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Weirdly terminates mid-sentence and hasn't been addressed for several versions.
10376 lines
458 KiB
Text
10376 lines
458 KiB
Text
# SCCS Id: @(#)data.base 3.4 2003/07/23
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# Copyright (c) 1994, 1995, 1996 by the NetHack Development Team
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# Copyright (c) 1994 by Boudewijn Wayers
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# Copyright (c) 2002 by the Slash'EM Development Team
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# NetHack may be freely redistributed. See license for details.
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#
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# This is the source file for the "data" file generated by `makedefs -d'.
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# A line starting with a # is a comment and is ignored by makedefs.
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# Any other line not starting with whitespace is a creature or an item.
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#
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# Each entry should be comprised of:
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# the thing/person being described on a line by itself, in lowercase;
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# on each succeeding line a <TAB> description.
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#
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# If the first character of a key field is "~", then anything which matches
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# the rest of that key will be treated as if it did not match any of the
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# following keys for that entry. For instance, `~orc ??m*' preceding `orc*'
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# prevents "orc mummy" and "orc zombie" from matching.
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#
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# Now almost every ASCII symbol inputted at the
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# "Specify what?" prompt yields a "More info?" prompt.
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# The exceptions currently are:
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# ` (boulder or statue)
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# " (amulet or a web)
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# _ (iron chain or an altar)
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# | (wall or an open door or a grave)
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# - (wall or an open door)
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# \ (opulent throne or a wall)
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# / (wand or a wall)
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# # (iron bars or a tree or a corridor or a lit corridor or a sink or a cloud)
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# . (splash of venom or a doorway or the floor of a room or ice)
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# + (spellbook or a closed door)
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# } (water or molten lava)
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# (ghost or a dark part of a room or air)
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# I (remembered, unseen, creature)
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# , (amulet [on the rogue level])
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# j (jelly)
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#
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#
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abbot
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For it had been long apparent to Count Landulf that nothing
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could be done with his seventh son Thomas, except to make him
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an Abbot or something of that kind. Born in 1226, he had from
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childhood a mysterious objection to becoming a predatory eagle,
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or even to taking an ordinary interest in falconry or tilting
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or any other gentlemanly pursuits. He was a large and heavy and
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quiet boy, and phenomenally silent, scarcely opening his mouth
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except to say suddenly to his schoolmaster in an explosive
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manner, "What is God?" The answer is not recorded but it is
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probable that the asker went on worrying out answers for himself.
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[ The Runaway Abbot, by G. K. Chesterton ]
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armor salve
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armour salve
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This strange shell secretes a viscous slime capable of repairing
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damaged armor. Perhaps there is more to it than meets the eye?
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# takes 'suit or piece of armor' when specifying '['
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ac
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armor*
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armour*
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suit or piece of armor
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"The last spot on the school jousting team came down to another
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boy and me. He was poor, and his only armor was a blanket his
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mother had made him from her hair. I, on the other hand, had
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a brand new suit of chain mail. Just before our joust, I asked
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him what he'd do if he made the team. (I was hoping to be more
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popular with the ladies.) He said he would be able to save the
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town from dragons and be able to afford some water for his 20
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brothers and sisters.
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Well, a sense of compassion came over me. I insisted we swap
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armor. He was forced to accept, as it would have been an
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insult not to do so.
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On the battlefield, we charged at each other and we both connected
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with our lances.
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Lying there on the mud mortally wounded, I learned what true armor
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class was that day."
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[ When Help Collides, by J. D. Berry ]
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adamach
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The listener.
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The salt of creation.
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The banisher of Their harbinger.
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The first of the Rilmani.
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aglaope
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siren
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In Greek mythology, the Sirens were three dangerous bird-women,
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portrayed as seductresses who lured nearby sailors with their
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enchanting music and voices to shipwreck on the rocky coast of
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their island. [...] In some later, rationalized traditions, the
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literal geography of the "flowery" island of Anthemoessa, or
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Anthemusa, is fixed: sometimes on Cape Pelorum and at others in
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the islands known as the Sirenuse, near Paestum, or in Capreae.
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All such locations were surrounded by cliffs and rocks.
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Their number is variously reported as between two and five.
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In the Odyssey, Homer says nothing of their origin or names,
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but gives the number of the Sirens as two. Later writers mention
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both their names and number: some state that there were three,
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Peisinoe, Aglaope, and Thelxiepeia or Parthenope, Ligeia, and
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Leucosia.
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[ http://en.wikipedia.org/wiki/Siren ]
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~agate ring
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agate*
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Translucent, cryptocrystalline variety of quartz and a subvariety
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of chalcedony. Agates are identical in chemical structure to jasper,
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flint, chert, petrified wood, and tiger's-eye, and are often found in
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association with opal. The colorful, banded rocks are used as a
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semiprecious gemstone and in the manufacture of grinding equipment.
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An agate's banding forms as silica from solution is slowly deposited
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into cavities and veins in older rock.
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[ The Columbia Encyclopedia, Sixth Edition ]
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aclys
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aklys
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A short studded or spiked club attached to a cord allowing
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it to be drawn back to the wielder after having been thrown.
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It should not be confused with the atlatl, which is a device
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used to throw spears for longer distances.
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aleax
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Said to be a doppelganger sent to inflict divine punishment
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for alignment violations.
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alhoon
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Alhoons superficially resemble their living kin; however,
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their skin is dry and wrinkled, free of the ubiquitous
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mucous that covers living mind flayers.
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[ The Illithidae, Bruce R Cordell ]
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*altar
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Altars are of three types:
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1. In Temples. These are for Sacrifices [...]. The stone
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top will have grooves for blood, and the whole will be covered
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with _dry brown stains of a troubling kind_ from former
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Sacrifices.
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[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
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*amalgamated skies
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*Know* that there is nothing in all the Worlds that can stand
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against unity. When all know a single purpose, when all hands
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are guided by one will, and all act with the same intent, the
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Planes themselves may be moved.
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||
[ The Unbroken Circle of Zerthimon,
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Planescape Torment ]
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amat*rasu *
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The Shinto sun goddess, Amaterasu Omikami is the central
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figure of Shintoism and the ancestral deity of the imperial
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house. One of the daughters of the primordial god Izanagi
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and said to be his favourite offspring, she was born from
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his left eye.
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||
[ Encyclopedia of Gods, by Michael Jordan ]
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amber*
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"Tree sap," Wu explained, "often flows over insects and traps
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them. The insects are then perfectly preserved within the
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fossil. One finds all kinds of insects in amber - including
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biting insects that have sucked blood from larger animals."
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||
[ Jurassic Park, by Michael Crichton ]
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amethyst*
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The twelfth foundation is amethyst. Isidorus says of it: Among
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purple stones, the Indian amethyst holds first position; it is,
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indeed, purple but of mixed coloration, giving forth violet and
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rose-coloured lights; it is easy to engrave. For this reason the
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humility of the saints is signified by it;
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[ The Aberdeen Bestiary, translated by Colin McLaren ]
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*amnesia
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maud
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Get thee hence, nor come again,
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Mix not memory with doubt,
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Pass, thou deathlike type of pain,
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Pass and cease to move about!
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'Tis the blot upon the brain
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That will show itself without.
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...
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For, Maud, so tender and true,
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As long as my life endures
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I feel I shall owe you a debt,
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That I never can hope to pay;
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And if ever I should forget
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That I owe this debt to you
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And for your sweet sake to yours;
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O then, what then shall I say? -
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If ever I should forget,
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May God make me more wretched
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Than ever I have been yet!
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[ Maud, And Other Poems by Alfred, Lord Tennyson ]
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ammit
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Ammit ("devourer" or "soul-eater"; also spelled Ammut or Ahemait)
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was a female demon in ancient Egyptian religion with a body that
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was part lion, hippopotamus and crocodile-the three largest
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"man-eating" animals known to ancient Egyptians. A funerary deity,
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||
her titles included "Devourer of the Dead", "Eater of Hearts", and
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"Great of Death".
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~amulet of yendor
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~amulet of restful sleep
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*amulet
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amulet of *
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"The complete Amulet can keep off all the things that make
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people unhappy -- jealousy, bad temper, pride, disagreeableness,
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greediness, selfishness, laziness. Evil spirits, people called
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them when the Amulet was made. Don't you think it would be nice
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to have it?"
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"Very," said the children, quite without enthusiasm.
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"And it can give you strength and courage."
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"That's better," said Cyril.
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"And virtue."
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"I suppose it's nice to have that," said Jane, but not with much
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interest.
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"And it can give you your heart's desire."
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"Now you're talking," said Robert.
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[ The Story of the Amulet, by Edith Nesbit ]
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amulet of yendor
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This mysterious talisman is the object of your quest. It is
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||
said to possess powers which mere mortals can scarcely
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||
comprehend, let alone utilize. The gods will grant the gift of
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||
immortality to the adventurer who can deliver it from the
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||
depths of Moloch's Sanctum and offer it on the appropriate high
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altar on the Astral Plane.
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ancient of thought
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||
Rumors describe ancient places built underneath the slopes of
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Malbolge. Below the hellish rock and stone, creatures older
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than the devils themselves-the ancient baatorians-might still
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roam.
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||
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||
A certain hard-to-find defile leads to a cavern whose walls
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glow with a brain-numbing, grayish light. Boulder falls often
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clog the defile, but somehow the cavern is reopened time and
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||
time again. Devils sent by the Lord of the Sixth to investigate
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have never returned.
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||
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||
Terrible cries sometimes issue forth from the cavern, echoing
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across Malbolge's slopes. Strangely, petitioners on this level
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cannot hear the cries. But devils can, and the sound is
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||
innately terrifying to them.
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||
[ 3rd Edition Manual of the Planes, by Jeff Grubb,
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Bruce R. Cordell, and David Noonan ]
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ancient of transparency
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Something in this darkened cavern seems to be moving,
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fluttering in the air. No - it's your light. The light
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||
is... moving? Something's stealing the light away!
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It's almost as though the light turns into twinkling sand
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||
and flows toward the back of the cavern, like grains falling
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||
through an hourglass. But at a certain point, the particles
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||
of light disappear, as though somehow consumed.
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||
Suddenly, you realize that you aren't alone in the cavern,
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nor have you ever been. The presence - the being - that
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was absorbing the light seems to be waking up....
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||
[ Hellbound, the Blood War, Squaring the Circle ]
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~fallen angel
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angel*
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He answered and said unto them, he that soweth the good seed
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is the Son of man; the field is the world, and the good seed
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are the children of the kingdom; but the weeds are the
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||
children of the wicked one; the enemy that sowed them is the
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devil; the harvest is the end of the world; and the reapers
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are the angels. As therefore the weeds are gathered and
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burned in the fire; so shall it be in the end of this world.
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[...] So shall it be at the end of the world; the angels
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shall come forth, and sever the wicked from among the just,
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and shall cast them into the furnace of fire; there shall be
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||
wailing and gnashing of teeth.
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||
[ The Gospel According to Matthew, 13:37-42, 49-50 ]
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angry god*
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Cold wind blows.
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The gods look down in anger on this poor child.
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||
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||
Why so unforgiving?
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And why so cold?
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||
[ Bridge of Sighs, by Robin Trower ]
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||
anhur
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An Egyptian god of war and a great hunter, few gods can match
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his fury. Unlike many gods of war, he is a force for good.
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The wrath of Anhur is slow to come, but it is inescapable
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||
once earned. Anhur is a mighty figure with four arms. He
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is often seen with a powerful lance that requires both of
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his right arms to wield and which is tipped with a fragment
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of the sun. He is married to Mehut, a lion-headed goddess.
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ankh-morpork
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||
The twin city of Ankh-Morpork, foremost of all the cities
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||
bounding the Circle Sea, was as a matter of course the home
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||
of a large number of gangs, thieves' guilds, syndicates and
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||
similar organisations. This was one of the reasons for its
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||
wealth. Most of the humbler folk on the widdershin side of
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the river, in Morpork's mazy alleys, supplemented their
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meagre incomes by filling some small role for one or other
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of the competing gangs.
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||
[ The Colour of Magic, by Terry Pratchett ]
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||
anshar
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A primordial Babylonian-Akkadian deity, Anshar is mentioned
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in the Babylonian creation epic _Enuma Elish_ as one of a
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pair of offspring (with Kishar) of Lahmu and Lahamu. Anshar
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is linked with heaven while Kishar is identified with earth.
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||
[ Encyclopedia of Gods, by Michael Jordan ]
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ant
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* ant
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This giant variety of the ordinary ant will fight just as
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fiercely as its small, distant cousin. Various varieties
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||
exist, and they are known and feared for their relentless
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||
persecution of their victims.
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||
anthemoessa
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||
According to the Roman poets Virgil and Ovid, the Sirenum
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scopuli were three small rocky islands where the Sirens of
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Greek mythology lived and lured sailors to their deaths.
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||
[...]
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||
Similarly, Anthemoessa (or Anthemusa) was the island home
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of the Sirens in other versions of the myth. Although the
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||
name no longer exists, varying accounts attribute
|
||
Anthemoessa to either the island of Ischia or Capri.
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||
[ http://en.wikipedia.org/wiki/Anthemoessa ]
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||
antimagic rift
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||
Societies throughout history have invented techniques for
|
||
nullifying or otherwise protecting against magic. However,
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only the most desperate or foolish have tried to unravel
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||
the fabric of the Arcane Weave itself.
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||
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This diamond contains the fruits of one such attempt: a
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tiny fraying of the Weave that can be freed to
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temporarily block arcane magic for many miles around the
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user, though divine magic and psionic powers are not
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affected.
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||
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||
Beware: overuse of such weapons can form a permanent dead
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zone in the Weave.
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||
anu
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Anu was the Babylonian god of the heavens, the monarch of
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||
the north star. He was the oldest of the Babylonian gods,
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||
the father of all gods, and the ruler of heaven and destiny.
|
||
Anu features strongly in the _atiku_ festival in
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||
Babylon, Uruk and other cities.
|
||
anubite
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_Ardeth Bay: I am sorry if I alarmed your son. But you must
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||
understand, now that the bracelet is on his wrist, we have
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||
only seven days before the Scorpion King awakens!
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||
_Rick: We? What we?
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||
_Ardeth: If he is not killed, he will raise the Army of Anubis!
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||
_Jonathan: I take it that's not a good thing?
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||
_Rick: Oh, he'll wipe out the world.
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||
_Jonathan: Ah, the old "Wipe-Out-The-World" ploy.
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||
anuban*
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||
The Egyptian Jackal (_Canis aureus lupaster_) also
|
||
known as the African Wolf or Wolf Jackal is currently
|
||
listed as a subspecies of the golden jackal, but may be
|
||
a subspecies of grey wolf or a unique species in its
|
||
own right. It is native to Egypt, Libya, and Ethiopia,
|
||
though its post Pleistocene range once encompassed the
|
||
Palestine region.
|
||
[ Wikipedia ]
|
||
Aoa*
|
||
Aoa resemble huge blobs of quicksilver that float above
|
||
the surface of whatever environment they may be found.
|
||
Their surface is like a mirror and reflects all light.
|
||
Aoa are surrounded by tiny orbs that randomly separate
|
||
from the sphere and reabsorb back into it.
|
||
|
||
A full-sized aoa is called a sphere. Smaller aoa called
|
||
droplets split off from a sphere when it reflects a
|
||
large amount of magical energy. Eventually, a droplet
|
||
will grow to become a full-sized sphere.
|
||
[ DnD 3.0, Fiend Folio ]
|
||
ape
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||
apelike creature
|
||
* ape
|
||
The most highly evolved of all the primates, as shown by
|
||
all their anatomical characters and particularly the
|
||
development of the brain. Both arboreal and terrestrial,
|
||
the apes have the forelimbs much better developed than
|
||
the hind limbs. Tail entirely absent. Growth is slow
|
||
and sexual maturity reached at quite an advanced age.
|
||
[ A Field Guide to the Larger Mammals of Africa by Dorst ]
|
||
|
||
Aldo the gorilla had a plan. It was a good plan. It was
|
||
right. He knew it. He smacked his lips in anticipation as
|
||
he thought of it. Yes. Apes should be strong. Apes should
|
||
be masters. Apes should be proud. Apes should make the
|
||
Earth shake when they walked. Apes should _rule_ the Earth.
|
||
[ Battle for the Planet of the Apes,
|
||
by David Gerrold ]
|
||
|
||
Four-handed, tailless, mammal of the order of Primates, of the
|
||
sub-order of _Anthropoidea_, which of all mammals most closely
|
||
resembles man (both in appearance and in behaviour).
|
||
[ Van Dale's Groot Woordenboek der Nederlandse Taal ]
|
||
aphanact
|
||
aphanactonan audient
|
||
aphanactonan assessor
|
||
At that time, angelic creatures called aphanacts called the plane
|
||
of Mechanus home. Ambitious and obsessed with justice, the
|
||
aphanacts raised great armies that crusaded on other planes,
|
||
bringing vast swaths of the multiverse under their rigid code of
|
||
laws.
