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Katakana

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Tradition / Region: Greek Mythology
Alternate Names: —
Category: Bat, Vampire

The Myth

On the Greek islands of Crete and Rhodes, people tell of a vampire known as the katakana. It is believed that certain dead do not remain at rest. In older times, Cretans feared that if a person were buried in loose, unconstrained earth, the dead might rise again as a katakana. Because of this danger, holy soil was brought from sacred places, including the Holy Sepulcher, and sprinkled over cemeteries to prevent the dead from returning.

The katakana was said to arise from the bodies of suicides, evil people, or those who had been excommunicated from the church. After death, such individuals could transform into vampires, retaining a distorted likeness of their former selves. The katakana was described as constantly smiling, its teeth always visible, giving it a chilling and unnatural expression.

Unlike some other undead beings, the katakana did not rely solely on biting to create others of its kind. Instead, it was said to spit a burning, bloody discharge at people. If this sticky substance struck its target, the victim would in time become a katakana as well, transformed into a vampire like the one that cursed them.

People believed the katakana could be driven away temporarily by gunshots, but destroying it required strict measures. To kill it permanently, the vampire had to be decapitated, or at least struck in the head with a sharp-edged weapon. Its severed head was then boiled in vinegar, and its nails were burned. Another method involved trapping the katakana in a container filled with salt water, which could immobilize it.

These actions had to be carried out within the first forty days after the vampire’s rise. If this time passed, the katakana was believed to become indestructible, immune to all attempts to destroy it. Because of this, vigilance and speed were considered essential when signs of a katakana appeared.

Beliefs about the katakana were understood as a local island form of broader Greek vampire traditions, yet its distinctive grin, burning spit, and specific methods of destruction set it apart as one of the most feared undead beings of the Aegean islands.

Centzon Tōtōchtin

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Tradition / Region: Aztec Mythology, Mexcian Mythology
Alternate Names: Centzontōtōchtin (“Four Hundred Rabbits”)
Category: Rabbit, deity

The Myth

In Mexica mythology, the Centzon Tōtōchtin are a great company of divine rabbits known as the Four Hundred Rabbits. They are gods associated with pulque, the fermented drink made from the maguey plant, and they are said to gather frequently for feasts and drunken celebrations. The number four hundred does not signify a precise count, but rather an uncountable multitude.

The Centzon Tōtōchtin are the children of Mayahuel, the goddess of the maguey plant, and Patecatl. Mayahuel was believed to nourish her children with the sap of the maguey, which became pulque. Through this parentage, the rabbits are bound to the plant and its intoxicating drink.

Each of the Centzon Tōtōchtin embodies a different aspect of drunkenness and behavior brought on by pulque. Among them are Tepoztecatl, Texcatzonatl, Colhuatzincatl, and Macuiltochtli, whose name means “Five Rabbit.” Tepoztecatl is often described as their leader and is closely associated with ritual calendars and sacred festivals.

The rabbits are said to assemble together, drinking pulque and celebrating noisily. In these gatherings, they represent the many forms intoxication can take, from joy and laughter to disorder and excess. Their presence explains why different people react differently when they drink, each one being touched by a different rabbit god.

The Centzon Tōtōchtin appear in myths surrounding the discovery and ritual use of pulque. In some stories, a rabbit is involved in revealing the maguey’s hidden properties, linking the animal directly to the sacred drink. Shrines and temples, including those dedicated to Tepoztecatl, honored these gods through offerings of pulque during festivals and ceremonies.

Thus, the Centzon Tōtōchtin remain remembered as a divine multitude of rabbit gods, born from the maguey, gathering endlessly in celebration, and inseparably bound to pulque and its effects among gods and humans alike.

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Rhox

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Tradition / Region: Ancient Mediterranean (Libya and wider Mediterranean)
Alternate Names: —
Category: Spider / Grape

The Myth

The Rhox is described in ancient sources as a deadly creature resembling a spider, known throughout parts of the Mediterranean world. Its name was said to indicate a likeness to a grape, and some associated it with a creature called the rhogalida, or “grape-spider,” spoken of on Crete. Others placed the Rhox in Libya, though it was also described as a spider commonly known around the Mediterranean.

