Eloko

Variations: Biloko (plural)

eloko

The Biloko of the Congo are vile, cannibalistic dwarfs or trolls of Nkundo folklore. They make their homes inside hollow trees, and they smell of the Congo’s rainforest. An Eloko has grass for a beard, clothes made of leaves, and usually carries a bell, which is used to attract and bewitch unsuspecting humans. Despite their size, biloko are far stronger than the average human, and only heroes and sorcerers can defeat them.

Biloko represent the dangers of the forest, of going out alone, and of toying with danger. They are invoked to dissuade people from straying both physically and mentally, and warn husbands of the dangers of abandoning their wives. They may also represent various gangrenous diseases, as they slowly eat their victim away, eventually killing them by ending with the liver, where the spirit resides.

A Nkundo man once built a fenced-in hut in the forest to find game. Whenever the husband left for the village, he would warn his wife. “Remember, if you hear the sound of a little bell, don’t answer or you will die!” Yet as the monotonous hours went by, the wife found herself entranced by the ringing of a bell deep in the forest, coming closer and closer. Finally she ran outside calling to the eloko. “I’m here! Come to me!” she cried, and the eloko duly appeared. “Here I am, I have come to you”, he announced. The wife was overjoyed and prepared a meal for her guest, but the eloko refused the fried bananas and fish. “I only eat human meat, and I am so hungry…” he wheedled. “You are a delicious woman. Give me a piece of flesh”. The woman willingly proffered her arm, and the eloko took a portion of meat, which he roasted and devoured. Then he left, leaving the woman to bandage her wound in silence.

When her husband returned, he saw his wife bedridden and in pain. “I have sores”, she said. “Then take the bandage off, and have some medicine for it”. She refused, and would not explain further. But the next day the same gruesome episode repeated itself – the husband left, the wife entertained the eloko, and the eloko left the wife with another deep injury.

This time the husband did not believe his wife’s excuses, and decided to lie in wait instead of returning to the village. When the eloko returned that day, he pulled out a knife told the woman that this time he desired her liver. The husband immediately fired an arrow into the dwarf, then ran him through with his spear and decapitated him. But the eloko had already stabbed the wife in the liver, and she died. Those who love danger will die in it; or, those who play with fire will get burnt.

Other encounters with biloko treat them more as an enemy tribe than as forest bogeys. Likinda, Itonde, and Lianja, the grandsons of the spirit of Death Ilelangonda, went to war with the biloko, and tricked them into an ambush by scattering mbole-fruits on the path. They slaughtered all the biloko this way save for the wizard Inkankanga and his wife. Likinda caught up with them by turning himself into a baby, causing Inkankanga’s wife to pick him up and care for him. Then he climbed up a tree to throw fruits down to his adopted parents, but instead he transformed himself into a fruit and allowed Inkankanga to swallow him. The terrified eloko sorcerer killed his wife for being the cause of his impending doom, and then spent the rest of the day imploring Likinda not to kill him. Finally he fell into depressed acceptance, and the bored Likinda cut him up from the inside out. He returned to the village, where his story was celebrated with peals of laughter.

References

Knappert, J. (1971) Myths and Legends of the Congo. Heinemann Educational Books, London.

Knappert, J. (1977) Bantu myths and other tales. E. J. Brill, Leiden.

Dwarf

Variations: Dvergr, Dvergar, Duergr, Duergar (Old Norse); Dvärgher (Old Swedish); Dweorg, Dweorh (Anglo-Saxon); Twerg (Old High German); Dökkalf, Dökkalfar, Svartalf, Swartalf, Svartalfar, Swartalfar (Dark Elf, Black Elf); Dverge (Norway); Bjergfolk, Troldfolk (Denmark); Dvärg (Sweden)

Dwarf

“Dwarf” is a broad term that has been used to describe any supernatural being of short stature, often stunted and ugly in form, and living under the earth. Here it is used to refer specifically to the Scandinavian dwarfs, the chthonic master craftsmen who emerged from Ymir’s corpse, the personifications of the earth’s might and riches. They are also known as Dark Elves or Black Elves, distinguishing them from the elves living on the surface.

When Odin and his brothers slew the frost giant Ymir, they used his body to make the world. From his blood they made the seas and rivers, from his flesh the land, from his bones the mountains, and from his teeth the stones. The vault of Ymir’s skull was the heavens, and fire from the land of Múspellheim became stars.

Living inside the ruin of Ymir’s body were maggots digging through his flesh. Odin gave them consciousness and human form, but, much like maggots, they continued their existence digging through earth and stone. Odin tasked four dwarfs – North, South, East, and West – with holding up Ymir’s enormous skull.

Dwarfs were twisted, hunchbacked, bearded, short-legged, pallid like corpses, shunning the sun – which turned them to stone. As there were no female dwarfs, they carved new dwarfs out of the rock. While small and ugly by the Aesir’s standards, they were also unequaled as artisans, smiths, and jewelers.