|
||
|
||
Ganthros's writing hints that the deities themselves ended
|
||
the aphanact crusades, while Lathar posits an alliance of
|
||
convenience among the fiends of the Lower Planes and the
|
||
archons, angels, and eladrins of the Upper Planes. In any case,
|
||
every last aphanact disappeared 10,000 years ago.
|
||
[ The Ecology of the Inevitable, by David Noonan ]
|
||
|
||
We are recorders. Our duty is to observe.
|
||
[ Drakengard 3, by Access Games ]
|
||
apollyon
|
||
Apollyon's background and original name are known only to those
|
||
steeped in infernal and heavenly lore. Apollyon was once a powerful
|
||
Solar and may have even been a Seraph. He was charged with the
|
||
binding of particularly powerful Fiends and other spirits of evil
|
||
in remote demi-planes in the Ethereal Plane at the behest of the
|
||
Virtues of Mount Celestial, ensuring that such beings would never
|
||
again threaten the Bastions of Righteousness, allied good gods,
|
||
and the Prime.
|
||
[ Dicefreaks, The Demon Princes As They Were II: Apollyon ]
|
||
apotheosis veil
|
||
"Wear this Veil and feel the Void. It is not a force of malice,
|
||
no more charitable or heinous than gravity. The Void is a tool to
|
||
be wielded by the patient, nothing more and nothing less. If you
|
||
respect the Void, then one day you too shall step upon this
|
||
pristine realm."
|
||
[ Destiny ]
|
||
apple
|
||
NEWTONIAN, adj. Pertaining to a philosophy of the universe
|
||
invented by Newton, who discovered that an apple will fall
|
||
to the ground, but was unable to say why. His successors
|
||
and disciples have advanced so far as to be able to say
|
||
when.
|
||
[ The Devil's Dictionary, by Ambrose Bierce ]
|
||
archeologist
|
||
* archeologist
|
||
Archeology is the search for fact, not truth. [...]
|
||
So forget any ideas you've got about lost cities, exotic travel,
|
||
and digging up the world. We do not follow maps to buried
|
||
treasure, and X never, ever, marks the spot.
|
||
[ Indiana Jones and the Last Crusade ]
|
||
|
||
"I cannot be having with archeological excavations, myself,"
|
||
I said. "The fellows who dig them only ever find tiny walls
|
||
and a few bits of broken pottery, and then they get all
|
||
excited and swear that they have just made the most
|
||
important discovery of the century, the ruins of a mile-high
|
||
gold-covered temple to Frogmore the God of Bike-Saddle
|
||
Fixtures or some such."
|
||
"I think you will find," said Mr Rune, "that they do this
|
||
in order to secure further government funding for their
|
||
diggings and so remain in employment."
|
||
"That is a rather cynical view," I said.
|
||
[ the brightonomicon, by Robert Rankin ]
|
||
# [title & author: same situation as with "bad luck" entry]
|
||
arcadian avenger
|
||
Arcadian avengers appear as angelic females, with angular
|
||
features and bright metallic silver skin. They possess
|
||
metallic razor-sharp wings, and usually wield two swords
|
||
just as sharp. While they are not constructs, arcadian
|
||
avengers all resemble each other.
|
||
|
||
Arcadian avengers fight on the side of order, and see
|
||
themselves as a pure force of law. They fight free of
|
||
hesitation, doubt, or even remorse, and may even come into
|
||
conflict with good creatures that have broken the law.
|
||
They approach combat in a methodical, detached way,
|
||
weighing each foe's strengths and weaknesses before
|
||
attacking.
|
||
~justice archon
|
||
*archon
|
||
Archons are the predominant inhabitants of the heavens.
|
||
However unusual their appearance, they are not generally
|
||
evil. They are beings at peace with themselves and their
|
||
surroundings.
|
||
justice archon
|
||
Behold my servant, whom I uphold, my chosen, in whom my soul delights;
|
||
I have put my Spirit upon him; he will bring forth justice to the nations.
|
||
[ Isaiah 42:1, English Standard Version of the Bible ]
|
||
|
||
Archons are the predominant inhabitants of the heavens.
|
||
However unusual their appearance, they are not generally
|
||
evil. They are beings at peace with themselves and their
|
||
surroundings.
|
||
sword archon
|
||
For though we live in the world, we do not wage war as the world does.
|
||
The weapons we fight with are not the weapons of the world. On the contrary,
|
||
they have divine power to demolish strongholds.
|
||
[ 2 Corinthians 10:3-4, New International Version of the Bible ]
|
||
|
||
Archons are the predominant inhabitants of the heavens.
|
||
However unusual their appearance, they are not generally
|
||
evil. They are beings at peace with themselves and their
|
||
surroundings.
|
||
trumpet archon
|
||
The seventh angel sounded his trumpet, and there were loud voices in heaven,
|
||
which said: “The kingdom of the world has become the kingdom of our Lord
|
||
and of his Messiah, and he will reign for ever and ever.”
|
||
[ Revelation 11:15, New International Version of the Bible ]
|
||
|
||
Archons are the predominant inhabitants of the heavens.
|
||
However unusual their appearance, they are not generally
|
||
evil. They are beings at peace with themselves and their
|
||
surroundings.
|
||
warden archon
|
||
Therefore for Spirits I am so farre from denying their existence, that
|
||
I could easily beleeve, that not onely whole Countries, but particular persons
|
||
have their Tutelary, and Guardian Angels: It is not a new opinion of the Church
|
||
of Rome, but an old one of Pythagoras and Plato; there is no heresie in it, and
|
||
if not manifestly defin'd in Scripture, yet is it an opinion of a good and
|
||
wholesome use in the course and actions of a mans life, and would serve as an
|
||
Hypothesis to salve many doubts, whereof common Philosophy affordeth no solution[...]
|
||
[ Religio Medici, by Sir Thomas Browne ]
|
||
|
||
Archons are the predominant inhabitants of the heavens.
|
||
However unusual their appearance, they are not generally
|
||
evil. They are beings at peace with themselves and their
|
||
surroundings.
|
||
throne archon
|
||
...quis custodiet ipsos custodes?
|
||
(Who will guard the guards themselves?)
|
||
[ Satires, by Juvenal ]
|
||
|
||
Archons are the predominant inhabitants of the heavens.
|
||
However unusual their appearance, they are not generally
|
||
evil. They are beings at peace with themselves and their
|
||
surroundings.
|
||
argentum*
|
||
argenach*
|
||
To paraphrase a particularly wise prime, the rilmani are an
|
||
enigma cloaked in a riddle, wrapped in a mystery. Who can
|
||
question their motives or their actions? They keep their own
|
||
counsel. They're sworn never to come when called, but always
|
||
to be there when needed; never to answer questions put to
|
||
them, but always to provide what information is necessary; to
|
||
aid and abet good, evil, law, and chaos alike in order to maintain
|
||
the Balance, regardless of the cost or repercussions.
|
||
[ Planescape Monstrous Compendium II, by Rich Baker ]
|
||
arioch
|
||
Arioch, the patron demon of Elric's ancestors; one of the most
|
||
powerful of all the Dukes of Hell, who was called Knight of
|
||
the Swords, Lord of the Seven Darks, Lord of the Higher Hell
|
||
and many more names besides.
|
||
[ Elric of Melnibone, by Michael Moorcock ]
|
||
*arrow
|
||
I shot an arrow into the air,
|
||
It fell to earth, I knew not where;
|
||
For, so swiftly it flew, the sight
|
||
Could not follow it in its flight.
|
||
|
||
I breathed a song into the air,
|
||
It fell to earth, I knew not where;
|
||
For who has sight so keen and strong
|
||
That it can follow the flight of song?
|
||
|
||
Long, long afterward, in an oak
|
||
I found the arrow still unbroke;
|
||
And the song, from beginning to end,
|
||
I found again in the heart of a friend.
|
||
[ The Arrow and the Song,
|
||
by Henry Wadsworth Longfellow ]
|
||
arkenstone
|
||
It was the Arkenstone, the Heart of the Mountain. So Bilbo
|
||
guessed from Thorin's description; but indeed there could not
|
||
be two such gems, even in so marvellous a hoard, even in all
|
||
the world. Ever as he climbed, the same white gleam had shone
|
||
before him and drawn his feet towards it. Slowly it grew to a
|
||
little globe of pallid light. Now as he came near, it was
|
||
tinged with a flickering sparkle of many colours at the
|
||
surface, reflected and splintered from the wavering light of
|
||
his torch. At last he looked down upon it, and he caught his
|
||
breath. The great jewel shone before his feet of its own inner
|
||
light, and yet, cut and fashioned by the dwarves, who had dug
|
||
it from the heart of the mountain long ago, it took all light
|
||
that fell upon it and changed it into ten thousand sparks of
|
||
white radiance shot with glints of the rainbow.
|
||
[ The Hobbit, by J.R.R. Tolkien ]
|
||
|
||
Arkenstone, Heart of the Mountain, property of the King
|
||
under the Mountain, is the most valued jewel that the
|
||
dwarves possess. It shines white light that can guide
|
||
your steps in the darkness, and holding it aloft is said
|
||
to inflame the greed of all creatures.
|
||
ascodel
|
||
bloody sunset
|
||
...The obyrith Pale Night finally misled Royal Consort
|
||
Ascodel of the eladrin Court of Stars, appealing to his
|
||
concern for the well being of the most vulnerable eladrins--
|
||
their children. Through subterfuge and magical influence,
|
||
Pale Night tricked Ascodel into a blasphemous pact, and
|
||
with that the Abyss gained thousands of new permanent
|
||
inhabitants--an entire generation of eladrin forever bound
|
||
to one of the deepest and least accessible layers of the
|
||
Abyss.
|
||
...Ascodel himself died on Androlynne protecting the
|
||
children he had unwittingly betrayed, and even Queen
|
||
Morwel's current consort, Faerinaal, continues the tradition
|
||
of his predecessors, spending much of his time personally
|
||
overseeing the defense of the innocent eladrins trapped on
|
||
Androlynne.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
|
||
...Eladrin are not known to have 'children'; like all
|
||
exemplar they arise from the souls of mortals.
|
||
*shikaga *akauji
|
||
Ashikaga Takauji was a daimyo of the Minamoto clan who
|
||
joined forces with the Go-Daigo to defeat the Hojo armies.
|
||
Later when Go-Daigo attempted to reduce the powers of the
|
||
samurai clans he rebelled against him. He defeated Go-
|
||
Daigo and established the emperor Komyo on the throne.
|
||
Go-Daigo eventually escaped and established another
|
||
government in the town of Yoshino. This period of dual
|
||
governments was known as the Nambokucho.
|
||
[ Samurai - The Story of a Warrior Tradition, by Cook ]
|
||
|
||
On July 8, 1336, he and his samurai entered Kyoto, forced Go-Daigo
|
||
to retire, after which he seized power himself and installed a
|
||
puppet prince on the throne (the current Japanese imperial family
|
||
are the descendants of this puppet emperor that Ashikaga
|
||
installed).
|
||
|
||
Go-Daigo escaped, though, wouldn't admit to have been defeated,
|
||
and opened a new "capital" in Yoshino (south of Kyoto), where he
|
||
and few of his descendants claimed to be running a government,
|
||
known as the "Southern Court". The period between 1337 and 1392,
|
||
when Japan was ruled by two courts, is known as the Nambokucho.
|
||
|
||
That "government" disappeared, naturally, after a few generations,
|
||
and Ashikaga's Muromachi regime lasted for a long time. The last
|
||
Ashikaga daimyo in power was the 14th descendant of Takauji.
|
||
asmodeus
|
||
The Serpent's Throne filled the mirror, a great hooded viper
|
||
of lustrous ruby that slithered about its own coils. Darkness
|
||
unfathomable surrounded this throne. Yet, a deeper darkness
|
||
was hidden within. Then, I saw him. Or rather, I saw Him.
|
||
Seated upon the Serpent's Throne He looked at me. He looked
|
||
at me as I sat in what I thought was safety!
|
||
|
||
The small amount of exposed flesh was flawless, like the
|
||
purest marble. His attire was like the robes and cloaks of
|
||
a holy high priest, both regal yet simple in its austerity.
|
||
It did not seem woven from any fabric in this or any other
|
||
world, but spun from the blackness of the Cosmos itself. In
|
||
the long fingers that rested in his lap He held a ruby
|
||
scepter, its head an onyx pentagram. For all of this, what
|
||
I remember more than anything were the eyes. They were large
|
||
under the heavy brow. Completely red, like blood, those
|
||
glowing eyes gazed at me. Through me. Into and beyond my soul.
|
||
They devoured everything I ever was and could be. Despite the
|
||
pleasant smile on His face, those eyes told me I was less than
|
||
nothing, an object to be used and discarded as necessary.
|
||
[ Dicefreaks: The Gates of Hell ]
|
||
|
||
-------
|
||
Asmodeus is the overlord over all of hell.
|
||
His appearance, unlike many other demons and devils, is
|
||
human apart from his horns and tail. He can freeze flesh
|
||
with a touch, or boil it, and is a master of diverse
|
||
magicks besides. It is said that the ancestors of
|
||
devilkind arose from his blood.
|
||
------
|
||
|
||
SO, THOU HAST PEERED BEYOND THE GATES OF HELL. His lips
|
||
did not move. Or perhaps they did. To this day, I cannot
|
||
tell.
|
||
|
||
WAS IT WORTH IT?
|
||
[ Dicefreaks: The Gates of Hell ]
|
||
athame
|
||
The consecrated ritual knife of a Wiccan initiate (one of
|
||
four basic tools, together with the wand, chalice and
|
||
pentacle). Traditionally, the athame is a double-edged,
|
||
black-handled, cross-hilted dagger of between six and
|
||
eighteen inches length.
|
||
athen*
|
||
Athene was the offspring of Zeus, and without a mother. She
|
||
sprang forth from his head completely armed. Her favourite
|
||
bird was the owl, and the plant sacred to her is the olive.
|
||
[ Bulfinch's Mythology by Thomas Bulfinch ]
|
||
|
||
Athena, the Greek goddess of war and peace, the peaceful arts, and
|
||
wisdom. Patron defender of many Greek cities, Athens in particular
|
||
(then called Pallas Athena), she is a major goddess of the Greek
|
||
pantheon and, according to Hesiod, the daughter of Metis (Wisdom)
|
||
and Zeus, born fully armed from his head. A goddess of battle and
|
||
allegedly a snake goddess, she is a deity who also stands for
|
||
discipline against the more unruly conduct of such as Hermes and
|
||
Poseidon.
|
||
Her symbol is the Aegis, the skin of a sacrificial goat. She is
|
||
also associated with ship-building and domestic crafts.
|
||
[ after the Encyclopedia of Gods, by Michael Jordan ]
|
||
atma weapon
|
||
Ancient weapon created during the War of the Magi, forged
|
||
in opposition to the war beasts of the gods. Its attack power is
|
||
bound to its wielder's life force.
|
||
axe
|
||
"For ev'ry silver ringing blow,
|
||
Cities and palaces shall grow!"
|
||
|
||
"Bite deep and wide, O Axe, the tree,
|
||
Tell wider prophecies to me."
|
||
|
||
"When rust hath gnaw'd me deep and red,
|
||
A nation strong shall lift his head.
|
||
|
||
"His crown the very Heav'ns shall smite,
|
||
Aeons shall build him in his might."
|
||
|
||
"Bite deep and wide, O Axe, the tree;
|
||
Bright Seer, help on thy prophecy!"
|
||
[ Malcolm's Katie, by Isabella Valancey Crawford ]
|
||
axolotl
|
||
A mundane salamander, harmless.
|
||
baalphegor
|
||
Ancient Baalphegor, canny and inventive, here since the beginning.
|
||
[ Rip Van Wormer ]
|
||
|
||
Baalphegor is a dignified she-devil with cinnamon-colored skin,
|
||
red eyes and hair, as well as bat wings. She appears young and
|
||
carefree but when angered, her eyes glow with flames and her
|
||
usually musical voice becomes very harsh. She is only five and
|
||
a half feet in height.
|
||
|
||
Baalphegor is said to have been around since the creation of
|
||
Baator itself. She's a very skilled diplomat and tactician, and
|
||
an unmatched sorceress. She has created many artifacts and
|
||
techniques used throughout the Nine Hells. In addition to her
|
||
status, this fact granted her a deep respect from almost everyone
|
||
in Baator, even from Asmodeus, who appreciates her to the point
|
||
of letting her live with her ever-scheming consort.
|
||
|
||
Knowing all too well her master's position, Baalphegor keeps her
|
||
goals to herself, acting with a minimal degree of loyalty to the
|
||
Lord of the Eighth. Mephistopheles tolerates this due to the
|
||
protection given by his consort's presence.