According to descriptions attributed to Nicander, Philumenus, and Pliny, the Rhox was a kind of spider or phalangion. It was said to have a toothed mouth located in the middle of its body and short, thick legs that moved one after another in sequence. Its color was described as smoky or pitch-black.

The venom of the Rhox was believed to be instantly deadly. Those bitten were said to suffer strange and terrifying symptoms, including the appearance of web-like strands in their urine. Because of this, the Rhox was feared as one of the most lethal creeping creatures known.

Some later accounts noted that the Rhox’s form and deadly nature resembled other dangerous spiders known in the Mediterranean, though the exact identity of the creature remained uncertain. In all tellings, the Rhox endured as a small but terrifying being, whose bite brought swift and unnatural death.

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Grant

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Tradition / Region: England
Alternate Names: —
Category: Horse / demon

The Myth

There is said to be in England a kind of demon called the Grant. It appears in the form of a young horse or yearling foal, standing upright on its hind legs, with bright, sparkling eyes. Though not always seen, it most often shows itself in the streets during the heat of the day or around sunset.

When danger is about to strike—especially fire or disaster expected during the coming night or the following day—the Grant emerges and runs through the streets. As it moves, it provokes dogs to bark and chase it. By pretending to flee, it draws the dogs after it, though none can ever catch it.

Through this strange behavior, the Grant serves as a warning. Its sudden appearance and commotion alert the inhabitants that danger is near. Though terrifying to those who witness it, the demon’s actions are said to protect the people by putting them on guard before disaster can strike.

Thus the Grant is remembered as a fearful yet strangely helpful presence—an illusionary demon whose wild run through the streets signals that harm is approaching.

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Zwanenjonkvrouw

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Tradition / Region: Netherlands (Noord-Holland, Heemskerk)
Alternate Names: —
Category: Swan maiden / nymph

The Myth

In Noord-Holland, people tell of the Zwanenjonkvrouw, a woman of extraordinary beauty who can take the form of a swan. She changes between swan and human shape by means of a magical swan shirt, known as her zwanenhemd. When she wears it, she becomes a swan; when it is removed, she remains human.

In many tales, a man discovers the Zwanenjonkvrouw while she is bathing and steals her swan shirt. Without it, she is unable to return to her true form. The man then forces her to become his wife, and she lives among humans, bound by the loss of her garment rather than by her own will.

For a time, she remains with him, but she never ceases to long for her swan shirt. When she eventually finds it again, she immediately leaves her husband without mercy and disappears, returning to her true nature and her former life.

In a legend from Heemskerk, the story ends more tragically. When the man chooses to abandon her in favor of an ordinary human woman, the Zwanenjonkvrouw falls down dead, her life ending the moment she is rejected.

Thus the Zwanenjonkvrouw is remembered as a swan-maiden bound by theft, marriage, and loss, whose fate is sealed by the recovery of her stolen form or by betrayal.

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Anhangá

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Tradition / Region: Brazilian Mythology
Alternate Names: Anhanga, Anhan, Agnan, Kaagere
Category: Deer

The Myth

Anhangá is a feared spirit known among many Indigenous peoples of Brazil. It is said to torment both the living and the dead, appearing in nature through sudden, violent sounds such as storms, tempests, and unexplained noises. The presence of Anhangá brings fear, confusion, illness, and suffering.

Most often, Anhangá appears in the form of a deer. Hunters describe seeing a white or red deer with burning, fiery eyes, sometimes with antlers covered in hair. This deer is not an ordinary animal but a spirit that guards wildlife. It watches over animals in open fields and forests and punishes hunters who hunt abusively, especially those who pursue females with young.

When Anhangá intervenes in a hunt, it brings fever, madness, and confusion. A hunter may lose his sense of direction, mistake one being for another, or act against his own family without realizing it. In one well-known story, a hunter chased a doe and her nursing fawn. He seized the fawn to draw the mother closer and fired his weapon. Only afterward did he discover that Anhangá had deceived him, and that he had killed his own mother, mistaking her for the animal.