The greatest of the Aesir’s artifacts were made by dwarfs. After Loki cut Sif’s hair as a prank, the other gods forced him under penalty of death to restore her beauty. The trickster god went to the sons of Ívaldi, who not only fashioned perfect golden hair for the goddess, but also the ship Skídbladnir, and Odin’s spear Gungnir. Impressed with their work, Loki dared the dwarfs Brokkr and Sindri to do better, wagering his own head in the process. Despite Loki’s best efforts to stop them, which included turning into a fly and biting them at crucial moments, he was unable to prevent the creation of the golden boar Gullinbursti, the gold ring Draupnir, and Thor’s hammer Mjolnir. All those gifts were presented to the gods, who decided that the hammer was the greatest item made by the dwarfs. Brokkr made for Loki’s head, but was outwitted by the god. “I wagered my head only, and not my neck. You’re welcome to it – if you do so without touching my neck”. Frustrated, Brokkr settled for stitching the impertinent Loki’s lips together.

Dwarfs also made Gleipnir, the silken ribbon that was used to bind the Fenris-wolf. It was made from a cat’s footfall, a woman’s beard, a mountain’s sinews, a rock’s roots, a fish’s breath, and a bird’s spittle. The wolf was immediately suspicious of the fragile-looking thread, and the god Tyr had to put his hand in the wolf’s mouth to humor him. As expected, the dwarfs’ cord held fast and bound the Fenris-wolf, but at the cost of Tyr’s hand.

The dwarf Alvíss, the “all-knowing”, lusted after Thor’s daughter. The god consented to give him her hand in marriage, but only if he could answer the questions he asked. Thor then proceeded to ask Alvíss questions about the world and the universe, which the wise dwarf answered proudly. In fact, Alvíss was so engrossed in showing off his intelligence that he failed to notice the approach of dawn, and the unfortunate dwarf was turned to stone by the rising sun.

Known Eddic dwarf names include Ài, Àlfr, Althjófr, Alvíss, Andvari, Austri, Báfurr, Bifurr, Bömburr, Brokkr, Dáinn, Dólgthvari, Dóri, Draupnir, Dúfr, Durinn, Dvalinn, Eikinskjaldi, Falr, Fidr, Fili, Frosti, Fundinn, Gandálfr, Ginnarr, Glóinn, Hárr, Heptifili, Hledjólfr, Hörr, Hugstari, Ívaldi, Kili, Litr, Mjödvitnir, Módsognir, Náinn, Nár, Nidi, Nípingr, Nordri, Nóri, Nýi, Nýr, Nýrádr, Óinn, Ónarr, Óri, Rádsvidr, Rekkr, Sindri, Skáfidr, Skirfir, Sudri, Svíarr, Thekkr, Thorinn, Thróinn, Thrór, Váli, Vestri, Vídr, Vindálfr, Virfir, Vitr, and Yngvi.

References

Aldington, R. and Ames, D. trans.; Guirand, F. (1972) New Larousse Encyclopedia of Mythology. Paul Hamlyn, London.

Appenzeller, T. and the Editors of Time-Life Books. (1985) Dwarfs. Silver Burdett Company, Morristown.

Dubois, P.; Sabatier, C.; and Sabatier, R. (1992) La Grande Encyclopédie des Lutins. Hoëbeke, Paris.

Edwards, G. (1974) Hobgoblin and Sweet Puck. John Sherratt and Son, Altrincham.

Keightley, T. (1978) The World Guide to Gnomes, Fairies, Elves, and other Little People. Avenel Books, New York.

MacCulloch, J. A. (1964) The Mythology of All Races v. II: Eddic. Cooper Square Publishers, New York.

Sturluson, S. (1916) The Prose Edda. Humphrey Milford, Oxford University Press, London.

Polevik

Variations: Polevoi, Polievik, Poludnitsa, Poludnica

The Polevik or Polevoi (from pole, “field”) is the Russian spirit of fields, plains, and noontime.

His appearance varies considerably. In Belozersk District and the northern forest regions he is a man dressed in white. In Iaroslavl Province he is an ugly little old man. In Orel Province he is black as the earth, his head covered with green grass, and he wears no clothing. In Tula Province he looks like a shaggy-furred Leshy. Sometimes his eyes are different colors. His skin and hair mirror the soil and vegetation of the fields, and his height grows and shrinks with the crops.

Unlike some of the other spirits, the polevik can be benevolent or evil. A polevik is primarily seen at noon. He likes to lead peasants astray, losing them in endless yellow golden stalks of grain. He disapproves of laziness, and will strangle drunkards sleeping in the fields. Poleviks are capable of seeing the future, and in Iaroslavl Province their appearance is an ill omen. Poleviks are also accomplished horsemen and will ride horses across the fields at breakneck speed, running over anyone in their path.

