GRIM REAPER CHILD CANDLE HOLDER Halloween tealight chubby horror tombstone RARE

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Seller: sidewaysstairsco ✉️ (1,180) 100%, Location: Santa Ana, California, US, Ships to: US & many other countries, Item: 204313370753 GRIM REAPER CHILD CANDLE HOLDER Halloween tealight chubby horror tombstone RARE. Check out our other new and used items>>>>>HERE! (click me) FOR SALE: A cute but macabre, Halloween-themed candle keeper LITTLE CHUBBY GRIM REAPER TEALIGHT CANDLE HOLDER DETAILS: It's chunky! It's cute! It's a child? This vintage Halloween-themed ceramic tea light holder was painted by hand and features wonderfully charming details mixed with a cutting, reality-of-life subject matter that's been cloaked . If you ever see a child version of the grim reaper in any form it's either a child in a Halloween costume or a cartoon character of a grim reaper child - this product is neither of those and that makes it quite unique. We know this chubby grim reaper of death is supposed to be a child because of its small stature but what's more telling is that our adorable ally is holding a "wooden" hobby horse. Remember hobby horses? The simple and safe toy that was made especially for children. The only reason to put a hobby horse in the grim reaper's hand is to confirm that the "Chubby Grim Reaper" is a child. To quell melancholic thoughts about the tealight holder's subject matter and eliminate the macabre topic of child death the manufacturer could have easily request their designer to have the grim reaper hold a trick-or-treat pail instead. But they didn't. The "Chubby Grim Reaper" tealight holder was an odd design to put into production yet it still happened. This, some would say insensitive, product is a surprise to see come to fruition as the subject of deceased children is not a common product theme. Even darker could be that the "Chubby Grim Reaper" is looking for children. Regardless of the story you give it its still utterly delightful and would look great among other Halloween treasures. The handpainted ceramic is unglazed; giving an earthenware or terracotta pottery feel. A rare Halloween find! This oddity of a Halloween decoration may have started with the best cutesy intentions but the result is a major overlooking of sensitive subject matter. With a grim reaper child character one would assume the child died in order to have personified death. No one wants to ponder death and children which leads us to beleive that this Halloween time decoration did not sell well or a decision was made during production to limit the number made available. It may be for this reason that after extensive research we could not find information regarding the same "Chubby Grim Reaper" tealight candle holder; or any grim reaper child tealight candle holder for that matter - making this peculiar wonder a very rare find and even more collectible. Dimensions: Height: approx. 5" Length: approx. 4-1/4" Width: approx. 3-1/8" A must have for Halloween maniacs and collectors! Makes a great, unique, and thoughtful gift for that special spooky someone in your life . Collectors of everything Halloween and Halloween-themed will happily add this ceramic piece to their living collection. CONDITION: In very good, pre-owned condition. Some specs of missing paint (easy to touch up if you choose) but no cracks or chips. Please see photos. To ensure safe delivery all items are carefully packaged before shipping out. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "A tealight (also tea-light, tea light, tea candle, or informally tea lite, t-lite or t-candle) is a candle in a thin metal or plastic cup so that the candle can liquefy completely while lit. They are typically small, circular, usually wider than their height,[1] and inexpensive. Tealights derive their name from their use in teapot warmers, but are also used as food warmers in general, e.g. fondue.[citation needed] Tealights are a popular choice for accent lighting and for heating scented oil. A benefit that they have over taper candles is that they do not drip. [2] Tealights may be set afloat on water for decorative effect. Because of their small size and low level of light, multiple tealights are often burned simultaneously. Longer-burning tealights may be called nightlights. They are also lit for religious purposes. Varieties Advent labyrinth made with 2500 burning tealights at the Holy Cross - Centre for Christian Meditation and Spirituality, Bornheim, Germany Tealights can come in many different shapes and sizes, small and large, as well as burn times and scents. However, tealights are commonly short and cylindrical, approximately 38 mm (1.5 in) in diameter by 16 mm (0.63 in) high, with white unscented wax. A standard tealight has a power output of around 32 watts, depending on the wax used.[3] When used in batches of fifty or more, such as at a party, the two criteria most desired are "least amount of smoke" and being long-lasting. [4] Cup design The wick is tethered to a piece of metal to stop it from floating to the top of the molten wax and burning out before the wax does. Tealights have been protected under several patented designs. In some cases, the standard tea light metal cup has been replaced with a clear plastic cup, sometimes made out of polycarbonate plastic. The clear cup allows more light to escape the holder. However, the metal cups are much more common. Holders Heart-shaped tealight candle holder from Himalayan salt When not placed on a tray, tealights are placed in a special holder, which may be pierced[5] or have partly clear walls to allow light to pass through. From small pockets of glass, metal, ceramic, and other materials to larger, more elaborate tea light lamps, holders come in a wide range of styles, colours, and shapes. They have an appropriately sized cup to use a tealight candle, either scented or unscented. Discount stores, gift stores, and home decor stores often carry an array of holders for these small candles. Electrical Electric tealights have become increasingly popular as newer technology becomes available. They can feature incandescent or LED bulbs, the latter becoming the preferred format as LEDs become more-efficient and brighter. They can come in many different colours to set a mood, match a decor or augment the container's design. Some can also simulate a moving flame with various mechanical or electronic animations. Electric tealights are not useful as a source of heat, so they are not suitable for chafing dishes or other food." (wikipedia.org) "Halloween or Hallowe'en (less commonly known as Allhalloween,[5] All Hallows' Eve,[6] or All Saints' Eve)[7] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Saints' Day. It begins the observance of Allhallowtide,[8] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[9][10][11][12] One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which are believed to have pagan roots.[13][14][15][16] Some go further and suggest that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[17] Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[18][19][20][21] Celebrated in Ireland and Scotland for centuries, Irish and Scottish immigrants took many Halloween customs to North America in the 19th century,[22][23] and then through American influence Halloween had spread to other countries by the late 20th and early 21st century.[24][25] Popular Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins or turnips into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.[26] Some people practice the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead,[27][28][29] although it is a secular celebration for others.[30][31][32] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.[33][34][35][36] Etymology "Halloween" (1785) by Scottish poet Robert Burns, recounts various legends of the holiday. The word Halloween or Hallowe'en ("Saints' evening"[37]) is of Christian origin;[38][39] a term equivalent to "All Hallows Eve" is attested in Old English.[40] The word hallowe[']en comes from the Scottish form of All Hallows' Eve (the evening before All Hallows' Day):[41] even is the Scots term for "eve" or "evening",[42] and is contracted to e'en or een;[43] (All) Hallow(s) E(v)en became Hallowe'en. History Christian origins and historic customs Halloween is thought to have influences from Christian beliefs and practices.[44][45] The English word 'Halloween' comes from "All Hallows' Eve", being the evening before the Christian holy days of All Hallows' Day (All Saints' Day) on 1 November and All Souls' Day on 2 November.[46] Since the time of the early Church,[47] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[48][44] These three days are collectively called Allhallowtide and are a time when Western Christians honour all saints and pray for recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[49] In 4th-century Roman Edessa it was held on 13 May, and on 13 May 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs".[50] This was the date of Lemuria, an ancient Roman festival of the dead.[51] In the 8th century, Pope Gregory III (731–741) founded an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[44][52] Some sources say it was dedicated on 1 November,[53] while others say it was on Palm Sunday in April 732.[54][55] By 800, there is evidence that churches in Ireland[56] and Northumbria were holding a feast commemorating all saints on 1 November.[57] Alcuin of Northumbria, a member of Charlemagne's court, may then have introduced this 1 November date in the Frankish Empire.[58] In 835, it became the official date in the Frankish Empire.[57] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[57] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[59] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[57][59] It is also suggested the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome's sultry summers.[60][44] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[61] Top: Christians in Bangladesh lighting candles on the headstone of a relative. Bottom: Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century, the celebration had become known as the holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory. It was also "customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls".[62] The Allhallowtide custom of baking and sharing soul cakes for all christened souls,[63] has been suggested as the origin of trick-or-treating.[64] The custom dates back at least as far as the 15th century[65] and was found in parts of England, Wales, Flanders, Bavaria and Austria.[66] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives. This was called "souling".[65][67][68] Soul cakes were also offered for the souls themselves to eat,[66] or the 'soulers' would act as their representatives.[69] As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.[70] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[71] While souling, Christians would carry "lanterns made of hollowed-out turnips", which could have originally represented souls of the dead;[72][73] jack-o'-lanterns were used to ward off evil spirits.[74][75] On All Saints' and All Souls' Day during the 19th century, candles were lit in homes in Ireland,[76] Flanders, Bavaria, and in Tyrol, where they were called "soul lights",[77] that served "to guide the souls back to visit their earthly homes".[78] In many of these places, candles were also lit at graves on All Souls' Day.[77] In Brittany, libations of milk were poured on the graves of kinfolk,[66] or food would be left overnight on the dinner table for the returning souls;[77] a custom also found in Tyrol and parts of Italy.[79][77] Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes".[80] In the Middle Ages, churches in Europe that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[81][82] Some Christians observe this custom at Halloween today.[83] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[84] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which was often depicted in church decoration.[85] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians "not to forget the end of all earthly things".[86] The danse macabre was sometimes enacted in European village pageants and court masques, with people "dressing up as corpses from various strata of society", and this may be the origin of Halloween costume parties.[87][88][89][72] In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a "popish" doctrine incompatible with the Calvinist doctrine of predestination. State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow's Day remained in the English liturgical calendar to "commemorate saints as godly human beings".[90] For some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; "souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits".[91] Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).[92] In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead;[46][93] the Anglican church eventually suppressed this bell-ringing.[94] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth".[95] After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night (5 November), which appropriated some of its customs.[96] In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th–19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[97] There was a similar custom in Hertfordshire, and the lighting of 'tindle' fires in Derbyshire.[98] Some suggested these 'tindles' were originally lit to "guide the poor souls back to earth".[99] In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they "were important to the life cycle and rites of passage of local communities" and curbing them would have been difficult.[22] In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.[79] In 19th-century Italy, churches staged "theatrical re-enactments of scenes from the lives of the saints" on All Hallow's Day, with "participants represented by realistic wax figures".[79] In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.[79] In the same country, "parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night".[79] In Spain, they continue to bake special pastries called "bones of the holy" (Spanish: Huesos de Santo) and set them on graves.[100] At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all night vigil.[101] In 19th-century San Sebastián, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who "appeal[ed] to the tender recollectons of one's deceased relations and friends" for sympathy.[102] Gaelic folk influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[103] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[104] The origins of Halloween customs are typically linked to the Gaelic festival Samhain.[105] Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated on 31 October – 1 November[106] in Ireland, Scotland and the Isle of Man.[107][108] A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival begins the evening before 1 November by modern reckoning.[109] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[110] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland.[111] Samhain marked the end of the harvest season and beginning of winter or the 'darker half' of the year.[112][113] It was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[114][115] Most scholars see them as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[116] They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[117][118] At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for them.[119][120][121] The souls of the dead were also said to revisit their homes seeking hospitality.[122] Places were set at the dinner table and by the fire to welcome them.[123] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.[66] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[124] Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one's future, especially regarding death and marriage.[125] Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[126] Special bonfires were lit and there were rituals involving them. Their flames, smoke, and ashes were deemed to have protective and cleansing powers.[112] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[110] It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.[123][127][128] They were also used for divination and to ward off evil spirits.[74] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[129] In Wales, bonfires were also lit to "prevent the souls of the dead from falling to earth".[130] Later, these bonfires "kept away the devil".[131] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[132] From at least the 16th century,[133] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[134] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to 'souling'. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[135] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[136] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[134] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.[133] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[134] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[134] Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[134] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.[134] Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.[134] By those who made them, the lanterns were variously said to represent the spirits,[134] or used to ward off evil spirits.[137][138] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[134] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of Britain and became generally known as jack-o'-lanterns.[134] Spread to North America The annual New York Halloween Parade in Greenwich Village, Manhattan, is the world's largest Halloween parade, with millions of spectators annually, and has its roots in New York’s queer community.[139] Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[140][141] although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.[142] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[22] It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.[22] Most American Halloween traditions were inherited from the Irish and Scots,[23][143] though "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[144] Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.[145] Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe and some parts of the Far East.[24][25][146] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including skeletons, ghosts, cobwebs, headstones, and scary looking witches. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[73][147] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[148] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[149]     On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[150] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[151][152] but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip.[151] The American tradition of carving pumpkins is recorded in 1837[153] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[154] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein; or, The Modern Prometheus and Dracula) and classic horror films such as Frankenstein (1931) and The Mummy (1932).[155][156] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[157] skulls have therefore been commonplace in Halloween, which touches on this theme.[158] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[159] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "bogles" (ghosts),[160] influencing Robert Burns' "Halloween" (1785).[161] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[162] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[163] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[64] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[164] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[165] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[166][167] Mumming practiced in Germany, Scandinavia and other parts of Europe,[168] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[169] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising was first recorded in North America In England, from the medieval period,[170] up until the 1930s,[171] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[93] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[67] In the Philippines, the practice of souling is called Pangangaluluwa and is practiced on All Hallow's Eve among children in rural areas.[26] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[26] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[172] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[152][173] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[172] The practice of guising at Halloween in North America was first recorded in 1911, where a newspaper in Kingston, Ontario, Canada, reported children going "guising" around the neighborhood.[174] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[175] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[176] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[177] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[178] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[179] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[180] and the first use in a national publication occurring in 1939.[181] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[100][182] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[183] such as those of children's literature, movies, scripture, and job roles.[184] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[185][186] Costumes Main article: Halloween costume Halloween costumes were traditionally modeled after figures such as vampires, ghosts, skeletons, scary looking witches, and devils.[64] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[152] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[173] In Ireland and Scotland, the masks are known as 'false faces',[38][187] a term recorded in Ayr, Scotland in 1890 by a Scot describing guisers: "I had mind it was Halloween . . . the wee callans were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand)".[38] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[178][188] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[189][190] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[64] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[191][192] The yearly New York's Village Halloween Parade was begun in 1974; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[193] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[194] Such and other potentially offensive costumes have been met with increasing public disapproval.[195][196] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.[197] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[198] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[125] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[199] Some also suggest that they derive from Roman practices in celebration of Pomona.[64] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[200] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[201] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[202][203] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[204][205] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[206] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[207] The custom was widespread enough to be commemorated on greeting cards[208] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[209][210][211][212] The game features prominently in the James Joyce short story "Clay" (1914).[213][214][215] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[216] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[110] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[217] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[218][219] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[220] The haunted house as an American cultural icon can be attributed to the opening of The Haunted Mansion in Disneyland on 12 August 1969.[221] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[222] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[223] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[224] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[225] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[226] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[227][228] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[229][230][231] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[232] The theme park haunts are by far the largest, both in scale and attendance.[233] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[234] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[235] While there is evidence of such incidents,[236] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[237] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[238] It is considered fortunate to be the lucky one who finds it.[238] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween:     Barmbrack (Ireland)     Bonfire toffee (Great Britain)     Candy apples/toffee apples (Great Britain and Ireland)     Candy apples, candy corn, candy pumpkins (North America)     Chocolate     Monkey nuts (peanuts in their shells) (Ireland and Scotland)     Caramel apples     Caramel corn     Colcannon (Ireland; see below)     Halloween cake     Sweets/candy     Novelty candy shaped like skulls, pumpkins, bats, worms, etc.     Roasted pumpkin seeds     Roasted sweet corn     Soul cakes     Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[239] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day and serving pancakes or colcannon instead.[240] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[241] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[242] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[243][244] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[245][246] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[247][248] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[249] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[250][251] Some of these practices include praying, fasting and attending worship services.[1][2][3]     O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[252] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[253] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[254] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[255] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[256] Others order Halloween-themed Scripture Candy to pass out to children on this day.[257][258] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[259] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[260] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[261] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[262] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[263] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[264][265] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[266] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[267] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[268] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[269] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[270] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[271] Purim has sometimes been compared to Halloween, in part due to some observants wearing costumes, especially of Biblical figures described in the Purim narrative.[272] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[273] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[274][275] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[276] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[277] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[278] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[279] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[280] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[281] and "avoid Halloween, because of the interruptions from trick or treaters".[282] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[280] Geography Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[172][283][284] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[285] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[172] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Brazil, Ecuador, Chile,[286] Australia,[287] New Zealand,[288] (most) continental Europe, Finland,[289] Japan, and other parts of East Asia." (wikipedia.org) "The distinction between terror and horror is a standard literary and psychological concept applied especially to Gothic and horror fiction.[1] Terror is usually described as the feeling of dread and anticipation that precedes the horrifying experience. By contrast, horror is the feeling of revulsion that usually follows a frightening sight, sound, or otherwise experience. Terror has also been defined by Noel Carroll as a combination of horror and revulsion.[2] Literary Gothic Figure 20 from Charles Darwin's The Expression of the Emotions in Man and Animals (1872). Caption reads "FIG. 20.