Demonology and Devil Lore. Moncure D. Conway

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Demonology and Devil Lore - Moncure D. Conway

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of Japan another cunning animal figures—the Weasel. The name of this demon is ‘the sickle weasel,’ and it also seems to occupy the position of a scape-goat. In the language of a Japanese report, ‘When a person’s clogs slip from under his feet, and he falls and cuts his face on the gravel, or when a person, who is out at night when he ought to have been at home, presents himself to his family with a freshly-scarred face, the wound is referred to the agency of the malignant invisible weasel and his sharp sickle.’ In an aboriginal legend of America, also, two sister demons commonly take the form of weasels.

      The popular feeling which underlay much of the animal-worship in ancient times was probably that which is reflected in the Japanese notions of to-day, as told in the subjoined sketch from an amusing book.

      This was the belief of the Corinthians in the Taraxippos, or shade of Glaucus, who, having been torn in pieces by the horses with which he had been racing, and which he had fed on human flesh to make more spirited, remained to haunt the Isthmus and frighten horses during the races.

      The Lion is a symbol of majesty and of the sun in his glory (reached in the zodiacal Leo), though here and there his original demonic character appears,—as in the combats of Indra, Samson, and Herakles with terrible lions. Euphemism, in one sense, fulfils the conditions of Samson’s riddle—Sweetness coming out of the Strong—and has brought honey out of the Lion. His cruel character has subtly fallen to Sirius the Dog-star, to whom are ascribed the drought and malaria of ‘dog-days’ (when the sun is in Leo); but the primitive fact is intimated in several fables like that of Aristæus, who, born after his mother had been rescued from the Lybian lion, was worshipped in Ceos as a saviour from both droughts and lions. The Lion couching at the feet of beautiful Doorga in India, reappears drawing the chariot of Aphrodite, and typifies the potency of beauty rather than, as Emerson interprets, that beauty depends on strength. The chariot

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