Anhangá does not appear only as a deer. It is said to take many forms in order to deceive and afflict people. It may appear as birds, mammals, fish, reptiles, or strange hybrid beings. These forms include an armadillo, a pirarucu fish, a turtle, oxen, birds such as the tinamou, and human-like figures. Because of this, hunters and travelers are taught never to trust appearances in the wilderness.

The spirit is also believed to torment the souls of the dead. During funerary rituals, people feared that Anhangá would seize the soul on its journey to the Land Without Evils, a blessed place where virtuous souls were meant to go. To protect the dead, food offerings were placed near the burial site so that Anhangá would consume the offerings instead of the soul. Fires were kept burning to warm and protect the deceased and to keep Anhangá at a distance. The living encouraged the dead to keep their fires from going out.

It was believed that only the most virtuous souls — those who had defended their people and killed many enemies — reached the high mountain of the Land Without Evils. Those who failed in this were said to fall under the power of Anhangá, becoming tormented spirits themselves.

Anhangá was also feared during travel, especially over water. Storms and violent sounds were sometimes believed to be caused by the spirits of the dead associated with Anhangá. Among some groups, Anhangá was said to follow or serve Jurupari, and together they were feared as dangerous spirits capable of possession, kidnapping, and death.

Because Anhangá could change form at will, it was impossible to know when it was near. Its presence was marked by fear, illness, illusion, and the sudden reversal of fortune. Hunters, mourners, and travelers all treated the wilderness with caution, knowing that Anhangá might be watching, waiting to punish disrespect, cruelty, or weakness.

Source

Wikipedia contributors. (n.d.). Anhangá. In Wikipedia, The Free Encyclopedia, from https://en.wikipedia.org/wiki/Anhang%C3%A1

Rashamen

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Tradition / Region: Japan (Edo period)
Alternate Names: Raschamen
Category: Sheep

The Myth

Rashamen was the name used for sheep brought to Japan by overseas ships. Because sheep were unfamiliar, people associated them with foreigners, and the name was said to come from rasha, the woolen clothing worn by Westerners.

In 1776, during the An’ei era, an animal called a raschamen was exhibited as a public spectacle in the districts of Ryōgoku and Asakusa in Edo. People paid to see it as a rare and strange creature from abroad. The animal on display was a sheep, with paint smeared over its body to make it look more unusual.

The spectacle became widely known. The sheep was taken around and shown to crowds, presented as something exotic rather than as an ordinary animal.

The event was later mentioned by Hiraga Gennai in his work Hoheiron Kohen, where he described the rashamen performance and noted that it was simply a painted sheep being displayed to the public.

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Vadzyany Byk

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Tradition / Region: Belarusian Mythology
Alternate Names: Water Bull, Vadzyany byk
Category: Cow

The Myth

In the lakes of the Ushachi Lakeland, people speak of a creature known as the Vadzyany Byk, the Water Bull. It is said to live beneath the surface of quiet waters, especially in lakes that appear shallow near the shore but suddenly drop into deep, rocky depths. At sunrise and sunset, its presence is announced by a deep, resonant roar that rolls across the water, described as a slow, echoing “woo-woo-woo.”

Those who claim to have encountered the Water Bull describe it as a medium-sized aquatic animal with a powerful body and a broad, spade-shaped tail. It is said to circle the lake endlessly, moving just below the surface. Fishermen tell of seeing ripples and feeling unseen movement beneath their boats, and some recall moments when they were too afraid to cast their lines, convinced that the creature could seize them and drag them into the depths.

The Vadzyany Byk is believed to inhabit dangerous waters filled with large stones and sudden drop-offs, places where drowning is easy and escape difficult. For this reason, it is sometimes called the master of the lake, a being that rules its waters and punishes carelessness. Though many admit they have never seen it clearly, its voice alone is enough to inspire fear and respect.

