Saint Gothic Designs

Dynamite Moon Magazine X Cats

By: Wish Fire

Saint Gothic

Dynamite Moon Magazine X Cats
In demonology and various folklores, cats, particularly black cats, have a complex and often sinister association with demons, evil spirits, and witchcraft. This perception largely developed during the European Middle Ages and early modern period, contrasting sharply with their revered status in some ancient cultures (like Egypt).
Here's a breakdown of how cats are viewed in demonology:
Familiars of Witches: This is perhaps the most common association. During the witch hunts in Europe, cats (and other animals like toads, owls, or dogs) were believed to be "familiars" – demonic spirits in animal form given to witches by the Devil to assist them in their magical practices and malevolent deeds. These familiars were thought to carry out the witch's evil bidding, and sometimes even suckled blood from a "witch's mark" or extra nipple on the witch's body. The infamous "Satan the Cat" from the trial of Agnes Waterhouse in 1566 is an early example.
Demons in Disguise: Cats were often seen as creatures that could be demons themselves, or that demons could inhabit. The idea was that evil spirits or even the Devil could shapeshift into the form of a cat to move unseen and carry out their nefarious plans. This belief contributed to the widespread fear and persecution of cats during the witch hunt era.
Symbol of Bad Omens and Ill Fortune: Because of their nocturnal habits, independent nature, glowing eyes in the dark, and perceived mysteriousness, cats were often linked to darkness, the unknown, and evil. Their presence was sometimes interpreted as a bad omen or a sign of impending disaster. Black cats, especially, became synonymous with bad luck and were often associated with the devil due to their color.
Pacts with the Devil: Some accounts from witch trials claimed that individuals made pacts with the devil, and part of this pact involved receiving a demonic familiar, often in the form of a cat. These cats were said to grant wishes or carry out curses in exchange for the witch's devotion.
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Specific Demonic Associations:
Bael: In some grimoires of demonology, such as *The Lesser Key of Solomon*, the demon Bael (a king of Hell) is described as appearing in various forms, including that of a cat, a toad, or a man, or a combination of these.
The Demon Cat (D.C. folklore): A popular American urban legend, particularly associated with Washington D.C., describes a ghostly "Demon Cat" that appears before national tragedies or presidential elections. While more of a ghost story than a demonological text, it reflects the persistent cultural association of cats with ominous supernatural occurrences.
Counter-Christian Symbolism: In the medieval Christian view, anything associated with paganism or older nature religions (where cats often held revered or mystical roles, such as in ancient Egypt with the goddess Bastet or Norse mythology with Freyja's chariot-pulling cats) was often demonized. Cats, therefore, became symbols of "pagan" or "devilish" practices in the eyes of the Church.
It's important to note that these associations are rooted in historical superstitions, religious beliefs, and folklore, rather than scientific or universally accepted demonological doctrines. The persecution of cats, especially black ones, during the witch trials, had a devastating impact on their populations and was a dark chapter in human-animal relations.
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Hoy cumple años una leyenda del cine.
El Resplandor, Alguien Voló Sobre El Nido Del Cuco, Chinatown, Batman, Mejor Imposible, Algunos Hombres Buenos, Infiltrados y muchísimos más papeles para el recuerdo.
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In summary, El Cuco is a compelling figure in folklore, primarily known as a child-eating monster used to instill fear in children and encourage them to behave
Cuco is primarily associated with supernatural powers and stealth in order to capture children.
It can shapeshift to mimic the appearance of another person
El Coco is often described as having glowing red eyes and razor-sharp teeth.
It's sometimes depicted as a hairy beast or a humanoid alligator.
In some depictions, it has an empty pumpkin for a head or is a dark shadow of someone who recently died.
Some legends say it has a single, large, bat-like ear to listen for disobedient children
The earliest known mention of "El Coco" in text dates back to 1518 in Gil Vicente's "Auto da Barca do Purgatório", referencing a connection with the devil
Etymology: The name "coco" is thought to derive from words for "head" or "skull" in various languages, particularly in northern Portugal and Galicia
Boogeyman Figure: It serves as a cautionary tale for parents to encourage good behavior in children, often featuring in lullabies warning children to sleep or behave or risk being taken by El Cuco.
El Cuco: A Mythical Monster in Folklore
"El Cuco," also known as Coco or El Cucuy, is not typically referred to as a demon in the traditional sense, but rather a mythical monster or bogeyman figure found in Spanish and Portuguese folklore.
Its story has spread to many Latin American countries and cultures
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An analogous custom was first mentioned by Diodorus Siculus(XIII.56.5;57.3), in which Iberianwarriors, after the battle of Selinunte, in 469 BC, would hang the heads of the enemies on their spears.
