In Tamil folklore, Arakkans are gigantic humanoid monsters, usually depicted as muscular male creatures with red skin. They live in solitude at the tops of forested hills.
An Arakkan will rarely bother humans unless they trespass in his lair or offend him in some way. In this case the angry Arakkan might hurl a giant boulder at the intruders, instantly crushing them to death.
Alternatively, the Arakkan might decide to take the humans captive. Such captives usually end up wishing they had been smashed by a boulder, for Arakkans are sadistic taskmasters who force their prisoners to do backbreaking, repetitive work.
One folktale tells of a Paataal Arakkan from the jewel-studded netherworld of Paataal Lok, who became enamored with a human woman and abducted her. This Arakkan had the power of turning his enemies to stone. He had also had the power of hiding his soul outside his body, so that he would be impossible to defeat in battle.
The imprisoned woman kept refusing to marry him. Finally, she agreed, but on a condition: he should tell her where he kept his soul, so that as his dutiful wife she might be its caretaker. The Arakkan told her that he kept it in the form of a snake.
In mainstream Hindu and Buddhist mythology, Apsaras are beautiful celestial angels or nymphs — dancers, singers, and seductresses in the service of the gods. Their Sanskrit name, a-psaras, means “shameless” — a reference to their promiscuity.
The best-known of them are Urvashi, Tilottama, Menaka, Rambha, and Ghritachi, all of whom are important figures in mythology. Dozens more Apsaras are named in the Mahabharata and Ramayana epics. For the most part, they are benevolent, though they sometimes throw curses when they are very annoyed.
In some local traditions, the Apsaras can be more sinister. They may simply be amoral creatures, who think nothing of murdering humans on a whim.
The word is sometimes used as a synonym of Pari, or of the Kumaoni ghosts called Anchheri.
In Assam it is said that a person who steps on an Apsara’s shadow, or who angers the Apsara in some other way, will be put under a magic spell that will cause him to wither away and die.
Apsaras are always women. Their male consorts are the Gandharvas.
Apasmara, also called Muyalaka, is a Hindu demon of ignorance and ego. He appears as a dwarf, and is usually depicted with his hands in the anjali mudra, or “namaste pose”.
One story goes that Apasmara was brought to life by a sect of powerful rogue sadhus. These ascetics, who lived in a mangrove swamp, created him in an attempt to kill Lord Shiva. But Shiva, in his avatar as Nataraja, began his cosmic dance — the tandava — and stamped Apasmara underfoot.
The demon can be seen in most images of the dancing Nataraja.
It is said that Apasmara can never be killed, so Shiva must stand on him for all eternity.
Aonglamla, also called Alonglemla or Aonglemlatsü, is a diminutive jungle spirit known from the folklore of the Ao Naga people of Nagaland. According to most accounts — but not quite all — she is female. She stands just about two feet tall, with wild hair that falls all the way from her head to the ground. Her feet are turned to point backwards, and there is hair that grows on her legs and feet as well. She is sometimes encountered bathing in lonely jungle streams or cave pools, talking or laughing to herself, or singing songs in an alien language.
This spirit — it has been argued that “entity” is a better word — has a tendency to flicker. One moment she’s there, the next she’s gone. The reason for the flickering, some say, is that she becomes invisible whenever she makes direct contact with the ground. You can only see her when she is floating in a pool of water; or if she hops; or if she steps on her hair while she’s walking. Others say that she moves backwards and forwards in time. She appears young and healthy one second, then suddenly old and wizened — and then she blinks out of existence entirely for a while.
The sighting of Aonglamla is very unlucky. Those who catch a glimpse of her can expect to fall very ill soon afterwards, perhaps even die; or they might see a close friend perish in an gruesome accident. However, Aonglamla is not malevolent by nature. Instead, she has a sort of melancholy detachment from the human realm.
In Zoroastrianism, Angra Mainyu — also called Ahriman — is the adversary of god in the great cosmic battle between good and evil. He is the king of all the Daevas (see Dev), the grand demon of deceit, chaos, and destruction.
Zoroaster taught that in the beginning Ahura Mazda, the creator, made twenty-four great Yazatas. He placed these angels inside a celestial egg. But Angra Mainyu created twenty-four evil Daevas to oppose them, and they bored holes through the egg to attack. This war between the Yazatas and the Daevas has raged ever since.
In Persian tradition, Angra Mainyu was a primordial entity. He came into being at the same time as the Ahura Mazda, and was considered nearly his equal in power.
However, among the Parsis of India, he has been pulled down a notch in the hierarchy: he is merely the destructive emanation of Ahura Mazda, rather than his rival.
This demon is associated with foul smells. He can take on the shape of a worm, snake, fly, or lizard.
In the Pahlavi language, the word Ahriman was always written upside-down, as a sign of contempt.
The Anchheri live high in the hills of Kumaon and Garhwal in Uttarakhand. Sometimes, at night, they descend to lower altitudes to play near the shores of lakes and in flowering meadows. They appear in groups, cavorting and chasing each other in what appears to be a frolicsome mood. But if you look closely you will see that their eyes are hollow and sunken, for these are the ghosts of girls who died unnatural deaths — either from murder, disease, or neglect.
Despite their playfulness, they are very dangerous. If a living girl sees them and tries to join their games, she will die. It is unsafe to visit the favoured playgrounds of Anchheri even during the daytime after they have left. When little girls or elderly people fall sick, it is thought to be because the shadow of an Anchheri has fallen on them.
Anchheri hate the colour red. Some say that the best defense against them is to tie a red ribbon around one’s neck. But according to other stories, the colour makes the Anchheri fly into a rage, so red clothing may invite an attack rather than repel it.