|
||
[ GreyWiki ]
|
||
bag
|
||
bag of *
|
||
sack
|
||
"Now, this third handkerchief," Mein Herr proceeded, "has also
|
||
four edges, which you can trace continuously round and round:
|
||
all you need do is to join its four edges to the four edges of
|
||
the opening. The Purse is then complete, and its outer
|
||
surface--"
|
||
"I see!" Lady Muriel eagerly interrupted. "Its outer surface
|
||
will be continuous with its inner surface! But it will take
|
||
time. I'll sew it up after tea." She laid aside the bag, and
|
||
resumed her cup of tea. "But why do you call it Fortunatus's
|
||
Purse, Mein Herr?"
|
||
The dear old man beamed upon her, with a jolly smile, looking
|
||
more exactly like the Professor than ever. "Don't you see,
|
||
my child--I should say Miladi? Whatever is inside that Purse,
|
||
is outside it; and whatever is outside it, is inside it. So
|
||
you have all the wealth of the world in that leetle Purse!"
|
||
[ Sylvie and Bruno Concluded, by Lewis Carroll ]
|
||
bael
|
||
bel
|
||
Crimson scales cover this large fiend, from its bestile head
|
||
to its clawed toes. From its back spread great batlike wings.
|
||
Foul green venom drips from its teeth, sending up streams of
|
||
smoke wherever it falls. Cinched around its waist is a belt
|
||
of a dozen shrieking angel heads, their necks neatly severed
|
||
by the massive flaming sword the creature holds in his
|
||
clawed fist.
|
||
[ Tyrants of the Nine Hells,
|
||
by Robin Laws and Robert Schwalb ]
|
||
|
||
Why there must be consorts, I do not know. But I understand.
|
||
My love says that there must be balance in a layer between
|
||
anima and animus. Even the writhing Zariel has a consort,
|
||
her warrior Bel.
|
||
|
||
My daughters, he told us. And my son, my Bel. You shall be
|
||
my eyes, ears, and tongue among the nine. Where they plot
|
||
and scheme, you shall remain loyal to me.
|
||
|
||
I don't know that I believe him, for he is the Father of Lies.
|
||
[ Rip Van Wormer ]
|
||
baelnorn
|
||
Baelnorn are elves who have sought undeath to serve their
|
||
families, communities, or other purposes (usually to see a
|
||
wrong righted, or to achieve a certain magical discovery or
|
||
deed). They are lifelike creatures that appear as tall,
|
||
impressive-looking elves with shriveled skin and glowing
|
||
white eyes. Most baelnorns keep to the crypts, ruins, or
|
||
mage-towers they guard or work in, and they are never seen
|
||
except by those who intrude into such places.
|
||
[ Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual, TSR ]
|
||
b*lzebub
|
||
The "lord of the flies" is a translation of the Hebrew
|
||
Ba'alzevuv (Beelzebub in Greek). It has been suggested that
|
||
it was a mistranslation of a mistransliterated word which
|
||
gave us this pungent and suggestive name of the Devil, a
|
||
devil whose name suggests that he is devoted to decay,
|
||
destruction, demoralization, hysteria and panic...
|
||
[ Notes on _Lord of the Flies_, by E. L. Epstein ]
|
||
balrog
|
||
... It came to the edge of the fire and the light faded as
|
||
if a cloud had bent over it. Then with a rush it leaped
|
||
the fissure. The flames roared up to greet it, and wreathed
|
||
about it; and a black smoke swirled in the air. Its streaming
|
||
mane kindled, and blazed behind it. In its right hand
|
||
was a blade like a stabbing tongue of fire; in its left it
|
||
held a whip of many thongs.
|
||
'Ai, ai!' wailed Legolas. 'A Balrog! A Balrog is come!'
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
baluchitherium
|
||
titanothere
|
||
Extinct rhinos include a variety of forms, the most
|
||
spectacular being _Baluchitherium_ from the Oligocene of
|
||
Asia, which is the largest known land mammal. Its body, 18
|
||
feet high at the shoulder and carried on massive limbs,
|
||
allowed the 4-foot-long head to browse on the higher branches
|
||
of trees. Though not as enormous, the titanotheres of the
|
||
early Tertiary were also large perissodactyls, _Brontotherium_
|
||
of the Oligocene being 8 feet high at the shoulder.
|
||
[ Prehistoric Animals, by Barry Cox ]
|
||
banana
|
||
He took another step and she cocked her right wrist in
|
||
viciously. She heard the spring click. Weight slapped into
|
||
her hand.
|
||
"Here!" she shrieked hysterically, and brought her arm up in
|
||
a hard sweep, meaning to gut him, leaving him to blunder
|
||
around the room with his intestines hanging out in steaming
|
||
loops. Instead he roared laughter, hands on his hips,
|
||
flaming face cocked back, squeezing and contorting with great
|
||
good humor.
|
||
"Oh, my dear!" he cried, and went off into another gale of
|
||
laughter.
|
||
She looked stupidly down at her hand. It held a firm yellow
|
||
banana with a blue and white Chiquita sticker on it. She
|
||
dropped it, horrified, to the carpet, where it became a
|
||
sickly yellow grin, miming Flagg's own.
|
||
"You'll tell," he whispered. "Oh yes indeed you will."
|
||
And Dayna knew he was right.
|
||
[ The Stand, by Stephen King ]
|
||
bandersnatch
|
||
But while he was seeking with thimbles and care,
|
||
A Bandersnatch swiftly drew nigh
|
||
And grabbed at the Banker, who shrieked in despair,
|
||
For he knew it was useless to fly.
|
||
|
||
He offered large discount-he offered a check
|
||
(Drawn "to bearer") for seven-pounds-ten:
|
||
But the Bandersnatch merely extended its neck
|
||
And grabbed at the Banker again.
|
||
|
||
Without rest or pause-while those frumious jaws
|
||
Went savagely snapping around-
|
||
He skipped and he hopped, and he floundered and flopped,
|
||
Till fainting he fell to the ground.
|
||
The Bandersnatch fled as the others appeared
|
||
Led on by that fear-stricken yell:
|
||
And the Bellman remarked "It is just as I feared!"
|
||
And solemnly tolled on his bell.
|
||
[ The Hunting of the Snark, by Lewis Carroll ]
|
||
banshee
|
||
In Irish folklore and that of the Western Highlands of Scotland,
|
||
a female fairy who announces her presence by shrieking and wailing
|
||
under the windows of a house when one of its occupants is awaiting
|
||
death. The word is a phonetic spelling of the Irish _beansidhe_, a
|
||
woman of the fairies.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
baphomet
|
||
This hulking, manlike brute stands 20 feet tall. His muscular
|
||
frame is covered in thick, matted black hair. His head is that
|
||
of a fiendish bull, and his great horns are stained in the
|
||
lifeblood of countless victims.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
barbarian
|
||
* barbarian
|
||
They dressed alike -- in buckskin boots, leathern breeks and
|
||
deerskin shirts, with broad girdles that held axes and short
|
||
swords; and they were all gaunt and scarred and hard-eyed;
|
||
sinewy and taciturn.
|
||
They were wild men, of a sort, yet there was still a wide
|
||
gulf between them and the Cimmerian. They were sons of
|
||
civilization, reverted to a semi-barbarism. He was a
|
||
barbarian of a thousand generations of barbarians. They had
|
||
acquired stealth and craft, but he had been born to these
|
||
things. He excelled them even in lithe economy of motion.
|
||
They were wolves, but he was a tiger.
|
||
[ Conan - The Warrior, by Robert E. Howard ]
|
||
barbed devil
|
||
Barbed devils lack any real special abilities, though they
|
||
are quite difficult to kill. They are large humanoids,
|
||
covered from head to toe with sharp barbs, right down
|
||
to the tips of their long, meaty tails.
|
||
bardiche
|
||
long pole*
|
||
A long axe blade on a stick. The cutting blade is typically
|
||
two feet long or more, but it is mounted on one of the
|
||
shortest poles for a polearm, only about five feet (1.5 meters).
|
||
|
||
|\
|
||
| \
|
||
| |
|
||
| |
|
||
| |
|
||
Z[ |
|
||
H| |
|
||
H| |
|
||
H| |
|
||
H| |
|
||
Z[_-
|
||
H
|
||
# takes "bat or bird" when specifying "B"
|
||
*bat
|
||
bat or bird
|
||
A bat, flitting in the darkness outside, took the wrong turn
|
||
as it made its nightly rounds and came in through the window
|
||
which had been left healthfully open. It then proceeded to
|
||
circle the room in the aimless fat-headed fashion habitual
|
||
with bats, who are notoriously among the less intellectually
|
||
gifted of God's creatures. Show me a bat, says the old
|
||
proverb, and I will show you something that ought to be in
|
||
some kind of a home.
|
||
[ A Pelican at Blandings, by P. G. Wodehouse ]
|
||
bebelith
|
||
'Long we live and long we weave
|
||
Till we have filled this space.
|
||
Then, as before, we will leave
|
||
To hunt another place.
|
||
Our task ends when the weak are gone.
|
||
then fill new spaces with our spawn!'
|
||
[ Planescape Monstrous Compendium, TSR ]
|
||
|
||
A demonic arachnid that exists outside the regular order of
|
||
demons. The sharp claws of the bebelith shread flesh and
|
||
armor alike.
|
||
bec de corbin
|
||
beaked polearm
|
||
While this weapon does have a blunt hammer, its main
|
||
feature is the heavy crow's beak blade, designed to
|
||
puncture heavy plate armor. The shaft is about eight
|
||
feet long (2.4 meters).
|
||
|
||
A
|
||
H
|
||
_ _H______
|
||
| \/ H \
|
||
|_/\_H_______\
|
||
H
|
||
H
|
||
bear trap
|
||
Probably most commonly associated with trapping, the leghold
|
||
trap is a rather simple mechanical trap. It is made up of two
|
||
jaws, a spring of some sort, and a trigger in the middle. When
|
||
the animal steps on the trigger the trap closes around the leg,
|
||
holding the animal in place. Usually some kind of lure is used
|
||
to position the animal, or the trap is set on an animal trail.
|
||
Traditionally, leghold traps had tightly closing "teeth" to make
|
||
sure the animal stayed in place. The teeth also made sure the
|
||
animal could not move the leg in the trap and ruin their fur.
|
||
However, this resulted in many animals gnawing off legs in order
|
||
to escape. More modern traps have a gap called an "offset jaw"
|
||
and work more like a handcuff. They grip above the paw, making
|
||
sure the animal cannot pull out but does not destroy the leg.
|
||
This also allows the trapper to release unwanted catches.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
*bee
|
||
This giant variety of its useful normal cousin normally
|
||
appears in small groups, looking for raw material to produce
|
||
the royal jelly needed to feed their queen. On rare
|
||
occasions, one may stumble upon a bee-hive, in which the
|
||
queen bee is being well provided for, and guarded against
|
||
intruders.
|
||
*beetle
|
||
[ The Creator ] has an inordinate fondness for beetles.
|
||
[ attributed to biologist J.B.S. Haldane ]
|
||
|
||
The common name for the insects with wings shaped like
|
||
shields (_Coleoptera_), one of the ten sub-species into
|
||
which the insects are divided. They are characterized by
|
||
the shields (the front pair of wings) under which the back
|
||
wings are folded.
|
||
[ Van Dale's Groot Woordenboek der Nederlandse Taal ]
|
||
beholder
|
||
"Beauty in things exists merely
|
||
in the mind which contemplates them."
|
||
[ Moral and Political,
|
||
by David Hume ]
|
||
~bell of opening
|
||
*bell
|
||
No man is an island, entire of itself; every man is a piece
|
||
of the continent, a part of the main. If a clod be washed away by
|
||
the sea, Europe is the less, as well as if a promontory were, as
|
||
well as if a manor of thy friend's or of thine own were: any man's
|
||
death diminishes me, because I am involved in mankind, and
|
||
therefore never send to know for whom the bell tolls; it tolls for
|
||
thee.
|
||
[ For Whom The Bell Tolls, by John Donne ]
|
||
bell*book*candle
|
||
_Bell, book and candle._ The popular phrase for ceremonial
|
||
excommunication in the Roman Catholic Church. After pronouncing
|
||
sentence the officiating clergy closes his book, quenches the candle
|
||
by throwing it to the ground and tolls the bell as for one who has
|
||
died. The book symbolizes the book of life, the candle that the soul
|
||
is removed from the sight of God as the candle from the sight of man.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
bell of opening
|
||
"A bell, book and candle job."
|
||
The Bursar sighed. "We tried that, Archchancellor."
|
||
The Archchancellor leaned towards him.
|
||
"Eh?" he said.
|
||
"I _said_, we tried that Archchancellor," said the Bursar loudly,
|
||
directing his voice at the old man's ear. "After dinner, you
|
||
remember? We used Humptemper's _Names of the Ants_ and rang Old
|
||
Tom."*
|
||
"Did we, indeed. Worked, did it?"
|
||
"_No_, Archchancellor."
|
||
|
||
* Old Tom was the single cracked bronze bell in the University
|
||
bell tower.
|
||
[ Eric, by Terry Pratchett ]
|
||
bill?guisarme
|
||
hooked polearm
|
||
A bladed polearm with mutliple sharpened edges and spikes,
|
||
and with a hook. This weapon is about nine feet long
|
||
(2.7 meters).
|
||
|
||
|
|
||
||
|
||
||___
|
||
| _---\
|
||
| \
|
||
___| |
|
||
-_ |
|
||
| |
|
||
| /
|
||
||
|
||
black flower
|
||
The Black Flower is the voice
|
||
which abides in this broken eye
|
||
Where it remained since its creation
|
||
awaiting its purpose
|
||
|
||
A harmless song of ruin
|
||
which creates a monster
|
||
that harms itself and others
|
||
|
||
The Black Flower is the voice
|
||
I hear always in bloodied prayers
|
||
|
||
The Black Flower is the song
|
||
that shall ring out the day of repentance
|
||
in which all shall...disappear
|
||
[ Drakengard 3 ]
|
||
black light
|
||
Ultraviolet (UV) radiation is electromagnetic radiation of a wavelength
|
||
shorter than that of the visible region, but longer than that of soft
|
||
X-rays. ... Some of the UV wavelengths are colloquially called black
|
||
light, as it is invisible to the human eye.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
blaster
|
||
arm blaster
|
||
hand blaster
|
||
Not as showy or impractical as a lightsaber; a powerful weapon, for
|
||
an uncivilized age.
|
||
blindfold
|
||
The blindfolding was performed by binding a piece of the
|
||
yellowish linen whereof those of the Amahagger who condescended
|
||
to wear anything in particular made their dresses tightly round
|
||
the eyes. This linen I afterwards discovered was taken from the
|
||
tombs, and was not, as I had first supposed, of native
|
||
manufacture. The bandage was then knotted at the back of the
|
||
head, and finally brought down again and the ends bound under
|
||
the chin to prevent its slipping. Ustane was, by the way, also
|
||
blindfolded, I do not know why, unless it was from fear that she
|
||
should impart the secrets of the route to us.
|
||
[ She, by H. Rider Haggard ]
|
||
blind io
|
||
On this particular day Blind Io, by dint of constant vigilance
|
||
the chief of the gods, sat with his chin on his hand
|
||
and looked at the gaming board on the red marble table in
|
||
front of him. Blind Io had got his name because, where his
|
||
eye sockets should have been, there were nothing but two
|
||
areas of blank skin. His eyes, of which he had an impressively
|
||
large number, led a semi-independent life of their
|
||
own. Several were currently hovering above the table.
|
||
[ The Colour of Magic, by Terry Pratchett ]
|
||
blue jelly
|
||
The tissue injury resulting from frostbite is produced in two ways. The most
|
||
obvious is actual freezing of the tissues. Although ice crystals form between
|
||
the cells and grow by extracting water from them, the cells are physically
|
||
disrupted by the ice crystals only to a limited extent. The dehydration and
|
||
osmotic and chemical imbalances resulting from extraction of water from within
|
||
the cell injure them, but permanent damage may be small. (...) The second
|
||
mechanism of tissue injury by frostbite, which is much more significant is loss
|
||
of blood supply to the tissues. Blood may flow through larger vessels but (one
|
||
of the signs of adequate rewarming is a flushing of the frozen area) oxygen
|
||
cannot be deliver to the tissues because the small blood vessels that would
|
||
carry it have been lost.
|
||
[ Hypothermia, Frostbite, and Other Cold Injuries:
|
||
Prevention, Survival, Rescue and Treatment
|
||
by Gordon G. Giesbrecht, James A. Wilkerson ]
|
||
~crystal ooze
|
||
blob
|
||
* blob
|
||
ooze
|
||
* ooze
|
||
These giant amoeboid creatures look like nothing more than
|
||
puddles of slime, but they both live and move, feeding on
|
||
metal or wood as well as the occasional dungeon explorer to
|
||
supplement their diet.
|
||
blood bloater
|
||
The most distinguishing feature of Bloodbloaters which set them
|
||
apart from other Oozes is their red, egg yolk-like center, which
|
||
stands out starkly from their clear, circular bodies that measure
|
||
about 4 inches in diameter.