—Terror, from a photograph by Dr. Duchenne." The distinction between terror and horror was first characterized by the Gothic writer Ann Radcliffe (1764–1823), horror being more related to being shocked or scared (being horrified) at an awful realization or a deeply unpleasant occurrence, while terror is more related to being anxious or fearful.[3] Radcliffe considered that terror is characterized by "obscurity" or indeterminacy in its treatment of potentially horrible events, something which leads to the sublime. She says in an essay published posthumously in 1826, 'On the Supernatural in Poetry', that terror "expands the soul and awakens the faculties to a high degree of life". Horror, in contrast, "freezes and nearly annihilates them" with its unambiguous displays of atrocity. She goes on: "I apprehend that neither Shakespeare nor Milton by their fictions, nor Mr Burke by his reasoning, anywhere looked to positive horror as a source of the sublime, though they all agree that terror is a very high one; and where lies the great difference between horror and terror, but in uncertainty and obscurity, that accompany the first, respecting the dreader evil."[4] According to Devendra Varma in The Gothic Flame (1966):     The difference between Terror and Horror is the difference between awful apprehension and sickening realization: between the smell of death and stumbling against a corpse. Horror fiction Horror is also a genre of film and fiction that relies on horrifying images or situations to tell stories and prompt reactions or jump scares to put their audiences on edge. In these films the moment of horrifying revelation is usually preceded by a terrifying build up, often using the medium of scary music.[5] In his non-fiction book Danse Macabre, Stephen King stressed how horror tales normally chart the outbreak of madness/the terrible within an everyday setting.[6] He also elaborated on the twin themes of terror and horror, adding a third element which he referred to as "revulsion". He describes terror as "the finest element" of the three, and the one he strives hardest to maintain in his own writing. Citing many examples, he defines "terror" as the suspenseful moment in horror before the actual monster is revealed. "Horror," King writes, is that moment at which one sees the creature/aberration that causes the terror or suspense, a "shock value". King finally compares "revulsion" with the gag-reflex, a bottom-level, cheap gimmick which he admits he often resorts to in his own fiction if necessary, confessing:     I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud.[7] Psychoanalytic views Freud likened the experience of horror to that of the uncanny.[8] In his wake, Georges Bataille saw horror as akin to ecstasy in its transcendence of the everyday;[9] as opening a way to go beyond rational social consciousness.[10] Julia Kristeva in turn considered horror as evoking experience of the primitive, the infantile, and the demoniacal aspects of unmediated femininity.[11] Horror, helplessness and trauma The paradox of pleasure experienced through horror films/books can be explained partly as stemming from relief from real-life horror in the experience of horror in play, partly as a safe way to return in adult life to the paralysing feelings of infantile helplessness.[12] Helplessness is also a factor in the overwhelming experience of real horror in psychological trauma.[13] Playing at re-experiencing the trauma may be a helpful way of overcoming it." (wikipedia.org) "Fantastic art is a broad and loosely defined art genre.[1] It is not restricted to a specific school of artists, geographical location or historical period. It can be characterised by subject matter – which portrays non-realistic, mystical, mythical or folkloric subjects or events – and style, which is representational and naturalistic, rather than abstract – or in the case of magazine illustrations and similar, in the style of graphic novel art such as manga. Fantasy has been an integral part of art since its beginnings,[2] but has been particularly important in mannerism, magic realist painting, romantic art, symbolism, surrealism and lowbrow. In French, the genre is called le fantastique, in English it is sometimes referred to as visionary art, grotesque art or mannerist art. It has had a deep and circular interaction with fantasy literature. The subject matter of fantastic art may resemble the product of hallucinations, and Fantastic artist Richard Dadd spent much of his life in mental institutions. Salvador Dalí famously said: "the only difference between me and a madman is that I am not mad".[3] Some recent fantastic art draws on the artist's experience, or purported experience, of hallucinogenic drugs. The term fantasy art is closely related, and is applied primarily to recent art (typically 20th century on wards) inspired by, or illustrating fantasy literature. Fantastic art has traditionally been largely confined to painting and illustration, but since the 1970s has increasingly been found also in photography. Fantastic art explores fantasy, imagination, the dream state, the grotesque, visions and the uncanny,[2] as well as so-called "Goth" and "Dark" art. Related genres vampire, face of little green man, feather pen (quill) and fire-breathing dragon – to the right of that are scripted words "Speculative (over) Fiction" Speculative fiction Alternate history Fantasy fiction     Anime Fandom Fantasy art Fiction magazines Films Genres History Legendary creatures Literature Podcasts Quests Artifacts Races Superheroes Television Themes Worlds Writers Science fiction Horror fiction Miscellaneous icon Portal     vte Genres which may also be considered as fantastic art include the Weltlandschaften or world landscapes of the Northern Renaissance, Symbolism of the Victorian era, Pre-Raphaelites, the Golden Age of Illustration,[4] and Surrealism. Works based on classical mythology, which have been a staple of European art from the Renaissance period, also arguably meet the definition of fantastic art, as art based on modern mythology such as J.R.R. Tolkien's Middle Earth mythos unquestionably does. Religious art also depicts supernatural or miraculous subjects in a naturalistic way, but is not generally regarded as fantastic art. Historic artists and fine artists Many artists have produced works which fit the definition of fantastic art. Some, such as Nicholas Roerich, worked almost exclusively in the genre, others such as Hieronymus Bosch, who has been described as the first "fantastic" artist in the Western tradition,[2] produced works both with and without fantastic elements, and for artists such as Francisco de Goya, fantastic works were only a small part of their output. Others again such as René Magritte are usually classed as Surrealists but use fantastic elements in their work. It is therefore impossible to give an exhaustive list of fantastic artists, but a selection of major and influential figures is listed below.[1][5] Illustration for The boy and the trolls by John Bauer, 1915 16–18th centuries     Giuseppe Arcimboldo     William Blake     Hieronymus Bosch     Brueghel     Monsù Desiderio     Henry Fuseli     Hans Baldung Grien     Matthias Grünewald     Giovanni Battista Piranesi 19th century     Arnold Böcklin     Gaston Bussiere     Thomas Cole     Walter Crane     Richard Dadd     Evelyn De Morgan     Gustave Doré     Caspar David Friedrich     Francisco de Goya     Edward Burne-Jones     Max Klinger     John Martin     Gustave Moreau     Albert Robida     Viktor Vasnetsov     Mikhail Vrubel     John William Waterhouse     George Frederic Watts 20th century     John Bauer     Zdzisław Beksiński     Johfra Bosschart     Marc Chagall     Giorgio de Chirico     Salvador Dalí     Jean Delville     Paul Delvaux     Max Ernst     M. C. Escher     Hugh Ferriss     Warwick Goble     Thomas Häfner     Rudolf Hausner     Alfred Kubin     René Magritte     Abraham Mintchine     Maxfield Parrish     Arthur Rackham     Odilon Redon     Nicholas Roerich     Henri Rousseau     Franz Sedlacek     Yves Tanguy     Bridget Bate Tichenor     Clovis Trouille Twentieth century The rise of fantasy and science fiction "pulp" magazines demanded artwork to illustrate stories and (via cover art) to promote sales. This led to a movement of science fiction and fantasy artists prior to and during the Great Depression, as anthologised by Vincent Di Fate, himself a prolific SF and space artist.[6] In the United States in the 1930s, a group of Wisconsin artists inspired by the Surrealist movement of Europe created their own brand of fantastic art. They included Madison, Wisconsin-based artists Marshall Glasier, Dudley Huppler and John Wilde; Karl Priebe of Milwaukee and Gertrude Abercrombie of Chicago. Their art combined macabre humor, mystery and irony[7] which was in direct and pointed contradiction to the American Regionalism then in vogue.[citation needed] In postwar Chicago, the art movement Chicago Imagism produced many fantastic and grotesque paintings, which were little noted because they did not conform to New York abstract art fashions of the time. Major imagists include Roger Brown, Gladys Nilsson, Jim Nutt, Ed Paschke, and Karl Wirsum.[8] After 1970, modern western fantasy is influenced by illustrations from Conan the Barbarian and The Lord of the Rings,[9] as well as popular works of SF and fantasy like the role-playing game Advanced Dungeons & Dragons or the French Heavy Metal magazine. Contemporary and mid-century artists Gustave Doré's fantastic illustration of Orlando Furioso: defeating a sea monster     Chris Van Allsburg     Yoshitaka Amano     Wayne Barlowe     Carlo Bocchio     Chesley Bonestell     Arik Brauer     Gerald Brom     Margaret Brundage     Clyde Caldwell     James C. Christensen     Roger Dean     Vincent Di Fate     Philippe Druillet     Bob Eggleton     Larry Elmore     Ed Emshwiller     Virgil Finlay     Frank Frazetta     Brian Froud     Wendy Froud     Ernst Fuchs     Donato Giancola     H. R. Giger     Juan Giménez     Jean Giraud     Peter Goodfellow     Peter Gric     Rebecca Guay     James Gurney     John Howe     Judson Huss     Peter Andrew Jones     Oleg A. Korolev     Mati Klarwein     Vladimir Kush     Alan Lee     Rodney Matthews     Ted Nasmith     Odd Nerdrum     Octavio Ocampo     John Jude Palencar     Keith Parkinson     Richard M. Powers     Patrick J. Jones     Donald Pass     Bruce Pennington     Luis Royo     Mark Ryden     De Es Schwertberger     Maurice Sendak     Brian Selznick     Luigi Serafini     Wojciech Siudmak     Jean Thomassen     Boris Vallejo     Robert Venosa     Michael Whelan     Bernie Wrightson     Jacek Yerka Non-European art Non-European art may contain fantastic elements, although it is not necessarily easy to separate them from religious elements involving supernatural beings and miraculous events. Sculptor Bunleua Sulilat is a notable contemporary Asian Fantastic artist." (wikipedia.org) "In works of art, the adjective macabre (US: /məˈkɑːb/ or UK: /məˈkɑːbrə/; French: [makabʁ]) means "having the quality of having a grim or ghastly atmosphere". The macabre works to emphasize the details and symbols of death. The term also refers to works particularly gruesome in nature. History Early traces of macabre can be found in Ancient Greek and Latin writers such as the Roman writer Petronius, author of the Satyricon (late 1st century CE), and the Numidian writer Apuleius, author of The Golden Ass (late 2nd century CE). Outstanding instances of macabre themes in English literature include the works of John Webster, Robert Louis Stevenson, Mervyn Peake, Charles Dickens, Roald Dahl, Thomas Hardy, and Cyril Tourneur.[3] In American literature, authors whose work feature this quality include Edgar Allan Poe, H. P. Lovecraft, and Stephen King. The word has gained its significance from its use in French as la danse macabre for the allegorical representation of the ever-present and universal power of death, known in German as Totentanz and later in English as the Dance of the Dead. The typical form which the allegory takes is that of a series of images in which Death appears, either as a dancing skeleton or as a shrunken shrouded corpse, to people representing every age and condition of life, and leads them all in a dance to the grave. Of the numerous examples painted or sculptured on the walls of cloisters or church yards through medieval Europe, few remain except in woodcuts and engravings.     The series at Basel originally at the Klingenthal, a nunnery in Little Basel, dated from the beginning of the 14th century. In the middle of the 15th century this was moved to the churchyard of the Predigerkloster at Basel, and was restored, probably by Hans Kluber, in 1568. The collapse of the wall in 1805 reduced it to fragments, and only drawings of it remain.     A Dance of the Dead in its simplest form still survives in the Marienkirche at Lübeck as 15th-century painting on the walls of a chapel. Here there are 24 figures in couples, between each is a dancing Death linking the groups by outstretched hands, the whole ring being led by a Death playing on a pipe.     In Tallinn (Reval), Estonia there is a well-known Danse Macabre painting by Bernt Notke displayed at St. Nikolaus Church (Niguliste), dating the end of 15th century.     At Dresden there is a sculptured life-size series in the old Neustädter Kirchhoff, moved here from the palace of Duke George in 1701 after a fire.     At Rouen in the cloister of St Maclou there also remains a sculptured danse macabre.     There was a celebrated fresco of the subject in the cloister of Old St Pauls in London.     There was another in the now destroyed Hungerford Chapel at Salisbury, of which only a single woodcut, "Death and the Gallant", remains.     Of the many engraved reproductions of the Old St Pauls fresco, the most famous is the series drawn by Holbein. The theme continued to inspire artists and musicians long after the medieval period, Schubert's string quartet Death and the Maiden (1824) being one example, and Camille Saint-Saëns' tone poem Danse macabre, op. 40 (1847). In the 20th century, Ingmar Bergman's 1957 film The Seventh Seal has a personified Death, and could thus count as macabre. The origin of this allegory in painting and sculpture is disputed. It occurs as early as the 14th century, and has often been attributed to the overpowering consciousness of the presence of death due to the Black Death and the miseries of the Hundred Years' War. It has also been attributed to a form of the Morality, a dramatic dialogue between Death and his victims in every station of life, ending in a dance off the stage.[4] The origin of the peculiar form the allegory has taken has also been found in the dancing skeletons on late Roman sarcophagi and mural paintings at Cumae or Pompeii, and a false connection has been traced with the fresco Trionfo della Morte ("Triumph of Death"), painted by the Italian Renaissance artist Buonamico Buffalmacco (c. 1330s–1350, disputed),[2] and currently preserved in the Campo Santo of Pisa.[1] Etymology The etymology of the word "macabre" is uncertain. According to Gaston Paris, French scholar of Romance studies, it first occurs in the form "macabree" in a poem, Respit de la mort (1376), written by the medieval Burgundian chronicler Jean Le Fèvre de Saint-Remy:[5]     Je fis de Macabree la dance,     Qui toute gent maine a sa trace     Et a la fosse les adresse.[5] The more usual explanation is based on the Latin name, Machabaeorum chorea ("Dance of the Maccabees"). The seven tortured brothers, with their mother and Eleazar (2 Maccabees 6 and 7) are prominent figures in the dramatic dialogues.[6] Other connections have been suggested, as for example with St. Macarius the Great, an Egyptian Coptic monk and hermit who is to be identified with the figure pointing to the decaying corpses in the fresco Trionfo della Morte ("Triumph of Death") painted by the Italian Renaissance artist Buonamico Buffalmacco, according to the Italian art historian Giorgio Vasari;[citation needed] or with the Arabic word maqābir (مقابر, plural of maqbara) which means "cemeteries"." (wikipedia.org) "Fear is an intensely unpleasant emotion in response to perceiving or recognizing a danger or threat. Fear causes physiological changes that may produce behavioral reactions such as mounting an aggressive response or fleeing the threat. Fear in human beings may occur in response to a certain stimulus occurring in the present, or in anticipation or expectation of a future threat perceived as a risk to oneself. The fear response arises from the perception of danger leading to confrontation with or escape from/avoiding the threat (also known as the fight-or-flight response), which in extreme cases of fear (horror and terror) can be a freeze response. In humans and other animals, fear is modulated by the process of cognition and learning. Thus, fear is judged as rational and appropriate, or irrational and inappropriate. An irrational fear is called a phobia. Fear is closely related to the emotion anxiety, which occurs as the result of threats that are perceived to be uncontrollable or unavoidable.[1] The fear response serves survival by engendering appropriate behavioral responses, so it has been preserved throughout evolution.[2] Sociological and organizational research also suggests that individuals' fears are not solely dependent on their nature but are also shaped by their social relations and culture, which guide their understanding of when and how much fear to feel.[3][page needed] Fear is sometimes incorrectly considered the opposite of courage. For the reason that courage is a willingness to face adversity, fear is an example of a condition that makes the exercise of courage possible. Physiological signs "The Man Made Mad with Fear", a painting by Gustave Courbet. Many physiological changes in the body are associated with fear, summarized as the fight-or-flight response. An innate response for coping with danger, it works by accelerating the breathing rate (hyperventilation), heart rate, vasoconstriction of the peripheral blood vessels leading to blood pooling, increasing muscle tension including the muscles attached to each hair follicle to contract and causing "goosebumps", or more clinically, piloerection (making a cold person warmer or a frightened animal look more impressive), sweating, increased blood glucose (hyperglycemia), increased serum calcium, increase in white blood cells called neutrophilic leukocytes, alertness leading to sleep disturbance and "butterflies in the stomach" (dyspepsia). This primitive mechanism may help an organism survive by either running away or fighting the danger.[4] With the series of physiological changes, the consciousness realizes an emotion of fear. There is observable physical reactions to individuals who experience fear. An individual might experience a feeling of dizziness, lightheaded, like they are being choked, sweating, shortness of breath, vomiting or nausea, numbness or shaking and any other like symptoms. This bodily reactions informs the individual that they are a afraid and should proceed to remove or get away from the stimulus that is causing that fear.... Society and culture Painting by Guido Reni c. 1611 Death Main article: Fear of death The fear of the end of life and its existence is, in other words, the fear of death. Historically, attempts were made to reduce this fear by performing rituals which have helped collect the cultural ideas that we now have in the present.[citation needed] These rituals also helped preserve the cultural ideas. The results and methods of human existence had been changing at the same time that social formation was changing. When people are faced with their own thoughts of death, they either accept that they are dying or will die because they have lived a full life or they will experience fear. A theory was developed in response to this, which is called the terror management theory. The theory states that a person's cultural worldviews (religion, values, etc.) will mitigate the terror associated with the fear of death through avoidance. To help manage their terror, they find solace in their death-denying beliefs, such as their religion. Another way people cope with their death related fears is pushing any thoughts of death into the future or by avoiding these thoughts all together through distractions.[110] Although there are methods for one coping with the terror associated with their fear of death, not everyone suffers from these same uncertainties. People who believe they have lived life to the "fullest" typically do not fear death. Death anxiety is multidimensional; it covers "fears related to one's own death, the death of others, fear of the unknown after death, fear of obliteration, and fear of the dying process, which includes fear of a slow death and a painful death".[111] The Yale philosopher Shelly Kagan examined fear of death in a 2007 Yale open course[112] by examining the following questions: Is fear of death a reasonable appropriate response? What conditions are required and what are appropriate conditions for feeling fear of death? What is meant by fear, and how much fear is appropriate? According to Kagan for fear in general to make sense, three conditions should be met:     the object of fear needs to be "something bad"     there needs to be a non-negligible chance that the bad state of affairs will happen     there needs to be some uncertainty about the bad state of affairs The amount of fear should be appropriate to the size of "the bad". If the three conditions are not met, fear is an inappropriate emotion. He argues, that death does not meet the first two criteria, even if death is a "deprivation of good things" and even if one believes in a painful afterlife. Because death is certain, it also does not meet the third criterion, but he grants that the unpredictability of when one dies may be cause to a sense of fear.[112] In a 2003 study of 167 women and 121 men, aged 65–87, low self-efficacy predicted fear of the unknown after death and fear of dying for women and men better than demographics, social support, and physical health. Fear of death was measured by a "Multidimensional Fear of Death Scale" which included the 8 subscales Fear of Dying, Fear of the Dead, Fear of Being Destroyed, Fear for Significant Others, Fear of the Unknown, Fear of Conscious Death, Fear for the Body After Death, and Fear of Premature Death. In hierarchical multiple regression analysis, the most potent predictors of death fears were low "spiritual health efficacy", defined as beliefs relating to one's perceived ability to generate spiritually based faith and inner strength, and low "instrumental efficacy", defined as beliefs relating to one's perceived ability to manage activities of daily living.[111] Psychologists have tested the hypotheses that fear of death motivates religious commitment, and that assurances about an afterlife alleviate the fear, with equivocal results.[citation needed] Religiosity can be related to fear of death when the afterlife is portrayed as time of punishment. "Intrinsic religiosity", as opposed to mere "formal religious involvement", has been found to be negatively correlated with death anxiety.[111] In a 1976 study of people of various Christian denominations, those who were most firm in their faith, who attended religious services weekly, were the least afraid of dying. The survey found a negative correlation between fear of death and "religious concern".[113][better source needed] In a 2006 study of white, Christian men and women the hypothesis was tested that traditional, church-centered religiousness and de-institutionalized spiritual seeking are ways of approaching fear of death in old age. Both religiousness and spirituality were related to positive psychosocial functioning, but only church-centered religiousness protected subjects against the fear of death.[114][115][better source needed] Religion See also: Fear of God and Category:Religion and death From a theological perspective, the word fear encompasses more than simple fear. Robert B. Strimple says that fear includes the "... convergence of awe, reverence, adoration...".[116] Some translations of the Bible, such as the New International Version, sometimes replace the word fear with reverence. Fear in religion can be seen throughout the years, including in the Crusades. Pope Urban II allowed for Christian mercenary troops to be sent on a mission in order to recover the Holy Lands from the Muslims. The message was misinterpreted and as a result, innocent people were slaughtered. Although the Crusades were meant to stay between the Muslims and the Christians, the hate spread onto the Jewish culture. Jewish people who feared for their lives gave in to the forced conversion of Christianity because they believed this would secure their safety. Other Jewish people feared betraying their God by conceding to a conversion, and instead, secured their own fate, which was death.[117] Manipulation Further information: Culture of fear, Fear mongering, Fear appeal, Psychological warfare, Tactics of terrorism § Fear, and List of causes of death by rate Fear may be politically and culturally manipulated to persuade citizenry of ideas which would otherwise be widely rejected or dissuade citizenry from ideas which would otherwise be widely supported. In contexts of disasters, nation-states manage the fear not only to provide their citizens with an explanation about the event or blaming some minorities, but also to adjust their previous beliefs. Fear can alter how a person thinks or reacts to situations because fear has the power to inhibit one's rational way of thinking. As a result, people who do not experience fear, are able to use fear as a tool to manipulate others. People who are experiencing fear, seek preservation through safety and can be manipulated by a person who is there to provide that safety that is being sought after. "When we're afraid, a manipulator can talk us out of the truth we see right in front of us. Words become more real than reality"[118] By this, a manipulator is able to use our fear to manipulate us out the truth and instead make us believe and trust in their truth. Politicians are notorious for using fear to manipulate the people into supporting their policies.[119] Fiction and mythology See also: Dystopia § In society, and Apocalyptic and post-apocalyptic fiction § In society A still from the film Carnival of Souls. Fear is found and reflected in mythology and folklore as well as in works of fiction such as novels and films. Works of dystopian and (post)apocalyptic fiction convey the fears and anxieties of societies.[120][121] The fear of the world's end is about as old as civilization itself.[122] In a 1967 study, Frank Kermode suggests that the failure of religious prophecies led to a shift in how society apprehends this ancient mode.[123] Scientific and critical thought supplanting religious and mythical thought as well as a public emancipation may be the cause of eschatology becoming replaced by more realistic scenarios. Such might constructively provoke discussion and steps to be taken to prevent depicted catastrophes. The Story of the Youth Who Went Forth to Learn What Fear Was is a German fairy tale dealing with the topic of not knowing fear. Many stories also include characters who fear the antagonist of the plot. One important characteristic of historical and mythical heroes across cultures is to be fearless in the face of big and often lethal enemies." (wikipedia.org) "Death anxiety is anxiety caused by thoughts of one's own death, and is also referred to as thanatophobia (fear of death).[1] Individuals affected by this kind of anxiety experience challenges and adversities in many aspects of their lives.[2] Death anxiety is different from necrophobia, which refers to an irrational or disproportionate fear of dead bodies or of anything associated with death.[3] Death anxiety has been found to affect people of differing demographic groups as well, such as men versus women, young versus old, etc.[4] Psychotherapist Robert Langs proposed three different causes of death anxiety: predatory, predator, and existential. In addition to his research, many theorists such as Sigmund Freud, Erik Erikson, and Ernest Becker have examined death anxiety and its impact on cognitive processing. Anxiety caused by recent thought-content,[5] about death, which sometimes is classified by a psychiatrist in a clinical setting as morbid or abnormal, or a combination of the two. This classification pre-necessitates a degree of anxiety which is persistent and interferes with everyday functioning.[6][7] This high level of death anxiety in the elderly (who perceive themselves as close to death), can cause lower ego integrity, more physical problems as well as an increase in psychological problems.