According to Rafael López Loureiro, this carving representation would be a milenar tradition from the Celtiberian region that spread all over the Iberian Peninsula
In Portugal, however, the coco is traditionally represented by an iron pan with holes, to represent a face, with a light inside; or by a vegetable lantern carved from a pumpkin with two eyes and a mouth, which is left in dark places with a light inside to scare people.
In the Beiras, heads carved on pumpkins, called coca, would be carried by the village boys, stuck on top of wooden stakes.
In Catalonia, the Cuca fera de Tortosawas first documented in 1457. It is a zoomorphic figure that looks like a tortoise with a horned spine, dragon claws and a dragon head. The legend says she had to dine every night on three cats and three children
The dragon shared the same name that was given in Portuguese and Spanish to the cog (a type of ship), and although used mainly for trade, it was also a war vessel common in medieval warfare and piracy raids on coastal villages
Coca is also the name of a female dragonwho featured in various medieval celebrations in the Iberian Peninsula. In Portugal one still survives in Monção; she fights in some sort of medieval tournament with Saint George during the
Corpus Christi celebrations. She is called Santa Coca ("Saint Coca"), an allusion to the Irish saint, or Coca rabicha("Tailed Coca"). If she defeats Saint George by scaring the horse, there will be a bad year for the crops and famine; if the horse and Saint George win
by cutting off one of her ears with earring and her tongue, the crops will be fertile. Oddly enough, the people cheer for Saint Coca.
There is no general description of the cucuy, as far as facial or bodydescriptions; however, it is stated that this shapeshifting being is extremely horrible to look at. The coco
is variously described as a shapeless figure, sometimes a hairy monster, that hides in closets or under beds and eats children that misbehave when they are told to go to bed.
During the Portuguese and Spanish colonization of Latin America, the legend of the Coco was spread to countries such as Mexico, Argentina, Uruguay and Chile.
was later quoted by Servius, who emphasised that it was the role of the mothers to remember and teach the young men about the war feats of their fathers. Silius Italicus
added more; he said that the young warriors sang songs in their native language while hitting their shields in the rhythm of the songs and that they were well versed in magic. Strabo, too, commented that history was recorded in verse
Verses and songs were used in pre-Roman Iberia to transmit history to the younger generations, as told by ancient authors. Sallust said the mothers sang the military feats of the fathers to incite the children to battle
Bicho papão
Em cima do telhado
Deixa o meu menino dormir
Um soninho sossegado
Bogeyman
Atop the roof
Let my child have
A quiet sleep
Both Brazilians and Portuguese also have a bogeyman version, which sometimes acquires regional colors where the bogeyman (the shape-shifting Bicho Papão is a monster that is shaped by what the child fears most) is a small owl,
murucututu, or other birds of prey that could be on the roof of homes at night (in Brazil) or a mysterious old man with a bag who is also waiting on the roof of the house (in Portugal).
The traditional Brazilian lullaby is as follows, with the Cuca as a female humanoid alligator:
Dorme neném
Que a Cuca vem pegar
Papai foi pra roça
Mamãe foi trabalhar
Sleep little baby
That Cuca comes to get you
Daddy went to the farm
Mommy went to work
Vai-te Coca. Vai-te Coca
Para cima do telhado
Deixa o menino dormir
Um soninho descansado
Leave Coca. Leave Coca
Go to the top of the roof
Let the child have
A quiet sleep
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The rhyme has evolved over the years, but still retains its original meaning:
Duérmete niño, duérmete ya...
Que viene el Coco y te comerá
Sleep child, sleep or else...
Coco will come and eat you
The Portuguese lullaby recorded 
by José Leite de Vasconcelos tells Coca to go to the top of the roof. In other versions of the same lullaby, the name of Coca is changed to that of "papão negro" (black eater), the name of another bogeyman.
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It is on the lookout for children's misbehavior from the rooftops; it takes the shape of any dark shadow and stays watching. It represents the opposite of the guardian angel and is frequently compared to the devil.
In Spain, Portugal, and Latin America, parents sometimes invoke the Coco or Cuca as a way of discouraging their children from misbehaving; they sing lullabies or
tell rhymes warning their children that if they don't obey their parents, el Coco will come and get them and then eat them.
The Coco or Coca (also known as the Cucuy, Cuco, Cuca, Cucu, Cucuí or El-Cucuí) is a mythical ghost-like monster, equivalent to the bogeyman, found in Spain and Portugal. Those beliefs have also
spread in many Hispanophone and Lusophone countries. It can also be considered an Iberian version of a bugbear as it is a commonly used figure of speech representing an irrational or exaggerated fear.
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with other nations through diplomacy or trade. Essentially, it’s a self-governing state that answers to no one else for its internal decisions. Examples include Japan, Brazil, or Canada
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