|
||
|
||
When in contact with prey, Bloodbloaters move into contact as a
|
||
swarm and exude digestive enzymes from thin red flagellum that are
|
||
attached to the brain. The digestive enzymes eat through cloth and
|
||
flesh as a acid - and once in contact with the blood-stream, act
|
||
as a anesthetic. Thus - it is not unheard of for a person to
|
||
undertake massive damage or even death from a Bloodbloater swarm
|
||
without feeling anything.
|
||
|
||
Bloodbloaters are parthenogenic organisms, and reproduce
|
||
constantly, wherever food is most plentiful.
|
||
[ The Clock Strikes 12 ]
|
||
bo*shuriken
|
||
A thin, metal dart.
|
||
bokrug*
|
||
Through all the land of Mnar and the lands adjacent spread the tales
|
||
of those who had fled from Sarnath, and caravans sought that accursed
|
||
city and its precious metals no more. It was long ere any traveller
|
||
went thither, and even then only the brave and adventurous young men
|
||
of distant Falona dared make the journey; adventurous young men of
|
||
yellow hair and blue eyes, who are no kin to the men of Mnar. These
|
||
men indeed went to the lake to view Sarnath; but though they found
|
||
the vast still lake itself, and the grey rock Akurion which rears
|
||
high above it near the shore, they beheld not the wonder of the
|
||
world and pride of all mankind. Where once had risen walls of 300
|
||
cubits and towers yet higher, now stretched only the marshy shore,
|
||
and where once had dwelt fifty millions of men now crawled only the
|
||
detestable green water-lizard. Not even the mines of precious metal
|
||
remained, for DOOM had come to Sarnath.
|
||
|
||
But half buried in the rushes was spied a curious green idol of stone;
|
||
an exceedingly ancient idol coated with seaweed and chiselled in the
|
||
likeness of Bokrug, the great water-lizard. That idol, enshrined in
|
||
the high temple at Ilarnek, was subsequently worshipped beneath the
|
||
gibbous moon throughout the land of Mnar.
|
||
[ The Doom That Came to Sarnath, by H.P. Lovecraft ]
|
||
bone devil
|
||
Learn to love and uphold the Law
|
||
[ Faces of Evil, by Colin McComb ]
|
||
|
||
Bone devils attack with weapons and with a great hooked tail
|
||
which causes a loss of strength to those they sting.
|
||
book of the dead
|
||
A collection of ancient Egyptian texts, both religious and magical,
|
||
concerned with guidance for the safe conduct of the soul through
|
||
Amenti (the Egyptian Hades). The Egyptians called it _The Book
|
||
of Going Forth By Day_ and copies, or parts of it, were buried with
|
||
the mummy. There is a variety of texts.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
~*jackboots
|
||
~*water walking*
|
||
~*speed boots
|
||
~*boots of speed
|
||
*boot*
|
||
In Fantasyland these are remarkable in that they seldom or
|
||
never wear out and are suitable for riding or walking in
|
||
without the need of Socks. Boots never pinch, rub, or get
|
||
stones in them; nor do nails stick upwards into the feet from
|
||
the soles. They are customarily mid-calf length or knee-high,
|
||
slip on and off easily and never smell of feet. Unfortunately,
|
||
the formula for making this splendid footwear is a closely
|
||
guarded secret, possibly derived from nonhumans (see Dwarfs,
|
||
Elves, and Gnomes).
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
*booze
|
||
potion of sleeping
|
||
On waking, he found himself on the green knoll whence he had
|
||
first seen the old man of the glen. He rubbed his eyes-it was
|
||
a bright sunny morning. The birds were hopping and twittering
|
||
among the bushes, and the eagle was wheeling aloft, and breasting
|
||
the pure mountain breeze. "Surely," thought Rip, "I have not
|
||
slept here all night." He recalled the occurrences before he fell
|
||
asleep. The strange man with a keg of liquor-the mountain ravine-
|
||
the wild retreat among the rocks-the woe-begone party at ninepins-
|
||
the flagon-"Oh! that flagon! that wicked flagon!" thought Rip
|
||
-"what excuse shall I make to Dame Van Winkle!"
|
||
[ Rip Van Winkle, a Posthumous Writing
|
||
of Diedrich Knickerbocker, by Washington Irving ]
|
||
boulder
|
||
I worked the lever well under, and stretched my back; the end
|
||
of the stone rose up, and I kicked the fulcrum under. Then,
|
||
when I was going to bear down, I remembered there was
|
||
something to get out from below; when I let go of the lever,
|
||
the stone would fall again. I sat down to think, on the root
|
||
of the oak tree; and, seeing it stand about the ground, I saw
|
||
my way. It was lucky I had brought a longer lever. It would
|
||
just reach to wedge under the oak root.
|
||
Bearing it down so far would have been easy for a heavy man,
|
||
but was a hard fight for me. But this time I meant to do it
|
||
if it killed me, because I knew it could be done. Twice I
|
||
got it nearly there, and twice the weight bore it up again;
|
||
but when I flung myself on it the third time, I heard in my
|
||
ears the sea-sound of Poseidon. Then I knew this time I
|
||
would do it; and so I did.
|
||
[ The King Must Die, by Mary Renault ]
|
||
~*longbow of diana
|
||
bow
|
||
* bow
|
||
"Stand to it, my hearts of gold," said the old bowman as he
|
||
passed from knot to knot. "By my hilt! we are in luck this
|
||
journey. Bear in mind the old saying of the Company."
|
||
"What is that, Aylward?" cried several, leaning on their bows
|
||
and laughing at him.
|
||
"'Tis the master-bowyer's rede: 'Every bow well bent. Every
|
||
shaft well sent. Every stave well nocked. Every string well
|
||
locked.' There, with that jingle in his head, a bracer on
|
||
his left hand, a shooting glove on his right, and a
|
||
farthing's-worth of wax in his girdle, what more doth a
|
||
bowman need?"
|
||
"It would not be amiss," said Hordle John, "if under his
|
||
girdle he had four farthings'-worth of wine."
|
||
[ The White Company, by Sir Arthur Conan Doyle ]
|
||
brain golem
|
||
A creation of the ancient race of mind flayers, brain
|
||
golems may be the most horrible of all their kind.
|
||
They exist purely for the desire of illithids and are
|
||
unswayed from their goals.
|
||
|
||
A brain golem appears as a huge, burly humanoid with
|
||
an oversized brain for a head. In fact, the whole body
|
||
is made up of brain tissue, but is covered with a thin
|
||
film of slimy skin.
|
||
|
||
In a book by a sage called Hapworth is a tale told by
|
||
two rescued human prisoners of the illithids, who
|
||
apparently saw a brain golem created. Although the
|
||
magic used was unknown to the humans, the brain golem's
|
||
body seemed to be a combination of different racial
|
||
brains. As for the head, this was taken from a part of
|
||
the elder brain of the mind flayers. The skin was a
|
||
membrane oozed from that same being.
|
||
[ Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual, TSR ]
|
||
brigit
|
||
Brigit (Brigid, Bride, Banfile), which means the Exalted One,
|
||
was the Celtic (continental European and Irish) fertility
|
||
goddess. She was originally celebrated on February first in
|
||
the festival of Imbolc, which coincided with the beginning
|
||
of lactation in ewes and was regarded in Scotland as the date
|
||
on which Brigit deposed the blue-faced hag of winter. The
|
||
Christian calendar adopted the same date for the Feast of St.
|
||
Brigit. There is no record that a Christian saint ever
|
||
actually existed, but in Irish mythology she became the
|
||
midwife to the Virgin Mary.
|
||
[ Encyclopedia of Gods, by Michael Jordan ]
|
||
~rune*sword
|
||
~stormbringer
|
||
~*vorpal*
|
||
*broadsword
|
||
Bring me my broadsword
|
||
And clear understanding.
|
||
Bring me my cross of gold,
|
||
As a talisman.
|
||
[ "Broadsword" (refrain) by Ian Anderson ]
|
||
bugbear
|
||
Bugbears are relatives of goblins, although they tend to be
|
||
larger and more hairy. They are aggressive carnivores and
|
||
sometimes kill just for the treasure their victims may be
|
||
carrying.
|
||
|
||
Bugbears are giant, hairy cousins of goblins who frequent the same
|
||
areas as their smaller relatives. Bugbears are large and very
|
||
muscular, standing 7' tall. Their hides range from light yellow to
|
||
yellow brown and their thick coarse hair varies in colour from
|
||
brown to brick red. Though vaguely humanoid in appearance,
|
||
bugbears seem to contain the blood of some large carnivore. Their
|
||
eyes recall those of some savage bestial animal, being greenish
|
||
white with red pupils, while their ears are wedge shaped, rising
|
||
from the top of their heads. A bugbear's mouth is full of long
|
||
sharp fangs.
|
||
Bugbears have two main goals in life: survival and treasure. They
|
||
are superb carnivores, winnowing out the weak and careless
|
||
adventurer, monster, and animal. Goblins are always on their toes
|
||
when bugbears are present, for the weak or stupid quickly end up
|
||
in the stewpot.
|
||
[ Monstrous Manual, by TSR, Inc. ]
|
||
bugle
|
||
'I read you by your bugle horn
|
||
And by your palfrey good,
|
||
I read you for a Ranger sworn
|
||
To keep the King's green-wood.'
|
||
'A Ranger, Lady, winds his horn,
|
||
And 'tis at peep of light;
|
||
His blast is heard at merry morn,
|
||
And mine at dead of night.'
|
||
[ Brignall Banks, by Sir Walter Scott ]
|
||
bullwhip
|
||
"Good," he said and, unbelievably, smiled at me, a smirk like
|
||
a round of rotted cheese. "What did your keeper use on you?
|
||
A bullwhip?"
|
||
[ Melusine, by Sarah Monette ]
|
||
byakhee
|
||
A creature of the stars, this bat like being can be summoned
|
||
across the vast interstellar gulfs to serve magicians and
|
||
dark powers. It is said that they will seize those who
|
||
summon them and cannot best them and carry them off to whatever
|
||
terrible fate awaits them on other worlds.
|
||
callandor
|
||
He stepped out beneath a great dome, and saw what he sought.
|
||
_Callandor_, hanging hilt down in midair, waiting for no hand
|
||
but that of the Dragon Reborn. As it revolved, it broke what
|
||
little light there was into splinters, and now and then it
|
||
flared as if with a light of its own.
|
||
[...]
|
||
The One Power surged through him, a torrent greater than he
|
||
could believe, from _saidin_ into the sword. The crystal blade
|
||
shone brighter than even Moiraine's fire had. It was impossible
|
||
to look at, impossible any longer to see that it was a sword,
|
||
only that light blazed in his fist.
|
||
[ The Dragon Reborn, by Robert Jordan ]
|
||
*camaxtli
|
||
A classical Mesoamerican Aztec god, also known as Mixcoatl-
|
||
Camaxtli (the Cloud Serpent), Camaxtli is the god of war. He
|
||
is also a deity of hunting and fire who received human
|
||
sacrifice of captured prisoners. According to tradition, the
|
||
sun god Tezcatlipoca transformed himself into Mixcoatl-Camaxtli
|
||
to make fire by twirling the sacred fire sticks.
|
||
[ Encyclopedia of Gods, by Michael Jordan ]
|
||
camelot*
|
||
The seat of Arthur's power in medieval romance. The name is of
|
||
unknown origin and refers to the castle but also includes the
|
||
surrounding town.
|
||
[...]
|
||
Camelot appears, most significantly, as a personal capital as
|
||
opposed to a permanent or national one. It is Arthur's and
|
||
Arthur's alone. There are no previous lords and Arthur's
|
||
successor, Constantine, does not take up residence there.
|
||
Camelot is actually said to have been demolished after Arthur
|
||
and Lancelot were gone by Mark. Fazio degli Uberti, the Italian
|
||
poet, claims to have seen the ruins in the 14th century.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
candelabrum*
|
||
Faustus: Come on Mephistopheles. What shall we do?
|
||
Mephistopheles: Nay, I know not. We shall be cursed with bell,
|
||
book, and candle.
|
||
Faustus: How? Bell, book, and candle, candle, book, and bell,
|
||
Forward and backward, to curse Faustus to hell.
|
||
Anon you shall hear a hog grunt, a calf bleat, and an ass bray,
|
||
Because it is Saint Peter's holy day.
|
||
(Enter all the Friars to sing the dirge)
|
||
[ Doctor Faustus and Other Plays, by Christopher Marlowe ]
|
||
*candle
|
||
My candle burns at both ends
|
||
It will not last the night;
|
||
But ah, my foes, and oh, my friends -
|
||
It gives a lovely light.
|
||
[ A Few Figs from Thistles, by Edna St. Vincent Millay ]
|
||
candle of invocation
|
||
A magical candle that can be invoked while lit to open an
|
||
extra-planar gate. Said gate lasts only seconds once opened,
|
||
allowing for a single creature to pass through. The best-known
|
||
use for this gate is to seek audience from an angelic being,
|
||
though rumors exist of fools chasing their hearts' desires
|
||
or disturbing storied demons from their fortresses.
|
||
candy bar
|
||
Only once a year, on his birthday, did Charlie Bucket ever
|
||
get to taste a bit of chocolate. The whole family saved up
|
||
their money for that special occasion, and when the great
|
||
day arrived, Charlie was always presented with one small
|
||
chocolate bar to eat all by himself. And each time he
|
||
received it, on those marvelous birthday mornings, he would
|
||
place it carefully in a small wooden box that he owned, and
|
||
treasure it as though it were a bar of solid gold; and for
|
||
the next few days, he would allow himself only to look at it,
|
||
but never to touch it. Then at last, when he could stand it
|
||
no longer, he would peel back a tiny bit of the paper
|
||
wrapping at one corner to expose a tiny bit of chocolate, and
|
||
then he would take a tiny nibble - just enough to allow the
|
||
lovely sweet taste to spread out slowly over his tongue. The
|
||
next day, he would take another tiny nibble, and so on, and
|
||
so on. And in this way, Charlie would make his ten-cent bar
|
||
of birthday chocolate last him for more than a month.
|
||
[ Charlie and the Chocolate Factory, by Roald Dahl ]
|
||
carcosa
|
||
lost carcosa
|
||
Along the shore the cloud waves break,
|
||
The twin suns sink behind the lake,
|
||
The shadows lengthen
|
||
In Carcosa.
|
||
|
||
Strange is the night where black stars rise,
|
||
And strange moons circle through the skies,
|
||
But stranger still is
|
||
Lost Carcosa.
|
||
|
||
Songs that the Hyades shall sing,
|
||
Where flap the tatters of the King,
|
||
Must die unheard in
|
||
Dim Carcosa.
|
||
|
||
Song of my soul, my voice is dead,
|
||
Die thou, unsung, as tears unshed
|
||
Shall dry and die in
|
||
Lost Carcosa.
|
||
- "Cassilda's Song" in The King in Yellow, Act i, Scene 2
|
||
[ The King in Yellow, by Robert W. Chambers ]
|
||
carcosan courtier
|
||
Their skin was like porcelain. I think those were the natives.
|
||
You know, SCP-2264-1. But the more you stared, the less human
|
||
everyone seemed; some had too many limbs, some had too few.
|
||
They were like the monsters from an old fantasy comic I read
|
||
as a kid. Crazy as this place was, I don't think we were ever
|
||
seeing the whole truth. It's like a filter. The people look
|
||
humanoid because we're human. Something from another world
|
||
would see us more like them. But some... especially the
|
||
natives... I got the feeling that behind those masks,
|
||
beyond their illusions, was something inconceivable.
|
||
[ SCP-2264, by Metaphysician ]
|
||
carmilla
|
||
She was slender, and wonderfully graceful. Except that
|
||
her movements were languid-very languid-indeed, there
|
||
was nothing in her appearance to indicate an invalid.
|
||
Her complexion was rich and brilliant; her features were
|
||
small and beautifully formed; her eyes large, dark, and
|
||
lustrous; her hair was quite wonderful, I never saw hair
|
||
so magnificently thick and long when it was down about her
|
||
shoulders; I have often placed my hands under it,
|
||
and laughed with wonder at its weight. It was exquisitely
|
||
fine and soft, and in color a rich very dark brown, with
|
||
something of gold. I loved to let it down, tumbling with
|
||
its own weight, as, in her room, she lay back in her chair
|
||
talking in her sweet low voice, I used to fold and braid
|
||
it, and spread it out and play with it.
|
||
|
||
Heavens! If I had but known all!
|
||
[ Carmilla, by Sheridan Le Fanu ]
|
||
carrot
|
||
In World War II, Britain's air ministry spread the word that a diet of
|
||
these vegetables helped pilots see Nazi bombers attacking at night. That
|
||
was a lie intended to cover the real matter of what was underpinning the
|
||
Royal Air Force's successes: Airborne Interception Radar, also known as
|
||
AI. ... British Intelligence didn't want the Germans to find out
|
||
about the superior new technology helping protect the nation, so they
|
||
created a rumor to afford a somewhat plausible-sounding explanation
|
||
for the sudden increase in bombers being shot down. ...
|
||
The disinformation was so persuasive that the English public took to
|
||
eating carrots to help them find their way during the blackouts.