These ghosts appreciate gifts — especially jewellery, kajal for the eyes, and colourful saris or shawls. If they are regularly propitiated with such things, they cause less trouble for the living.
Anchheri play a role in a famous Garhwali folk ballad known as Jeetu Bagdwal. This is the tragic tale of a young man named Jeetu, said to have lived around 500 years ago during the reign of Raja Man Singh.
Ancient Tamil literature has a wide variety of terms for ghosts and demons: Oozhi, Paasam, Yaadam, Savam, and Veri being a few of them. But there is not much to say about these beings by way of description. If the words ever referred to specific types of spirits, those shades of meaning are now mostly lost to the mists of time.
Another ancient term is Anangu. This word occurs in the Tholkappiyam, the oldest surviving work of Tamil literature, and is still used today. Its meaning has varied widely over the centuries, making the Anangu a rather difficult spirit to characterize.
But we shall hazard a try.
The most common understanding seems to be that an Anangu is a demoness of hysterical grief — an embodiment of the rage stemming from women’s oppression.
The Anangu has been described as a preternaturally beautiful celestial damsel, an attacking deity from the mountains who wears bright flowers in her long flowing hair; but also as a shapeshifter, or as a formless entity. Some poems paint her as a succubus or Mohini — a temptress who feeds on the souls of weak men drawn to her by lust. Others say that she is the demon unleashed by a woman with disruptive sexuality: a married slut, an unchaste widow. But the Anangu’s activities are driven by a thirst for vengeance rather than by physical desire.
In the ancient Tamil epic Silappathikaram, or “The Anklet Story”, when Kannagi learns that her husband has been wrongly executed, she is described as an Anangu. The term has also been connected to Suparnakha — the Rakshasi of the Ramayana who was humiliated and disfigured for the crime of desiring the wrong man — and to the folkloric character Neeli.
In the folklore of the Atong people of Meghalaya — a subgroup of the Garo tribe — Ambi Jakbyryt is a ghostly hand, with no body attached.
When people walk on jungle paths on dark and moonless nights, the Ambi Jakbyryt will begin to follow them, floating silently behind in mid-air. When they least expect it, it reaches forward and claws their back.
When the person turns around, yelping in pain and alarm, they see the disembodied hand flying into the shadows.
В фольклоре народности атонг, подгруппы племен гаро из Мегхалаи, амби джакбэрет — призрачная рука, у которой нет тела.
Когда люди тёмными безлунными ночами идут по тропам в джунглях, за ними начинает следовать амби джакбэрет, бесшумно паря в воздухе позади. И когда люди меньше всего этого ожидают, она тянется вперёд и вцепляется в спину.
Тогда, оборачиваясь с криком боли и испуга, человек видит бестелесную руку, что улетает в глубину теней.
This name is used in Goa and other parts of Western India for the ghost of a woman who died in childbirth, but whose child survived. In some communities, it can also be used for a woman who died just before she was about to be married.
These spirits are incorporeal and invisible, and usually don’t bother the living. They never haunt strangers. Alvantins only cause trouble to members of their own family, and even then only if someone is about to experience the major life event which fate denied to the deceased.
Suppose a woman dies in childbirth. When her widower remarries, the ghost of the dead woman might become envious at the idea of a different woman mothering her child. The Alvantin may then possess the new wife and harass and torment her.
Or suppose a woman dies the night before her wedding. Then, when a younger sister or a niece gets married, the Alvantin may return to haunt the bride.
An Alvantin may haunt a family for centuries, over many generations, even after the name of the deceased is long forgotten and the house she lived in has crumbled to dust. But the ghost only troubles women — that too, only those women fathered by, or married to, members of the male line of descent from her father or her husband. For example, the dead woman’s brother’s daughters, or her brother’s sons’ wives, are at risk; but her sister’s descendants are immune.
A woman exorcist is required to drive an Alvantin out of a possessed person. Male exorcists are ineffectual against this spirit.
Alha and Udal were two legendary generals in the army of Raja Parimardi of Chandela who warred against the king Prithviraj Chauhan in the year 1182. Ballads about the exploits of these two heroes have been sung for centuries in different Central Indian dialects, especially Bundeli. The epic poem Alha-Khand gives descriptions of fifty-two different wars in which the two brothers fought side by side.
Not only are Alha and Udal said to have been the best swordsmen of their time, they were also skilled in the art of kushti (traditional mud wrestling). They lived in Maihar, now in Madhya Pradesh. They were great devotees of Sharda Mata, the deity whose temple sits at the top of a hill outside town.
Today, the ghosts of these warriors are said to visit the temple every day in the wee hours of the morning to worship the goddess. Entry to the temple building is strictly prohibited between the hours of 2 and 5 a.m. to ensure the spirits are undisturbed. Alha arrives riding on the ghost of his elephant, whose name is Pachsawad, while Udal rides on a ghostly pegasus named Bendil.
It is believed that the goddess will not accept worship from others before the two ghosts arrive, and that anyone foolish enough to defy the rule will die.
Ref.: 16. Bachaspatimayum, Mary. (2008). Religion and Society of the Kuki Tribes in Manipur. [Doctorate dissertation, Maharaja Sayajirao University of Baroda]. Shodhganga; 131. Hiltebeitel Alf. (2009). Rethinking India’s Oral and Classical Epics: Draupadi among Rajputs, Muslims, and Dalits. University of Chicago Press; 400. Waterfield, William (1923). The Lay Of Alha: A Saga of Rajput Chivalry as Sung by Minstrels of Northern India. Oxford University Press.
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