The Water Bull is also linked to similar beings known as swamp bulls, said to dwell in marshes and wetlands. Its legend appears beyond oral tradition as well, including in stories set in Belarusian landscapes, where such creatures are treated as ancient inhabitants of water and fog.

Rarely seen and never fully understood, the Vadzyany Byk endures as a presence felt more than witnessed — a roaring shadow beneath the surface, guarding the depths of the lake and reminding those nearby that the water is not empty.

Keledones

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Tradition / Region: Greek Mythology
Alternate Names: Celedones, Khryseiai Keledones (“Golden Charmers”)
Category: Object

The Myth

In the age when gods still shaped wonders with their own hands, the divine smith Hephaistos forged a set of miraculous beings for the temple of Apollon at Delphi. These were the Keledones, golden singers crafted not of flesh, but of shining metal, alive with sound and enchantment.

The Keledones were made entirely of gold and were said to sing with voices of supernatural power. Some described them as beautiful maidens, others as wryneck birds, and still others as strange bird-women, reminiscent of the Sirens. However they appeared, their song possessed a soothing and bewitching force, capable of charming all who heard it.

They were placed high upon the temple, above the pediment, where their voices rang out continuously. There, the Golden Charmers sang in honor of Apollon, their music filling the sacred space with an otherworldly harmony. Ancient poets spoke of them as wonders beyond human craft, comparing their song to that of the Sirens, though fashioned not to destroy but to enthrall.

Some later writers questioned whether such beings truly existed or whether they were poetic embellishments inspired by earlier myths. Yet the tradition endured: that once, at Delphi, golden singers adorned the god’s temple, their voices echoing across stone and air, forged by divine hands and animated by sacred song.

Thus the Keledones remained in memory as marvels of divine artifice — not born, but made; not living, yet singing — eternal symbols of beauty, craft, and the dangerous power of enchanted sound.

Laurentius Christophori Hornaeus

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Era / Region: Early Modern Period, Sweden
Lifespan: 1645 – April 27, 1719
Primary Role(s): Priest; parish vicar
Alternate Names / Titles: Lars Christophri Hornæus; Lars Christoffersson

The Life

Laurentius Christophori Hornaeus was born in 1645 in Härnösand, Sweden, under the name Lars Christoffersson. During his lifetime, it was common for Swedish students and clergy to adopt Latinized names, often derived from their place of origin. The name Hornaeus is generally understood to be a Latinized form of Härnösand.

He began theological studies in the 1660s and was enrolled at the University of Uppsala by 1667, where he studied alongside his brother Petrus. In 1672, Lars was ordained as a priest of the Church of Sweden.

Following his ordination, he was appointed assistant minister in Ytterlännäs, serving under Olaus Erici Rufinius, who held responsibility for the parish of Torsåker and its surrounding areas, including the annex parish in the Dal Hundred. Rufinius died later in 1672, and Lars succeeded him as assistant minister.

Hornaeus became parish vicar through the customary practice of widow conservation, by which a clergyman inherited a parish by marrying the widow or daughter of his predecessor. Since Rufinius had been widowed, Hornaeus married his daughter, Brita Olofsdotter Rufinia, in a ceremony held at the parsonage in Sunnanåker, within Ytterlännäs parish. The couple had a son, Lars Hornaeus, who later became a minister. Through his descendants, Hornaeus’s family remained active in the clergy for multiple generations.

In 1668, a wave of witchcraft accusations began spreading through Sweden. By 1674, the witch panic reached Torsåker. As parish vicar, Laurentius Christophori Hornaeus presided over the Torsåker witch trials, which became the largest witch trial episode in Swedish history.

Hornaeus continued his clerical duties until his death on April 27, 1719, in Nordanåker, Ytterlännäs parish. He was buried beneath the old church in Ytterlännäs, where his grave remains preserved beneath a hatch in the church floor between the altar and the sacristy entrance.

Following his death, his son Lars Larsson Hornaeus succeeded him as pastor and led the congregation until 1751.

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