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shadows of hatred is all ive become.

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just a lonely shadow passing by as if i were not real to anyone...
bleeding from my eyes the color of fire...
burning and leaving a red scar in its place...

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SilentKidde
マルセル ・ マギル
Artist | Hobbyist | Film & Animation
The moon dips down and the world
forever casted in this lake of darkness.
No place of shining light
to guide me through the trecherous maze
of death, sadness, sorrow, and pain.
In this life,
I stand all alone,
only imagining to have a light.
I'll watch the devistation I have wrought;
watch all of the people suffter
in agony just like mine,
I would take their pain.
The sun forgot to take it's reign
and the moon weeps,
starts its twinkling tears.
Perhaps I wasn't meant to
simply be here at all.
The wayI cause destruction where I stand...
I must only be no more than a burden.
This realm of eternal night
takes hold of this twisted, tainted
soul of mine.
Please forgive me~
For what I have done
and what is only on my path
Interests
  • Mood: Content
  • Listening to: rejoice that the reapers died
  • Reading: how do you like the story so far?
  • Watching: the worlds unite
  • Playing: this is war
  • Eating: i love these worlds
  • Drinking: water
 Fw:  by SilentKidde
this is the site ive reposted    

Revenge of the Blood Ninja Canceled

Tue May 7, 2013, 2:26 PM
  • Mood: Content
  • Listening to: rejoice that the reapers died
  • Reading: how do you like the story so far?
  • Watching: the worlds unite
  • Playing: this is war
  • Eating: i love these worlds
  • Drinking: water
REAPER CHRONICLES

sorry but ive canceled this story until i publish it!!!
then ill repost the entire thing when copyright.

reason being: because ive become a true Psycho!!

LIVE FREE OR DIE HORRIBLY
  • Mood: Suffering
  • Listening to: Dead souls cry
  • Reading: Ancient texts for space and time
  • Watching: spirits float
  • Drinking: blood
From Wikipedia, the free encyclopedia
 (Redirected from Mythological hybrids)

Assyrian Shedu from the entrance to the throne room of the palace of Sargon II at Dur-Sharrukin (late 8th century BC), excavated by Paul-Émile Botta, 1843–1844, now at the Department of Oriental antiquities, Richelieu wing of the Louvre.
Urmahlullu relief from a bathroom in the palace of Assurbanipal in Ninevah
Zeus darting his lightning at Typhon, shown as a hybrid with a human torso, bird's wings and a reptilian lower body (Chalcidian black-figured hydria, c. 550 BC, Staatliche Antikensammlungen Inv. 596)Hybrids are mythological creatures combining body parts of more than one real species. They can be classified as partly human hybrids (such as mermaids or centaurs), and non-human hybrids combining two or more animal species (such as the griffin). Hybrids are often zoomorphic deities in origin who acquire an anthropomorphic aspect over time.

Partly human hybrids appear in petroglyphs or cave paintings from the Upper Paleolithic, in shamanistic or totemistic contexts. Ethnologist Ivar Lissner theorized that cave paintings of beings combining human and animal features were not physical representations of mythical hybrids, but were instead attempts to depict shamans in the process of acquiring the mental and spiritual attributes of various beasts or "power animals".[1] Religious historian Mircea Eliade has observed that beliefs regarding animal identity and transformation into animals are widespread.[2] The iconography of the Vinca culture of Neolithic Europe in particular is noted for its frequent depiction of an owl-beaked "bird goddess".[3]

Examples of theriocephaly in the Ancient Egyptian pantheon include jackal-headed Anubis, cobra-headed Amunet, lion-headed Sekhmet (see also Sphinx), falcon-headed Horus etc. Most of these deities also have a purely zoomorphic and a purely anthropomorphic aspect, both of which the hybrid representation seeks to capture at once. The hybrid iconography then develops as an attempt to represent both aspects. Similarly, the Gaulish Artio sculpture found in Berne shows a juxtaposition of a bear and a woman figure, interpreted as representations of the theriomorphic and the anthropomorphic aspect of the same goddess.

Non-human hybrids also appear in Ancient Egyptian iconography, as in Ammit (combining the crocodile, the lion and the hippopotamus). Mythological hybrids become very popular in Luwian and Assyrian art of the Late Bronze Age to Early Iron Age. The "angel" (human with birds' wings, see winged genie) the "mermaid" (part human part fish, see Enki, Atargatis, Apkallu) and the (Shedu) all trace their origins to Assyro-Babylonian art. In Mesopotamian mythology the urmahlullu, or lion-man served as a guardian spirit, especially of bathrooms.[4][5] The Old Babylonian Lilitu demon, particularly as shown in the Burney Relief (part woman part owl) prefigures the harpy/siren motive.