[8] Death anxiety has also been linked to causing a person to become extremely timid or distressed when discussing anything to do with death[9] and several mental health conditions.[10] One meta-analysis of psychological interventions targeting death anxiety showed that death anxiety can be reduced using cognitive behavioral therapy.[11] Types Robert Langs distinguishes three types of death anxiety:[12][self-published source?][13][14][page needed] Predatory death anxiety Predatory death anxiety arises from the fear of being harmed.[12][13][14][page needed] It is the oldest and most basic[15]: 615  form of death anxiety, with origins in the first unicellular organisms' set of adaptive resources. Unicellular organisms have receptors that have evolved to react to external dangers, along with self-protective, responsive mechanisms made to increase the likelihood of survival in the face of chemical and physical forms of attack or danger.[15]: 616 [failed verification] In humans, predatory death anxiety is evoked by a variety of dangerous situations that put one at risk or threaten one's survival.[15]: 617  Predatory death anxiety mobilizes an individual's adaptive resources and leads to a fight-or-flight response, consisting of active efforts to combat the danger or attempts to escape the threatening situation.[15]: 617  Predation or predator Predation or predator death anxiety is a form that arises when an individual harms another, physically and/or mentally. This form of death anxiety is often accompanied by unconscious guilt.[16][13][14][page needed] This guilt, in turn, motivates and encourages a variety of self-made decisions and actions by the perpetrator of harm to others.[17] Existential Existential death anxiety stems from the basic knowledge that human life must end. Existential death anxiety is known to be the most powerful form of death anxiety.[18] It is said that language has created the basis for existential death anxiety through communicative and behavioral changes.[16] Other factors include an awareness of the distinction between self and others, a full sense of personal identity, and the ability to anticipate the future.[18] The existential psychiatrist Irvin Yalom asserts that humans are prone to death anxiety because "our existence is forever shadowed by the knowledge that we will grow, blossom, and inevitably, diminish and die."[19] Human beings are the only living things that are truly aware of their own mortality and spend time pondering the meaning of life and death.[20] Awareness of human mortality arose some 150,000 years ago.[21] In that extremely short span of evolutionary time, humans have fashioned a single basic mechanism through which they deal with the existential death anxieties this awareness has evoked: denial.[21] Denial is effected through a wide range of mental mechanisms and physical actions, many of which go unrecognized.[18] While denial can be adaptive in limited use, excessive use is more common and is emotionally costly.[18] Denial is the root of such diverse actions as breaking rules, violating frames and boundaries, manic celebrations, directing violence against others, attempting to gain extraordinary wealth and power, and more.[21] These pursuits are often activated by a death-related trauma, and while they may lead to constructive actions, more often than not they lead to actions that are damaging to self and others.[21] Theories Thanatophobia The term thanatophobia stems from the Greek representation of death, known as Thanatos. Sigmund Freud hypothesized that people express a fear of death as a disguise for a deeper source of concern. He asserted the unconscious does not deal with the passage of time or with negations, which do not calculate the amount of time left in one's life. Under the assumption people do not believe in their own deaths, Freud speculated it was not death people feared. He postulated one does not fear death itself, because one has never died. He suspected death-related fears stem from unresolved childhood conflicts.[12][22][23] Thanatophobia is not only death anxiety, but can mean an intense fear, and feelings of overall dread in relation to one's thinking about death. Usually it relates to one's personal death. Death anxiety can mean fear of death, fear of dying, fear of being alone, fear of the dying process, etc. Different people experience these fears in differing ways. Klein in 1948 states that humans are the only species that have a sense of what the limitations associated with life are, and because of this, death is a cause of anxiety. There continues to be confusion on whether death anxiety is a fear of death itself or a fear of the process of dying. Those who are moving towards death will undergo a series of stages. In Kubhler-Ross's book On Death and Dying (1969), she describes these stages thus: 1) denial that death is soon to come, 2) resentful feelings towards those who will yet live, 3) bargaining with the idea of dying, 4) feeling depressive due to death being inescapable, 5) finally, acceptance.[24] Wisdom: ego integrity vs. despair Developmental psychologist Erik Erikson formulated the psychosocial theory that people progress through a series of crises as they grow older. The theory also envelops the concept that once an individual reaches the last stages of life, they reach the level he called "ego integrity". Ego integrity is when one comes to terms with one's life and accepts it. It was also suggested that when a person reaches the stage of late adulthood, they become involved in a thorough overview of their life to date. When one can find meaning or purpose in one's life, one has reached the integrity stage. Reversely, when an individual views their life as a series of failed and missed opportunities, they do not reach the ego integrity stage. People who have attained this stage of ego integrity are believed to exhibit less death anxiety.[12][22][23] Terror management theory Main article: Terror management theory Ernest Becker based his terror management theory (TMT) on existential views that added a new dimension to previous death anxiety theories. His theory states that death anxiety is not only real, but also people's most profound source of concern. He described the anxiety as so intense that it can generate fears and phobias of everyday life—like fears of being alone, or in confined spaces. According to Becker, many everyday human behaviors consist of attempts to deny death and to keep anxiety under strict regulation.[22][23][25] His theory suggests that as an individual develops mortality salience, or becomes more aware of the inevitability of death, they will instinctively try to suppress this thought out of fear. This behavior may range from simply thinking about death to the development of severe phobias and desperate behavior.[15]: 603  Religiosity can play a role in death anxiety through the concept of fear. There are two major claims concerning the interplay of fear and religion: that fear motivates religious belief, and that religious belief mitigates fear.[26] From these, Ernest Becker and Bronislaw Malinowski developed what is called "Terror Management Theory."[26] According to Terror Management Theory, humans are aware of their own mortality which, in turn, produces intense existential anxiety. To cope with and ease the produced existential anxiety, humans will pursue either literal or symbolic immortality.[26] Religion often falls under the category of literal immortality, but at times, depending on the religion, can also provide both forms of immortality.[26] It is theorised that those who are either very low or very high in religiosity experience much lower levels of death anxiety, whereas those with a very moderate amount of religiosity experience the highest levels of death anxiety.[26] One of the major reasons that religiosity plays such a large role in Terror Management Theory, as well as in similar theories, is the increase in existential death anxiety that people experience. Existential death anxiety is the belief that everything ceases after death; nothing continues on in any sense.[26] Seeing how people deeply fear such an absolute elimination of the self, they begin to gravitate toward religion which offers an escape from such a fate. In one specific meta-analysis study that was performed in 2016, it was shown that lower rates of death anxiety and general fear about dying were experienced by those who went day-to-day living their religion and abiding by its practices, compared to those who merely label themselves as members of a given religion, without living according to its doctrines and prescribed practices.[26] A 2009 study on death anxiety in the context of religion showed that Christians scored lower for death anxiety than non-religious individuals, which supports the main tenets of terror management theory, that people pursue religion to avoid anxiety about death by finding comfort in the ideas about afterlife and immortality. Interestingly, the study also found that Muslims scored much higher than Christians and non-religious individuals for death anxiety. These findings do not support terror management theory, as the belief in an afterlife caused more anxiety for the Muslim participants than those with no belief in an afterlife. This finding highlights a need for further examination into TMT in the context of different religions/sects as well as the impact of varying beliefs about the afterlife on levels of death anxiety.[27] Heidegger's being-for-death The German philosopher Martin Heidegger wrote about death as something conclusively determined, in the sense that it is inevitable for every human being, while on the other hand, it unmasks its indeterminate nature via the truth that one never knows when or how death is going to come. Heidegger does not engage in speculation about whether being after death is possible. He argues that all human existence is embedded in time: past, present, future, and when considering the future, we encounter the notion of death. This then creates angst. Angst can create a clear understanding in one that death is a possible mode of existence, which Heidegger described as "clearing". Thus, angst can lead to a freedom about existence, but only if people can stop denying their mortality (as expressed in Heidegger's terminology as "stop denying being-for-death").[28] The American philosopher Sidney Hook criticized Heidegger's view of death anxiety in his review of Heidegger's book Being and Time when it was translated into English in 1962.[29] Hook noted that for Heidegger, death anxiety "is a primordial anxiety, not something that waxes and wanes with changes in nature, history or society", and the anxiety is about "the possibility that one's existence may at any moment become finally impossible".[29] Hook argued that Heidegger's claims were wrong:     Now even when we become aware of this possibility, there is no evidence that we normally become anxious about it, unless the possibility is concretized and seems probable. Nor does Heidegger advance any reasons why we should be anxious. After all, because we cannot imagine ourselves dead, this hardly justifies the inference that our existence is necessary. What we know about human attitudes towards death indicates that Heidegger's generalization is false. Some men, and not only figures like Socrates and Spinoza, have no anxiety in the face of death. Men have believed that there are many things which could happen to them that are far worse than death. Any sensitive person can think of a variety of circumstances that would make death a happy release, almost a privilege.[29] Meaning management theory Paul T. P. Wong's work on the meaning management theory[30] indicates that human reactions to death are complex, multifaceted and dynamic.[28] His "Death Attitude Profile" identifies three types of death acceptance as Neutral, Approach, and Escape acceptances.[31][32] Apart from acceptances, his work also represents different aspects of the meaning of death fear that are rooted in the bases of death anxiety. The ten meanings he proposes are finality, uncertainty, annihilation, ultimate loss, life flow disruption, leaving the loved ones, pain and loneliness, prematurity and violence of death, failure of life work completion, judgment and retribution centered.[30] Existential theories The existential approach, with theorists such as Rollo May and Viktor Frankl, views an individual's personality as being governed by continuous choices and decisions in relation to the realities of life and death.[33] Rollo May theorized that all humans are aware of the fact that they must one day die, reminiscent of the Latin adage memento mori. However, he also theorized that humans must find meaning in life, which led to his main theory on death anxiety: that all humans face the dichotomy of finding meaning in life, but also confronting the knowledge of approaching death. May believed that this dichotomy could lead to negative anxiety that hindered life, or a positive anxiety that would lead to a life full of meaning and living to one's fullest potential and opportunities.[34] Other theories Other theories on death anxiety were introduced in the late part of the twentieth century.[35] Another approach is the regret theory which was introduced by Adrian Tomer and Grafton Eliason.[35] The main focus of the theory is to target the way people evaluate the quality and/or worth of their lives.[35] The possibility of death usually makes people more anxious if they feel that they have not and cannot accomplish any positive task in the life that they are living.[35] Research has tried to unveil the factors that might influence the amount of anxiety people experience in life.[35] Personal meanings of death See also: Meaning-making Humans develop meanings and associate them with objects and events in their environment which can provoke certain emotions. People tend to develop personal meanings of death which could be either positive or negative. If the formed meanings about death are positive, then the consequences of those meanings can be comforting (for example, ideas of a rippling effect[36] left on those still alive). If the formed meanings about death are negative, they can cause emotional turmoil. Depending on the certain meaning one has associated with death, positive or negative, the consequences will vary accordingly.[37] The meaning that individuals place on death is generally specific to them; whether negative or positive, and can be difficult to understand as an outside observer. However, through a phenomenological perspective, therapists can come to understand their individual perspective and assist them in framing that meaning of death in a healthy way.... Children Death anxiety typically begins in childhood.[48] The earliest documentation of the fear of death has been found in children as young as age 5.[49][48] Psychological measures and reaction times were used to measure fear of death in young children. Recent studies that assess fear of death in children use questionnaire rating scales.[49] There are many tests to study this including The Death Anxiety Scale for Children (DASC) developed by Schell and Seefeldt.[49] However the most common version of this test is the revised Fear Survey Schedule for Children (FSSC-R).[49] The FSSC-R describes specific fearful stimuli and children are asked to rate the degree to which the scenario/item makes them anxious or fearful.[49] The most recent version of the FSSC-R presents the scenarios in a pictorial form to children as young as 4. It is called the Koala Fear Questionnaire (KFQ).[49] The fear studies show that children's fears can be grouped into five categories. One of these categories is death and danger.[49] This response was found amongst children age 4 to 6 on the KFQ, and from age 7 to 10.[49] Death is the most commonly feared item and remains the most commonly feared item throughout adolescence.[49] A study of 90 children, aged 4–8, done by Virginia Slaughter and Maya Griffiths showed that a more mature understanding of the biological concept of death was correlated to a decreased fear of death. This may suggest that it is helpful to teach children about death (in a biological sense), in order to alleviate the fear." (wikipedia.org) "Surrealism is a cultural movement that developed in Europe in the aftermath of World War I in which artists depicted unnerving, illogical scenes and developed techniques to allow the unconscious mind to express itself.[1] Its aim was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality.[2][3][4] It produced works of painting, writing, theatre, filmmaking, photography, and other media. Works of Surrealism feature the element of surprise, unexpected juxtapositions and non sequitur. However, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost (for instance, of the "pure psychic automatism" Breton speaks of in the first Surrealist Manifesto), with the works themselves being secondary, i.e., artifacts of surrealist experimentation.[5] Leader Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. At the time, the movement was associated with political causes such as communism and anarchism. It was influenced by the Dada movement of the 1910s.[6] The term "Surrealism" originated with Guillaume Apollinaire in 1917.[7][8] However, the Surrealist movement was not officially established until after October 1924, when the Surrealist Manifesto published by French poet and critic André Breton succeeded in claiming the term for his group over a rival faction led by Yvan Goll, who had published his own surrealist manifesto two weeks prior.[9] The most important center of the movement was Paris, France. From the 1920s onward, the movement spread around the globe, impacting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory. Founding of the movement Max Ernst, The Elephant Celebes, 1921 The word 'surrealism' was first coined in March 1917 by Guillaume Apollinaire.[10] He wrote in a letter to Paul Dermée: "All things considered, I think in fact it is better to adopt surrealism than supernaturalism, which I first used" [Tout bien examiné, je crois en effet qu'il vaut mieux adopter surréalisme que surnaturalisme que j'avais d'abord employé].[11] Apollinaire used the term in his program notes for Sergei Diaghilev's Ballets Russes, Parade, which premiered 18 May 1917. Parade had a one-act scenario by Jean Cocteau and was performed with music by Erik Satie. Cocteau described the ballet as "realistic". Apollinaire went further, describing Parade as "surrealistic":[12]     This new alliance—I say new, because until now scenery and costumes were linked only by factitious bonds—has given rise, in Parade, to a kind of surrealism, which I consider to be the point of departure for a whole series of manifestations of the New Spirit that is making itself felt today and that will certainly appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness, for it is only natural, after all, that they keep pace with scientific and industrial progress. (Apollinaire, 1917)[13] The term was taken up again by Apollinaire, both as subtitle and in the preface to his play Les Mamelles de Tirésias: Drame surréaliste,[14] which was written in 1903 and first performed in 1917.[15] World War I scattered the writers and artists who had been based in Paris, and in the interim, many became involved with Dada, believing that excessive rational thought and bourgeois values had brought the conflict of the war upon the world. The Dadaists protested with anti-art gatherings, performances, writings and art works. After the war, when they returned to Paris, the Dada activities continued. During the war, André Breton, who had trained in medicine and psychiatry, served in a neurological hospital where he used Sigmund Freud's psychoanalytic methods with soldiers suffering from shell-shock. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the spiritual son of writer and pataphysics founder Alfred Jarry. He admired the young writer's anti-social attitude and disdain for established artistic tradition. Later Breton wrote, "In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most."[16] Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and Philippe Soupault. They began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault continued writing evolving their techniques of automatism and published The Magnetic Fields (1920). By October 1924 two rival Surrealist groups had formed to publish a Surrealist Manifesto. Each claimed to be successors of a revolution launched by Appolinaire. One group, led by Yvan Goll consisted of Pierre Albert-Birot, Paul Dermée, Céline Arnauld, Francis Picabia, Tristan Tzara, Giuseppe Ungaretti, Pierre Reverdy, Marcel Arland, Joseph Delteil, Jean Painlevé and Robert Delaunay, among others.[17] The group led by André Breton claimed that automatism was a better tactic for societal change than those of Dada, as led by Tzara, who was now among their rivals. Breton's group grew to include writers and artists from various media such as Paul Éluard, Benjamin Péret, René Crevel, Robert Desnos, Jacques Baron, Max Morise,[18] Pierre Naville, Roger Vitrac, Gala Éluard, Max Ernst, Salvador Dalí, Luis Buñuel, Man Ray, Hans Arp, Georges Malkine, Michel Leiris, Georges Limbour, Antonin Artaud, Raymond Queneau, André Masson, Joan Miró, Marcel Duchamp, Jacques Prévert, and Yves Tanguy.[19][20] Cover of the first issue of La Révolution surréaliste, December 1924 As they developed their philosophy, they believed that Surrealism would advocate the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the Hegelian Dialectic. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin and Herbert Marcuse.[citation needed] Freud's work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness. As Dalí later proclaimed, "There is only one difference between a madman and me. I am not mad."[18] Beside the use of dream analysis, they emphasized that "one could combine inside the same frame, elements not normally found together to produce illogical and startling effects."[21] Breton included the idea of the startling juxtapositions in his 1924 manifesto, taking it in turn from a 1918 essay by poet Pierre Reverdy, which said: "a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power and poetic reality."[22] The group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to free people from false rationality, and restrictive customs and structures. Breton proclaimed that the true aim of Surrealism was "long live the social revolution, and it alone!" To this goal, at various times Surrealists aligned with communism and anarchism. In 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established and began publishing the journal La Révolution surréaliste. Surrealist Manifestos Yvan Goll, Surréalisme, Manifeste du surréalisme,[23] Volume 1, Number 1, October 1, 1924, cover by Robert Delaunay Main article: Surrealist Manifesto Leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Apollinaire. One group, led by Yvan Goll, consisted of Pierre Albert-Birot, Paul Dermée, Céline Arnauld, Francis Picabia, Tristan Tzara, Giuseppe Ungaretti, Pierre Reverdy, Marcel Arland, Joseph Delteil, Jean Painlevé and Robert Delaunay, among others.[24] The other group, led by Breton, included Aragon, Desnos, Éluard, Baron, Crevel, Malkine, Jacques-André Boiffard and Jean Carrive, among others.[25] Yvan Goll published the Manifeste du surréalisme, 1 October 1924, in his first and only issue of Surréalisme[23] two weeks prior to the release of Breton's Manifeste du surréalisme, published by Éditions du Sagittaire, 15 October 1924. Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées,[24] over the rights to the term Surrealism. In the end, Breton won the battle through tactical and numerical superiority.[26][27] Though the quarrel over the anteriority of Surrealism concluded with the victory of Breton, the history of surrealism from that moment would remain marked by fractures, resignations, and resounding excommunications, with each surrealist having their own view of the issue and goals, and accepting more or less the definitions laid out by André Breton.[28][29] Breton's 1924 Surrealist Manifesto defines the purposes of Surrealism. He included citations of the influences on Surrealism, examples of Surrealist works, and discussion of Surrealist automatism. He provided the following definitions:     Dictionary: Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.     Encyclopedia: Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.[4] Expansion     This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (April 2021) (Learn how and when to remove this template message)     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Surrealism in the 20s" – news · newspapers · books · scholar · JSTOR (April 2021) (Learn how and when to remove this template message) Giacometti's Woman with Her Throat Cut, 1932 (cast 1949), Museum of Modern Art, New York City The movement in the mid-1920s was characterized by meetings in cafes where the Surrealists played collaborative drawing games, discussed the theories of Surrealism, and developed a variety of techniques such as automatic drawing. Breton initially doubted that visual arts could even be useful in the Surrealist movement since they appeared to be less malleable and open to chance and automatism. This caution was overcome by the discovery of such techniques as frottage, grattage[30] and decalcomania. Soon more visual artists became involved, including Giorgio de Chirico, Max Ernst, Joan Miró, Francis Picabia, Yves Tanguy, Salvador Dalí, Luis Buñuel, Alberto Giacometti, Valentine Hugo, Méret Oppenheim, Toyen, Kansuke Yamamoto and later after the second war: Enrico Donati, Vinicius Pradella and Denis Fabbri. Though Breton admired Pablo Picasso and Marcel Duchamp and courted them to join the movement, they remained peripheral.[31] More writers also joined, including former Dadaist Tristan Tzara, René Char, and Georges Sadoul. André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 × 20.6 cm. Museum of Modern Art, New York. In 1925 an autonomous Surrealist group formed in Brussels. The group included the musician, poet, and artist E. L. T. Mesens, painter and writer René Magritte, Paul Nougé, Marcel Lecomte, and André Souris. In 1927 they were joined by the writer Louis Scutenaire. They corresponded regularly with the Paris group, and in 1927 both Goemans and Magritte moved to Paris and frequented Breton's circle.[19] The artists, with their roots in Dada and Cubism, the abstraction of Wassily Kandinsky, Expressionism, and Post-Impressionism, also reached to older "bloodlines" or proto-surrealists such as Hieronymus Bosch, and the so-called primitive and naive arts. André Masson's automatic drawings of 1923 are often used as the point of the acceptance of visual arts and the break from Dada, since they reflect the influence of the idea of the unconscious mind. Another example is Giacometti's 1925 Torso, which marked his movement to simplified forms and inspiration from preclassical sculpture. However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's Little Machine Constructed by Minimax Dadamax in Person (Von minimax dadamax selbst konstruiertes maschinchen)[32] with The Kiss (Le Baiser)[33] from 1927 by Max Ernst.[clarify] The first is generally held to have a distance, and erotic subtext, whereas the second presents an erotic act openly and directly.