The female equivalent of the polevik, sometimes replacing him entirely, is the Poludnitsa, Poludnica, or Midday Spirit (from poluden or polden, “noon”). She can be a tall, beautiful woman in white; in Siberia she is an old curly-haired crone dressed in rags, while she has horses’ hoofs in Moravia. In summer, during harvest time, she walks through the fields, protecting the grain. If she sees someone working at midday she pulls their hair violently, twists their heads, and breaks their bones. Other times she quizzes people on agriculture, inflicting disease upon them if they fail to answer correctly. She enjoys misleading children in cornfields.

Polevik children run around the fields catching birds for their parents to eat. They will smother anyone sleeping on the edges of the field.

While poleviks can be destructive, a happy polevik will aid with the harvest, and crops will always be successful under a polevik’s patronage. To earn a polevik’s good will one must leave an offering of two eggs and an old rooster who can no longer crow, in a ditch when nobody is around. Traditional observances must also be followed, and nobody should work at noon.

With the advent of Christianity, poleviks and poludnitsas became mere bogeys, monsters used to frighten children out of cornfields.

References

Aldington, R. and Ames, D. trans.; Guirand, F. (1972) New Larousse Encyclopedia of Mythology. Paul Hamlyn, London.

Dubois, P.; Sabatier, C.; and Sabatier, R. (1992) La Grande Encyclopédie des Lutins. Hoëbeke, Paris.

Ivanits, L. J. (1989) Russian Folk Belief. M. E. Sharpe, Inc., Armonk, New York.

MacCulloch, J. A. and Machal, J. (1918) The Mythology of All Races v. III: Celtic and Slavic. Marshall Jones Company, Boston.

Jetin

Variations: J’tin, Crion

Jetins (from jeter, “to throw”) are tiny lutins native to the seaside caves of Brittany. Their appearance is uncertain; Dubois suggests they are hirsute and rough-looking, with silver shoes. Despite their size – ranging from thumb-sized to 1.5 feet tall – they are incredibly strong, capable of lifting and tossing huge boulders with ease.

Always looking for a chance to show off their strength, jetins amuse themselves by throwing rocks around, sometimes over great distances. Standing stones, menhirs, all manner of megaliths; such stones are discarded playthings of the jetins.

Rock-throwing was not the only pastime the jetins enjoyed. They were also fond of tying knots in horse tails and releasing livestock, and, like any good fairy, they often exchanged human babies for one of their own. The ugly, wrinkled changelings they leave behind are never weaned and never grow. Jetins can be convinced to return stolen children by carrying the changeling to a jetin hole and threatening to kill it. The human baby will quickly be returned and swapped with the impostor.

The jetins shared their territory with the even tinier Fions and the secretive Fées des Houles (“Fairies of the Sea Caves”). Due to their size and their reclusive natures, none of these have been observed in great detail, although the Fées have been benevolent towards humans. The Crions, perhaps the same as jetins, were tiny dwarfs who carried the stones of Carnac on their shoulders.

Elsewhere, the discobolous function of the jetins is fulfilled by Gargantua and other giants, whose size is more proportionate to their strength, and the fairies known as Fileuses (“Weavers”).

References

Dubois, P.; Sabatier, C.; and Sabatier, R. (1992) La Grande Encyclopédie des Lutins. Hoëbeke, Paris.

Morvan, F. (1998) Vie et mœurs des lutins bretons. Actes Sud.

Sébillot, P. (1905) Le Folk-lore de France, Tome Deuxième: La Mer et les Eaux Douces. Librairie Orientale et Américaine, Paris.

Sébillot, P. (1907) Le Folk-lore de France, Tome Quatrième: Le Peuple et L’Histoire. Librairie Orientale et Américaine, Paris.

Scarbo

Scarbo is a vampiric dwarf with specialized tastes. He enjoys nothing more than entering the rooms of poets, artists, and writers, and spending the night tormenting them. With his razor-sharp fangs, he bites into his host’s neck, then helpfully cauterizes the bloody wound with a metal finger heated red-hot.

He clambers around the victim’s room, scrabbling at the rafters, scratching at the bedposts. He whispers threats into their ears – and his creativity knows no bounds, as he describes in loving detail the burial shroud he has planned for his victim, the funeral that he will hold, and the sobbing children that will gather in his wake.

He spends the entire night in the room, growing larger as the moon rises, then, as dawn approaches, he flickers, turns blue and translucent, and winks out like a snuffed candle.

Scarbo’s primary contributions to the arts are the Gothic prose poem Gaspard de la Nuit, reportedly written by the Devil himself, and the piano piece of the same name by Ravel, which matches his fiendish activities with its fiendish difficulty.

References

Bertrand, L. (1904) Gaspard de la Nuit. Ambroise Vollard, Paris.