|
||
[ Urban Legends Reference Pages ]
|
||
*cat lord
|
||
Elder Goddess of cats, earthly knowledge of the true name
|
||
and nature of this being was already becoming confused by
|
||
the time of ancient Egypt. It is believed that the Cat Lord
|
||
entered into some pact or covenant with the rulers of this
|
||
early nation. However, the terms of this agreement, down to
|
||
the correct pronunciation of the unprecidented hieroglyphs
|
||
found in the being's name, have long since been lost, though
|
||
the goddesses _Bastet_ and _Sekhmet_ are believed to be
|
||
descended from the stories surrounding the Cat Lord and its
|
||
agreement.
|
||
|
||
The hieroglyphs enclosed within its cartouche are drawn with
|
||
variable numbers of strokes, though no glyph requires more
|
||
than seven strokes to draw. The fourth and fifth and the
|
||
eight and ninth hieroglyphs are smaller than the average,
|
||
but must be drawn as pairs. The completed cartouche contains
|
||
nine hieroglyphs.
|
||
s*d*g*r* cat
|
||
Imagine a sealed container, so perfectly constructed that no
|
||
physical influence can pass either inwards or outwards across its
|
||
walls. Imagine that inside the container is a cat, and also a
|
||
device that can be triggered by some quantum event. If that event
|
||
takes place, then the device smashes a phial containing cyanide and
|
||
the cat is killed. If the event does not take place, the cat lives
|
||
on. In Schroedinger's original version, the quantum event was the
|
||
decay of a radioactive atom. ... To the outside observer, the cat
|
||
is indeed in a linear combination of being alive and dead, and only
|
||
when the container is finally opened would the cat's state vector
|
||
collapse into one or the other. On the other hand, to a (suitably
|
||
protected) observer inside the container, the cat's state-vector
|
||
would have collapsed much earlier, and the outside observer's
|
||
linear combination has no relevance.
|
||
[ The Emperor's New Mind, by Roger Penrose ]
|
||
# takes "cat or other feline" when specifying "f"
|
||
*cat
|
||
*feline
|
||
kitten
|
||
Well-known quadruped domestic animal from the family of
|
||
predatory felines (_Felis ochreata domestica_), with a thick,
|
||
soft pelt; often kept as a pet. Various folklores have the
|
||
cat associated with magic and the gods of ancient Egypt.
|
||
|
||
So Ulthar went to sleep in vain anger; and when the people
|
||
awakened at dawn - behold! Every cat was back at his
|
||
accustomed hearth! Large and small, black, grey, striped,
|
||
yellow and white, none was missing. Very sleek and fat did
|
||
the cats appear, and sonorous with purring content.
|
||
[ The Cats of Ulthar, by H.P. Lovecraft ]
|
||
# this one doesn't work very well for dwarven and gnomish cavemen
|
||
catapsi vortex
|
||
The seed of an Astral storm, sealed in a diamond. Breaking
|
||
the diamond and releasing the storm disrupts Psions'
|
||
connections to the collective unconscious, on which
|
||
all psionic powers depend.
|
||
|
||
Beware: overuse of such weapons can form a permanent
|
||
disturbance in the Astral sea.
|
||
cave*man
|
||
human cave*man
|
||
Now it was light enough to leave. Moon-Watcher picked up
|
||
the shriveled corpse and dragged it after him as he bent
|
||
under the low overhang of the cave. Once outside, he
|
||
threw the body over his shoulder and stood upright - the
|
||
only animal in all this world able to do so.
|
||
Among his kind, Moon-Watcher was almost a giant. He was
|
||
nearly five feet high, and though badly undernourished
|
||
weighed over a hundred pounds. His hairy, muscular body
|
||
was halfway between ape and man, but his head was already
|
||
much nearer to man than ape. The forehead was low, and
|
||
there were ridges over the eye sockets, yet he unmistakably
|
||
held in his genes the promise of humanity.
|
||
[ 2001: A Space Odyssey, by Arthur C. Clarke ]
|
||
dwar* cave*man
|
||
gnom* cave*man
|
||
'Twas in a land unkempt of life's red dawn;
|
||
Where in his sanded cave he dwelt alone;
|
||
Sleeping by day, or sometimes worked upon
|
||
His flint-head arrows and his knives of stone;
|
||
By night stole forth and slew the savage boar,
|
||
So that he loomed a hunter of loud fame,
|
||
And many a skin of wolf and wild-cat wore,
|
||
And counted many a flint-head to his name;
|
||
Wherefore he walked the envy of the band,
|
||
Hated and feared, but matchless in his skill.
|
||
Till lo! one night deep in that shaggy land,
|
||
He tracked a yearling bear and made his kill;
|
||
Then over-worn he rested by a stream,
|
||
And sank into a sleep too deep for dream.
|
||
[ The Dreamer, by Robert Service ]
|
||
*centaur
|
||
Of all the monsters put together by the Greek imagination
|
||
the Centaurs (Kentauroi) constituted a class in themselves.
|
||
Despite a strong streak of sensuality, in their make-up,
|
||
their normal behaviour was moral, and they took a kindly
|
||
thought of man's welfare. The attempted outrage of Nessos on
|
||
Deianeira, and that of the whole tribe of Centaurs on the
|
||
Lapith women, are more than offset by the hospitality of
|
||
Pholos and by the wisdom of Cheiron, physician, prophet,
|
||
lyrist, and the instructor of Achilles. Further, the
|
||
Centaurs were peculiar in that their nature, which united the
|
||
body of a horse with the trunk and head of a man, involved
|
||
an unthinkable duplication of vital organs and important
|
||
members. So grotesque a combination seems almost un-Greek.
|
||
These strange creatures were said to live in the caves and
|
||
clefts of the mountains, myths associating them especially
|
||
with the hills of Thessaly and the range of Erymanthos.
|
||
[ Mythology of all races, Vol. 1, pp. 270-271 ]
|
||
center of all
|
||
Compass all the planes,
|
||
and yet you will never find
|
||
creation's heart
|
||
[ riff on a Planescape Haiku,
|
||
originally by Ecco-Mono ]
|
||
centipede
|
||
I observed here, what I had often seen before, that certain
|
||
districts abound in centipedes. Here they have light
|
||
reddish bodies and blue legs; great myriapedes are seen
|
||
crawling every where. Although they do no harm, they excite
|
||
in man a feeling of loathing. Perhaps our appearance
|
||
produces a similar feeling in the elephant and other large
|
||
animals. Where they have been much disturbed, they
|
||
certainly look upon us with great distrust, as the horrid
|
||
biped that ruins their peace.
|
||
[ Travels and Researches in South Africa,
|
||
by Dr. David Livingstone ]
|
||
*erberus
|
||
kerberos
|
||
Cerberus, (or Kerberos in Greek), was the three-headed dog
|
||
that guarded the Gates of Hell. He allowed any dead to enter,
|
||
and likewise prevented them all from ever leaving. He was
|
||
bested only twice: once when Orpheus put him to sleep by
|
||
playing bewitching music on his lyre, and the other time when
|
||
Hercules confronted him and took him to the world of the
|
||
living (as his twelfth and last labor).
|
||
chameleon
|
||
A small lizard perched on a brown stone. Feeling threatened by
|
||
the approach of human beings along the path, it metamorphosed
|
||
into a stingray beetle, then into a stench-puffer, then into a
|
||
fiery salamander.
|
||
Bink smiled. These conversions weren't real. It had assumed
|
||
the forms of obnoxious little monsters, but not their essence.
|
||
It could not sting, stink or burn. It was a chameleon, using
|
||
its magic to mimic creatures of genuine threat.
|
||
Yet as it shifted into the form of a basilisk it glared at him
|
||
with such ferocity that Bink's mirth abated. If its malice
|
||
could strike him, he would be horribly dead.
|
||
[ A Spell for Chameleon, by Piers Anthony ]
|
||
chaos
|
||
Garland's hatred
|
||
burned for 2000
|
||
years. That
|
||
hatred led the
|
||
Four Powers to
|
||
this world.
|
||
|
||
CHAOS was
|
||
created from
|
||
those Four.
|
||
Evil dominated
|
||
the world and
|
||
covered it in
|
||
darkness.
|
||
[ Final Fantasy ]
|
||
charo*n
|
||
When an ancient Greek died, his soul went to the nether world:
|
||
the Hades. To reach the nether world, the souls had to cross
|
||
the river Styx, the river that separated the living from the
|
||
dead. The Styx could be crossed by ferry, whose shabby ferry-
|
||
man, advanced in age, was called Charon. The deceased's next-
|
||
of-kin would place a coin under his tongue, to pay the ferry-
|
||
man.
|
||
chest
|
||
large box
|
||
Dantes rapidly cleared away the earth around the chest. Soon
|
||
the center lock appeared, then the handles at each end, all
|
||
delicately wrought in the manner of that period when art made
|
||
precious even the basest of metals. He took the chest by the
|
||
two handles and tried to lift it, but it was impossible. He
|
||
tried to open it; it was locked. He inserted the sharp end
|
||
of his pickaxe between the chest and the lid and pushed down
|
||
on the handle. The lid creaked, then flew open.
|
||
Dantes was seized with a sort of giddy fever. He cocked his
|
||
gun and placed it beside him. Then he closed his eyes like a
|
||
child, opened them and stood dumbfounded.
|
||
The chest was divided into three compartments. In the first
|
||
were shining gold coins. In the second, unpolished gold
|
||
ingots packed in orderly stacks. From the third compartment,
|
||
which was half full, Dantes picked up handfuls of diamonds,
|
||
pearls and rubies. As they fell through his fingers in a
|
||
glittering cascade, they gave forth the sound of hail beating
|
||
against the windowpanes.
|
||
[ The Count of Monte Cristo, by Alexandre Dumas ]
|
||
chih*sung*tzu
|
||
A character in Chinese mythology noted for bringing about the end
|
||
of a terrible drought which threatened the survival of the people.
|
||
He achieved this by means of sprinkling the earth with water from a
|
||
bowl, using the branch of a tree to do so. He became the heavenly
|
||
controller of the rain, and lived with other celestial beings in
|
||
their paradise on Mount Kunlun.
|
||
[ The Illustrated Who's Who In Mythology,
|
||
by Michael Senior ]
|
||
chromatic dragon
|
||
Tiamat is said to be the mother of evil dragonkind. She is
|
||
extremely vain.
|
||
|
||
Avaricious, supremely vain, and profoundly Lawful Evil, Tiamat
|
||
proclaims herself the creator of all evil dragonkind, and
|
||
certainly many evil dragons revere her as their creator and patron
|
||
deity. She infests the uppermost of the Nine Hells with her
|
||
consorts, each a Great Wyrm of different colour - one red, one
|
||
white, one green, one blue, and one black.
|
||
Tiamat's Avatar appears as a gigantic five-headed dragon with one
|
||
head of each of the chromatic (evil) dragon types. Each head's
|
||
colour runs the length of the neck and into the forepart of het
|
||
body as stripes, gradually blending to three stripes of grey,
|
||
blue-green, and purple over her back and hind-quarters, then
|
||
merging into a muddy dark brown tail. Her underbelly and legs are
|
||
greenish white fading into her upper body colours.
|
||
[ Monster Mythology, by TSR inc. ]
|
||
circle of Acheron
|
||
*acheron
|
||
Then looking further onwards, I beheld
|
||
A throng upon the shore of a great stream:
|
||
Whereat I thus: "Sir! grant me now to know
|
||
Whom here we view, and whence impell'd they seem
|
||
So eager to pass o'er, as I discern
|
||
Through the blear light?" He thus to me in few:
|
||
"This shalt thou know, soon as our steps arrive
|
||
Beside the woful tide of Acheron."
|
||
[ The Divine Comedy, by Dante Alighieri ]
|
||
|
||
A circle of acheron takes just two strokes to scribe, making
|
||
it the simplest of the wards. It may be reinforced up to
|
||
4 times.
|
||
clairvoyant changed
|
||
Agent Smith: Mr. Anderson, welcome back, we've missed you.
|
||
You like what I've done with the place?
|
||
|
||
Neo: It ends tonight.
|
||
|
||
Agent Smith: I know it does, I've seen it. That's why the
|
||
rest of me is just going to enjoy the show, because we
|
||
already know that I'm the one that beats you.
|
||
[ The Matrix Revolutions ]
|
||
clarent
|
||
Clarent is the sword which Arthur drew forth from the stone,
|
||
proving himself a rightful king. It represents authority
|
||
and leadership. Clarent cleaves through stone easily, but
|
||
only those dedicated to law can remove it from a stony
|
||
grasp.
|
||
cleaver
|
||
Hither came Conan, the Cimmerian, black-haired, sullen-eyed,
|
||
sword in hand, a thief, a reaver, a slayer, with gigantic
|
||
melancholies and gigantic mirth, to tread the jeweled
|
||
thrones of the Earth under his sandalled feet."
|
||
[ The Phoenix on the Sword, Robert E. Howard ]
|
||
~elven cloak
|
||
~oilskin cloak
|
||
*cloak*
|
||
Cloaks are the universal outer garb of everyone who is not a
|
||
Barbarian. It is hard to see why. They are open in front
|
||
and require you at most times to use one hand to hold them
|
||
shut. On horseback they leave the shirt-sleeved arms and
|
||
most of the torso exposed to wind and Weather. The OMTs
|
||
[ Official Management Terms ] for Cloaks well express their
|
||
difficulties. They are constantly _swirling and dripping_
|
||
and becoming _heavy with water_ in rainy Weather, _entangling
|
||
with trees_ or _swords_, or needing to be _pulled close
|
||
around her/his shivering body_. This seems to suggest they
|
||
are less than practical for anyone on an arduous Tour.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
clockwork automaton
|
||
I am not an unimaginable thing
|
||
My thoughts are tangible
|
||
though they're full of springs
|
||
|
||
I don't have the heart to send you untruthful words
|
||
My skin is cold to the touch and made from the earth
|
||
[ Automatonic Electronic Harmonics,
|
||
Music & Lyrics By David Michael Bennett ]
|
||
cloud*
|
||
I wandered lonely as a cloud
|
||
That floats on high o'er vales and hills,
|
||
When all at once I saw a crowd,
|
||
A host, of golden daffodils;
|
||
Beside the lake, beneath the trees,
|
||
Fluttering and dancing in the breeze.
|
||
[ I Wandered Lonely as a Cloud, by William Wordsworth ]
|
||
cobra
|
||
Darzee and his wife only cowered down in the nest without
|
||
answering, for from the thick grass at the foot of the bush
|
||
there came a low hiss -- a horrid cold sound that made
|
||
Rikki-tikki jump back two clear feet. Then inch by inch out of
|
||
the grass rose up the head and spread hood of Nag, the big
|
||
black cobra, and he was five feet long from tongue to tail.
|
||
When he had lifted one-third of himself clear of the ground,
|
||
he stayed balancing to and fro exactly as a dandelion-tuft
|
||
balances in the wind, and he looked at Rikki-tikki with the
|
||
wicked snake's eyes that never change their expression,
|
||
whatever the snake may be thinking of.
|
||
'Who is Nag?' said he. '_I_ am Nag. The great God Brahm put
|
||
his mark upon all our people, when the first cobra spread his
|
||
hood to keep the sun off Brahm as he slept. Look, and be
|
||
afraid!'
|
||
[ Rikki-tikki-tavi, by Rudyard Kipling ]
|
||
cockatrice
|
||
Once in a great while, when the positions of the stars are
|
||
just right, a seven-year-old rooster will lay an egg. Then,
|
||
along will come a snake, to coil around the egg, or a toad,
|
||
to squat upon the egg, keeping it warm and helping it to
|
||
hatch. When it hatches, out comes a creature called basilisk,
|
||
or cockatrice, the most deadly of all creatures. A single
|
||
glance from its yellow, piercing toad's eyes will kill both
|
||
man and beast. Its power of destruction is said to be so
|
||
great that sometimes simply to hear its hiss can prove fatal.
|
||
Its breath is so venomous that it causes all vegetation
|
||
to wither.
|
||
|
||
There is, however, one creature which can withstand the
|
||
basilisk's deadly gaze, and this is the weasel. No one knows
|
||
why this is so, but although the fierce weasel can slay the
|
||
basilisk, it will itself be killed in the struggle. Perhaps
|
||
the weasel knows the basilisk's fatal weakness: if it ever
|
||
sees its own reflection in a mirror it will perish instantly.
|
||
But even a dead basilisk is dangerous, for it is said that
|
||
merely touching its lifeless body can cause a person to
|
||
sicken and die.
|
||
[ Mythical Beasts by Deirdre Headon (The Leprechaun Library)
|
||
and other sources ]
|
||
changed
|
||
warrior changed
|
||
Those Changed by the Far Realms of Insanity now find the
|
||
Prime Material plane inimical to their existence, and must
|
||
wear protective suits formed from the flesh of those still
|
||
native to our dying universe. Should the suit be breached,
|
||
the Changed within will slowly boil away in a cloud of
|
||
noxious fumes.