[improper synthesis?] In the second the influence of Miró and the drawing style of Picasso is visible with the use of fluid curving and intersecting lines and colour, whereas the first takes a directness that would later be influential in movements such as Pop art. Giorgio de Chirico, The Red Tower (La Tour Rouge), 1913, Guggenheim Museum Giorgio de Chirico, and his previous development of metaphysical art, was one of the important joining figures between the philosophical and visual aspects of Surrealism. Between 1911 and 1917, he adopted an unornamented depictional style whose surface would be adopted by others later. The Red Tower (La tour rouge) from 1913 shows the stark colour contrasts and illustrative style later adopted by Surrealist painters. His 1914 The Nostalgia of the Poet (La Nostalgie du poète)[34] has the figure turned away from the viewer, and the juxtaposition of a bust with glasses and a fish as a relief defies conventional explanation. He was also a writer whose novel Hebdomeros presents a series of dreamscapes with an unusual use of punctuation, syntax, and grammar designed to create an atmosphere and frame its images. His images, including set designs for the Ballets Russes, would create a decorative form of Surrealism, and he would be an influence on the two artists who would be even more closely associated with Surrealism in the public mind: Dalí and Magritte. He would, however, leave the Surrealist group in 1928. In 1924, Miró and Masson applied Surrealism to painting. The first Surrealist exhibition, La Peinture Surrealiste, was held at Galerie Pierre in Paris in 1925. It displayed works by Masson, Man Ray, Paul Klee, Miró, and others. The show confirmed that Surrealism had a component in the visual arts (though it had been initially debated whether this was possible), and techniques from Dada, such as photomontage, were used. The following year, on March 26, 1926, Galerie Surréaliste opened with an exhibition by Man Ray. Breton published Surrealism and Painting in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s. " (wikipedia.org) "The Danse Macabre (/dɑːns məˈkɑːb(rə)/; French pronunciation: ​[dɑ̃s ma.kabʁ]) (from the French language), also called the Dance of Death, is an artistic genre of allegory of the Late Middle Ages on the universality of death. The Danse Macabre consists of the dead, or a personification of death, summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, child, and labourer. The effect was both frivolous, and terrifying; beseeching its audience to react emotionally. It was produced as memento mori, to remind people of the fragility of their lives, and how vain were the glories of earthly life.[1] Its origins are postulated from illustrated sermon texts; the earliest recorded visual scheme was a now-lost mural at Holy Innocents' Cemetery in Paris dating from 1424 to 1425. Background Historian Francis Rapp (1926–2020) writes that "Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things."[2] This Danse Macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and may have been the origin of costumes worn during Allhallowtide." (wikipedia.org) "Vanitas (Latin for 'vanity') is a genre of art which uses symbolism to show the transience of life, the futility of pleasure, and the certainty of death. The paintings involved still life imagery of transitory items. The genre began in the 16th century and continued into the 17th century. Vanitas art is a type of allegorical art representing a higher ideal. Etymology The word vanitas comes from Latin and means vanity. Vanity is referenced in the bible's Old Testament in Ecclesiastes 12: 8 "Vanity of Vanities, saith the preacher, all is vanity". The message is that human action is temporary and faith is forever.[1] Vanitas, is a sub-genre of still life painting which Dutch painters during the Baroque period (c.1585-1730) employed.[2] The Spanish painters also created vanitas paintings which coincided with the end of the Spanish Golden Age. Memento mori is a similar theme which when translated from Latin means, "remember that you will die."[3] History A group of painters in Leiden began to produce vanitas paintings beginning in the 16th century and they continued into the 17th century. Vanitas art is a type of allegorical art representing a higher ideal or containing hidden meanings.[4] Vanitas are very formulaic and they use literary and traditional symbols to convey mortality. Vanitas often have a message that is rooted in religion or the Christian bible.[5] In the 17th century the vanitas genre was popular among Dutch painters in the seventeenth century. The paintings often have symbolic imagery which attempts to convey the message that we will die, and we should think about futility of our earthly pursuits.[2] The well known Spanish vanitas refer to Spain's rulers and the politics of Spain.[3] It was popular to include skulls in vanitas paintings. In the 17th century, a skull symbolized the ephemeral nature of life." (wikipedia.org) "Memento mori (Latin for 'remember that you [have to] die'[2]) is an artistic or symbolic trope acting as a reminder of the inevitability of death.[2] The concept has its roots in the philosophers of classical antiquity and Christianity, and appeared in funerary art and architecture from the medieval period onwards. The most common motif is a skull, often accompanied by one or more bones. Often this alone is enough to evoke the trope, but other motifs such as a coffin, hourglass and wilting flowers signify the impermanence of human life. Often these function within a work whose main subject is something else, such as a portrait, but the vanitas is an artistic genre where the theme of death is the main subject. The Danse Macabre and Death personified with a scythe as the Grim Reaper are even more direct evocations of the trope. Pronunciation and translation In English, the phrase is typically pronounced /məˈmɛntoʊ ˈmɔːri/, mə-MEN-toh MOR-ee. Memento is the 2nd person singular active imperative of meminī, 'to remember, to bear in mind', usually serving as a warning: "remember!" Morī is the present infinitive of the deponent verb morior 'to die'.[3] In other words, "remember death" or "remember that you die".[4] History of the concept In classical antiquity The philosopher Democritus trained himself by going into solitude and frequenting tombs.[5] Plato's Phaedo, where the death of Socrates is recounted, introduces the idea that the proper practice of philosophy is "about nothing else but dying and being dead".[6] The Stoics of classical antiquity were particularly prominent in their use of this discipline, and Seneca's letters are full of injunctions to meditate on death.[7] The Stoic Epictetus told his students that when kissing their child, brother, or friend, they should remind themselves that they are mortal, curbing their pleasure, as do "those who stand behind men in their triumphs and remind them that they are mortal".[8] The Stoic Marcus Aurelius invited the reader (himself) to "consider how ephemeral and mean all mortal things are" in his Meditations.[9][10] In some accounts of the Roman triumph, a companion or public slave would stand behind or near the triumphant general during the procession and remind him from time to time of his own mortality or prompt him to "look behind".[11] A version of this warning is often rendered into English as "Remember, Caesar, thou art mortal", for example in Fahrenheit 451. In Judaism Several passages in the Old Testament urge a remembrance of death. In Psalm 90, Moses prays that God would teach his people "to number our days that we may get a heart of wisdom" (Ps. 90:12). In Ecclesiastes, the Preacher insists that "It is better to go to the house of mourning than to go to the house of feasting, for this is the end of all mankind, and the living will lay it to heart" (Eccl. 7:2). In Isaiah, the lifespan of human beings is compared to the short lifespan of grass: "The grass withers, the flower fades when the breath of the LORD blows on it; surely the people are grass" (Is. 40:7). In early Christianity The expression memento mori developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife.[12] The 2nd-century Christian writer Tertullian claimed that during his triumphal procession, a victorious general would have someone (in later versions, a slave) standing behind him, holding a crown over his head and whispering "Respice post te. Hominem te memento" ("Look after you [to the time after your death] and remember you're [only] a man."). Though in modern times this has become a standard trope, in fact no other ancient authors confirm this, and it may have been Christian moralizing rather than an accurate historical report.[13] In Europe from the medieval era to the Victorian era Dance of Death (replica of 15th-century fresco; National Gallery of Slovenia); No matter one's station in life, the Dance of Death unites all. Christian Theology The thought was then utilized in Christianity, whose strong emphasis on divine judgment, heaven, hell, and the salvation of the soul brought death to the forefront of consciousness.[14] In the Christian context, the memento mori acquires a moralizing purpose quite opposed to the nunc est bibendum (now is the time to drink) theme of classical antiquity. To the Christian, the prospect of death serves to emphasize the emptiness and fleetingness of earthly pleasures, luxuries, and achievements, and thus also as an invitation to focus one's thoughts on the prospect of the afterlife. A Biblical injunction often associated with the memento mori in this context is In omnibus operibus tuis memorare novissima tua, et in aeternum non peccabis (the Vulgate's Latin rendering of Ecclesiasticus 7:40, "in all thy works be mindful of thy last end and thou wilt never sin.") This finds ritual expression in the rites of Ash Wednesday, when ashes are placed upon the worshipers' heads with the words, "Remember Man that you are dust and unto dust, you shall return." Memento mori has been an important part of ascetic disciplines as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife.[15] Architecture Unshrouded skeleton on Diana Warburton's tomb (dated 1693) in St John the Baptist Church, Chester The most obvious places to look for memento mori meditations are in funeral art and architecture. Perhaps the most striking to contemporary minds is the transi or cadaver tomb, a tomb that depicts the decayed corpse of the deceased. This became a fashion in the tombs of the wealthy in the fifteenth century, and surviving examples still offer a stark reminder of the vanity of earthly riches. Later, Puritan tomb stones in the colonial United States frequently depicted winged skulls, skeletons, or angels snuffing out candles. These are among the numerous themes associated with skull imagery. Another example of memento mori is provided by the chapels of bones, such as the Capela dos Ossos in Évora or the Capuchin Crypt in Rome. These are chapels where the walls are totally or partially covered by human remains, mostly bones. The entrance to the Capela dos Ossos has the following sentence: "We bones, lying here bare, await yours." Visual art Philippe de Champaigne's Vanitas (c. 1671) is reduced to three essentials: Life, Death, and Time Timepieces have been used to illustrate that the time of the living on Earth grows shorter with each passing minute. Public clocks would be decorated with mottos such as ultima forsan ("perhaps the last" [hour]) or vulnerant omnes, ultima necat ("they all wound, and the last kills"). Clocks have carried the motto tempus fugit, "time flees". Old striking clocks often sported automata who would appear and strike the hour; some of the celebrated automaton clocks from Augsburg, Germany, had Death striking the hour. Private people carried smaller reminders of their own mortality. Mary, Queen of Scots owned a large watch carved in the form of a silver skull, embellished with the lines of Horace, "Pale death knocks with the same tempo upon the huts of the poor and the towers of Kings." In the late 16th and through the 17th century, memento mori jewelry was popular. Items included mourning rings,[16] pendants, lockets, and brooches.[17] These pieces depicted tiny motifs of skulls, bones, and coffins, in addition to messages and names of the departed, picked out in precious metals and enamel.[17][18] During the same period there emerged the artistic genre known as vanitas, Latin for "emptiness" or "vanity". Especially popular in Holland and then spreading to other European nations, vanitas paintings typically represented assemblages of numerous symbolic objects such as human skulls, guttering candles, wilting flowers, soap bubbles, butterflies, and hourglasses. In combination, vanitas assemblies conveyed the impermanence of human endeavours and of the decay that is inevitable with the passage of time. See also the themes associated with the image of the skull. Literature Memento mori is also an important literary theme. Well-known literary meditations on death in English prose include Sir Thomas Browne's Hydriotaphia, Urn Burial and Jeremy Taylor's Holy Living and Holy Dying. These works were part of a Jacobean cult of melancholia that marked the end of the Elizabethan era. In the late eighteenth century, literary elegies were a common genre; Thomas Gray's Elegy Written in a Country Churchyard and Edward Young's Night Thoughts are typical members of the genre. In the European devotional literature of the Renaissance, the Ars Moriendi, memento mori had moral value by reminding individuals of their mortality.[19] Music Apart from the genre of requiem and funeral music, there is also a rich tradition of memento mori in the Early Music of Europe. Especially those facing the ever-present death during the recurring bubonic plague pandemics from the 1340s onward tried to toughen themselves by anticipating the inevitable in chants, from the simple Geisslerlieder of the Flagellant movement to the more refined cloistral or courtly songs. The lyrics often looked at life as a necessary and god-given vale of tears with death as a ransom, and they reminded people to lead sinless lives to stand a chance at Judgment Day. The following two Latin stanzas (with their English translations) are typical of memento mori in medieval music; they are from the virelai ad mortem festinamus of the Llibre Vermell de Montserrat from 1399: Vita brevis breviter in brevi finietur, Mors venit velociter quae neminem veretur, Omnia mors perimit et nulli miseretur. Ad mortem festinamus peccare desistamus. Ni conversus fueris et sicut puer factus Et vitam mutaveris in meliores actus, Intrare non poteris regnum Dei beatus. Ad mortem festinamus peccare desistamus.     Life is short, and shortly it will end; Death comes quickly and respects no one, Death destroys everything and takes pity on no one. To death we are hastening, let us refrain from sinning. If you do not turn back and become like a child, And change your life for the better, You will not be able to enter, blessed, the Kingdom of God. To death we are hastening, let us refrain from sinning. Danse macabre The danse macabre is another well-known example of the memento mori theme, with its dancing depiction of the Grim Reaper carrying off rich and poor alike. This and similar depictions of Death decorated many European churches. Gallery     Roman mosaic representing the Wheel of Fortune which, as it turns, can make the rich poor and the poor rich; in effect, both states are very precarious, with death never far and life hanging by a thread: when it breaks, the soul flies off. And thus are all made equal. (Collezioni pompeiane. Museo Archeologico Nazionale di Napoli)     Roman mosaic representing the Wheel of Fortune which, as it turns, can make the rich poor and the poor rich; in effect, both states are very precarious, with death never far and life hanging by a thread: when it breaks, the soul flies off. And thus are all made equal. (Collezioni pompeiane. Museo Archeologico Nazionale di Napoli)     Prince of Orange René of Châlon died in 1544 at age 25. His widow commissioned sculptor Ligier Richier to represent him in the Cadaver Tomb of René of Chalon, which shows him offering his heart to God, set against the painted splendour of his former worldly estate. (Church of Saint-Étienne, Bar-le-Duc)     Prince of Orange René of Châlon died in 1544 at age 25. His widow commissioned sculptor Ligier Richier to represent him in the Cadaver Tomb of René of Chalon, which shows him offering his heart to God, set against the painted splendour of his former worldly estate. (Church of Saint-Étienne, Bar-le-Duc)     French 16th/17th-century ivory pendant, Monk and Death, recalling mortality and the certainty of death (Walters Art Museum)     French 16th/17th-century ivory pendant, Monk and Death, recalling mortality and the certainty of death (Walters Art Museum)     Memento mori ring, with enameled skull and "Die to Live" message (between 1500 and 1650, British Museum, London, England)     Memento mori ring, with enameled skull and "Die to Live" message (between 1500 and 1650, British Museum, London, England)     Frans Hals, Young Man with a Skull, c. 1626–1628     Frans Hals, Young Man with a Skull, c. 1626–1628     Memento mori in the form of a small coffin, 1700s, wax figure on silk in a wooden coffin (Museum Schnütgen, Cologne, Germany)     Memento mori in the form of a small coffin, 1700s, wax figure on silk in a wooden coffin (Museum Schnütgen, Cologne, Germany)     Mourning brooch with plaited hair, 1843 (Auckland War Memorial Museum Tāmaki Paenga Hira, New Zealand)     Mourning brooch with plaited hair, 1843 (Auckland War Memorial Museum Tāmaki Paenga Hira, New Zealand)     Alarm clock, mounted on model of coffin, probably English, 1840–1900 (Science Museum, London)     Alarm clock, mounted on model of coffin, probably English, 1840–1900 (Science Museum, London)     Still Life: An Allegory of the Vanities of Human Life is a Dutch vanitas which follows the memento mori theme.     Still Life: An Allegory of the Vanities of Human Life is a Dutch vanitas which follows the memento mori theme.     Hans Holbein's The Ambassadors includes a distorted image of a skull across the bottom of the painting.     Hans Holbein's The Ambassadors includes a distorted image of a skull across the bottom of the painting. The salutation of the Hermits of St. Paul of France Memento mori was the salutation used by the Hermits of St. Paul of France (1620–1633), also known as the Brothers of Death.[20] It is sometimes claimed that the Trappists use this salutation, but this is not true.[21] In Puritan America Thomas Smith's Self-Portrait Colonial American art saw a large number of memento mori images due to Puritan influence. The Puritan community in 17th-century North America looked down upon art because they believed that it drew the faithful away from God and, if away from God, then it could only lead to the devil. However, portraits were considered historical records and, as such, they were allowed. Thomas Smith, a 17th-century Puritan, fought in many naval battles and also painted. In his self-portrait, we see these pursuits represented alongside a typical Puritan memento mori with a skull, suggesting his awareness of imminent death. The poem underneath the skull emphasizes Thomas Smith's acceptance of death and of turning away from the world of the living:     Why why should I the World be minding, Therein a World of Evils Finding. Then Farwell World: Farwell thy jarres, thy Joies thy Toies thy Wiles thy Warrs. Truth Sounds Retreat: I am not sorye. The Eternall Drawes to him my heart, By Faith (which can thy Force Subvert) To Crowne me (after Grace) with Glory. Mexico's Day of the Dead Posada's 1910 La Calavera Catrina Main article: Day of the Dead Much memento mori art is associated with the Mexican festival Day of the Dead, including skull-shaped candies and bread loaves adorned with bread "bones". This theme was also famously expressed in the works of the Mexican engraver José Guadalupe Posada, in which people from various walks of life are depicted as skeletons. Another manifestation of memento mori is found in the Mexican "Calavera", a literary composition in verse form normally written in honour of a person who is still alive, but written as if that person were dead. These compositions have a comedic tone and are often offered from one friend to another during Day of the Dead.[22] Contemporary culture Roman Krznaric suggests Memento Mori is an important topic to bring back into our thoughts and belief system; "Philosophers have come up with lots of what I call 'death tasters' – thought experiments for seizing the day." These thought experiments are powerful to get us re-oriented back to death into current awareness and living with spontaneity. Albert Camus stated "Come to terms with death, thereafter anything is possible." Jean-Paul Sartre expressed that life is given to us early, and is shortened at the end, all the while taken away at every step of the way, emphasizing that the end is only the beginning every day.[23] Similar concepts in other religions and cultures In Buddhism The Buddhist practice maraṇasati meditates on death. The word is a Pāli compound of maraṇa 'death' (an Indo-European cognate of Latin mori) and sati 'awareness', so very close to memento mori. It is first used in early Buddhist texts, the suttapiṭaka of the Pāli Canon, with parallels in the āgamas of the "Northern" Schools. In Japanese Zen and samurai culture In Japan, the influence of Zen Buddhist contemplation of death on indigenous culture can be gauged by the following quotation from the classic treatise on samurai ethics, Hagakure:[24]     The Way of the Samurai is, morning after morning, the practice of death, considering whether it will be here or be there, imagining the most sightly way of dying, and putting one's mind firmly in death. Although this may be a most difficult thing, if one will do it, it can be done. There is nothing that one should suppose cannot be done.[25] In the annual appreciation of cherry blossom and fall colors, hanami and momijigari, it was philosophized that things are most splendid at the moment before their fall, and to aim to live and die in a similar fashion.[citation needed] In Tibetan Buddhism Tibetan Citipati mask depicting Mahākāla. The skull mask of Citipati is a reminder of the impermanence of life and the eternal cycle of life and death. In Tibetan Buddhism, there is a mind training practice known as Lojong. The initial stages of the classic Lojong begin with 'The Four Thoughts that Turn the Mind', or, more literally, 'Four Contemplations to Cause a Revolution in the Mind'.[citation needed] The second of these four is the contemplation on impermanence and death. In particular, one contemplates that;     All compounded things are impermanent.     The human body is a compounded thing.     Therefore, death of the body is certain.     The time of death is uncertain and beyond our control. There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our strong habitual tendency to live as though we will certainly not die today. Lalitavistara Sutra The following is from the Lalitavistara Sūtra, a major work in the classical Sanskrit canon: अध्रुवं त्रिभवं शरदभ्रनिभं नटरङ्गसमा जगिर् ऊर्मिच्युती। गिरिनद्यसमं लघुशीघ्रजवं व्रजतायु जगे यथ विद्यु नभे॥ ज्वलितं त्रिभवं जरव्याधिदुखैः मरणाग्निप्रदीप्तमनाथमिदम्। भवनि शरणे सद मूढ जगत् भ्रमती भ्रमरो यथ कुम्भगतो॥     The three worlds are fleeting like autumn clouds. Like a staged performance, beings come and go. In tumultuous waves, rushing by, like rapids over a cliff. Like lightning, wanderers in samsara burst into existence, and are gone in a flash. Beings are ablaze with the sufferings of sickness and old age, And with no defence against the conflagration of Death The bewildered, seeking refuge in worldly existence Spin round and round, like bees trapped in a jar.[26] The Udānavarga A very well known verse in the Pali, Sanskrit and Tibetan canons states [this is from the Sanskrit version, the Udānavarga: सर्वे क्षयान्ता निचयाः पतनान्ताः समुच्छ्रयाः | सम्योगा विप्रयोगान्ता मरणान्तं हि जीवितम् |1,22|     All that is acquired will be lost What rises will fall Where there is meeting there will be separation What is born will surely die.[27] Shantideva, Bodhicaryavatara Shantideva, in the Bodhisattvacaryāvatāra 'Bodhisattva's Way of Life' reflects at length: कृताकृतापरीक्षोऽयं मृत्युर्विश्रम्भघातकः। स्वस्थास्वस्थैरविश्वास्य आकमिस्मकमहाशनि:॥ २/३४॥ अप्रिया न भविष्यन्ति प्रियो मे न भविष्यति। अहं च न भविष्यामि सर्वं च न भविष्यति॥ २/३७॥ तत्तत्स्मरणताम याति यद्यद्वस्त्वनुभयते। स्वप्नानुभूतवत्सर्वं गतं न पूनरीक्ष्यते॥ २/३६॥ रात्रिन्दिवमविश्राममायुषो वर्धते व्ययः। आयस्य चागमो नास्ति न मरिष्यामि किं न्वहम्॥ २/४० यमदूतैर्गृहीतस्य कुतो बन्धुः कुतः सुह्रत्। पुण्यमेकं तदा त्राणं मया तच्च न सेवितम्॥ २/४१॥     Death does not differentiate between tasks done and undone. This traitor is not to be trusted by the healthy or the ill, for it is like an unexpected, great thunderbolt. BCA 2.33 My enemies will not remain, nor will my friends remain. I shall not remain. Nothing will remain. BCA 2:35 Whatever is experienced will fade to a memory. Like an experience in a dream, everything that has passed will not be seen again. BCA 2:36 Day and night, a life span unceasingly diminishes, and there is no adding onto it. Shall I not die then? BCA 2:39 For a person seized by the messengers of Death, what good is a relative and what good is a friend? At that time, merit alone is a protection, and I have not applied myself to it. BCA 2:41 In more modern Tibetan Buddhist works In a practice text written by the 19th century Tibetan master Dudjom Lingpa for serious meditators, he formulates the second contemplation in this way:[28][29]     On this occasion when you have such a bounty of opportunities in terms of your body, environment, friends, spiritual mentors, time, and practical instructions, without procrastinating until tomorrow and the next day, arouse a sense of urgency, as if a spark landed on your body or a grain of sand fell in your eye. If you have not swiftly applied yourself to practice, examine the births and deaths of other beings and reflect again and again on the unpredictability of your lifespan and the time of your death, and on the uncertainty of your own situation. Meditate on this until you have definitively integrated it with your mind... The appearances of this life, including your surroundings and friends, are like last night's dream, and this life passes more swiftly than a flash of lightning in the sky. There is no end to this meaningless work. What a joke to prepare to live forever! Wherever you are born in the heights or depths of saṃsāra, the great noose of suffering will hold you tight. Acquiring freedom for yourself is as rare as a star in the daytime, so how is it possible to practice and achieve liberation? The root of all mind training and practical instructions is planted by knowing the nature of existence. There is no other way. I, an old vagabond, have shaken my beggar's satchel, and this is what came out. The contemporary Tibetan master, Yangthang Rinpoche, in his short text 'Summary of the View, Meditation, and Conduct':[30] །ཁྱེད་རྙེད་དཀའ་བ་མི་ཡི་ལུས་རྟེན་རྙེད། །སྐྱེ་དཀའ་བའི་ངེས་འབྱུང་གི་བསམ་པ་སྐྱེས། །མཇལ་དཀའ་བའི་མཚན་ལྡན་གྱི་བླ་མ་མཇལ། །འཕྲད་དཀའ་བ་དམ་པའི་ཆོས་དང་འཕྲད། འདི་འདྲ་བའི་ལུས་རྟེན་བཟང་པོ་འདི། །ཐོབ་དཀའ་བའི་ཚུལ་ལ་ཡང་ཡང་སོམ། རྙེད་པ་འདི་དོན་ཡོད་མ་བྱས་ན། །འདི་མི་རྟག་རླུང་གསེབ་མར་མེ་འདྲ། ཡུན་རིང་པོའི་བློ་གཏད་འདི་ལ་མེད། །ཤི་བར་དོར་གྲོལ་བའི་གདེངས་མེད་ན། །ཚེ་ཕྱི་མའི་སྡུག་བསྔལ་ཨ་རེ་འཇིགས། །མཐའ་མེད་པའི་འཁོར་བར་འཁྱམས་དགོས་ཚེ། །འདིའི་རང་བཞིན་བསམ་ན་སེམས་རེ་སྐྱོ། །ཚེ་འདི་ལ་བློ་གདེངས་ཐོབ་པ་ཞིག །ཅི་ནས་ཀྱང་མཛད་རྒྱུ་བཀའ་དྲིན་ཆེ། །འདི་བདག་གིས་ཁྱོད་ལ་རེ་བ་ཡིན།     You have obtained a human life, which is difficult to find, Have aroused an intention of a spirit of emergence, which is difficult to arouse, Have met a qualified guru, who is difficult to meet, And you have encountered the sublime Dharma, which is difficult to encounter. Reflect again and again on the difficulty Of obtaining such a fine human life. If you do not make this meaningful, It will be like a butter lamp in the wind of impermanence. Do not count on this lasting a long time. The Tibetan Canon also includes copious materials on the meditative preparation for the death process and intermediate period bardo between death and rebirth. Amongst them are the famous "Tibetan Book of the Dead", in Tibetan Bardo Thodol, the "Natural Liberation through Hearing in the Bardo". In Islam The "remembrance of death" (Arabic: تذكرة الموت, Tadhkirat al-Mawt; deriving from تذكرة, tadhkirah, Arabic for memorandum or admonition), has been a major topic of Islamic spirituality since the time of the Islamic prophet Muhammad in Medina. It is grounded in the Qur'an, where there are recurring injunctions to pay heed to the fate of previous generations.[31] The hadith literature, which preserves the teachings of Muhammad, records advice for believers to "remember often death, the destroyer of pleasures."[32] Some Sufis have been called "ahl al-qubur," the "people of the graves," because of their practice of frequenting graveyards to ponder on mortality and the vanity of life, based on the teaching of Muhammad to visit graves.[33] Al-Ghazali devotes to this topic the last book of his "The Revival of the Religious Sciences".[34] Iceland The Hávamál ("Sayings of the High One"), a 13th-century Icelandic compilation poetically attributed to the god Odin, includes two sections – the Gestaþáttr and the Loddfáfnismál – offering many gnomic proverbs expressing the memento mori philosophy, most famously Gestaþáttr number 77: Deyr fé, deyja frændur, deyr sjálfur ið sama; ek veit einn at aldri deyr, dómr um dauðan hvern.     