Luwian and Assyrian motives are imitated in Archaic Greece, during the Orientalizing Period (9th to 8th centuries BC), inspiring the monsters of classical Greek mythology such as the Chimera, the Harpy, the Centaur, the Griffin, the Hippocamp, Talos etc.

The motive of the "winged man" appears in the Assyrian winged genie, and is taken up in the Biblical Seraphim and Chayot, the Etruscan Vanth, Hellenistic Eros-Amor, and ultimately the Christian iconography of angels. Assyrian hybrids also entered Persian art, as in the Faravahar or the Buraq.

The motive of otherwise human figures sporting horns may derive from partly goat hybrids (as in Pan and the Devil in Christian iconography) or as partly bull hybrids (Minotaur). The Gundestrup cauldron and the Pashupati figure have stag's antlers (see also Horned God, horned helmet). The Christian representation of Moses with horns, however, is due to a mistranslation of the Hebrew text of Exodus 34:29-35 by Jerome.

The most prominent hybrid in Hindu iconography is elephant-headed Ganesha. Both Nāga and Garuda are non-hybrid mythical animals (snake and bird, respectively) in their early attestations, but become partly human hybrids in later iconography.
  • Mood: Suffering
  • Listening to: Dead souls cry
  • Reading: Ancient texts for space and time
  • Watching: spirits float
  • Drinking: blood
The basilisk appears in the Bible in Isaiah 14:29 in the prophet's exhortation to the Philistines reading, "Do not rejoice, whole country of Philistia, because the rod that beat you has broken, since the serpent's stock can still produce a basilisk, and the offspring of that will be a flying dragon." The King James version of the Bible states "out of the serpent's root shall come forth a cockatrice, and his fruit shall be a fiery flying serpent."

In Psalm 91:13:[10] "super aspidem et basiliscum calcabis conculcabis leonem et draconem" in the Latin Vulgate, literally "You will tread on the lion and the dragon,/the asp and the basilisk you will trample under foot," translated in the King James Version as: Thou shalt tread upon the lion and adder: the young lion and the dragon shalt thou trample under feet,"[11] the basilisk appears in the Latin Vulgate, though not most English translations, which gave rise to its inclusion in the subject in Early Medieval art of Christ treading on the beasts.

In William Shakespeare's Richard III, a widow, on hearing compliments on her eyes from her husband's brother and murderer, retorts that she wishes they were those of a basilisk, that she might kill him.[7] In Act II, Scene 4 of Shakespeare's Cymbeline, a character says about a ring, "It is a basilisk unto mine eye, Kills me to look on't."

Similarly, Samuel Richardson wrote in his famous novel Clarissa; or the history of a young lady: "If my eyes would carry with them the execution which the eyes of the basilisk are said to do, I would make it my first business to see this creature."[12] Another famous reference to the basilisk is found in John Gay's "The Beggar's Opera" (Act II, Air XXV):

Man may escape from Rope and Gun;
Nay, some have out liv'd the Doctor's Pill;
Who takes a Woman must be undone,
That Basilisk is sure to kill".[13]
Jonathan Swift alluded to the basilisk in a poem:

See how she rears her head,
And rolls about her dreadful eyes,
To drive all virtue out, or look it dead!
'Twas sure this basilisk sent Temple thence …[14]
Alexander Pope also wrote that "The smiling infant in his hand shall take/ The crested basilisk and speckled snake" (Messiah, lines 81–82). In the chapter XVI of The Zadig, Voltaire mentions a basilisk, "an Animal, that will not suffer itself to be touch'd by a Man".[15] Percy Bysshe Shelley in his "Ode to Naples" alludes to the basilisk:

Be thou like the imperial basilisk,
Killing thy foe with unapparent wounds!
Gaze on oppression, till at that dread risk,
Aghast she pass from the earth's disk.
Fear not, but gaze,- for freemen mightier grow,
And slaves more feeble, gazing on their foe.[16]
Shelley also refers to the basilisk in his poem "Queen Mab:"