|
||
chickatrice
|
||
This beastie is the recently-hatched broodling of a cockatrice, a
|
||
creature feared by adventurers great and small for its petrifying
|
||
peck.
|
||
[ The New Bestiary, Wizard Endlebrook ]
|
||
citrine*
|
||
A pale yellow variety of crystalline quartz resembling topaz.
|
||
pyrolisk
|
||
A single glance from this red-feathered cockatrice can cause even
|
||
the bravest adventurer to burst into flames, their flesh withering
|
||
and blackening and curling beneath the creature's baleful gaze.
|
||
[ The New Bestiary, Wizard Endlebrook ]
|
||
*coin
|
||
*coins
|
||
zorkmid*
|
||
The coin bears the likeness of Belwit the Flat, along with the
|
||
inscriptions, "One Zorkmid," and "699 GUE [ Great Underground
|
||
Empire ]." On the other side, the coin depicts Egreth Castle,
|
||
and says "In Frobs We Trust" in several languages.
|
||
[ Zork Zero, by Infocom ]
|
||
combat
|
||
fight
|
||
fracas
|
||
melee
|
||
spat
|
||
squabble
|
||
tiff
|
||
[Scene: Mr. Moon and Gilbert enter tavern and discover many
|
||
corpses strewn about the place; Blind Pew is sole survivor.]
|
||
Blind Pew: Evening. Sounded as though there has been a bit
|
||
of a squabble.
|
||
Mr. Moon: Squabble? They're all dead.
|
||
Blind Pew: Oh. Must have been more of a tiff then.
|
||
[ Yellowbeard, directed by Mel Damski, screenplay
|
||
by Graham Chapman, Peter Cook, Bernard McKenna ]
|
||
# not "stethoscope"
|
||
cope
|
||
* cope
|
||
The cope is a liturgical vestment which may be worn by any
|
||
rank of the clergy. Copes are made in all liturgical colours,
|
||
and are like a very long mantle or cloak, fastened at the breast
|
||
by a clasp.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
cornuthaum
|
||
He was dressed in a flowing gown with fur tippets which had
|
||
the signs of the zodiac embroidered over it, with various
|
||
cabalistic signs, such as triangles with eyes in them, queer
|
||
crosses, leaves of trees, bones of birds and animals, and a
|
||
planetarium whose stars shone like bits of looking-glass with
|
||
the sun on them. He had a pointed hat like a dunce's cap, or
|
||
like the headgear worn by ladies of that time, except that
|
||
the ladies were accustomed to have a bit of veil floating
|
||
from the top of it.
|
||
[ The Once and Future King, by T.H. White ]
|
||
|
||
"A wizard!" Dooley exclaimed, astounded.
|
||
"At your service, sirs," said the wizard. "How
|
||
perceptive of you to notice. I suppose my hat rather gives me
|
||
away. Something of a beacon, I don't doubt." His hat was
|
||
pretty much that, tall and cone-shaped with stars and crescent
|
||
moons all over it. All in all, it couldn't have been more
|
||
wizardish.
|
||
[ The Elfin Ship, James P. Blaylock ]
|
||
corwin
|
||
I am a part of the evil that exists in the world and in
|
||
Shadow. I sometime fancy myself an evil which exists to
|
||
oppose other evils, and on that Great Day of which prophets
|
||
speak but in which they do not truly believe, on that day
|
||
when the world is completely cleansed of evil, then I, too,
|
||
will go down into darkness, swallowing curses.
|
||
But whatever . . . Until that time, I shall not wash my
|
||
hands nor let them hang useless.
|
||
[ The Guns of Avalon, Roger Zelazny ]
|
||
couatl
|
||
So rare as to be considered almost legendary, the couatl is one
|
||
of the most beautiful creatures in existence. It has the body of
|
||
a long serpent and feathered wings the color of the rainbow.
|
||
... This winged serpent is native to warm, jungle-like regions but
|
||
can also be found flying through the ether. Their intelligence and
|
||
goodness have made them objects of reverence by the natives of the
|
||
regions which they inhabit. Considered to be divine, there are many
|
||
legends in which the couatl is the benefactor of mankind and the
|
||
bestower of such precious gifts as agriculture and medicine. There
|
||
are even shrines in certain areas dedicated to the couatl, and any
|
||
who attack or harm a couatl are automatically viewed as the blackest
|
||
of villains.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
coure
|
||
mote of light
|
||
The smallest eladrins are the coures, tiny, spritelike creatures
|
||
who can be found throughout Arborea. They're messengers, scouts,
|
||
pranksters, and mischief-makers who pester and annoy any
|
||
travellers or more serious eladrins they run across. The coures'
|
||
jests are not meant maliciously; in fact, it's hard for even the
|
||
most dour Doomguard to hang on to a frown when a flock of coure
|
||
eladrins is dancing around his head.
|
||
|
||
Despite their senses of humor and boundless energy for song,
|
||
dance, and jest, coure eladrins tale a definite turn for the
|
||
serious when confronting evil creatures. Harmless pranks develop
|
||
into skilled guerilla tactics of hit-and-run nuisance attacks
|
||
while messengers are sent to summon more suitable opposition to
|
||
the threat.
|
||
|
||
Coure eladrin resemble tiny, slender elves with long gossamer
|
||
wings trailing from their shoulders. They appear in a variety
|
||
of improbable colors and are fond of wearing bright apparel of
|
||
questionable taste. A coure can assume the shape of a tiny
|
||
(6" diameter) ball of faerie-light at will.
|
||
[ Monstrous Manual, Planescape Appendix 2, TSR ]
|
||
coyote
|
||
This carnivore is known for its voracious appetite and
|
||
inflated view of its own intelligence.
|
||
cram*
|
||
If you want to know what cram is, I can only say that I don't
|
||
know the recipe; but it is biscuitish, keeps good indefinitely,
|
||
is supposed to be sustaining, and is certainly not entertaining,
|
||
being in fact very uninteresting except as a chewing
|
||
exercise. It was made by the Lake-men for long journeys.
|
||
[ The Hobbit, by J.R.R. Tolkien ]
|
||
cream pie
|
||
Gregor stared at the pastry tray, and sighed. "I suppose
|
||
it would disturb the guards if I tried to shove a cream torte up
|
||
your nose."
|
||
"Deeply. You should have done it when we were eight and
|
||
twelve, you could have gotten away with it then. The cream pie
|
||
of justice flies one way," Miles snickered.
|
||
[ The Vor Game, by Lois McMaster Bujold ]
|
||
*crocodile
|
||
A big animal with the appearance of a lizard, constituting
|
||
an order of the reptiles (_Loricata_ or _Crocodylia_), the
|
||
crocodile is a large, dangerous predator native to tropical
|
||
and subtropical climes. It spends most of its time in large
|
||
bodies of water.
|
||
|
||
How doth the little crocodile
|
||
Improve his shining tail,
|
||
And pour the waters of the Nile
|
||
On every golden scale!
|
||
|
||
How cheerfully he seems to grin
|
||
How neatly spreads his claws,
|
||
And welcomes little fishes in,
|
||
With gently smiling jaws!
|
||
[ How Doth The Little Crocodile, by Lewis Carroll ]
|
||
croesus
|
||
kroisos
|
||
creosote
|
||
Croesus (in Greek: Kroisos), the wealthy last king of Lydia;
|
||
his empire was destroyed when he attacked Cyrus in 549, after
|
||
the Oracle of Delphi (q.v.) had told him: "if you attack the
|
||
Persians, you will destroy a mighty empire". Herodotus
|
||
relates of his legendary conversation with Solon of Athens,
|
||
who impressed upon him that being rich does not imply being
|
||
happy and that no one should be considered fortunate before
|
||
his death.
|
||
crom
|
||
Warily Conan scanned his surroundings, all of his senses alert
|
||
for signs of possible danger. Off in the distance, he could
|
||
see the familiar shapes of the Camp of the Duali tribe.
|
||
Suddenly, the hairs on his neck stand on end as he detects the
|
||
aura of evil magic in the air. Without thought, he readies
|
||
his weapon, and mutters under his breath:
|
||
"By Crom, there will be blood spilt today."
|
||
[ Conan the Avenger by Robert E. Howard, Bjorn Nyberg, and
|
||
L. Sprague de Camp ]
|
||
|
||
The chief idol of Eirin. This huge object stood on the plain
|
||
of Mag Sleact (the plain of adoration or prostration) in County
|
||
Cavan in Ulster. Situated around him were twelve smaller idols
|
||
made of stone while his was of gold. To him the early Irish
|
||
sacrificed one third of their children on Samain (November 1)
|
||
in return for milk and corn and the good weather that insured
|
||
the fertility of cattle and crops. ... The twelve lesser idols
|
||
that encircle Crom have led to the assumption that he was a solar
|
||
deity; certainly a fertility god. However, he has not been
|
||
identified with any of the ancient Irish gods.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
|
||
... Crom was their chief, and he lived on a great mountain, whence he
|
||
sent forth dooms and death. It was useless to call on Crom, because
|
||
he was a gloomy, savage god, and he hated weaklings. But he gave a
|
||
man courage at birth, and the will and might to kill his enemies,
|
||
which, in the Cimmerian's mind, was all any god should be expected
|
||
to do.
|
||
[ The Tower of the Elephant, by Robert E. Howard ]
|
||
crossbow*
|
||
"God save thee, ancient Mariner!
|
||
From the fiends, that plague thee thus! -
|
||
Why look'st thou so?" - With my cross-bow
|
||
I shot the Albatross.
|
||
[ The Rime of the Ancient Mariner, by Samuel Taylor
|
||
Coleridge ]
|
||
crystal ball
|
||
You look into one of these and see _vapours swirling like
|
||
clouds_. These shortly clear away to show a sort of video
|
||
without sound of something that is going to happen to you
|
||
soon. It is seldom good news.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
black crystal
|
||
black orb
|
||
The black ORB
|
||
glitters ominously....
|
||
But nothing happens.
|
||
[ Final Fantasy I ]
|
||
fire crystal
|
||
water crystal
|
||
earth crystal
|
||
air crystal
|
||
fire orb
|
||
water orb
|
||
earth orb
|
||
air orb
|
||
And so their
|
||
journey begins----
|
||
|
||
What awaits the
|
||
Four, they do
|
||
not know.
|
||
|
||
Each holding an
|
||
ORB, that 2000
|
||
years ago shined
|
||
with beauty from
|
||
within. But now,
|
||
only darkness.
|
||
|
||
Come!!
|
||
Start your
|
||
journey!
|
||
Return the light
|
||
of peace to our
|
||
world.
|
||
[ Final Fantasy I ]
|
||
crystal ooze
|
||
What's worse, the evil residue has spawned a creature.
|
||
A gigantic crystal ooze lives in the pool and attacks
|
||
anything that enters the chamber - not out of hunger,
|
||
but spite. It particularly enjoys attacking sods as
|
||
soon as they emerge from the bottom of the shaft,
|
||
trying to grab them and drag them down into the foul,
|
||
green soup.
|
||
[ Dead Gods, by Monte Cook ]
|
||
*cthulhu
|
||
*Cthulhu
|
||
*ct*ul*u
|
||
*kt*ul*u
|
||
*cht*ul*u
|
||
*kht*ul*u
|
||
"The Thing cannot be described -- there is no language for such
|
||
abysms of shrieking and immemorial lunacy, such eldritch
|
||
contradictions of all matter, force, and cosmic order. A
|
||
mountain walked or stumbled. God!... the Thing of the idols,
|
||
the green, sticky spawn of the stars, had awakened to claim
|
||
his own. The stars were right again... great Cthulhu was
|
||
loose again, and ravening for delight."
|
||
[ The Call of Cthulhu, by H.P. Lovecraft ]
|
||
|
||
The exact origins of Cthulhu are lost to time, but it is
|
||
known that in aeons long past a race of space faring
|
||
beings came to this world and Cthulhu was amongst their
|
||
number as the high priest who interceded between them
|
||
and the dark gods they worshipped. Whether Cthulhu is
|
||
a long lived individual or a title of office, is not
|
||
known, but a creature bearing this name lives on,
|
||
trapped in eternal slumber in the ruins of his great
|
||
city.
|
||
|
||
I shall never sleep calmly again when I think of the
|
||
horrors that lurk ceaselessly behind life in time and in
|
||
space, and of those unhallowed blasphemies from elder
|
||
stars which dream beneath the sea....
|
||
[ The Call of Cthulhu, by H.P. Lovecraft ]
|
||
curse*
|
||
Curses are longstanding ill-wishings which, in Fantasyland,
|
||
often manifest as semisentient. They have to be broken or
|
||
dispelled. The method varies according to the type and
|
||
origin of the Curse:
|
||
[...]
|
||
4. Curses on Rings and Swords. You have problems. Rings
|
||
have to be returned whence they came, preferably at over a
|
||
thousand degrees Fahrenheit, and the Curse means you won't
|
||
want to do this. Swords usually resist all attempts to
|
||
raise their Curses. Your best source is to hide the Sword
|
||
or give it to someone you dislike.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
cwn*n
|
||
A pack of snow-white, red-eared spectral hounds which
|
||
sometimes took part in the kidnappings and raids the
|
||
inhabitants of the underworld sometimes make on this world
|
||
(the Wild Hunt). They are associated in Wales with the sounds
|
||
of migrating wild geese, and are said to be leading the souls
|
||
of the damned to hell. The phantom chase is usually heard or
|
||
seen in midwinter and is accompanied by a howling wind.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
cyclops
|
||
The one-eyed giants, the cyclops, were the forgers of Zeus's
|
||
thunderbolts. Zeus killed Apollo's son Asclepius (Aesculapius)
|
||
with one such thunderbolt in retribution for Asclepius giving
|
||
mortals the skills to evade death, thus upsetting the natural
|
||
order of the world. Apollo responded by slaying the cyclops.
|
||
|
||
And after he had milked his cattle swiftly,
|
||
he again took hold of two of my men
|
||
and had them as his supper.
|
||
Then I went, with a tub of red wine,
|
||
to stand before the Cyclops, saying:
|
||
"A drop of wine after all this human meat,
|
||
so you can taste the delicious wine
|
||
that is stored in our ship, Cyclops."
|
||
He took the tub and emptied it.
|
||
He appreciated the priceless wine that much
|
||
that he promptly asked me for a second tub.
|
||
"Give it", he said, "and give me your name as well".
|
||
...
|
||
Thrice I filled the tub,
|
||
and after the wine had clouded his mind,
|
||
I said to him, in a tone as sweet as honey:
|
||
"You have asked my name, Cyclops? Well,
|
||
my name is very well known. I'll give it to you,
|
||
if you give me the gift you promised me as a guest.
|
||
My name is Nobody. All call me thus:
|
||
my father and my mother and my friends."
|
||
Ruthlessly he answered to this:
|
||
"Nobody, I will eat you last of all;
|
||
your host of friends will completely precede you.
|
||
That will be my present to you, my friend."
|
||
And after these words he fell down backwards,
|
||
restrained by the all-restrainer Hupnos.
|
||
His monstrous neck slid into the dust;
|
||
the red wine squirted from his throat;
|
||
the drunk vomited lumps of human flesh.
|
||
[ The Odyssey, (chapter Epsilon), by Homer ]
|
||
daemon
|
||
He'll wrap you in his arms,
|
||
tell you that you've been a good boy
|
||
He'll rekindle all those dreams
|
||
it took you a lifetime to destroy
|
||
He'll reach deep into the hole,
|
||
heal your shrinking soul
|
||
...
|
||
They're whispering his name
|
||
'cross this disappearing land
|
||
But hidden in his coat
|
||
is a red right hand
|
||
...
|
||
You're one microscopic cog
|
||
in his catastrophic plan,
|
||
designed and directed by
|
||
his red right hand
|
||
[ Red Right Hand, by Nick Cave
|
||
and the Bad Seeds ]
|
||
~sting
|
||
~grimtooth
|
||
*dagger
|
||
Is this a dagger which I see before me,
|
||
The handle toward my hand? Come, let me clutch thee.
|
||
I have thee not, and yet I see thee still.
|
||
Art thou not, fatal vision, sensible
|
||
To feeling as to sight? or art thou but
|
||
A dagger of the mind, a false creation,
|
||
Proceeding from the heat-oppressed brain?
|
||
I see thee yet, in form as palpable
|
||
As this which now I draw.