Animals die, friends die, and thyself, too, shall die; but one thing I know that never dies the tales of the one who died." (wikipedia.org) "Symbols of death are the motifs, images and concepts associated with death throughout different cultures, religions and societies. Images Image of the Grim Reaper on the tailfin of a U.S. Navy F-14D Tomcat of Flight Squadron, VF-101, nicknamed the "Grim Reapers." Traditional Jolly Roger, the flag of "Black Sam" Bellamy and other pirates of the 18th century, displaying a skull and crossbones. Various images are used traditionally to symbolize death; these rank from blunt depictions of cadavers and their parts to more allusive suggestions that time is fleeting and all men are mortals. The human skull is an obvious and frequent symbol of death, found in many cultures and religious traditions.[1] Human skeletons and sometimes non-human animal skeletons and skulls can also be used as blunt images of death; the traditional figures of the Grim Reaper – a black-hooded skeleton with a scythe – is one use of such symbolism.[2] Within the Grim Reaper itself, the skeleton represents the decayed body whereas the robe symbolizes those worn by religious people conducting funeral services.[2] The skull and crossbones motif (☠) has been used among Europeans as a symbol of both piracy and poison.[3] The skull is also important as it remains the only "recognizable" aspect of a person once they have died.[3] Decayed cadavers can also be used to depict death; in medieval Europe, they were often featured in artistic depictions of the danse macabre, or in cadaver tombs which depicted the living and decomposed body of the person entombed. Coffins also serve as blunt reminders of mortality.[4] Europeans were also seen to use coffins and cemeteries to symbolize the wealth and status of the person who has died, serving as a reminder to the living and the deceased as well.[4] Less blunt symbols of death frequently allude to the passage of time and the fragility of life, and can be described as memento mori;[5] that is, an artistic or symbolic reminder of the inevitability of death. Clocks, hourglasses, sundials, and other timepieces both call to mind that time is passing.[3] Similarly, a candle both marks the passage of time, and bears witness that it will eventually burn itself out as well as a symbol of hope of salvation.[3] These sorts of symbols were often incorporated into vanitas paintings, a variety of early still life. Certain animals such as crows, cats, owls, moths, vultures and bats are associated with death; some because they feed on carrion, others because they are nocturnal.[3] Along with death, vultures can also represent transformation and renewal.[3] Religious symbols Veve of Maman Brigitte, the loa of death in Haitian Vodou. Religious symbols of death and depictions of the afterlife will vary with the religion practiced by the people who use them. Tombs, tombstones, and other items of funeral architecture are obvious candidates for symbols of death.[3] In ancient Egypt, the gods Osiris and Ptah were typically depicted as mummies; these gods governed the Egyptian afterlife. In Christianity, the Christian cross is frequently used on graves, and is meant to call to mind the crucifixion of Jesus.[3] Some Christians also erect temporary crosses along public highways as memorials for those who died in accidents. In Buddhism, the symbol of a wheel represents the perpetual cycle of death and rebirth that happens in samsara.[6] The symbol of a grave or tomb, especially one in a picturesque or unusual location, can be used to represent death, as in Nicolas Poussin's famous painting Et in Arcadia ego. Images of life in the afterlife are also symbols of death. Here, again, the ancient Egyptians produced detailed pictorial representations of the life enjoyed by the dead. In Christian folk religion, the spirits of the dead are often depicted as winged angels or angel-like creatures, dwelling among the clouds; this imagery of the afterlife is frequently used in comic depictions of the life after death.[3] In the Islamic view of the Afterlife, death is symbolised by a black and white ram which in turn will be slain to symbolise the Death of Death. The Banshee also symbolizes the coming of death in Irish Mythology.[3] This is typically represented by an older woman who is seen sobbing to symbolize the suffering of a person before their death.[3] Colors Black is the color of mourning in many European cultures. Black clothing is typically worn at funerals to show mourning for the death of the person. In East Asia, white is similarly associated with mourning; it represented the purity and perfection of the deceased person's spirit.[7] During the Victorian era, purple and grey were considered to be mourning colors in addition to black.[8] Furthermore, in Revelation 6 in The Bible, Death is one of the four horsemen; and he rides a pale horse." (wikipedia.org) "Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death, mortality and the unachievable nature of immortality. Humans can often recognize the buried fragments of an only partially revealed cranium even when other bones may look like shards of stone. The human brain has a specific region for recognizing faces,[1] and is so attuned to finding them that it can see faces in a few dots and lines or punctuation marks; the human brain cannot separate the image of the human skull from the familiar human face. Because of this, both the death and the now-past life of the skull are symbolized. Hindu temples and depiction of some Hindu deities have displayed association with skulls. Moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead, and to some can even seem to look sad due to the downward facing slope on the ends of the eye sockets. A skull with the lower jaw intact may also appear to be grinning or laughing due to the exposed teeth. As such, human skulls often have a greater visual appeal than the other bones of the human skeleton, and can fascinate even as they repel. Societies predominantly associate skulls with death and evil. Unicode reserves character U+1F480 (💀) for a human skull pictogram. Examples Throughout the centuries skulls symbolized either warnings of various threats or as reminder of the vanity of earthly pleasures in contrast with our own mortality. Nevertheless, the skull seems to be omnipresent in the first decade of the twenty-first century, appearing on jeweler, bags, clothing and in the shape of various decorative items. However, the increasing use of the skull as a visual symbol in popular culture reduces its original meaning as well as its traditional connotation.[2][3] Literature One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where the title character recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest..." Hamlet is inspired to utter a bitter soliloquy of despair and rough ironic humor. Compare Hamlet's words "Here hung those lips that I have kissed I know not how oft" to Talmudic sources: "...Rabi Ishmael [the High Priest]... put [the severed head of a martyr] in his lap... and cried: oh sacred mouth!...who buried you in ashes...!". The skull was a symbol of melancholy for Shakespeare's contemporaries.[4] An old Yoruba folktale[5] tells of a man who encountered a skull mounted on a post by the wayside. To his astonishment, the skull spoke. The man asked the skull why it was mounted there. The skull said that it was mounted there for talking. The man then went to the king, and told the king of the marvel he had found, a talking skull. The king and the man returned to the place where the skull was mounted; the skull remained silent. The king then commanded that the man be beheaded, and ordered that his head be mounted in place of the skull. The skull speaks in the catacombs of the Capuchin brothers beneath the church of Santa Maria della Concezione in Rome,[6] where disassembled bones and teeth and skulls of the departed Capuchins have been rearranged to form a rich Baroque architecture of the human condition, in a series of anterooms and subterranean chapels with the inscription, set in bones:     Noi eravamo quello che voi siete, e quello che noi siamo voi sarete.     "We were what you are; and what we are, you will be." Art The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, 1435 The Serpent crawling through the eyes of a skull is a familiar image that survives in contemporary Goth subculture. The serpent is a chthonic god of knowledge and of immortality, because he sloughs off his skin. The serpent guards the Tree in the Greek Garden of the Hesperides and, later, a Tree in the Garden of Eden. The serpent in the skull is always making its way through the socket that was the eye: knowledge persists beyond death, the emblem says, and the serpent has the secret. The late medieval and Early Renaissance Northern and Italian painters place the skull where it lies at the foot of the Cross at Golgotha (Aramaic for the place of the skull). But for them it has become quite specifically the skull of Adam. Skull on table Vanitas, by Pieter Claesz, painted in 1630 In Elizabethan England, the Death's-Head Skull, usually a depiction without the lower jawbone, was emblematic of bawds, rakes, sexual adventurers and prostitutes; the term Death's-Head was actually parlance for these rakes, and most of them wore half-skull rings to advertise their station, either professionally or otherwise. The original Rings were wide silver objects, with a half-skull decoration not much wider than the rest of the band; This allowed it to be rotated around the finger to hide the skull in polite company, and to reposition it in the presence of likely conquests.[citation needed] Venetian painters of the 16th century elaborated moral allegories for their patrons, and memento mori was a common theme. The theme carried by an inscription on a rustic tomb, "Et in Arcadia ego"—"I too [am] in Arcadia", if it is Death that is speaking—is made famous by two paintings by Nicolas Poussin, but the motto made its pictorial debut in Guercino's version, 1618–22 (in the Galleria Barberini, Rome): in it, two awestruck young shepherds come upon an inscribed plinth, in which the inscription ET IN ARCADIA EGO gains force from the prominent presence of a wormy skull in the foreground. lady at round mirror and dressing table resembling a skull "All is Vanity" by C. Allan Gilbert All is Vanity by C. Allan Gilbert, 1873–1929 In C. Allan Gilbert's much-reproduced lithograph of a lovely Gibson Girl seated at her fashionable vanity table, an observer can witness its transformation into an alternate image. A ghostly echo of the worldly Magdalene's repentance motif lurks behind this turn-of-the-20th century icon. The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. Simon Schama chronicled the ambivalence of the Dutch to their own worldly success during the Dutch Golden Age of the first half of the 17th century in The Embarrassment of Riches. The possibly frivolous and merely decorative nature of the still life genre was avoided by Pieter Claesz in his Vanitas: Skull, opened case-watch, overturned emptied wineglasses, snuffed candle, book: "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time yet runs on: Vanity!" The visual cues of the hurry and violence of life are contrasted with eternity in this somber, still and utterly silent painting. Symbolism of Fortuna's wheel divine justice and Skull mortality in a Pompeiian mosaic Symbolism of chance (Fortuna's wheel) divine justice (right angle and plumb-bob) and mortality in a Pompeiian mosaic The skull speaks. It says "Et in Arcadia ego" or simply "Vanitas." In a first-century mosaic tabletop from a Pompeiian triclinium (now in Naples), the skull is crowned with a carpenter's square and plumb-bob, which dangles before its empty eyesockets (Death as the great leveler), while below is an image of the ephemeral and changeable nature of life: a butterfly atop a wheel—a table for a philosopher's symposium. Similarly, a skull might be seen crowned by a chaplet of dried roses, a carpe diem, though rarely as bedecked as Mexican printmaker José Guadalupe Posada's Catrina. In Mesoamerican architecture, stacks of skulls (real or sculpted) represented the result of human sacrifices. Pirates The pirate death's-head epitomizes the pirates' ruthlessness and despair; their usage of death imagery might be paralleled with their occupation challenging the natural order of things.[7] "Pirates also affirmed their unity symbolically", Marcus Rediker asserts, remarking the skeleton or skull symbol with bleeding heart and hourglass on the black pirate ensign, and asserting "it triad of interlocking symbols—death, violence, limited time—simultaneously pointed to meaningful parts of the seaman's experience, and eloquently bespoke the pirates' own consciousness of themselves as preyed upon in turn. Pirates seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'"[8] Religion The Mexican death goddess or folk saint known as Santa Muerte is portrayed with a skull instead of a normal head.[9] Skull art is found in depictions of some Hindu Gods. Shiva has been depicted as carrying skull.[10] Goddess Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). Kedareshwara Temple, Hoysaleswara Temple, Chennakeshava Temple, Lakshminarayana Temple are some of the Hindu temples that include sculptures of skulls and Goddess Chamunda.[11] The temple of Kali is veneered with skulls, but the goddess Kali offers life through the welter of blood. In Vajrayana Buddhist iconography, skull symbolism is often used in depictions of wrathful deities and of dakinis. In some Korean life replacement narratives, a person discovers an abandoned skull and worships it. The skull later gives advice on how to cheat the gods of death and prevent an early death. An example of the OSS "Black Propaganda" Humor: at left an Adolf Hitler profile on a "German Reich" stamp; at right the OSS-forged Hitler face version, turned into a death's head on a "Fallen Reich" stamp Political symbol A skull was worn as a trophy on the belt of the Lombard king Alboin, it was a constant grim triumph over his old enemy, and he drank from it. In the same way a skull is a warning when it decorates the palisade of a city, or deteriorates on a pike at a Traitor's Gate. The Skull Tower, with the embedded skulls of Serbian rebels, was built in 1809 on the highway near Niš, Serbia, as a stark political warning from the Ottoman government. In this case the skulls are the statement: that the current owner had the power to kill the former. "Drinking out of a skull the blood of slain (sacrificial) enemies is mentioned by Ammianus and Livy,[12] and Solinus describes the Irish custom of bathing the face in the blood of the slain and drinking it."[13] The rafters of a traditional Jívaro medicine house in Peru, or in New Guinea.[14] When the skull appears in Nazi SS insignia, the death's-head (Totenkopf) represents loyalty unto death. Humans typically note the skull and crossbones sign as the almost universal symbol for toxicity. Holidays Skulls and skeletons are the main symbol of the Day of the Dead, a Mexican holiday. Skull-shaped decorations called calaveras are a common sight during the festivities. Skull on a gravestone edge, at Durisdeer Skull on a gravestone edge, Durisdeer Other uses When tattooed on the forearm its apotropaic power is thought to help an outlaw biker cheat death.[15] The skull and crossbones signify "Poison" when they appear on a glass bottle containing a white powder, or any container in general. The skull that is often engraved or carved on the head of early New England tombstones might be merely a symbol of mortality, but the skull is also often backed by an angelic pair of wings, lofting mortality beyond its own death. " (wikipedia.org) "A cloak is a type of loose garment worn over clothing, mostly but not always as outerwear for outdoor wear, serving the same purpose as an overcoat, protecting the wearer from the weather. It may form part of a uniform.[1] Cloaks have been and are worn in countless societies. Over time cloak designs have been changed to match fashion and available textiles.[2] Cloaks generally fasten at the neck or over the shoulder, vary in length, from hip all the way down to the ankle, mid-calf being the normal length. They may have an attached hood and may cover and fasten down the front, in which case they have holes or slits for the hands to pass through. However, cloaks are almost always sleeveless. Etymology The word cloak comes from Old North French cloque (Old French cloche, cloke) meaning "travelling cloak", from Medieval Latin clocca "travelers' cape," literally "a bell," so called from the garment's bell-like shape. Thus the word is related to the word clock.[3] History Ancient Greeks and Romans were known to wear cloaks. Greek men and women wore the himation, from the Archaic through the Hellenistic periods (c. 750-30 BC).[4] Romans would later wear the Greek-styled cloak, the pallium. The pallium was quadrangular, shaped like a square,[5] and sat on the shoulders, not unlike the himation. Romans of the Republic would wear the toga as a formal display of their citizenship. It was denied to foreigners[6] and was worn by magistrates on all occasions as a badge of office. The toga was claimed to have originated with Numa Pompilius, the second king of Rome.[7] Powerful noblemen and elite warriors of the Aztec Empire would wear a tilmàtli; a Mesoamerican cloak/cape used as a symbol of their upper status. Cloth and clothing was of utmost importance for the Aztecs. The more elaborate and colorful tilmàtlis were strictly reserved for elite high priests, emperors; and the Eagle warriors as well as the Jaguar knights.[8] Opera cloak Main article: Opera cloak In full evening dress in the Western countries, ladies and gentlemen frequently use the cloak as a fashion statement, or to protect the fine fabrics of evening wear from the elements, especially where a coat would crush or hide the garment. Opera cloaks are made of quality materials such as wool or cashmere, velvet and satin. Ladies may wear a long (over the shoulders or to ankles) cloak usually called a cape, or a full-length cloak. Gentlemen wear an ankle-length or full-length cloak. Formal cloaks often have expensive, colored linings and trimmings such as silk, satin, velvet and fur. The term was the title of a 1942 operatic comedy.[9] In literature and the arts Aztec emperor Moctezuma II wearing a tilmàtli. Couple hiding under the same cloak, fragment of an Ancient Greek red-figure cup, ca. 525 BC–500 BC, found in Athens. Louvre Museum, Paris. According to the King James Version of the Bible, Matthew recorded Jesus of Galilee saying in Matthew 5:40: "And if any man will sue thee at the law, and take away thy coat, let him have thy cloke also." The King James Version of the Bible has the words recorded a little differently in Luke 6:29: "...and him that taketh away thy cloke, forbid not to take thy coat also." Cloaks are a staple garment in the fantasy genre due to the popularity of medieval settings, although fantasy cloak designs normally have more resemblance to 18th or 19th-century cloaks rather than medieval ones.[citation needed] They are also usually associated with witches, wizards, and vampires; the best-known stage version of Dracula, which first made actor Bela Lugosi prominent, featured him wearing it so that his exit through a trap door concealed on the stage could seem sudden. When Lugosi reprised his role as Dracula for the 1931 Universal Studios motion picture version of the play, he retained the cloak as part of his outfit, which made such a strong impression that cloaks came to be equated with Count Dracula in nearly all non-historical media depictions of him. Fantasy cloaks are often magical. For example, they may grant the person wearing it invisibility as in the Harry Potter series by J. K. Rowling. A similar sort of garment is worn by the members of the Fellowship of the Ring in The Lord of the Rings by J. R. R. Tolkien, although instead of granting complete invisibility, the Elf-made cloaks simply appear to shift between any natural color (e.g. green, gray, brown) to help the wearer to blend in with his or her surroundings. In the Marvel comic book stories and in the Marvel Cinematic Universe, the sorcerer Doctor Strange is associated with a magical Cloak of Levitation, which not only enables its wearer to levitate, but has other mystical abilities as well. Doctor Strange also uses it as a weapon. Alternatively, cloaks in fantasy may nullify magical projectiles, as the "cloak of magic resistance" in NetHack. Metaphor Figuratively, a cloak may be anything that disguises or conceals something. In many science fiction franchises, such as Star Trek, there are cloaking devices, which provide a way to avoid detection by making objects appear invisible. A real device, albeit of limited capability, was demonstrated in 2006.[10] Because they keep a person hidden and conceal a weapon, the phrase cloak and dagger has come to refer to espionage[11] and secretive crimes: it suggests murder from hidden sources. "Cloak and dagger" stories are thus mystery, detective, and crime stories of this. The vigilante duo of Marvel comics Cloak and Dagger[12] is a reference to this. " (wikipedia.org) "A ceramic is any of the various hard, brittle, heat-resistant and corrosion-resistant materials made by shaping and then firing an inorganic, nonmetallic material, such as clay, at a high temperature.[1][2] Common examples are earthenware, porcelain, and brick. The earliest ceramics made by humans were pottery objects (pots, vessels, or vases) or figurines made from clay, either by itself or mixed with other materials like silica, hardened and sintered in fire. Later, ceramics were glazed and fired to create smooth, colored surfaces, decreasing porosity through the use of glassy, amorphous ceramic coatings on top of the crystalline ceramic substrates.[3] Ceramics now include domestic, industrial, and building products, as well as a wide range of materials developed for use in advanced ceramic engineering, such as in semiconductors. The word ceramic comes from the Ancient Greek word κεραμικός (keramikós), meaning "of or for pottery"[4] (from κέραμος (kéramos) 'potter's clay, tile, pottery').[5] The earliest known mention of the root ceram- is the Mycenaean Greek ke-ra-me-we, workers of ceramic written in Linear B syllabic script.[6] The word ceramic can be used as an adjective to describe a material, product or process, or it may be used as a noun, either singular, or more commonly, as the plural noun ceramics.[7] Materials A low magnification SEM micrograph of an advanced ceramic material. The properties of ceramics make fracturing an important inspection method. Ceramic material is an inorganic, non-metallic oxide, nitride, or carbide material. Some elements, such as carbon or silicon, may be considered ceramics. Ceramic materials are brittle, hard, strong in compression, and weak in shearing and tension. They withstand chemical erosion that occurs in other materials subjected to acidic or caustic environments. Ceramics generally can withstand very high temperatures, ranging from 1,000 °C to 1,600 °C (1,800 °F to 3,000 °F). The crystallinity of ceramic materials varies widely. Most often, fired ceramics are either vitrified or semi-vitrified as is the case with earthenware, stoneware, and porcelain. Varying crystallinity and electron composition in the ionic and covalent bonds cause most ceramic materials to be good thermal and electrical insulators (researched in ceramic engineering). With such a large range of possible options for the composition/structure of a ceramic (nearly all of the elements, nearly all types of bonding, and all levels of crystallinity), the breadth of the subject is vast, and identifiable attributes (hardness, toughness, electrical conductivity) are difficult to specify for the group as a whole. General properties such as high melting temperature, high hardness, poor conductivity, high moduli of elasticity, chemical resistance and low ductility are the norm, [8] with known exceptions to each of these rules (piezoelectric ceramics, glass transition temperature, superconductive ceramics). Many composites, such as fiberglass and carbon fiber, while containing ceramic materials are not considered to be part of the ceramic family. [9] Highly oriented crystalline ceramic materials are not amenable to a great range of processing. Methods for dealing with them tend to fall into one of two categories – either make the ceramic in the desired shape, by reaction in situ, or by "forming" powders into the desired shape, and then sintering to form a solid body. Ceramic forming techniques include shaping by hand (sometimes including a rotation process called "throwing"), slip casting, tape casting (used for making very thin ceramic capacitors), injection molding, dry pressing, and other variations. Many ceramics experts do not consider materials with amorphous (noncrystalline) character (i.e., glass) to be ceramics even though glassmaking involves several steps of the ceramic process and its mechanical properties are similar to ceramic materials. However, heat treatments can convert glass into a semi-crystalline material known as glass-ceramic.[10][11] Traditional ceramic raw materials include clay minerals such as kaolinite, whereas more recent materials include aluminum oxide, more commonly known as alumina. Modern ceramic materials, which are classified as advanced ceramics, include silicon carbide and tungsten carbide. Both are valued for their abrasion resistance and are therefore used in applications such as the wear plates of crushing equipment in mining operations. Advanced ceramics are also used in the medical, electrical, electronics, and armor industries." (wikipedia.org) "A jack-o'-lantern (or jack o'lantern) is a carved lantern, most commonly made from a pumpkin or a root vegetable such as a rutabaga or turnip.[1] Jack-o'-lanterns are associated with the Halloween holiday. Its name comes from the reported phenomenon of strange lights flickering over peat bogs, called will-o'-the-wisps or jack-o'-lanterns. The name is also tied to the Irish legend of Stingy Jack, a drunkard who bargains with Satan and is doomed to roam the Earth with only a hollowed turnip to light his way. Jack-o'-lanterns carved from pumpkins are a yearly Halloween tradition that developed in the United States when Celtic Americans brought their root vegetable carving tradition with them.[2] It is common to see jack-o'-lanterns used as external and internal decorations prior to and on Halloween. To make a jack-o'-lantern, the top of a pumpkin or turnip is cut off to form a lid, the inside flesh is scooped out, and an image—usually a "scary" or "funny" face—is carved out of the rind to expose the hollow interior. A light source, traditionally a flames from a candle or tealight, is placed within before the lid is closed. Artificial jack-o'-lanterns with electric lights are also marketed. Etymology An assortment of carved pumpkins. The term jack-o'-lantern was originally used to describe the visual phenomenon ignis fatuus (lit., "foolish fire") known as a will-o'-the-wisp in English folklore.[3] Used especially in East England, its earliest known use dates to the 1660s.[4] History A plaster cast of a traditional Irish Jack-o'-Lantern in the Museum of Country Life, Ireland. Rutabaga or turnip were often used. Modern carving of a Cornish Jack-o'-Lantern made from a turnip. Origin The carving of vegetables has been a common practice in many parts of the world. It is believed that the custom of making jack-o'-lanterns at Halloween time began in the British Isles. [5][6][7] In the 19th century, "turnips or mangel wurzels, hollowed out to act as lanterns and often carved with grotesque faces," were used on Halloween in parts of Ireland and the Scottish Highlands.[8] In these Gaelic-speaking regions, Halloween was also the festival of Samhain and was seen as a time when supernatural beings (the Aos Sí), and the souls of the dead, walked the earth. Jack-o'-lanterns were also made at Halloween time in Somerset, England (see Punkie Night) during the 19th century.[8] By those who made them, the lanterns were said to represent either spirits or supernatural beings,[8] or were used to ward off evil spirits.[9] For example, sometimes they were used by Halloween participants to frighten people,[9][10][11] and sometimes they were set on windowsills to keep harmful spirits out of one's home.[10] It has also been suggested that the jack-o'-lanterns originally represented Christian souls in purgatory, as Halloween is the eve of All Saints' Day (1 November)/All Souls' Day (2 November).[12] On January 16 in 1836, the Dublin Penny Journal published a long story on the legend of "Jack-o'-the-Lantern", although this does not mention the lantern being carved from a vegetable.[13] In 1837, the Limerick Chronicle refers to a local pub holding a carved gourd competition and presenting a prize to "the best crown of Jack McLantern". The term "McLantern" also appears in an 1841 publication of the same paper.