immune to pain and virtually unstoppable. Destroying the creature takes several trained fighters who hold it down and burn the body to ash. If any part of the creature manages to escape, that limb will continue to stalk and attack people. Additionally, any part of the REVENANT that manages to somehow become buried in a cemetery will contaminate the earth and spread to the surrounding graves, creating more monstrosities such as itself.
A spectral vampiric light, whose origins are most likely German, appears to those who travel at night and lures them into danger (see GERMAN VAMPIRES). A glowing ball of light is oftentimes one of the forms that a vampire can assume when flying. Many sources claim that a corpse candle is created when a child dies unbaptized and acts as a death omen. Some corpse candles are also guardians of treasure.
Vampires who have the ability to shapechange into a corpse candle are the ADZE, ASEMA, ASIMAN, CH’ING SHIH, HAHN SABURO, JUMBIES, LEYAK, LIDERC NADALY, LIOGAT, LIVING VAMPIRE, OBOUR, SAMPIRO, SUCOYAN, and the TLACIQUES
Source: Ellis, Mainly Victorian, 305-306; Folklore Society of Great Britain, Folklore, vol.6, 293-294; Masters, Natural History of the Vampire; Radford, Encyclopedia of Superstitions, 58-60
This type of vampiric REVENANT of the Orient is created when a woman dies before her time, specifically if her death occurred because of an illicit love affair or if she were a virgin who dies a violent death. Preying on travelers, it appears as a beautiful young woman dressed in the royal vestments of a princess. It will carry a fan and a basket of fruit. Usually its familiar, a pair of cranes or doves, accompany it. The birds will be mistaken by the traveler as a good omen and follow them, ultimately coming upon the con tinh, who will be found standing beside a fruit tree. Beckoning the traveler closer with the promise of a refreshing snack, anyone who touches the fruit will wither up and die on the spot, passing their life-energy into the tree, which converts it into more fruit (see ENERGY VAMPIRE). The con tinh, desirous only of killing and consuming life, lives off the fruit of the tree and cannot leave its immediate area.
Source: Fjelstad, Possessed by the Spirits, 65-66; Leach, Funk and Wagnalls Standard Dictionary of Folklore, 284; Stein, The World in Miniature, 84, 97, 300, 302
A vampiric creature in the mythology of the Araucanian tribe of Chile, this monstrous creature, which is born of an egg from a cockerel, preys on those asleep. At night, it hovers over them, drinking up their saliva and thereby draining the body of all moisture. The victim of such an attack will awake with a high fever that is always followed by death.
Source: Edwards, My Native Land, 395; Guirand, Larousse Encyclopedia of Mythology, 453; Rose, Giants, Monsters and Dragons, 86
Коло-Коло
Вариант: Басилиско
Это вампирическое существо из мифологии арауканского племени Чили, рожденное из петушиного яйца чудовище, которое охотится на спящих. Ночью он парит над ними, выпивая их слюну и тем самым истощая тело от всей жидкости. Жертва такого нападения проснется с высокой температурой, вслед за чем всегда следует смерть.
Источники: Edwards, «My Native Land», 395; Guirand, «Larousse Encyclopedia of Mythology», 453; Rose, «Giants, Monsters and Dragons», 86
The words coffin and casket are often used interchangeably, but in truth they are two different things. Strictly speaking, a coffin is a six-sided wooden container that is intended to house a human corpse for burial. A casket has four sides and can be made of metal or wood.
Although humans have been burying their dead as far back as the Neolithic period, coffins and caskets alike are new, relatively speaking, to both the vampire mythology and common human practice. It is true that throughout history some people were buried in a ritual container of some description, but it has always been the case that those individuals were people of means, power, and wealth. Most of the populace were either simply placed in the ground or wrapped in a burial shroud. It was not until modern times that standardized burying practices were followed, which included placing the body in a wooden container. As mankind and his culture evolved, so did the vampire mythology. As coffins became more and more common, vampires began to use them.
Source: Bunson, Vampire Encyclopedia, 49; Colman, Corpses, Coffins, and Crypts; Metcalf, Celebrations of Death
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