|
||
[ Macbeth, by William Shakespeare ]
|
||
dagon
|
||
The demon is immense, its glistening bulk heaving monstrously
|
||
into the air as a writhing storm of hook-suckered tentacles
|
||
unfolds from its shapless lower body. Its two largest tentacles
|
||
terminate in immense five-fingered talons. Its head is that of
|
||
a deep-sea fish, twisted with cruelty and leering with a
|
||
primordial intelligence, its stilettolike teeth immense and
|
||
translucent.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
dahlver-nar
|
||
strange corpse
|
||
[...] Binder scholars know a different story—that Dahlver-Nar
|
||
was a powerful cleric who forsook his deity to pursue the power
|
||
of pact magic. The fabled teeth of Dahlver-Nar, to which all
|
||
the legends attribute miraculous powers, were neither his own nor
|
||
those of the dragon he battled. They were the teeth of beings
|
||
that became vestiges after death, and they could grant abilities
|
||
similar to those that the vestiges themselves imparted. Pact magic
|
||
treatises relate that Dahlver-Nar pulled out his own teeth and
|
||
replaced them with those of the vestiges, but that using them all
|
||
drove him mad. What happened thereafter is a matter of debate, but
|
||
the texts maintain that Dahlver-Nar eventually died, and the teeth
|
||
were lost, divided up among the squabbling followers he had managed
|
||
to gain and then spread across the world. Today, Dahlver-Nar exists
|
||
as a vestige in his own right—perhaps brought to that state through
|
||
his close association with so many others.
|
||
[ Tome of Magic,
|
||
by Matthew Sernett et al. ]
|
||
|
||
Thirty-two horses on a red hill,
|
||
First they champ,
|
||
Then they stamp,
|
||
Then they stand still.
|
||
[ Adapted from the Hobbit,
|
||
by J. R. R. Tolkien ]
|
||
damned pirate
|
||
These memories were bought with the lives of good men
|
||
A price that I paid without scruple
|
||
So many souls suffered so I could get drunk
|
||
And swagger from brothel to brothel
|
||
|
||
And for what?
|
||
It's been many years
|
||
Yet the screams of the vanquished still ring in my ears
|
||
And for what?
|
||
I've blood on my hands
|
||
I wait for my place in the halls of the damned
|
||
And If I could go back and make my amends
|
||
I'd make all those mistakes again
|
||
I'd kill every last one of those bastards, my friend!
|
||
[ Pirate Song, Alestorm ]
|
||
dark one
|
||
... But he ruled rather by force and fear, if they might
|
||
avail; and those who perceived his shadow spreading over the
|
||
world called him the Dark Lord and named him the Enemy; and
|
||
he gathered again under his government all the evil things of
|
||
the days of Morgoth that remained on earth or beneath it,
|
||
and the Orcs were at his command and multiplied like flies.
|
||
Thus the Black Years began ...
|
||
[ The Silmarillion, by J.R.R. Tolkien ]
|
||
dark young
|
||
The mouths was like leaves and the whole thing was like a
|
||
tree in the wind, a black tree with lots of branches trailing
|
||
to the ground, and a whole lot of roots ending in hoofs. And
|
||
that green slime dribbling out of the mouths and down the
|
||
legs was like sap!...
|
||
It came crawling up the hillside to the alter and the
|
||
sacrefice, and it was the black thing of my dreams-that black
|
||
ropy, slimy, jelly tree-thing out of the woods. It crawled up
|
||
and it flowed up on its hoofs and mouths and snaky arms. And
|
||
the men bowed and stood back and then it got to the alter
|
||
where they was something squirmin on top, squirming and
|
||
screaming.
|
||
[ Notebook Found In a Deserted House, by Robert Bloch ]
|
||
darkness given hunger
|
||
Juiblex has many slime, pudding, ooze, and jelly "servants,"
|
||
although none are intelligent enough to serve the demon lord
|
||
willingly-except for one.
|
||
|
||
Darkness Given Hunger is the largest black pudding known.
|
||
It was possessed by a hezrou demon at Juiblex's command, and
|
||
then an Imprison Possessor spell was cast upon the fusion,
|
||
making it permanent. For centuries, the demon has dwelled
|
||
within the pudding, and the two have truly become one in the
|
||
foul depths of the Abyss. Now, Darkness Given Hunger is
|
||
Juiblex's main servant, helping patrol the Abyssal layer upon
|
||
which they both dwell, looking for food.
|
||
[ The Book of Vile Darkness, by Monte Cook ]
|
||
# includes "dart trap"
|
||
dart*
|
||
Darts are missile weapons, designed to fly such that a sharp,
|
||
often weighted point will strike first. They can be distinguished
|
||
from javelins by fletching (i.e., feathers on the tail) and a shaft
|
||
that is shorter and/or more flexible, and from arrows by the fact
|
||
that they are not of the right length to use with a normal bow.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
|
||
Against my foe I hurled a murderous dart.
|
||
He caught it in his hand--I heard him laugh--
|
||
I saw the thing that should have pierced his heart
|
||
Turn to a golden staff.
|
||
[ Gifts, by Mary Coleridge ]
|
||
Daruth Xaxox
|
||
Past the edge of reality is a relic from the Material Plane: a
|
||
stone keep securely lashed to the trunk of a dessicated tree a
|
||
mile in diameter. This was an outpost of mages too intent on
|
||
discovering forbidden knowledge to fear for their own sanity.
|
||
Nor do they fear insanity now, for rational thought has departed
|
||
those who still live. Amid the wreckage of a laboratory,
|
||
barracks, kitchen, small library, and specimen cells, some
|
||
powerful spellcasters and their servants yet wander. Daruth
|
||
Winterwood, an ancient elven mage, led the expedition, but
|
||
now his brain is full of spiders. Literally.
|
||
|
||
Still, he seeks to return Xaxox to the Material Plane in one
|
||
piece. Every now and then he coaxes open a small portal, allowing
|
||
the essence of the Far Realm to seep onto some random plane,
|
||
troubling the dreams of those who reside there. Should Daruth
|
||
ever attract assistance from those on the far side of his
|
||
portals, or manage to transfer Xaxox on his own, a permanent
|
||
portal between the Far Realm and the Material Plane could open.
|
||
Anticipation of the tidal wave of insanity that would follow is
|
||
the delight that continues to inspire Daruth's mania.
|
||
[ 3rd Edition Manual of the Planes, by Jeff Grubb,
|
||
Bruce R. Cordell, and David Noonan ]
|
||
deep one
|
||
Them things told the Kanakys that ef they mixed bloods there'd
|
||
be children as ud look human at fust, but later turn mone'n
|
||
more like the things, till finally the'd take to the water an'
|
||
jine the main lot o' things daown har. An' this is the
|
||
important part, young feller - them as turned into fish things
|
||
an' went into the water wouldn't never die. Them things never
|
||
died excep' they was kilt violent.
|
||
... Folks as had took to the water gen'rally come back a good
|
||
deal to visit, so's a man ud often be a'talkin' to his own
|
||
five-times-great-grandfather who'd left the dry land a couple
|
||
o' hundred years or so afore.
|
||
[ The Shadow Over Innsmouth, by H.P. Lovecraft ]
|
||
deeper one
|
||
For eighty thousand years Pth'thya-l'yi had lived in Y'ha-nthlei,
|
||
and thither she had gone back after Obed Marsh was dead.
|
||
Y'ha-nthlei was not destroyed when the upper-earth men shot death
|
||
into the sea. It was hurt, but not destroyed. The Deep Ones
|
||
could never be destroyed, even though the palaeogean magic of the
|
||
forgotten Old Ones might sometimes check them. For the present
|
||
they would rest; but some day, if they remembered, they would
|
||
rise again for the tribute Great Cthulhu craved.
|
||
[ The Shadow Over Innsmouth, by H.P. Lovecraft ]
|
||
deepest one
|
||
It was the pictorial carving, however, that did most to hold me
|
||
spellbound. Plainly visible across the intervening water on
|
||
account of their enormous size, were an array of bas-reliefs
|
||
whose subjects would have excited the envy of Dore. I think that
|
||
these things were supposed to depict men-at least, a certain
|
||
sort of men; though the creatures were shewn disporting like
|
||
fishes in waters of some marine grotto, or paying homage at some
|
||
monolithic shrine which appeared to be under the waves as well.
|
||
Of their faces and forms I dare not speak in detail; for the
|
||
mere remembrance makes me grow faint. Curiously enough, they
|
||
seemed to have been chiselled badly out of proportion with their
|
||
scenic background; for one of the creatures was shewn in the act
|
||
of killing a whale represented as but little larger than himself.
|
||
[ Dagon, by H.P. Lovecraft ]
|
||
|
||
No Deep One dies naturally. The longer it lives, the larger
|
||
it grows, and it can become exceptionally large.
|
||
[ S. Petersen's Field Guid to Cthulhu Monsters
|
||
a Field Observer's handbook of preternatural entities ]
|
||
deminymph
|
||
The daughter of a nymph and a mortal hero, a deminymph retains
|
||
all of her mother's charm, adding to that the martial training
|
||
and near-limitless potential of her father.
|
||
demi*lich
|
||
The demilich is not, as the name implies, a weaker form of the lich.
|
||
Rather, it is the stage into which a lich will eventually evolve as
|
||
the power which has sustained its physical form gradually begins to
|
||
fail. In most cases, all that remains of a demilich's body are a skull,
|
||
some bones, and a pile of dust.
|
||
When it has learned all that it feels it can in its undead life, the
|
||
lich will continue its quest for power in strange planes unknown to
|
||
even the wisest of sages. Since it has no use for its physical body
|
||
at this point, the lich leaves it to decay as it should have done
|
||
centuries ago.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
demogorgon
|
||
A terrible deity, whose very name was capable of producing the
|
||
most horrible effects. He is first mentioned by the 4th-century
|
||
Christian writer, Lactantius, who in doing so broke with the
|
||
superstition that the very reference to Demogorgon by name
|
||
brought death and disaster.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
|
||
Demogorgon, the prince of demons, wallows in filth and can
|
||
spread a quickly fatal illness to his victims while rending
|
||
them. He is a mighty spellcaster, and it is said that no
|
||
mortal may meet his gaze and live to tell of it.
|
||
|
||
The demon towers over you, his body at once sinuous like
|
||
that of a snake and powerful like that of a great ape. Two
|
||
baleful baboon heads leer from atop his lumbering shoulders,
|
||
attached to which are two long, bifurcated tentacles. His
|
||
lower torso is saurian, like some great reptile with an
|
||
immense forked tail.
|
||
[ Adapted from Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
# takes "major demon" when specifying "&"
|
||
demon
|
||
major demon
|
||
It is often very hard to discover what any given Demon looks
|
||
like, apart from a general impression of large size, huge
|
||
fangs, staring eyes, many limbs, and an odd color; but all
|
||
accounts agree that Demons are very powerful, very Magic (in
|
||
a nonhuman manner), and made of some substance that can squeeze
|
||
through a keyhole yet not be pierced with a Sword. This makes
|
||
them difficult to deal with, even on the rare occasions when
|
||
they are friendly.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
demonbane
|
||
"From the hate-scorched sky----
|
||
With righteous anger in our hearts----
|
||
We draw forth the sword that smites Evil!
|
||
Thou art the innocent blade----
|
||
Demonbane!"
|
||
[ Demonbane ]
|
||
devil*snare
|
||
"Stop moving!" Hermione ordered them. "I know what this is --
|
||
it's Devil's Snare!"
|
||
"Oh, I'm so glad we know what it's called, that's a great help,"
|
||
snarled Ron, leaning back, trying to stop the plant from curling
|
||
around his neck.
|
||
"Shut up, I'm trying to remember how to kill it!" said Hermione.
|
||
"Well, hurry up, I can't breathe!" Harry gasped, wrestling with
|
||
it as it curled around his chest.
|
||
"Devil's Snare, Devil's Snare . . . what did Professor Sprout
|
||
say? -- it likes the dark and the damp --"
|
||
"So light a fire!" Harry choked.
|
||
"Yes -- of course -- but there's no wood!" Hermione cried,
|
||
wringing her hands.
|
||
"HAVE YOU GONE MAD?" Ron bellowed. "ARE YOU A WITCH OR NOT?"
|
||
[ Harry Potter and the Philosopher's Stone, by J. K. Rowling ]
|
||
diamond
|
||
The hardest known mineral (with a hardness of 10 on Mohs' scale). It
|
||
is an allotropic form of pure carbon that has crystallized in the
|
||
cubic system, usually as octahedra or cubes, under great pressure.
|
||
[ A Concise Dictionary of Physics ]
|
||
|
||
The diamond, _adamas_ or _dyamas_, is a transparent stone, like crystal,
|
||
but having the colour of polished iron, but it cannot be destroyed by
|
||
iron, fire or any other means, unless it is placed in the hot blood
|
||
of a goat; with sharp pieces of diamond other stones are engraved and
|
||
polished. It is no greater than a small nut. There are six kinds,
|
||
however Adamant attracts metal; it expels venom; it produces amber
|
||
(and is efficacious against empty fears and for those resisting spells).
|
||
It is found in India, in Greece and in Cyprus, where magicians make use
|
||
of it. It gives you courage; it averts apparitions; it removes anger and
|
||
quarrels; it heals the mad; it defends you from your enemies. It should be
|
||
set in gold or silver and worn on the left arm. It is likewise found
|
||
in Arabia.
|
||
[ The Aberdeen Bestiary, translated by Colin McLaren ]
|
||
dilithium*
|
||
The most famous and the first to be named of the imaginary
|
||
"minerals" of Star Trek is dilithium. ... Because of this
|
||
mineral's central role in the storyline, a whole mythology
|
||
surrounds it. It is, however, a naturally occurring substance
|
||
within the mythology, as there are various episodes that
|
||
make reference to the mining of dilithium deposits. ...
|
||
This name itself is imaginary and gives no real information on
|
||
the structure or make-up of this substance other than that this
|
||
version of the name implies a lithium and iron-bearing
|
||
aluminosilicate of some sort. That said, the real mineral that
|
||
most closely matches the descriptive elements of this name is
|
||
ferroholmquistite which is a dilithium triferrodiallosilicate.
|
||
If one goes on the premise that nature follows certain general
|
||
norms, then one could extrapolate that dilithium might have a
|
||
similar number of silicon atoms in its structure.
|
||
Keeping seven (i.e. hepto) ferrous irons and balancing the
|
||
oxygens would give a theoretical formula of Li2Fe7Al2Si8O27. A
|
||
mineral with this composition could theoretically exist, although
|
||
it is doubtful that it would possess the more fantastic properties
|
||
ascribed to dilithium.
|
||
[ The Mineralogy of Star Trek, by Jeffrey de Fourestier ]
|
||
dimensional lock
|
||
The inexplicably-sky-blue image of the willow hints at the
|
||
aetheral power of the simple disk. While active, dimensional
|
||
magics (typical of summonings) fail.
|
||
|
||
"The enemy is ancient, eternal, and forever. Yet they are not
|
||
without weakness, for they have been put down before and shall
|
||
be put down again.
|
||
|
||
"The power of the Cerulean Sign has not faded over the eons; it
|
||
has grown. With its power within my soul, I cannot help but
|
||
prevail against the Elder Evils, and they cannot help but fall
|
||
against my might."
|
||
[ Lords of Madness, by Rich Baker, James Jacobs,
|
||
and Steve Winter ]
|
||
dingo
|
||
A wolflike wild dog, Canis dingo, of Australia, having a
|
||
reddish- or yellowish-brown coat, believed to have been
|
||
introduced by the aborigines.
|
||
[ Webster's Encyclopedic Unabridged Dictionary of the English Language ]
|
||
disenchanter
|
||
The disenchanter resembles a spindly dromedary-like animal with a long,
|
||
flexible snout. It is pale blue in color and slightly translucent.
|
||
It targets magical items carried or worn by an opponent.
|
||
|
||
"Ask not, what your magic can do to it.
|
||
Ask what it can do to your magic."
|
||
diskos
|
||
And here I must make known that these weapons did not shoot; but had a
|
||
disk of grey metal, sharp and wonderful, that spun in the end of a rod
|
||
of grey metal, and were someways charged by the Earth-Current, so that
|
||
were any but stricken thereby, they were cut in twain so easy as aught.
|
||
And the weapons were contrived to the repelling of any Army of Monsters
|
||
that might make to win entrance to the Redoubt. And to the eye they had
|
||
somewhat the look of strange battle-axes, and might be lengthened by
|
||
the pulling out of the handles.
|
||
[ The Night Land, by William Hope Hodgson ]
|
||
dispater
|
||
The Roman ruler of the underworld and fortune, similar to the Greek
|
||
Hades. Every hundred years, the Ludi Tarentini were celebrated in his
|
||
honor. The Gauls regarded Dis Pater as their ancestor.
|
||
The name is a contraction of the Latin Dives, "the wealthy", Dives
|
||
Pater, "the wealthy father", or "Fater Wealth". It refers to the
|
||
wealth of precious stone below the earth.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
|
||
Dispater is an arch-devil who rules the city of Dis. He is
|
||
a powerful mage.
|
||
|
||
This dark-haired figure stands just over seven feet tall. He could
|
||
pass for human if it weren't for the small horns protruding from
|
||
his brow and his glowing red eyes. Dressed in regal finery, he carries
|
||
a long rod capped with a macelike head.
|
||
[ Tyrants of the Nine Hells,
|
||
by Robin Laws and Robert Schwalb ]
|
||
displacer beast
|
||
The displacer beast is a magical creature that resembles a
|
||
puma with two powerful black tentacles growing from its
|
||
shoulders. Very rare, they stay far from human habitations.