[citation needed] There is also evidence that turnips were used to carve what was called a "Hoberdy's Lantern" in Worcestershire, England, at the end of the 18th century. The folklorist Jabez Allies outlines other derivations of the name, "Hobany's", which is most likely derived from "Hob and his", with other variations including "Hob-o'-Lantern", "Hobbedy's Lantern" and "Hobbady-lantern".[14] In North America Adaptations of Washington Irving's short story "The Legend of Sleepy Hollow" (1820) often show the Headless Horseman with a pumpkin or jack-o'-lantern in place of his severed head. (In the original story, a shattered pumpkin is discovered next to Ichabod Crane's abandoned hat on the morning after Crane's supposed encounter with the Horseman.) The application of the term to carved pumpkins in American English is first seen in 1834.[15] The carved pumpkin lantern's association with Halloween is recorded in the 1 November 1866 edition of the Daily News (Kingston, Ontario):     The old time custom of keeping up Hallowe'en was not forgotten last night by the youngsters of the city. They had their maskings and their merry-makings, and perambulated the streets after dark in a way which was no doubt amusing to themselves. There was a great sacrifice of pumpkins from which to make transparent heads and face, lighted up by the unfailing two inches of tallow candle.[16] James Fenimore Cooper wrote a nautical novel titled The Jack O'lantern (le Feu-Follet), Or the Privateer (1842). The Jack O'lantern was the name of the ship.[17] The poet John Greenleaf Whittier, who was born in Massachusetts in 1807, wrote the poem "The Pumpkin" (1850):[18]     Oh!—fruit loved of boyhood!—the old days recalling,     When wood-grapes were purpling and brown nuts were falling!     When wild, ugly faces we carved in its skin,     Glaring out through the dark with a candle within! In 1879's Funny Nursery Rhymes, a poem admonishes children to avoid being similar to untrustworthy "Master Jack o' Lantern," described as a "wicked, deceiving boy" similar to a will-o'-the-wisp who "dances, and jumps, and gambols." He is humorously illustrated as a personification of a lantern.[19] Agnes Carr Sage, in the article, "Halloween Sports and Customs" (Harper's Young People (1885):[20]     It is an ancient British custom to light great bonfires (Bone-fire to clear before Winter froze the ground) on Hallowe'en, and carry blazing fagots about on long poles; but in place of this, American boys delight in the funny grinning jack-o'-lanterns made of huge yellow pumpkins with a candle inside. In the United States, the carved pumpkin was first associated with the harvest season in general, long before it became a symbol of Halloween.[21] In 1895, an article on Thanksgiving entertaining recommended a lit jack-o'-lantern as part of the festivities.[21][22] Folklore A commercial "R.I.P." pattern. Halloween jack-o'-lantern. Pumpkin projected onto the wall. The story of the jack-o'-lantern comes in many forms and is similar to the story of Will-o'-the-wisp[23] retold in different forms across Western Europe,[24] including, Italy, Norway, Spain and Sweden.[25] In Switzerland, children will leave bowls of milk or cream out for mythical house spirits called Jack o' the bowl.[26] An old Irish folk tale from the mid-18th century tells of Stingy Jack, a lazy yet shrewd blacksmith who uses a cross to trap Satan. One story says that Jack tricked Satan into climbing an apple tree, and once he was up there, Jack quickly placed crosses around the trunk or carved a cross into the bark, so that Satan couldn't get down.[27] Another version[citation needed] of the story says that Jack was getting chased by some villagers from whom he had stolen. He then met Satan, who claimed it was time for him to die. However, the thief stalled his death by tempting Satan with a chance to bedevil the church-going villagers chasing him. Jack told Satan to turn into a coin with which he would pay for the stolen goods (Satan could take on any shape he wanted); later, when the coin (Satan) disappeared, the Christian villagers would fight over who had stolen it. The Devil agreed to this plan. He turned himself into a silver coin and jumped into Jack's wallet, only to find himself next to a cross Jack had also picked up in the village. Jack closed the wallet tight, and the cross stripped the Devil of his powers; and so he was trapped. In both folktales, Jack lets Satan go only after he agrees to never take his soul. Many years later, the thief died, as all living things do. Of course, Jack's life had been too sinful for him to go to Heaven; however, Satan had promised not to take his soul, and so he was barred from Hell as well.[28] Jack now had nowhere to go. He asked how he would see where to go, as he had no light, and Satan mockingly tossed him a burning coal, to light his way. Jack carved out one of his turnips (which were his favorite food), put the coal inside it, and began endlessly wandering the Earth for a resting place.[28] He became known as "Jack of the Lantern", or jack o'lantern. Cornish folklorist Dr. Thomas Quiller Couch (d. 1884) recorded the use of the term in a rhyme used in Polperro, Cornwall, in conjunction with Joan the Wad, the Cornish version of Will-o'-the-wisp. The people of Polperro regarded them both as pixies. The rhyme goes:[29]     Jack o' the lantern! Joan the wad,     Who tickled the maid and made her mad     Light me home, the weather's bad. Jack-o-lanterns were also a way of protecting one's home against the undead. Superstitious people[30] used them specifically to ward off vampires. They thought this because it was said that the jack-o-lantern's light was a way of identifying vampires who, once their identity was known, would give up their hunt for you. Pumpkin craft A jack-o'-lantern Sections of the pumpkin or turnip are cut out to make holes, often depicting a face, which may be either cheerful, scary, or comical.[31] World records For a long time, Keene, New Hampshire, held the world record for most jack-o'-lanterns carved and lit in one place. The Life is Good Company teamed up with Camp Sunshine,[32] a camp for children with life-threatening illnesses and their families, to break the record. A record was set on October 21, 2006, when 30,128 jack-o'-lanterns were simultaneously lit on Boston Common in downtown Boston, Massachusetts.[33] Highwood, Illinois, tried to set the record on October 31, 2011, with an unofficial count of 30,919 but did not follow the Guinness regulations, so the achievement did not count.[34] On October 19, 2013, Keene broke the Boston record and reclaimed the world record for most lit jack-o'-lanterns on display (30,581). The town has now broken the record eight times since the original attempt." (wikipedia.org) "A pumpkin is a vernacular term for mature winter squash of species and varieties in the genus Cucurbita that has culinary and cultural significance[1][2] but no agreed upon botanical or scientific meaning.[3] The term pumpkin is sometimes used interchangeably with "squash" or "winter squash", and is commonly used for cultivars of Cucurbita argyrosperma, Cucurbita ficifolia, Cucurbita maxima, Cucurbita moschata, and Cucurbita pepo.[1] Native to North America (northeastern Mexico and the southern United States), C. pepo pumpkins are one of the oldest domesticated plants, having been used as early as 7,000 to 5,500 BC. Today, pumpkins of varied species are widely grown for food, as well as for aesthetic and recreational purposes.[4] The pumpkin's thick shell contains edible seeds and pulp. Pumpkin pie, for instance, is a traditional part of Thanksgiving meals in Canada and the United States, and pumpkins are frequently carved as jack-o'-lanterns for decoration around Halloween, although commercially canned pumpkin purée and pumpkin pie fillings are usually made of different pumpkin varieties from those used for jack-o'-lanterns.[5] Etymology and terminology According to the Oxford English Dictionary, the English word pumpkin derives from the Ancient Greek word πέπων (romanized pepōn), meaning 'melon'.[6][7] Under this theory, the term transitioned through the Latin word peponem and the Middle French word pompon to the Early Modern English pompion, which was changed to pumpkin by 17th-century English colonists, shortly after encountering pumpkins upon their arrival in what is now the northeastern United States.[6] An alternate derivation for pumpkin is the Massachusett word pôhpukun, meaning 'grows forth round'.[8] This term would likely have been used by the Wampanoag people (who speak the Wôpanâak dialect of Massachusett) when introducing pumpkins to English Pilgrims at Plymouth Colony, located in present-day Massachusetts.[9] The English word squash is also derived from a Massachusett word, variously transcribed as askꝏtasquash,[10] ashk8tasqash, or, in the closely-related Narragansett language, askútasquash.[11] Researchers have noted that the term pumpkin and related terms like ayote and calabaza are applied to a range of winter squash with varying size and shape.[1] The term tropical pumpkin is sometimes used for pumpkin cultivars of the species Cucurbita moschata.[12] Description Cross section of a Cucurbita maxima pumpkin Pumpkin fruits are a type of botanical berry known as a pepo.[13] Characteristics commonly used to define "pumpkin" include smooth and slightly ribbed skin,[14] and deep yellow to orange color.[14] White, green, and other pumpkin colors also exist.[15] While C. pepo pumpkins generally weigh between 3 and 8 kilograms (6 and 18 lb), Giant pumpkins can exceed a tonne in mass.[16][17] Most are varieties of Cucurbita maxima, and were developed through the efforts of botanical societies and enthusiast farmers.[16] The largest cultivars of the species Curcubita maxima frequently reach weights of over 34 kg (75 lb), with current record weights of over 1,226 kg (2,703 lbs). [18] History [icon]    This section needs expansion. You can help by adding to it. (December 2022) The oldest evidence of Cucurbita pepo pumpkin is fragments found in Mexico that are dated between 7,000 and 5,500 BC.[19] Pumpkins and other squash species, alongside maize and beans, feature in the Three Sisters method of companion planting practiced by many North American indigenous societies.[20] Although larger modern pumpkin cultivars are typically excluded as their weight may damage the other crops.[21] Within decades after Europeans began colonizing North America, illustrations of pumpkins similar to the modern cultivars Small Sugar pumpkin and Connecticut Field pumpkin were published in Europe.[13] Cultivation Pumpkins are a warm-weather crop that is usually planted by early July in the Northern Hemisphere. Pumpkins require that soil temperatures 8 centimetres (3 in) deep are at least 15.5 °C (60 °F) and that the soil holds water well. Pumpkin crops may suffer if there is a lack of water, because of temperatures below 18 °C or 65 °F, or if grown in soils that become waterlogged. Within these conditions, pumpkins are considered hardy, and even if many leaves and portions of the vine are removed or damaged, the plant can quickly grow secondary vines to replace what was removed.[22] Pumpkins produce both a male and female flower, with fertilization usually performed by bees.[22] In America, pumpkins have historically been pollinated by the native squash bee, Peponapis pruinosa, but that bee has declined, probably partly due to pesticide (imidacloprid) sensitivity.[23] Ground-based bees, such as squash bees and the eastern bumblebee, are better suited to manage the larger pollen particles that pumpkins create.[24][25] One hive per acre (0.4 hectares, or five hives per 2 hectares) is recommended by the U.S. Department of Agriculture. If there are inadequate bees for pollination, gardeners may have to hand pollinate. Inadequately pollinated pumpkins usually start growing but fail to develop. ... Culture Halloween Main article: Jack o' lantern A pumpkin carved into a jack-o'-lantern for Halloween In the United States, the carved pumpkin was first associated with the harvest season in general, long before it became an emblem of Halloween.[55] The practice of carving produce for Halloween originated from an Irish myth about a man named "Stingy Jack".[4] The practice of carving pumpkin jack-o'-lanterns for the Halloween season developed from a traditional practice in Ireland as well as Scotland and other parts of the United Kingdom of carving lanterns from the turnip, mangelwurzel, or swede (rutabaga).[56][57] These vegetables continue to be popular choices today as carved lanterns in Scotland and Northern Ireland, although the British purchased a million pumpkins for Halloween in 2004 reflecting the spread of pumpkin carving in the United Kingdom.[58] Immigrants to North America began using the native pumpkins for carving, which are both readily available and much larger – making them easier to carve than turnips.[57] Not until 1837 does jack-o'-lantern appear as a term for a carved vegetable lantern,[59] and the carved pumpkin lantern association with Halloween is recorded in 1866.[60] In 1900, an article on Thanksgiving entertaining recommended a lit jack-o'-lantern as part of the festivities that encourage kids and families to join together to make their own jack-o'-lanterns.[55] The traditional American pumpkin used for jack-o-lanterns is the Connecticut field variety.[4][61][62][63] Kentucky Field pumpkin is also among the pumpkin cultivars grown specifically for jack-o-lantern carving.[13] Chunking Pumpkin chunking is a competitive activity in which teams build various mechanical devices designed to throw a pumpkin as far as possible. Catapults, trebuchets, ballistas and air cannons are the most common mechanisms.[citation needed] Pumpkin festivals and competitions Giant Cucurbita maxima pumpkins Growers of giant pumpkins often compete to grow the most massive pumpkins. Festivals may be dedicated to the pumpkin and these competitions. In the United States, the town of Half Moon Bay, California, holds an annual Art and Pumpkin Festival, including the World Champion Pumpkin Weigh-Off.[64] The record for the world's heaviest pumpkin, 1,226 kg (2,703 lb), was established in Italy in 2021.[17] Folklore and fiction There is a connection in folklore and popular culture between pumpkins and the supernatural, such as:     The custom of carving jack-o-lanterns from pumpkins derives from folklore about a lost soul wandering the earth.     In the fairy tale Cinderella, the fairy godmother turns a pumpkin into a carriage for the title character, but at midnight it reverts to a pumpkin.     In some adaptations of Washington Irving's ghost story The Legend of Sleepy Hollow, the headless horseman is said to use a pumpkin as a substitute head. In most folklore the carved pumpkin is meant to scare away evil spirits on All Hallows' Eve (that is, Halloween), when the dead were purported to walk the earth." (wikipedia.org) "A hobby horse (or hobby-horse) is a child's toy horse. Children played at riding a wooden hobby horse made of a straight stick with a small horse's head (of wood or stuffed fabric), and perhaps reins, attached to one end. The bottom end of the stick sometimes had a small wheel or wheels attached. This toy was also sometimes known as a cock horse (as in the nursery rhyme Ride a cock horse to Banbury Cross) or stick horse. Hobby horses feature in the worship of Rajasthani folk deity Baba Ramdevji, a reference to a story about his childhood; wooden toy horses are popular offerings at his temple at Ramdevra. They also figured in the public rites of the Romanian Călușari.[1] Hobby horsing as a sport became popular among young women in Finland and elsewhere in the 21st century. Other meanings A hobby horse is not always a riding-stick like the child's toy; larger hobby horses feature in some traditional seasonal customs (such as Mummers Plays and the Morris dance in England). They vary in size from a costume for one person to large frameworks carried by nine people.[citation needed] In The Life and Opinions of Tristram Shandy, Gentleman, the characters' hobby-horses, or particular obsessions, are discussed in detail. Here, Uncle Toby's obsession with the military leads him and Trim - who gets caught up in Toby's enthusiasm - to begin acting out military actions. Illustration by George Cruikshank. From "hobby horse" (see Etymology, below) came the expression "to ride one's hobby-horse", meaning "to follow a favourite pastime", and in turn, the modern sense of the term hobby.[2] The term is also connected to the draisine, a forerunner of the bicycle, invented by Baron Karl von Drais. In 1818, a London coach-maker named Denis Johnson began producing an improved version, which was popularly known as the "hobby-horse".[3] The artistic movement, Dada, is possibly named after a French child's word for hobby-horse.[4] Etymology The word hobby is glossed by the OED as "a small or middle-sized horse; an ambling or pacing horse; a pony." The word is attested in English from the 14th century, as Middle English hobyn. Old French had hobin or haubby, whence Modern French aubin and Italian ubino. But the Old French term is apparently adopted from English rather than vice versa. OED connects it to "the by-name Hobin, Hobby", a variant of Robin" (compare the abbreviation Hob for Robert). This appears to have been a name customarily given to a cart-horse, as attested by White Kennett in his Parochial Antiquities (1695), who stated that "Our ploughmen to some one of their cart-horses generally give the name of Hobin, the very word which Phil. Comines uses, Hist. VI. vii." Another familiar form of the same Christian name, Dobbin has also become a generic name for a cart-horse. Samuel Johnson, Dictionary of the English Language, 1755, glosses "A strong, active horse, of a middle size, said to have been originally from Ireland; an ambling nag." Further use Hobblers or hovellers were men who kept a light horse so that they may give swift warning of threatened invasion. (Old French, hober, to move up and down; our hobby, q.v.) In medieval times their duties were to reconnoiter, to carry intelligence, to harass stragglers, to act as spies, to intercept convoys, and to pursue fugitives. Henry Spelman (d. 1641) derived the word from "hobby".[citation needed]     Hobblers were another description of cavalry more lightly armed, and taken from the class of men rated at 15 pounds and upwards.     — John Lingard, The History of England, (1819), vol. iv. chap. ii. p. 116. Border horses, called hobblers or hobbies, were small and active and trained to cross the most difficult and boggy country "and to get over where our footmen could scarce dare to follow." - George MacDonald Fraser, The Steel Bonnets, The Story of the Anglo-Scottish Border Reivers. Wikimedia Commons has media related to Toy hobby horses. Hobby horse polo partly uses polo rules but has its own specialities, e.g. 'punitive sherries', and uses hobby horses instead of ponies. The hobby horse variant of polo started in 1998 as a fun sport in south western Germany and led in 2002 to the foundation of the First Kurfürstlich-Kurpfälzisch Polo-Club in Mannheim. It has since gained further interest in other German cities.[5] In the 21st century Hobby horsing became a popular sport among young women in Finland and spread to other countries." (wikipedia.org) "The horse (Equus ferus caballus)[2][3] is a domesticated, one-toed, hoofed mammal. It belongs to the taxonomic family Equidae and is one of two extant subspecies of Equus ferus. The horse has evolved over the past 45 to 55 million years from a small multi-toed creature, Eohippus, into the large, single-toed animal of today. Humans began domesticating horses around 4000 BCE, and their domestication is believed to have been widespread by 3000 BCE. Horses in the subspecies caballus are domesticated, although some domesticated populations live in the wild as feral horses. These feral populations are not true wild horses, as this term is used to describe horses that have never been domesticated. There is an extensive, specialized vocabulary used to describe equine-related concepts, covering everything from anatomy to life stages, size, colors, markings, breeds, locomotion, and behavior. Horses are adapted to run, allowing them to quickly escape predators, and possess an excellent sense of balance and a strong fight-or-flight response. Related to this need to flee from predators in the wild is an unusual trait: horses are able to sleep both standing up and lying down, with younger horses tending to sleep significantly more than adults.[4] Female horses, called mares, carry their young for approximately 11 months and a young horse, called a foal, can stand and run shortly following birth. Most domesticated horses begin training under a saddle or in a harness between the ages of two and four. They reach full adult development by age five, and have an average lifespan of between 25 and 30 years. Horse breeds are loosely divided into three categories based on general temperament: spirited "hot bloods" with speed and endurance; "cold bloods", such as draft horses and some ponies, suitable for slow, heavy work; and "warmbloods", developed from crosses between hot bloods and cold bloods, often focusing on creating breeds for specific riding purposes, particularly in Europe. There are more than 300 breeds of horse in the world today, developed for many different uses. Horses and humans interact in a wide variety of sport competitions and non-competitive recreational pursuits as well as in working activities such as police work, agriculture, entertainment, and therapy. Horses were historically used in warfare, from which a wide variety of riding and driving techniques developed, using many different styles of equipment and methods of control. Many products are derived from horses, including meat, milk, hide, hair, bone, and pharmaceuticals extracted from the urine of pregnant mares. Humans provide domesticated horses with food, water, and shelter as well as attention from specialists such as veterinarians and farriers." (wikipedia.org) "A headstone, tombstone, or gravestone is a stele or marker, usually stone, that is placed over a grave. It is traditional for burials in the Christian, Jewish, and Muslim religions, among others. In most cases, it has the deceased's name, date of birth, and date of death inscribed on it, along with a personal message, or prayer, but may contain pieces of funerary art, especially details in stone relief. In many parts of Europe, insetting a photograph of the deceased in a frame is very common. Use Marble headstone of a couple buried together in Singapore, showing an arched emblem, signifying the reunification with one's partner in heaven. Within the arch is a statue of Jesus Christ The stele (plural stelae), as it is called in an archaeological context, is one of the oldest forms of funerary art. Originally, a tombstone was the stone lid of a stone coffin, or the coffin itself, and a gravestone was the stone slab (or ledger stone) that was laid flat over a grave. Now, all three terms ("stele", "tombstone" or "gravestone") are also used for markers set (usually upright) at the head of the grave. Some graves in the 18th century also contained footstones to demarcate the foot end of the grave. This sometimes developed into full kerb sets that marked the whole perimeter of the grave. Footstones were rarely annotated with more than the deceased's initials and year of death, and sometimes a memorial mason and plot reference number. Many cemeteries and churchyards have removed those extra stones to ease grass cutting by machine mower. In some UK cemeteries, the principal, and indeed only, marker is placed at the foot of the grave. Owing to soil movement and downhill creep on gentle slopes, older headstones and footstones can often be found tilted at an angle. Over time, this movement can result in the stones being sited several metres away from their original location.[citation needed] Graves and any related memorials are a focus for mourning and remembrance. The names of relatives are often added to a gravestone over the years, so that one marker may chronicle the passing of an entire family spread over decades. Since gravestones and a plot in a cemetery or churchyard cost money, they are also a symbol of wealth or prominence in a community. Some gravestones were even commissioned and erected to their own memory by people who were still living, as a testament to their wealth and status. In a Christian context, the very wealthy often erected elaborate memorials within churches rather than having simply external gravestones. Crematoria frequently offer similar alternatives to families who do not have a grave to mark, but who want a focus for their mourning and for remembrance. Carved or cast commemorative plaques inside the crematorium for example may serve this purpose. Materials A tombstone at the grave of Paavo Ruotsalainen (1777–1852) in Nilsiä, Kuopio, Finland A cemetery may follow national codes of practice or independently prescribe the size and use of certain materials, especially in a conservation area. Some may limit the placing of a wooden memorial to six months after burial, after which a more permanent memorial must be placed. Others may require stones of a certain shape or position to facilitate grass-cutting. Headstones of granite, marble and other kinds of stone are usually created, installed, and repaired by monumental masons. Cemeteries require regular inspection and maintenance, as stones may settle, topple and, on rare occasions, fall and injure people;[1] or graves may simply become overgrown and their markers lost or vandalised. Restoration is a specialized job for a monumental mason. Even overgrowth removal requires care to avoid damaging the carving. For example, ivy should only be cut at the base roots and left to naturally die off, never pulled off forcefully. Many materials have been used as markers. Stone     Fieldstones. In many cultures markers for graves other than enclosed areas, such as planted with characteristic plants particularly in northern Europe the yew, were natural fieldstones, some unmarked and others decorated or incised using a metal awl. Typical motifs for the carving included a symbol and the deceased's name and age.     Granite. Granite is a hard stone and requires skill to carve by hand. Modern methods of carving include using computer-controlled rotary bits and sandblasting over a rubber stencil. Leaving the letters, numbers and emblems exposed on the stone, the blaster can create virtually any kind of artwork or epitaph.     Marble and limestone. Both limestone and marble take carving well. Marble is a recrystallised form of limestone. The mild acid in rainwater can slowly dissolve marble and limestone over time, which can make inscriptions unreadable. Portland stone was a type of limestone commonly used in England – after weathering, fossiliferous deposits tend to appear on the surface. Marble became popular from the early 19th century, though its extra cost limited its appeal.     Sandstone. Sandstone is durable, yet soft enough to carve easily. Some sandstone markers are so well preserved that individual chisel marks are discernible, while others have delaminated and crumbled to dust. Delamination occurs when moisture gets between the layers of the sandstone. As it freezes and expands the layers flake off. In the 17th century, sandstone replaced field stones in Colonial America. Yorkstone was a common sandstone material used in England.     Slate. Slate can have a pleasing texture but is slightly porous and prone to delamination. Slate was commonly used by colonial New England carvers, especially in Boston where elaborate slate markers were shipped down the Atlantic coast as far south as Charleston and Savanah. It takes lettering well, often highlighted with white paint or gilding.     Schist. Schist Was a common material for grave making in the American Colonies during the 17th and 18th Century. While harder to Carve than Sandstone or Slate, lettering and symbols usually had to be carved deeper into the stone and therefore held up well over long periods of time. While not as durable as most slate, most have held up well against the elements.     The Maymūnah Stone, a tombstone with an Arabic inscription dated 1174 on a reused Roman marble block. Now exhibited at the Gozo Museum of Archaeology.[2]     The Maymūnah Stone, a tombstone with an Arabic inscription dated 1174 on a reused Roman marble block. Now exhibited at the Gozo Museum of Archaeology.