"'Those deserts of immeasurable sand,
Whose age-collected fervors scarce allowed
Where the shrill chirp of the green lizard's love
Broke on the sultry silentness alone,
Now teem with countless rills and shady woods,
Cornfields and pastures and white cottages;
And where the startled wilderness beheld
A savage conqueror stained in kindred blood,
A tigress sating with the flesh of lambs
The unnatural famine of her toothless cubs,
Whilst shouts and howlings through the desert rang, -
Sloping and smooth the daisy-spangled lawn,
Offering sweet incense to the sunrise, smiles
To see a babe before his mother's door,
Sharing his morning's meal
with the green and golden basilisk
That comes to lick his feet." --Part VIII
Charles Dickens uses the Basilisk to describe Mrs. Varden's eternally angry and hideous housemaid, Miggs, in Barnaby Rudge: "But to be quiet with such a basilisk before him was impossible. If he looked another way, it was worse to feel that she was rubbing her cheek, or twitching her ear, or winking her eye, or making all kinds of extraordinary shapes with her nose, than to see her do it."
  • Mood: Suffering
  • Listening to: Dead souls cry
  • Reading: Ancient texts
  • Watching: spirits float
  • Eating: meat
  • Drinking: blood
This article is about the legendary creature. For the actual animal, see Corytophanidae.
For other uses, see Basilisk (disambiguation).
Basilisk
Woodblock print of a basilisk from Ulisse Aldrovandi, Monstrorum historia, 1642
Mythology European
Sub-grouping Mythological hybrids
Similar creatures Dragon


City seal of Zwolle from 1295 with Saint Michael killing a basilisk
The basilisk and the weasel, print attributed to Wenceslas Hollar.In European bestiaries and legends, a basilisk (English pronunciation: /ˈbćzɪlɪsk/,[1] from the Greek βασιλίσκος basilískos, "little king;" Latin Regulus) is a legendary reptile reputed to be king of serpents and said to have the power to cause death with a single glance. According to the Naturalis Historia of Pliny the Elder, the basilisk of Cyrene is a small snake, "being not more than twelve fingers in length,"[2] that is so venomous that it leaves a wide trail of deadly venom in its wake, and its gaze is likewise lethal; its weakness is in the odor of the weasel, which, according to Pliny, was thrown into the basilisk's hole, recognizable because all the surrounding shrubs and grass had been scorched by its presence. It is possible that the legend of the basilisk and its association with the weasel in Europe was inspired by accounts of certain species of Asiatic snakes (such as the King Cobra) and their natural predator, the mongoose (see "Rationalized accounts" below).

Contents [hide]
1 Accounts
2 Literary references
3 Modern reuse
3.1 Reuse in science fiction and popular culture
3.2 Reuse in Harry Potter
3.3 Reuse in science
4 See also
5 References
6 External links


[edit] AccountsThe basilisk is called "king" because it is reputed to have on its head a mitre- or crown-shaped crest. Stories of the basilisk show that it is not completely distinguished from the cockatrice. The basilisk is alleged to be hatched by a cockerel from the egg of a serpent or toad (the reverse of the cockatrice, which was hatched from a cockerel's "egg" incubated by a serpent or toad). In Medieval Europe, the description of the creature began taking on features from cockerels.

One of the earliest accounts of the basilisk comes from Pliny the Elder's Natural History, written in roughly 79 AD. He describes the catoblepas, a monstrous cow-like creature of which "all who behold its eyes, fall dead upon the spot,"[3] and then goes on to say,

"There is the same power also in the serpent called the basilisk. It is produced in the province of Cyrene, being not more than twelve fingers in length. It has a white spot on the head, strongly resembling a sort of a diadem. When it hisses, all the other serpents fly from it: and it does not advance its body, like the others, by a succession of folds, but moves along upright and erect upon the middle. It destroys all shrubs, not only by its contact, but those even that it has breathed upon; it burns up all the grass too, and breaks the stones, so tremendous is its noxious influence. It was formerly a general belief that if a man on horseback killed one of these animals with a spear, the poison would run up the weapon and kill, not only the rider, but the horse as well. To this dreadful monster the crow of a rooster is fatal, a thing that has been tried with success, for kings have often desired to see its body when killed; so true is it that it has pleased Nature that there should be nothing without its antidote. The animal is thrown into the hole of the basilisk, which is easily known from the soil around it being infected. The weasel destroys the basilisk by its odour, but dies itself in this struggle of nature against its own self

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SilentKidde Featured By Owner Jun 19, 2013  Hobbyist Filmographer
Yes that is a picture I drew of me for a art competion
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SilentKidde Featured By Owner Jun 19, 2013  Hobbyist Filmographer
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