[2]     Slate gravestone of Josiah Leavitt (1679–1717), Hingham Center Cemetery, Hingham, Plymouth County, Massachusetts     Slate gravestone of Josiah Leavitt (1679–1717), Hingham Center Cemetery, Hingham, Plymouth County, Massachusetts     Slate Vestige of a Jewish gravestone depicting a Tzedakah box. Jewish cemetery in Otwock (Karczew-Anielin), Poland.     Slate Vestige of a Jewish gravestone depicting a Tzedakah box. Jewish cemetery in Otwock (Karczew-Anielin), Poland.     Gravestone showing death date of 1639, Wormshill England.     Gravestone showing death date of 1639, Wormshill England.     HIS LAST MESSAGE: NO MORE WARS FOR ME – A headstone in the Jerusalem British World War I Cemetery on Mount Scopus     HIS LAST MESSAGE: NO MORE WARS FOR ME – A headstone in the Jerusalem British World War I Cemetery on Mount Scopus     Elaborately carved grave slab at Shebbear (Devon, England) showing a skull sprouting flowering shoots, as a symbol of resurrection     Elaborately carved grave slab at Shebbear (Devon, England) showing a skull sprouting flowering shoots, as a symbol of resurrection     Victorian headstones in England     Victorian headstones in England     Schist tombstone dated 1795, carved by Josiah Manning in Mansfield CT.     Schist tombstone dated 1795, carved by Josiah Manning in Mansfield CT. Metal, wood and plants Grave Marker, Gwa'sala Kwakwaka'wakw (Native American), late 19th century, wood, pigment, Brooklyn Museum Wood grave marker using Canadian Syllabics Iron cross on a grave in Ekshärad cemetery. Wooden grave markers stored at Heidal Church, Norway     Iron. Iron grave markers and decorations were popular during the Victorian era in the United Kingdom and elsewhere, often being produced by specialist foundries or the local blacksmith. Cast iron headstones have lasted for generations while wrought ironwork often only survives in a rusted or eroded state. In eastern Värmland, Sweden, iron crosses instead of stones have been popular since the 18th century.     White bronze. Actually sand cast zinc, but called white bronze for marketing purposes. Almost all, if not all, zinc grave markers were made by the Monumental Bronze Company of Bridgeport, CT, between 1874 and 1914. The company set up subsidiaries in Detroit, Philadelphia, New Orleans, and Des Moines; a Chicago subsidiary was named the American Bronze Company, while the St. Thomas White Bronze Monument Company was set up in Ontario, Canada.[3] They are in cemeteries of the period all across the U.S. and Canada. They were sold as more durable than marble, about 1/3 less expensive and progressive.     Wood. This was a popular material during the Georgian and Victorian era, and almost certainly before, in Great Britain and elsewhere. Some could be very ornate, although few survive beyond 50–100 years due to natural decomposition or termites and other wood boring insects.     Planting. Trees or shrubs, particularly roses, may be planted, especially to mark the location of ashes. This may be accompanied by a small inscribed metal or wooden marker. Inscriptions Markers sometimes bear inscriptions. The information on the headstone generally includes the name of the deceased and their date of birth and death. Such information can be useful to genealogists and local historians. Larger cemeteries may require a discreet reference code as well to help accurately fix the location for maintenance. The cemetery owner, church, or, as in the UK, national guidelines might encourage the use of 'tasteful' and accurate wording in inscriptions. The placement of inscriptions is traditionally placed on the forward-facing side of the memorial but can also be seen in some cases on the reverse and around the edges of the stone itself. Some families request that an inscription be made on the portion of the memorial that will be underground.[4] In addition, some gravestones also bear epitaphs in praise of the deceased or quotations from religious texts, such as "requiescat in pace". In a few instances the inscription is in the form of a plea, admonishment, testament of faith, claim to fame or even a curse – William Shakespeare's inscription famously declares     Good friend, for Jesus' sake forbear,     To dig the dust enclosèd here.     Blest be the man that spares these stones,     And cursed be he that moves my bones. Or a warning about mortality, such as this Persian poetry carved on an ancient tombstone in the Tajiki capital of Dushanbe.[5] Gravestone in Canada with indigenous language inscription in Canadian Aboriginal Syllabics     I heard that mighty Jamshed the King     Carved on a stone near a spring of water these words:     "Many – like us – sat here by this spring     And left this life in the blink of an eye.     We captured the whole world through our courage and strength,     Yet could take nothing with us to our grave." Or a simpler warning of inevitability of death: Hebrew inscriptions on gravestones in Sobědruhy.     Remember me as you pass by,     As you are now, so once was I,     As I am now, so you will be,     Prepare for death and follow me. Multilingual gravestone: Welsh, English, French Gurkha soldier's stone in Singapore Serbian women's stone in Gornja Gorevnica, Serbia. Information in English, Bible verse in German (Dallas, TX) Headstone engravers faced their own "year 2000 problem" when still-living people, as many as 500,000 in the United States alone, pre-purchased headstones with pre-carved death years beginning with 19–.[6] Bas-relief carvings of a religious nature or of a profile of the deceased can be seen on some headstones, especially up to the 19th century. Since the invention of photography, a gravestone might include a framed photograph or cameo of the deceased; photographic images or artwork (showing the loved one, or some other image relevant to their life, interests or achievements) are sometimes now engraved onto smooth stone surfaces. Some headstones use lettering made of white metal fixed into the stone, which is easy to read but can be damaged by ivy or frost. Deep carvings on a hard-wearing stone may weather many centuries exposed in graveyards and still remain legible. Those fixed on the inside of churches, on the walls, or on the floor (often as near the altar as possible) may last much longer: such memorials were often embellished with a monumental brass. The choice of language and/or script on gravestones has been studied by sociolinguists as indicators of language choices and language loyalty. For example, by studying cemeteries used by immigrant communities,[7] some languages were found to be carved "long after the language ceased to be spoken" in the communities.[8] In other cases, a language used in the inscription may indicate a religious affiliation. Marker inscriptions have also been used for political purposes, such as the grave marker installed in January 2008 at Cave Hill Cemetery in Louisville, Kentucky by Mathew Prescott, an employee of PETA. The grave marker is located near the grave of KFC founder Harland Sanders and bears the acrostic message "KFC tortures birds".[9] The group placed its grave marker to promote its contention that KFC is cruel to chickens. Form and decoration     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (August 2011) (Learn how and when to remove this template message) Typical Deaths Head design, often used on tombstones in Colonial America. (Boston MA) An equestrian motif on an 11th-century Swedish gravestone. Islamic cemetery in Sarajevo, with columnar headstones Gravestones may be simple upright slabs with semi-circular, rounded, gabled, pointed-arched, pedimental, square or other shaped tops. During the 18th century, they were often decorated with memento mori (symbolic reminders of death) such as skulls or winged skulls, winged cherub heads, heavenly crowns, or the picks and shovels of the gravedigger. Somewhat unusual were more elaborate allegorical figures, such as Old Father Time, or emblems of trade or status, or even some event from the life of the deceased (particularly how they died). Large tomb chests, false sarcophagi as the actual remains were in the earth below, or smaller coped chests were commonly used by the gentry as a means of commemorating a number of members of the same family. In the 19th century, headstone styles became very diverse, ranging from plain to highly decorated, and often using crosses on a base or other shapes differing from the traditional slab. By this time popular designs were shifting from symbols of death like Winged heads and Skulls to Urns and Willow trees. Marble also became overwhelmingly popular as a grave material during the 1800s in the United States. More elaborately carved markers, such as crosses or angels also became popular during this time. Simple curb surrounds, sometimes filled with glass chippings, were popular during the mid-20th century. Islamic headstones are traditionally more a rectangular upright shaft, often topped with a carved topknot symbolic of a turban; but in Western countries more local styles are often used. Some form of simple decoration may be employed.[10] Special emblems on tombstones indicate several familiar themes in many faiths. Some examples are:     Anchor: Steadfast hope     Angel of grief: Sorrow     Arch: Rejoined with partner in Heaven     Birds: The soul     Book: Faith, wisdom     Cherub: Divine wisdom or justice     Column: Noble life     Broken column: Early death     Conch shell: Wisdom     Cross, anchor and Bible: Trials, victory and reward     Crown: Reward and glory     Dolphin: Salvation, bearer of souls to Heaven     Dove: Purity, love and Holy Spirit     Evergreen: Eternal life     Garland: Victory over death     Gourds: Deliverance from grief     Hands: A relation or partnership (see Reference 3)     Heart: Devotion     Horseshoe: Protection against evil     Hourglass: Time and its swift flight     IHS: Stylized version of iota-eta-sigma, a Greek abbreviation of "Iesus Hominum Salvator" ("Jesus, savior of mankind"); alternatively treated as an initialism for "in Hoc Signo (Vinces)": "In this sign you shall conquer." Commonly indicates Roman Catholic faith, the latter especially Society of Jesus.     Ivy: Faithfulness, memory, and undying friendship     Lamb: Innocence, young age     Lamp: Immortality     Laurel: Victory, fame     Lily: Purity and resurrection     Lion: Strength, resurrection     Mermaid: Dualism of Christ – fully God, fully man     Oak: Strength     Olive branch: Forgiveness, and peace     Palms: Martyrdom, or victory over death     Peacock: Eternal life     Pillow: a deathbed, eternal sleep     Poppy: Eternal sleep     Rooster: Awakening, courage and vigilance     Shell: Birth and resurrection     Skeleton: Life's brevity     Snake in a circle: Everlasting life in Heaven     Square and Compasses: Freemasonry     Star of David: Judaism     Swallow: Motherhood     Broken sword: Life cut short     Crossed swords: Life lost in battle     Torch: Eternal life if upturned, death if extinguished     Tree trunk: The beauty of life     Triangle: Truth, equality and the trinity     Tzedakah box (pushke): Righteousness, for it is written "...to do righteousness and justice" (Gen 18:19) and "the doing of righteousness and justice is preferable to the Lord than sacrificial offering" (Proverbs 21:3).     Shattered urn: Old age, mourning if draped     Weeping willow: Mourning, grief Greek letters might also be used:     α ω {\displaystyle \alpha \omega } \alpha \omega (alpha and omega): The beginning and the end     χ ρ {\displaystyle \chi \rho } \chi \rho (chi rho): The first letters spelling the name of Christ" (wikipedia.org) "Rest in peace (R.I.P.),[1] a phrase from the Latin requiescat in pace (Ecclesiastical Latin: [rekwiˈeskat in ˈpatʃe]), is sometimes used in traditional Christian services and prayers, such as in the Catholic,[2] Lutheran,[3] Anglican, and Methodist[4] denominations, to wish the soul of a decedent eternal rest and peace. It became ubiquitous on headstones in the 18th century, and is widely used today when mentioning someone's death. Description The phrase dormit in pace (English: "[he] sleeps in peace") was found in the catacombs of the early Christians and indicated that "they died in the peace of the Church, that is, united in Christ."[5][6][7] The abbreviation R.I.P., meaning Requiescat in pace, "Rest in peace", continues to be engraved on the gravestones of Christians,[8] especially in the Catholic, Lutheran, and Anglican denominations.[9] In the Tridentine Requiem Mass of the Catholic Church the phrase appears several times.[10] Other variations include "Requiescat in pace et in amore" for "[May he/she] rest in peace and love", and "In pace requiescat et in amore". The word order is variable because Latin syntactical relationships are indicated by the inflexional endings, not by word order. If "Rest in peace" is used in an imperative mood, it would be "Requiesce in pace" (acronym R.I.P.) in the second person singular, or "Requiescite in pace" in the second person plural.[11] In the common phrase "Requiescat in pace" the "-at" ending is appropriate because the verb is a third-person singular present active subjunctive used in a hortative sense: "[May he/she] rest in peace." History A 7th-century gravestone from Narbonne beginning with requiescunt in pace. It has been interpreted variously as an "inscription relating to the Jews of France",[12] or as a Jewish inscription.[13] The phrase was first found on tombstones some time before the fifth century.[14][15][16] It became ubiquitous on the tombs of Christians in the 18th century,[9] and for High Church Anglicans, Methodists,[17] as well as Roman Catholics in particular, it was a prayerful request that their soul should find peace in the afterlife.[8] When the phrase became conventional, the absence of a reference to the soul led people to suppose that it was the physical body that was enjoined to lie peacefully in the grave.[18] This is associated with the Christian doctrine of the particular judgment; that is, that the soul is parted from the body upon death, but that the soul and body will be reunited on Judgment Day.[19] Use in various religions Irish Protestantism In 2017, members of the Orange Order in Northern Ireland called on Protestants to stop using the phrase "RIP" or "Rest in Peace".[20] Wallace Thompson, the secretary of the Evangelical Protestant Society, said on a BBC Radio Ulster programme that he would encourage Protestants to refrain from using the term "RIP".[21] Thompson said that he regards "RIP" as a prayer for the dead, which he believes contradicts biblical doctrine.[22] In the same radio programme, Presbyterian Ken Newell disagreed that people are praying for the dead when they use the phrase. Judaism Main article: Honorifics for the dead in Judaism The expression "rest in peace" is "not commonly used in Jewish contexts", though some commentators say that it is "consistent with Jewish practice".[23] The traditional Hebrew expression עליו השלום, literally 'may peace be upon him', is sometimes rendered in English as 'may he rest in peace'.[24][25] On the other hand, some Jews object to using the phrase for Jews, considering it to reflect a Christian perspective." (wikipedia.org) "Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper (usually depicted as a berobed skeleton wielding a scythe) causes the victim's death by coming to collect that person's soul. Other beliefs hold that the Spectre of Death is only a psychopomp, a benevolent figure who serves to gently sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often[clarification needed] personified in male form, although in certain cultures Death is perceived as female (for instance, Marzanna in Slavic mythology, or Santa Muerte in Mexico). Death is also portrayed as one of the Four Horsemen of the Apocalypse. By region Death from the Cary-Yale Tarot Deck (15th century) Americas La Calavera Catrina Latin America As is the case in many Romance languages (including French, Portuguese, Italian, and Romanian), the Spanish word for death, muerte, is a feminine noun. As such, it is common in Spanish-speaking cultures to personify death as a female figure. In Aztec mythology, Mictecacihuatl is the "Queen of Mictlan" (the Aztec underworld), ruling over the afterlife with her husband Mictlantecuhtli. Other epithets for her include "Lady of the Dead," as her role includes keeping watch over the bones of the dead. Mictecacihuatl was represented with a fleshless body and with jaw agape to swallow the stars during the day. She presided over the ancient festivals of the dead, which evolved from Aztec traditions into the modern Day of the Dead after synthesis with Spanish cultural traditions.[citation needed] There was also the goddess of suicide, Ixtab. She was a minor goddess in the scale of Aztec mythology. She was also known as The Hangwoman as she came to help along those who had killed themselves. Our Lady of the Holy Death (Santa Muerte) is a female deity or folk saint of Mexican folk religion, whose popularity has been growing in Mexico and the United States in recent years. Since the pre-Columbian era, Mexican culture has maintained a certain reverence towards death, as seen in the widespread commemoration of the Day of the Dead. La Calavera Catrina, a character symbolizing death, is also an icon of the Mexican Day of the Dead. Mictlantecuhtli (left) depicted in Codex Borgia San La Muerte (Saint Death) is a skeletal folk saint venerated in Paraguay, northeast Argentina, and southern Brazil. As the result of internal migration in Argentina since the 1960s, the veneration of San La Muerte has been extended to Greater Buenos Aires and the national prison system as well. Saint Death is depicted as a male skeleton figure usually holding a scythe. Although the Catholic Church in Mexico has attacked the devotion of Saint Death as a tradition that mixes paganism with Christianity and is contrary to the Christian belief of Christ defeating death, many devotees consider the veneration of San La Muerte as being part of their Catholic faith. The rituals connected and powers ascribed to San La Muerte are very similar to those of Santa Muerte; the resemblance between their names, however, is coincidental. In Aztec mythology, Mictlāntēcutli, is the god of the dead, depicted as a skeleton or a person wearing a toothy skull.[1] In Guatemala, San Pascualito is a skeletal folk saint venerated as "King of the Graveyard." He is depicted as a skeletal figure with a scythe, sometimes wearing a cape and crown. He is associated with death and the curing of diseases. In the Brazilian religion Umbanda, the orixá Omolu personifies sickness and death as well as healing. The image of the death is also associated with Exu, lord of the crossroads, who rules cemeteries and the hour of midnight. In Haitian Vodou, the Gede are a family of spirits that embody death and fertility. The most well-known of these spirits is Baron Samedi. Asia East Asia See also: Life replacement narratives Yama was introduced to Chinese mythology through Buddhism. In Chinese, he is known as King Yan (t 閻王, s 阎王, p Yánwáng) or Yanluo (t 閻羅王, s 阎罗王, p Yánluówáng), ruling the ten gods of the underworld Diyu. He is normally depicted wearing a Chinese judge's cap and traditional Chinese robes and appears on most forms of hell money offered in ancestor worship. From China, Yama spread to Japan as the Great King Enma (閻魔大王, Enma-Dai-Ō), ruler of Jigoku (地獄); Korea as the Great King Yeomra (염라대왕), ruler of Jiok (지옥); and Vietnam as Diêm La Vương, ruler of Địa Ngục or Âm Phủ. Separately, in Korean mythology, death's principal figure is the "Netherworld Emissary" Jeoseungsaja (저승사자, shortened to Saja (사자)). He is depicted as a stern and ruthless bureaucrat in Yeomna's service. A psychopomp, he escorts all – good or evil – from the land of the living to the netherworld when the time comes.[2] One of the representative names is Ganglim (강림), the Saja who guides the soul to the entrance of the underworld. According to legend, he always carries Jeokpaeji (적패지), the list with the names of the dead written on a red cloth. When he calls the name on Jeokpaeji three times, the soul leaves the body and follows him inevitably. The Kojiki relates that the Japanese goddess Izanami was burnt to death giving birth to the fire god Hinokagutsuchi. She then entered a realm of perpetual night called Yomi-no-Kuni. Her husband Izanagi pursued her there but discovered his wife was no longer as beautiful as before. After an argument, she promised she would take a thousand lives every day, becoming a goddess of death, as well as giving birth to the gods, Raijin and Fūjin, while dead. There are also death gods called shinigami (死神), which are closer to the Western tradition of the Grim Reaper; while common in modern Japanese arts and fiction, they were essentially absent in traditional mythology. India Yama, the Hindu lord of death, presiding over his court in hell The Sanskrit word for death is mrityu (cognate with Latin mors and Lithuanian mirtis), which is often personified in Dharmic religions. In Hindu scriptures, the lord of death is called King Yama (यम राज, Yama Rāja). He is also known as the King of Karmic Justice (Dharmaraja) as one's karma at death was considered to lead to a just rebirth. Yama rides a black buffalo and carries a rope lasso to lead the soul back to his home, called Naraka, pathalloka, or Yamaloka. There are many forms of reapers, although some say there is only one who disguises himself as a small child. His agents, the Yamadutas, carry souls back to Yamalok. There, all the accounts of a person's good and bad deeds are stored and maintained by Chitragupta. The balance of these deeds allows Yama to decide where the soul should reside in its next life, following the theory of reincarnation. Yama is also mentioned in the Mahabharata as a great philosopher and devotee of the Supreme Brahman. Western Asia Main article: Mot (god) The canaan of the 12th- and 13th-century BC Levant personified death as the god Mot (lit. "Death"). He was considered a son of the king of the gods, El. His contest with the storm god Baʿal forms part of the myth cycle from the Ugaritic texts. The Phoenicians also worshipped death under the name Mot and a version of Mot later became Maweth, the devil or angel of death in Judaism.[3][4] Europe Baltic "Death" (Nāve; 1897) by Janis Rozentāls Latvians named Death Veļu māte, but for Lithuanians it was Giltinė, deriving from the word gelti ("to sting"). Giltinė was viewed as an old, ugly woman with a long blue nose and a deadly poisonous tongue. The legend tells that Giltinė was young, pretty, and communicative until she was trapped in a coffin for seven years. Her sister was the goddess of life and destiny, Laima, symbolizing the relationship between beginning and end. Like the Scandinavians, Lithuanians and Latvians later began using Grim Reaper imagery for death. Celtic Bunworth Banshee, "Fairy Legends and Traditions of the South of Ireland", by Thomas Crofton Croker, 1825 In Breton folklore, a spectral figure called the Ankou (or Angau in Welsh) portends death. Usually, the Ankou is the spirit of the last person that died within the community and appears as a tall, haggard figure with a wide hat and long white hair or a skeleton with a revolving head. The Ankou drives a deathly wagon or cart with a creaking axle. The cart or wagon is piled high with corpses and a stop at a cabin means instant death for those inside.[5] Irish mythology features a similar creature known as a dullahan, whose head would be tucked under their arm (dullahans were not one, but an entire species). The head was said to have large eyes and a smile that could reach the head's ears. The dullahan would ride a black horse or a carriage pulled by black horses, and stop at the house of someone about to die, and call their name, and immediately the person would die. The dullahan did not like being watched, and it was believed that if a dullahan knew someone was watching them, they would lash that person's eyes with their whip, which was made from a spine; or they would toss a basin of blood on the person, which was a sign that the person was next to die. Gaelic lore also involves a female spirit known as Banshee (Modern Irish Gaelic: bean sí pron. banshee, literally fairy woman), who heralds the death of a person by shrieking or keening. The banshee is often described as wearing red or green, usually with long, disheveled hair. She can appear in a variety of forms, typically that of an ugly, frightful hag, but in some stories she chooses to appear young and beautiful. Some tales recount that the creature was actually a ghost, often of a specific murdered woman or a mother who died in childbirth. When several banshees appeared at once, it was said to indicate the death of someone great or holy. In Ireland and parts of Scotland, a traditional part of mourning is the keening woman (bean chaointe), who wails a lament – in Irish: Caoineadh, caoin meaning "to weep, to wail." In Scottish folklore there was a belief that a black, dark green or white dog known as a Cù Sìth took dying souls to the afterlife. Comparable figures exist in Irish and Welsh stories. In Welsh Folklore, Gwyn ap Nudd is the escort of the grave, the personification of Death and Winter who leads the Wild Hunt to collect wayward souls and escort them to the Otherworld, sometimes it is Maleagant, Arawn or Afallach in a similar position. Hellenic Main article: Thanatos In Ancient Greek religion and Greek mythology, Death (Thanatos) is one of the twin sons of Nyx (night). Like her, he is seldom portrayed directly. He sometimes appears in art as a winged and bearded man, and occasionally as a winged and beardless youth. When he appears together with his twin brother, Hypnos, the god of sleep, Thanatos generally represents a gentle death. Thanatos, led by Hermes psychopompos, takes the shade of the deceased to the near shore of the river Styx, whence the ferryman Charon, on payment of a small fee, conveys the shade to Hades, the realm of the dead. Homer's Iliad 16.681, and the Euphronios Krater's depiction of the same episode, have Apollo instruct the removal of the heroic, semi-divine Sarpedon's body from the battlefield by Hypnos and Thanatos, and conveyed thence to his homeland for proper funeral rites.[citation needed] Among the other children of Nyx are Thanatos' sisters, the Keres, blood-drinking, vengeant spirits of violent or untimely death, portrayed as fanged and taloned, with bloody garments. Scandinavia Hel (1889) by Johannes Gehrts, pictured here with her hound Garmr In Scandinavia, Norse mythology personified death in the shape of Hel, the goddess of death and ruler over the realm of the same name, where she received a portion of the dead.[6] In the times of the Black Plague, Death would often be depicted as an old woman known by the name of Pesta, meaning "plague hag", wearing a black hood. She would go into a town carrying either a rake or a broom. If she brought the rake, some people would survive the plague; if she brought the broom, however, everyone would die.[7] Scandinavians later adopted the Grim Reaper with a scythe and black robe. Today, Ingmar Bergman's 1957 film The Seventh Seal features one of the world's most famous representations of this personification of Death.[citation needed] Slavic Prague Astronomical Clock In Poland, Death – Śmierć or kostuch – has an appearance similar to the Grim Reaper, although its robe was traditionally white instead of black. Because the word śmierć is feminine in gender, death is frequently portrayed as a skeletal old woman, as depicted in 15th-century dialogue "Rozmowa Mistrza Polikarpa ze Śmiercią" (Latin: "Dialogus inter Mortem et Magistrum Polikarpum"). In Serbia and other South Slavic countries, the Grim Reaper is well known as Smrt ("Death") or Kosač ("Reaper"). Slavic people found this very similar to the Devil and other dark powers. One popular saying about death is: Smrt ne bira ni vreme, ni mesto, ni godinu ("Death does not choose a time, place or year" – which means death is destiny.)[original research?] Morana is a Slavic goddess of winter time, death and rebirth. A figurine of the same name is traditionally created at the end of winter/beginning of spring and symbolically taken away from villages to be set in fire and/or thrown into a river, that takes her away from the world of the living. In the Czech Republic, the medieval Prague Astronomical Clock carries a depiction of Death striking the hour. A version first appeared in 1490.[8][9] The Low Countries In the Netherlands, and to a lesser extent in Belgium, the personification of Death is known as Magere Hein ("Thin Hein") or Pietje de Dood ("Peter the Death").[10] Historically, he was sometimes simply referred to as Hein or variations thereof such as Heintje, Heintjeman and Oom Hendrik ("Uncle Hendrik"). Related archaic terms are Beenderman ("Bone-man"), Scherminkel (very meager person, "skeleton") and Maaijeman ("mow-man", a reference to his scythe).[11] The concept of Magere Hein predates Christianity, but was Christianized and likely gained its modern name and features (scythe, skeleton, black robe etc.) during the Middle Ages. The designation "Meager" comes from its portrayal as a skeleton, which was largely influenced by the Christian "Dance of Death" (Dutch: dodendans) theme that was prominent in Europe during the late Middle Ages. "Hein" was a Middle Dutch name originating as a short form of Heinric (see Henry (given name)). Its use was possibly related to the comparable German concept of "Freund Hein."[citation needed] Notably, many of the names given to Death can also refer to the Devil; it is likely that fear of death led to Hein's character being merged with that of Satan.[11][12] In Belgium, this personification of Death is now commonly called Pietje de Dood "Little Pete, the Death."[13] Like the other Dutch names, it can also refer to the Devil.[14] Western Europe In Western Europe, Death has commonly been personified as an animated skeleton since the Middle Ages.[15] This character, which is often depicted wielding a scythe, is said to collect the souls of the dying or recently dead. In English and German culture, Death is typically portrayed as male, but in French, Spanish, and Italian culture, it is not uncommon for Death to be female.[16] In England, the personified "Death" featured in medieval morality plays, later regularly appearing in traditional folk songs.[17] The following is a verse of "Death and the Lady" (Roud 1031) as sung by Henry Burstow in the nineteenth century:     Fair lady, throw those costly robes aside,     No longer may you glory in your pride.     Take leave of all sour carnal vain delight     I'm come to summon you away this night.[17] In the late 1800s, the character of Death became known as the Grim Reaper in English literature. The earliest appearance of the name "Grim Reaper" in English is in the 1847 book The Circle of Human Life:[18][19][20]     All know full well that life cannot last above seventy, or at the most eighty years. If we reach that term without meeting the grim reaper with his scythe, there or there about, meet him we surely shall. In Abrahamic religions See also: Destroying angel (Bible)     This section should specify the language of its non-English content, using {{lang}}, {{transliteration}} for transliterated languages, and {{IPA}} for phonetic transcriptions, with an appropriate ISO 639 code. Wikipedia's multilingual support templates may also be used. See why. (January 2022) The "Angel of the Lord" smites 185,000 men in the Assyrian camp (II Kings 19:35). When the Angel of Death passes through to smite the Egyptian first-born, God prevents "the destroyer" (shâchath) from entering houses with blood on the lintel and side posts (Exodus 12:23). The "destroying angel" (mal'ak ha-mashḥit) rages among the people in Jerusalem (II Sam. 24:16). In I Chronicles 21:15 the "angel of the Lord" is seen by King David standing "between the earth and the heaven, having a drawn sword in his hand stretched out over Jerusalem." The biblical Book of Job (33:22) uses the general term "destroyers" (memitim), which tradition has identified with "destroying angels" (mal'ake Khabbalah), and Prov. 16:14 uses the term the "angels of death" (mal'ake ha-mavet). The angel Azra'il is sometimes referred as the Angel of Death as well.[21] Jewish tradition also refers to Death as the Angel of Dark and Light, a name which stems from Talmudic lore. There is also a reference to "Abaddon" (The Destroyer), an angel who is known as the "Angel of the Abyss". In Talmudic lore, he is characterized as archangel Michael.[22] In Judaism La mort du fossoyeur (Death of the gravedigger) by Carlos Schwabe In Hebrew scriptures, Death (Maweth/Mavet(h)) is sometimes personified as a devil or angel of death (e.g., Habakkuk 2:5; Job 18:13).[3] In both the Book of Hosea and the Book of Jeremiah, Maweth/Mot is mentioned as a deity to whom God can turn over Judah as punishment for worshiping other gods.[23] The memitim are a type of angel from biblical lore associated with the mediation over the lives of the dying. The name is derived from the Hebrew word mĕmītǐm (מְמִיתִים – "executioners", "slayers", "destroyers") and refers to angels that brought about the destruction of those whom the guardian angels no longer protected.[24] While there may be some debate among religious scholars regarding the exact nature of the memitim, it is generally accepted that, as described in the Book of Job 33:22, they are killers of some sort.[25] Form and functions According to the Midrash, the Angel of Death was created by God on the first day.[26] His dwelling is in heaven, whence he reaches earth in eight flights, whereas Pestilence reaches it in one.[27] He has twelve wings.[28] "Over all people have I surrendered thee the power," said God to the Angel of Death, "only not over this one [i.e. Moses] which has received freedom from death through the Law."[29] It is said of the Angel of Death that he is full of eyes. In the hour of death, he stands at the head of the departing one with a drawn sword, to which clings a drop of gall. As soon as the dying man sees Death, he is seized with a convulsion and opens his mouth, whereupon Death throws the drop into it. This drop causes his death; he turns putrid, and his face becomes yellow.[30] The expression "the taste of death" originated in the idea that death was caused by a drop of gall.[31] The soul escapes through the mouth, or, as is stated in another place, through the throat; therefore, the Angel of Death stands at the head of the patient (Adolf Jellinek, l.c. ii. 94, Midr. Teh. to Ps. xi.). When the soul forsakes the body, its voice goes from one end of the world to the other, but is not heard (Gen. R. vi. 7; Ex. R. v. 9; Pirḳe R. El. xxxiv.). The drawn sword of the Angel of Death, mentioned by the Chronicler (I. Chron. 21:15; comp. Job 15:22; Enoch 62:11), indicates that the Angel of Death was figured as a warrior who kills off the children of men. "Man, on the day of his death, falls down before the Angel of Death like a beast before the slaughterer" (Grünhut, "Liḳḳuṭim", v. 102a). R. Samuel's father (c. 200) said: "The Angel of Death said to me, 'Only for the sake of the honor of mankind do I not tear off their necks as is done to slaughtered beasts'" ('Ab. Zarah 20b). In later representations, the knife sometimes replaces the sword, and reference is also made to the cord of the Angel of Death, which indicates death by throttling. Moses says to God: "I fear the cord of the Angel of Death" (Grünhut, l.c. v. 103a et seq.). Of the four Jewish methods of execution, three are named in connection with the Angel of Death: Burning (by pouring hot lead down the victim's throat), slaughtering (by beheading), and throttling. The Angel of Death administers the particular punishment that God has ordained for the commission of sin. A peculiar mantle ("idra" – according to Levy, "Neuhebr. Wörterb." i. 32, a sword) belongs to the equipment of the Angel of Death (Eccl. R. iv. 7). The Angel of Death takes on the particular form which will best serve his purpose; e.g., he appears to a scholar in the form of a beggar imploring pity (the beggar should receive Tzedakah)(M. Ḳ. 28a). "When pestilence rages in the town, walk not in the middle of the street, because the Angel of Death [i.e., pestilence] strides there; if peace reigns in the town, walk not on the edges of the road. When pestilence rages in the town, go not alone to the synagogue, because there the Angel of Death stores his tools. If the dogs howl, the Angel of Death has entered the city; if they make sport, the prophet Elijah has come" (B. Ḳ. 60b). The "destroyer" (saṭan ha-mashḥit) in the daily prayer is the Angel of Death (Ber. 16b). Midr. Ma'ase Torah (compare Jellinek, "B. H." ii. 98) says: "There are six Angels of Death: Gabriel over kings; Ḳapẓiel over youths; Mashbir over animals; Mashḥit over children; Af and Ḥemah over man and beast." Samael is considered in Talmudic texts to be a member of the heavenly host with often grim and destructive duties. One of Samael's greatest roles in Jewish lore is that of the main angel of death and the head of satans.[32] Scholars and the Angel of Death The Angel of Death, sculpture of a funeral gondola, Venice. Photo by Paolo Monti, 1951. Talmud teachers of the 4th century associate quite familiarly with him. When he appeared to one on the street, the teacher reproached him with rushing upon him as upon a beast, whereupon the angel called upon him at his house. To another, he granted a respite of thirty days, that he might put his knowledge in order before entering the next world. To a third, he had no access, because he could not interrupt the study of the Talmud. To a fourth, he showed a rod of fire, whereby he is recognized as the Angel of Death (M. K. 28a). He often entered the house of Bibi and conversed with him (Ḥag. 4b). Often, he resorts to strategy in order to interrupt and seize his victim (B. M. 86a; Mak. 10a). The death of Joshua ben Levi in particular is surrounded with a web of fable. When the time came for him to die and the Angel of Death appeared to him, he demanded to be shown his place in paradise. When the angel had consented to this, he demanded the angel's knife, that the angel might not frighten him by the way. This request also was granted him, and Joshua sprang with the knife over the wall of paradise; the angel, who is not allowed to enter paradise, caught hold of the end of his garment. Joshua swore that he would not come out, and God declared that he should not leave paradise unless he had ever absolved himself of an oath; he had never absolved himself of an oath so he was allowed to remain. The Angel of Death then demanded back his knife, but Joshua refused. At this point, a heavenly voice (bat ḳol) rang out: "Give him back the knife, because the children of men have need of it will bring death." Hesitant, Joshua Ben Levi gives back the knife in exchange for the Angel of Death's name. To never forget the name, he carved Troke into his arm, the Angel of Death's chosen name. When the knife was returned to the Angel, Joshua's carving of the name faded, and he forgot. (Ket. 77b; Jellinek, l.c. ii. 48–51; Bacher, l.c. i. 192 et seq.). Rabbinic views The Rabbis found the Angel of Death mentioned in Psalm 89:48, where the Targum translates: "There is no man who lives and, seeing the Angel of Death, can deliver his soul from his hand." Eccl. 8:4 is thus explained in Midrash Rabbah to the passage: "One may not escape the Angel of Death, nor say to him, 'Wait until I put my affairs in order,' or 'There is my son, my slave: take him in my stead.'" Where the Angel of Death appears, there is no remedy, but his name (Talmud, Ned. 49a; Hul. 7b). If one who has sinned has confessed his fault, the Angel of Death may not touch him (Midrash Tanhuma, ed. Buber, 139). God protects from the Angel of Death (Midrash Genesis Rabbah lxviii.). By acts of benevolence, the anger of the Angel of Death is overcome; when one fails to perform such acts the Angel of Death will make his appearance (Derek Ereẓ Zuṭa, viii.). The Angel of Death receives his orders from God (Ber. 62b). As soon as he has received permission to destroy, however, he makes no distinction between good and bad (B. Ḳ. 60a). In the city of Luz, the Angel of Death has no power, and, when the aged inhabitants are ready to die, they go outside the city (Soṭah 46b; compare Sanh. 97a). A legend to the same effect existed in Ireland in the Middle Ages (Jew. Quart. Rev. vi. 336). In Christianity Gustave Doré Death on the Pale Horse (1865) – The fourth Horseman of the Apocalypse Death is one of the Four Horsemen of the Apocalypse portrayed in the Book of Revelation, in Revelation 6:7–8.[33]     And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.     — Revelation 6:8, King James Version He is also known as the Pale Horseman whose name is Thanatos, the same as that of the ancient Greek personification of death, and the only one of the horsemen to be named.[citation needed] Paul addresses a personified death in 1 Corinthians 15:55.     "O Death, where is your sting? O Hades, where is your victory?"     — 1 Corinthians 15:55, New King James Version In some versions, both arms of this verse are addressed to death.[34] The Christian scriptures contain the first known depiction of Abaddon as an individual entity instead of a place.     A king, the angel of the bottomless pit; whose name in Hebrew is Abaddon, and in Greek Apollyon; in Latin Exterminans.     — Revelation 9:11, Douay–Rheims Bible In Hebrews 2:14 the devil "holds the power of death."[35]     Since therefore the children share in flesh and blood, he himself likewise partook of the same things, that through death he might destroy the one who has the power of death, that is, the devil, and deliver all those who through fear of death were subject to lifelong slavery.     — Hebrews 2:14–15, English Standard Version Conversely, the early Christian writer Origen believed the destroying angel of Exodus 12:23 to be Satan.[36] The Grim Reaper, is stated to be destroyed by the Lake of Fire that burns with sulfur.     Death and Hades were thrown into the Lake of Fire. This is the second death.     — Revelation 20:14, King James Version     The last enemy to be destroyed is death.     — 1 Corinthians 15:26, New International Version In Islam In Islam, Archangel Azrael is the Malak al-Maut (angel of death). He and his many subordinates pull the souls out of the bodies, and guide them through the journey of the afterlife. Their appearance depends on the person's deed and actions, with those that did good seeing a beautiful being, and those that did wrong seeing a horrific monster. Islamic tradition discusses elaborately as to what exactly happens before, during, and after the death. The angel of death appears to the dying to take out their souls. The sinners' souls are extracted in a most painful way while the righteous are treated easily.[37] After the burial, two angels – Munkar and Nakir – come to question the dead in order to test their faith. The righteous believers answer correctly and live in peace and comfort while the sinners and disbelievers fail and punishments ensue.[37][38] The time period or stage between death and resurrection is called barzakh (the interregnum).[37] Death is a significant event in Islamic life and theology. It is seen not as the termination of life, rather the continuation of life in another form. In Islamic belief, God has made this worldly life as a test and a preparation ground for the afterlife; and with death, this worldly life comes to an end.[39] Thus, every person has only one chance to prepare themselves for the life to come where God will resurrect and judge every individual and will entitle them to rewards or punishment, based on their good or bad deeds.[39][40] And death is seen as the gateway to and beginning of the afterlife. In Islamic belief, death is predetermined by God, and the exact time of a person's death is known only to God. Media Songs "Death Don't Have No Mercy" Main article: Death Don't Have No Mercy The 1960 gospel blues song "Death Don't Have No Mercy", composed and first recorded by Blind Gary Davis, portrays death as an inevitable and periodic visitor.[41] According to the musicologist David Malvinni, it "presents a terrifying personification of the instant, sudden possibility [of] death at any moment that could have come from the medieval era's confrontation with the plague".[42] "(Don't Fear) The Reaper" Main article: (Don't Fear) The Reaper The 1976 Blue Öyster Cult song "(Don't Fear) The Reaper", recorded for their album Agents of Fortune, alludes to the Grim Reaper in the title and lyrics. The song encourages the audience not to fear death, but rather to think of it as something that immortalizes love.[43] "Creeping Death" Main article: Creeping Death The 1984 thrash metal song "Creeping Death", recorded by Metallica, references the angel of death, among other religious symbols. It is described by the writer Tom King as "a tale of righteous Biblical rage and devastation straight out of the Book of Revelations".[44] Books Death (Death with Interruptions or Death at Intervals) Main article: Death with Interruptions Nobel laureate José Saramago's novel features an anthropomorphised death as its main character, who insists that her name be written lowercase. She is depicted as a skeleton who can shapeshift and be omnipresent and has a scythe, though she doesn't always carry it. Her jurisdiction is limited to the imaginary country where the story happens and to the human species. It is implied that other deaths with jurisdiction over different life forms and territories exist, as well as an overarching death and/or god. The book deals with how society relates to death, both as a phenomenon and a character, and likewise how death relates to the people she is meant to kill and with loneliness and love. Death (Discworld) Main article: Death (Discworld) Death is a fictional character in Terry Pratchett's Discworld series, and depicted as one of many Deaths. His jurisdiction is specifically the Discworld itself; he is only a part, or minion, of Azrael, the universal Death. Death has appeared in every Discworld novel, with the exception of The Wee Free Men and Snuff. Mort, published in 1987, is the first time Death appears as a leading character.[45] Death (The Book Thief) Main article: The Book Thief Death is the narrator of Markus Zusak's 2005 novel The Book Thief. He is a collector of deceased souls in the story. He tells the coming of age story about a girl he witnessed living in Nazi Germany and surviving World War II.[46] Death (Harry Potter) Main article: The Tales of Beedle the Bard Death appears in "The Tale of Three Brothers" in J.K. Rowling's The Tales of Beedle the Bard, a collection of fairytales featured in her Harry Potter series. Three brothers avoid Death and Death, furious at being avoided, offers the brothers gifts. Two of these gifts, the Elder Wand and the Resurrection Stone lead to the first two brothers' deaths. The third brother, gifted with the Invisibility Cloak avoids Death until old age, where he then goes with Death like an old friend. These gifts became the Deathly Hallows.[47] Death (Incarnations of Immortality) Main article: On a Pale Horse Death is a held office in Piers Anthony's 1983 novel On a Pale Horse.[48] The character Zane becomes Death after a suicide attempt that ends up killing the previous Death. He is taught by his fellow Incarnations Time and Fate and must defeat the Incarnation of Evil, Satan. He is given several items to aid him on his job, including a watch to stop local time, jewels to measure how much good and evil is in a person for judgment, and his pale horse Mortis, who often takes the form of a pale car. Zane as Death appears in Anthony's following novels, notably Bearing an Hourglass. Charlie Asher (A Dirty Job) Main article: A Dirty Job Death is a career in Christopher Moore's A Dirty Job.[49] Charlie Asher is chosen to be a "Death Merchant" for retrieving souls and protect them from dark forces while managing his story and raising his newborn daughter. Comics Death (DC Comics) Main article: Death (DC Comics) Death first appeared in The Sandman vol. 2, #8 (August 1989), and was created by Neil Gaiman and Mike Dringenberg.[50] She is both an embodiment of death and a psychopomp in The Sandman Universe, and depicted as a down to earth, perky, and nurturing figure. Death is the second born of The Endless and she states "When the last living thing dies, my job will be finished. I'll put the chairs on the tables, turn out the lights and lock the universe behind me when I leave."[51] Death also appears briefly in Fables #11 (May 2003) titled "Bag O' Bones", where Jack Horner traps Death in a magical bag that never gets full.[52] There has been no indication as to whether Fables has any connection to the Sandman universe. Death (Marvel Comics) Main article: Death (Marvel Comics) The character first appeared in Captain Marvel #26 (Jun. 1973) and was created by Mike Friedrich and Jim Starlin. Death is an abstract entity, the embodiment of the end of life in the Marvel Universe, and resides inside a pocket dimension known as the Realm of Death.[53] The character can change appearance at will shown in a storyline of Captain Marvel where Thanos' scheme to conquer the universe, as the character becomes determined to prove his love for Death by destroying all life. However, she is commonly seen in a relationship with Deadpool. Lady MacDeath (Bug-a-Boo) Main article: Bug-a-Booo Lady MacDeath is a Grim Reaper, the personification of Death who is responsible of going after all people whose time to die has come, although unlike a typical Grim Reaper, her body is not pictured as made of bones. She uses her sickle to kill people, by hitting them in the head, and then she takes their souls to the purgatory, for them to be judged and sent whether to hell or heaven (sometimes after much bureaucracy). She always carries a list with the name of the people she must kill on the day. Most of her stories feature a pursuit, sometimes punctuated with struggles faced every day by normal people. Maurício de Souza says that the purpose of creating her is "taking death less seriously, while it doesn't come to us". Film     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (May 2021) (Learn how and when to remove this template message) Death Takes a Holiday (1934) Main article: Death Takes a Holiday After years of questioning why people fear him, Death takes on human form for three days so that he can mingle among mortals and find an answer. He finds a host in Duke Lambert after revealing himself and his intentions to the Duke, and takes up temporary residence in the Duke's villa. However, events soon spiral out of control as Death falls in love with the beautiful young Grazia. As he does so, Duke Lambert, the father of Grazia's mortal lover Corrado, begs him to give Grazia up and leave her among the living. Death must decide whether to seek his own happiness, or sacrifice it so that Grazia may live. The 1998 American film Meet Joe Black is loosely based on the 1934 film. While on Earth, Death, living under the name Joe Black, enlists the wealthy Bill Parrish to be his guide to mortal life, and in exchange guarantees that Bill will not die as long as he serves as "Joe's" guide. Joe falls in love with Bill's youngest daughter, Susan, a resident in internal medicine, and learns the meaning of both friendship and love. The Seventh Seal (1957) Main article: The Seventh Seal Death is one of the main characters in 1957 Swedish historical fantasy film The Seventh Seal. The film tells the story of a knight encountering Death, whom he challenges to a chess match, believing he can survive as long as the game continues.[54] These scenes are parodied in the 1991 comedy film Bill & Ted's Bogus Journey, in which the title characters repeatedly beat Death playing a variety of family board games such as Battleship and Twister. Death goes on to accompany Bill and Ted for the remainder of the film as a major supporting character.[55] The scene from "The Seventh Seal" is also parodied in a one-act play by Woody Allen called "Death," in which the personification of death agrees to play gin rummy and loses badly, altering his plans to "take" his opponent. The Adventures of Baron Munchausen (1988) Main article: The Adventures of Baron Munchausen Throughout the film, Munchausen is pursued by Death, a skeletal angel with raven's wings, carrying a scythe in one hand and an hourglass in the other. At the end, Death, in the form of a grim physician, extracts Munchausen's glowing life force, and Munchausen is given a lavish funeral before boldly claiming it was "one of the many times I faced Death." Final Destination film series (2000–2011) Main article: Final Destination In each of the Final Destination films, one of the protagonists experiences a premonition of an impending disaster. When these visions come true, the protagonists manage to avoid harm, though many innocent people are killed. Their escapes alter the design intended by Death, which – while never portrayed as a physical entity – is described as an omniscient supernatural force. In each film, the characters learn that they can never truly escape from death, and that they are each doomed to be killed one by one. Guillermo del Toro's Pinocchio (2022) Main article: Guillermo del Toro's Pinocchio In this film, Death (voiced by Tilda Swinton) resides in the afterlife. She is the sister of the Wood Sprite and is depicted as a Chimera. Puss in Boots: The Last Wish (2022) Main article: Puss in Boots: The Last Wish Throughout the events of the film, the titular Puss in Boots is pursued by the terrifying black-cloaked Wolf (voiced by Wagner Moura), who wields twin sickles and announces his foreboding presence with haunting whistling. His sighting consistently evokes terror in the cat, following their first meeting in which Puss lost his sword to him and was wounded by a blade for the first time. Eventually, Wolf confronts Puss once again and reveals himself as the personification of Death. He states his disgust and anger at Puss's lack of respect for the concept of death and lack of value placed on his previous eight lives, as well as his intent to kill Puss once and for all. However, though he manages to partially disarm Death during their final duel, Puss acknowledges that he knows that he can never truly defeat him. Though Death is initially frustrated, he appreciates Puss's growth in character and tells him to live his last life well and departs as a new respect forged between them. Television In 1987, the Australian government produced a controversial commercial featuring the Grim Reaper in order to raise public awareness about the danger of HIV/AIDS.[56] The Grim Reaper is one of the main characters of the 2000s Cartoon Network series The Grim Adventures of Billy & Mandy, where he is usually referred to as Grim and is voiced by Greg Eagles. The Grim Reaper ("Death") appears in some early episodes of Family Guy as a character voiced by Norm Macdonald in the first appearance and by Adam Carolla in later appearances. The Showtime television series Dead Like Me features a small team of characters taking the role of the "grim reaper", removing the souls of people just prior to their imminent death. Unlike most depictions of Death, the show depicted "grim reaper" as a job title, held by multiple people at once. In the British children's sketch television show Horrible Histories, Death (portaryed by Simon Farnaby) is a reoccurring character who appears the segment "Stupid Deaths" and later in its sixth series "Chatty Deaths". Theatre Elisabeth Viennese musical (1992) Main article: Elisabeth (musical) The personification of Death or the Grim Reaper is the leading male role in the 1992 Viennese musical, depicting the titular Empress of Austria-Hungary's fictionalised life and her entanglements and obsession with Death.[57] Portrayals of Death varies between productions from androgynous to masculine, dressed at various times in all black or all white.[58] Video Games The personification of Death appears many times in many different games, especially Castlevania and The Sims. Nearly all iterations of a "Death" or "Grim Reaper" character feature most of the same characteristics seen in other media and pop culture: a skeleton wearing a cloak and wielding a scythe. Darksiders II has Death as the player character. League of Legends focuses on the concept of Kindred, a personification of death consisting of a duo of lamb and wolf. " (wikipedia.org)
  • Condition: Used
  • Condition: In very good, pre-owned condition. Please see photos and description.
  • Pattern: No Pattern
  • Occasion: Halloween
  • Size: Small
  • Color: Black
  • Material: Ceramic & Porcelain
  • Item Length: 4.25 in
  • Subject: Halloween
  • Suitable For: Mini Candle, Tealight Candle
  • Brand: Unbranded
  • Type: Candle Holder
  • Era: Late 20th Century (1970-1999)
  • Item Height: 5 in
  • Theme: Animals & Dinosaurs, Baby, Fairy Tales, Fantasy, Mystical, Novelty, Seasonal
  • Style: Arts & Crafts Movement
  • Original/Reproduction: Original
  • Features: Fire Resistant, Hand Painted, Indoor, Luminous, Outdoor, Retired
  • Country/Region of Manufacture: China
  • Finish: Unglazed
  • Room: Basement, Bathroom, Bedroom, Den, Dining Room, Entryway, Foyer, Indoor/Outdoor, Kitchen, Living Room, Lounge, Office, Porch, Study, Sunroom
  • Item Width: 3.125 in

PicClick Insights - GRIM REAPER CHILD CANDLE HOLDER Halloween tealight chubby horror tombstone RARE PicClick Exclusive

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