|
||
|
||
The displacer beast has the blue-black coloring of a dark
|
||
panther, and a long cat-like body and head. Females range
|
||
in length from 8 to 9 feet, and weigh 450 pounds; males
|
||
are 10 to 12 feet long, and weigh up to 500 Lbs. They have
|
||
6 legs. Tentacles are tipped with rough horny edges that
|
||
can inflict terrible wounds. Their eyes glow bright green,
|
||
even after death.
|
||
[ Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual, TSR ]
|
||
djinn*
|
||
The djinn are genies from the elemental plane of Air. There,
|
||
among their kind, they have their own societies. They are
|
||
sometimes encountered on earth and may even be summoned here
|
||
to perform some service for powerful wizards. The wizards
|
||
often leave them about for later service, safely tucked away
|
||
in a flask or lamp. Once in a while, such a tool is found by
|
||
a lucky rogue, and some djinn are known to be so grateful
|
||
when released that they might grant their rescuer a wish.
|
||
# takes "dog or other canine" when specifying "d"
|
||
~hachi
|
||
~slasher
|
||
~sirius
|
||
*dog
|
||
pup*
|
||
*canine
|
||
A domestic animal, the _tame dog_ (_Canis familiaris_), of
|
||
which numerous breeds exist. The male is called a dog,
|
||
while the female is called a bitch. Because of its known
|
||
loyalty to man and gentleness with children, it is the
|
||
world's most popular domestic animal. It can easily be
|
||
trained to perform various tasks.
|
||
# typing "spellbook or a closed door" shouldn't yield this entry.
|
||
~trap*door
|
||
~*spellbook*
|
||
*door
|
||
doorway
|
||
Through me you pass into the city of woe:
|
||
Through me you pass into eternal pain:
|
||
Through me among the people lost for aye.
|
||
Justice the founder of my fabric mov'd:
|
||
To rear me was the task of power divine,
|
||
Supremest wisdom, and primeval love.
|
||
Before me things create were none, save things
|
||
Eternal, and eternal I endure.
|
||
All hope abandon ye who enter here.
|
||
[ The Inferno, from The Divine Comedy of Dante
|
||
Alighieri, translated by H.F. Cary ]
|
||
doppelganger
|
||
"Then we can only give thanks that this is Antarctica, where
|
||
there is not one, single, solitary, living thing for it to
|
||
imitate, except these animals in camp."
|
||
|
||
"Us," Blair giggled. "It can imitate us. Dogs can't make four
|
||
hundred miles to the sea; there's no food. There aren't any
|
||
skua gulls to imitate at this season. There aren't any
|
||
penguins this far inland. There's nothing that can reach the
|
||
sea from this point - except us. We've got brains. We can do
|
||
it. Don't you see - it's got to imitate us - it's got to be one
|
||
of us - that's the only way it can fly an airplane - fly a plane
|
||
for two hours, and rule - be - all Earth's inhabitants. A world
|
||
for the taking - if it imitates us!
|
||
[ Who Goes There?, by John W. Campbell ]
|
||
|
||
Xander: Let go! I have to kill the demon bot!
|
||
Xander Double (grabbing the gun): Anya, get out of the way.
|
||
Buffy: Xander!
|
||
Xander Double: That's all right, Buffy. I have him.
|
||
Xander: No, Buffy, I'm me. Help me!
|
||
Anya: My gun, he's got my gun.
|
||
Riley: You own a gun?
|
||
Buffy: Xander, gun holding Xander, give it to me.
|
||
Anya: Buffy, which one's real?
|
||
Xander: I am.
|
||
Xander Double: No, _I_ am.
|
||
[ Buffy the Vampire Slayer, Episode 5.03, "The Replacement" ]
|
||
*dragon
|
||
*xoth
|
||
In the West the dragon was the natural enemy of man. Although
|
||
preferring to live in bleak and desolate regions, whenever it
|
||
was seen among men it left in its wake a trail of destruction
|
||
and disease. Yet any attempt to slay this beast was a perilous
|
||
undertaking. For the dragon's assailant had to contend
|
||
not only with clouds of sulphurous fumes pouring from its fire
|
||
breathing nostrils, but also with the thrashings of its tail,
|
||
the most deadly part of its serpent-like body.
|
||
[ Mythical Beasts by Deirdre Headon (The Leprechaun Library) ]
|
||
|
||
"One whom the dragons will speak with," he said, "that is a
|
||
dragonlord, or at least that is the center of the matter. It's
|
||
not a trick of mastering the dragons, as most people think.
|
||
Dragons have no masters. The question is always the same, with
|
||
a dragon: will he talk to you or will he eat you? If you can
|
||
count upon his doing the former, and not doing the latter, why
|
||
then you're a dragonlord."
|
||
[ The Tombs of Atuan, by Ursula K. Le Guin ]
|
||
*dragon*scale*
|
||
Stephen had argued, and the expert armorer had grudgingly
|
||
admitted, that dragonscale shield or armor, provided it proved
|
||
feasible to make at all, ought to offer some real, practical
|
||
advantages over any metal breastplate or shield -- gram for
|
||
gram of weight, such a defense would probably be a lot
|
||
tougher and more protective than any human smiths could
|
||
make of steel.
|
||
[ The Last Book of Swords: Shieldbreaker's Story,
|
||
by Fred Saberhagen ]
|
||
dragon lance
|
||
dragonlance
|
||
An ancient weapon, forged in the Age of Dreams to be the bane
|
||
of dragon kind.
|
||
dread blossom*
|
||
dreadblossom*
|
||
An individual dread blossom looks like a foot long
|
||
crimson flower, speckled with gold and black pollen,
|
||
that ends in a 6-inch-long hollow thorn surrounded at
|
||
its base by a frill of inch-long roots. Few creatures can
|
||
examine a dread blossom in such detail, as a dread blossom
|
||
swarm at rest is usually firmly planted in the bodies
|
||
of its latest victims.
|
||
[ Monster Manual III, Dungeons and Dragons 3.5 ]
|
||
dread pirate roberts
|
||
Finally, Roberts decided something. He said, "All right,
|
||
Westley, I've never had a valet. You can try it for tonight.
|
||
I'll most likely kill you in the morning." Three years he
|
||
said that. "Good night, Westley. Good work. Sleep well. I'll
|
||
most likely kill you in the morning." It was a fine time for
|
||
me. I was learning to fence, to fight, anything anyone would
|
||
teach me. And Roberts and I eventually became friends. And
|
||
then it happened.
|
||
|
||
Roberts had grown so rich, he wanted to retire. He took me to
|
||
his cabin and he told me his secret. 'I am not the Dread Pirate
|
||
Roberts' he said. 'My name is Ryan; I inherited the ship from
|
||
the previous Dread Pirate Roberts, just as you will inherit
|
||
it from me. The man I inherited it from is not the real Dread
|
||
Pirate Roberts either. His name was Cummerbund. The real
|
||
Roberts has been retired 15 years and living like a king in
|
||
Patagonia.'
|
||
[ Adapted from The Princess Bride, by William Goldman ]
|
||
dream quasielemental
|
||
The region of dreams is near to the elemental planes
|
||
in many respects, being the weakest and most impermanent
|
||
of the shapings of the possible into the actual.
|
||
|
||
The emanations of dream, then, are not true elementals,
|
||
but are similar to them in some respects. Dream
|
||
quasielementals are also able to take the forms of a
|
||
wide variety of creatures, though they never hold the
|
||
same from long.
|
||
drider
|
||
A droven punishment form uniting the upper body of a drow
|
||
with the lower body of a giant spider. This form is
|
||
typically inflicted on drow matrons who fail a test set
|
||
out by Lolth, or who scheme and plot against others
|
||
without benifit to themselves, or who value material
|
||
things above all else. Driders are cast out of droven
|
||
society, driven deep into the underdark tunnels, far from
|
||
the cities of the drow. As with all punishment forms,
|
||
conversion into a drider also renders the victim sterile.
|
||
Driders, then, have been given the _form_ of the deity
|
||
Lolth, but have been deprived of the _essence_ of what it
|
||
means to be drow.
|
||
drow*
|
||
Myths exist for a purpose - To explain the unexplainable.
|
||
Because man fears the unknown.
|
||
|
||
Murdering our kin. Our children.
|
||
Butchering our towns.
|
||
Devouring our flesh.
|
||
Enslaving our people.
|
||
Whispering of incest.
|
||
Desecrating our lands.
|
||
These mythical black demons with red eyes, embodying all
|
||
the sins of men.
|
||
|
||
But what if those demons truly exist?
|
||
What are they, who are they?
|
||
Do they dream?
|
||
Do they hate and love?
|
||
Do they have their own demons that represent
|
||
everything they despise and fear?
|
||
[ Drowtales, by Kern, Kite, and Bandit, Drowtales.com ]
|
||
|
||
Also known as dark elves, drow are a depraved and evil
|
||
subterranean offshoot of the elvish species.
|
||
|
||
White is the most common hair color among drow, but almost
|
||
any pale shade is possible. Drow tend to be smaller and
|
||
thinner than other sorts of elves, and their eyes are often
|
||
a vivid red.
|
||
[ DnD 3.5 SRD ]
|
||
*drum*
|
||
Many travelers have seen the drums of the great apes, and
|
||
some have heard the sounds of their beating and the noise of
|
||
the wild, weird revelry of these first lords of the jungle,
|
||
but Tarzan, Lord Greystoke, is, doubtless, the only human
|
||
being who ever joined in the fierce, mad, intoxicating revel
|
||
of the Dum-Dum.
|
||
[ Tarzan of the Apes, by Edgar Rice Burroughs ]
|
||
dunce*
|
||
A dunce cap, also variously known as a dunce hat, dunce's cap,
|
||
or dunce's hat, is a tall conical hat. In popular culture, it
|
||
is typically made of paper and often marked with a D, and given
|
||
to schoolchildren to wear as punishment for being stupid or
|
||
lazy. While this is now a rare practice, it is frequently depicted
|
||
in popular culture such as children's cartoons.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
~dungeon fern*
|
||
dungeon*
|
||
At once as far as Angels kenn he views
|
||
The dismal Situation waste and wilde,
|
||
A Dungeon horrible, on all sides round
|
||
As one great Furnace flam'd, yet from those flames
|
||
No light, but rather darkness visible
|
||
Serv'd only to discover sights of woe,
|
||
Regions of sorrow, doleful shades, where peace
|
||
And rest can never dwell, hope never comes
|
||
That comes to all; but torture without end
|
||
Still urges, and a fiery Deluge, fed
|
||
With ever-burning Sulphur unconsum'd:
|
||
Such place Eternal Justice had prepar'd
|
||
For those rebellious, here their Prison ordain'd
|
||
In utter darkness, and their portion set
|
||
As far remov'd from God and light of Heav'n
|
||
As from the Center thrice to th' utmost Pole.
|
||
[ Paradise Lost, by John Milton ]
|
||
dwarf smith
|
||
It looked to Sacharissa that the only tools a dwarf needed
|
||
were his axe and some means of making fire. That'd eventually
|
||
get him a forge, and with that he could make simple tools,
|
||
and with those he could make complex tools, and with complex
|
||
tools a dwarf could more or less make anything.
|
||
[ The Truth, by Terry Pratchett ]
|
||
~dwarf ??m*
|
||
dwarf*
|
||
Dwarfs have faces like men (ugly men, with wrinkled, leathery
|
||
skins), but are generally either flat-footed, duck-footed, or
|
||
have feet pointing backwards. They are of the earth, earthy,
|
||
living in the darkest of caverns and venturing forth only
|
||
with the cloaks by which they can make themselves invisible,
|
||
and others disguised as toads. Miners often come across them,
|
||
and sometimes establish reasonably close relations with them.
|
||
... The miners of Cornwall were always delighted to hear a
|
||
bucca busily mining away, for all dwarfs have an infallible
|
||
nose for precious metals.
|
||
Among other things, dwarfs are rightly valued for their skill
|
||
as blacksmiths and jewellers: they made Odin his famous spear
|
||
Gungnir, and Thor his hammer; for Freya they designed a
|
||
magnificent necklace, and for Frey a golden boar. And in their
|
||
spare time they are excellent bakers. Ironically, despite
|
||
their odd feet, they are particularly fond of dancing. They
|
||
can also see into the future, and consequently are excellent
|
||
meteorologists. They can be free with presents to people
|
||
they like, and a dwarvish gift is likely to turn to gold in
|
||
the hand. But on the whole they are a snappish lot.
|
||
[ The Immortals, by Derek and Julia Parker ]
|
||
earendil
|
||
elwing
|
||
In after days, when because of the triumph of Morgoth Elves and
|
||
Men became estranged, as he most wished, those of the Elven-race
|
||
that lived still in Middle-earth waned and faded, and Men usurped
|
||
the sunlight. Then the Quendi wandered in the lonely places of the
|
||
great lands and the isles, and took to the moonlight and the
|
||
starlight, and to the woods and the caves, becoming as shadows
|
||
and memories, save those who ever and anon set sail into the West
|
||
and vanished from Middle-earth. But in the dawn of years Elves
|
||
and Men were allies and held themselves akin, and there were some
|
||
among Men that learned the wisdom of the Eldar, and became great
|
||
and valiant among the captains of the Noldor. And in the glory
|
||
and beauty of the Elves, and in their fate, full share had the
|
||
offspring of elf and mortal, Earendil, and Elwing, and Elrond
|
||
their child.
|
||
[ The Silmarillion, by J.R.R. Tolkien ]
|
||
earth
|
||
Mostly Harmless.
|
||
[ Hitchhiker's Guide to the Galaxy, by Douglas Adams ]
|
||
ebon pane
|
||
ZAPHOD:
|
||
It's the wild colour scheme that freaks me. I mean, when you try an'
|
||
operate one of these weird black controls which are labelled in black
|
||
on a black background, a small black light lights up black to tell you
|
||
you've done it. What is this? Some kind of intergalactic hyper-hearse?
|
||
[ The Hitch-Hiker's Guide to the Galaxy (Fit the Fifth),
|
||
by Douglas Adams ]
|
||
edderkop
|
||
Ettercaps resemble hunched, grey-purplish humanoid aberrations with
|
||
distended white underbellies, spider-like faces (fangs and eyes and
|
||
such), and two sharp, black chitinous claws instead of hands and
|
||
feet. They are not particularly intelligent. Ettercaps possess the
|
||
capability to shoot sticky webs and have an affinity for monstrous
|
||
spiders, which they keep as pets and guards. They are cowardly and
|
||
vicious, and prefer to set traps to ensnare their enemies.
|
||
[ Adapted from the Forgotten Realms Wiki]
|
||
|
||
The edderkops found in the Dungeons of Doom are dark brown or black
|
||
in color, and are known to be shadowsmiths of fearsome power. The
|
||
shadow-forged blades and bolts of the edderkops pass through armor
|
||
without resistance, and have claimed the lives of many an adventurer.
|
||
eel
|
||
giant eel
|
||
The behaviour of eels in fresh water extends the air of
|
||
mystery surrounding them. They move freely into muddy, silty
|
||
bottoms of lakes, lying buried in the daylight hours in summer.
|
||
[...] Eels are voracious carnivores, feeding mainly at
|
||
night and consuming a wide variety of fishes and invertebrate
|
||
creatures. Contrary to earlier thinking, eels seek living
|
||
rather than dead creatures and are not habitual eaters of
|
||
carrion.
|
||
[ Freshwater Fishes of Canada, by Scott and Crossman ]
|
||
effigy
|
||
An effigy is a representation of a specific person in the form of
|
||
sculpture or some other three-dimensional medium. The use of the
|
||
term is normally restricted to certain contexts in a somewhat
|
||
arbitrary way: recumbent effigies on tombs are so called, but
|
||
standing statues of individuals, or busts, are usually not.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
|
||
This effigy is magical, and its self-immolation will cleanse
|
||
all varieties of curses afflicting the invoker.
|
||
egg
|
||
But I asked why not keep it and let the hen sit on it till it
|
||
hatched, and then we could see what would come out of it.
|
||
"Nothing good, I'm certain of that," Mom said. "It would
|
||
probably be something horrible. But just remember, if it's a
|
||
crocodile or a dragon or something like that, I won't have it
|
||
in my house for one minute."
|
||
[ The Enormous Egg, by Oliver Butterworth ]
|
||
eladrin
|
||
The eladrins are the native race of Arborea, just as the
|
||
devils are associated with the Nine Hells and the demons with
|
||
the Abyss. They're wild and free beings who exult in their own
|
||
existence and live a life of song and celebration. The eladrins
|
||
aid all people of good hearts against the forces of evil, but
|
||
seek to do so with individual acts of kindness or heroism.
|
||
[ Monstrous Manual, Planescape Appendix 2, TSR ]
|
||
noviere*
|
||
water dolphin*
|
||
The seas and islands of Ossa, the second layer of Arborea, are
|
||
the home of the noviere eladrins. Like the bralani, the novieres
|
||
are a people who celebrate the beauty of the lands and emerald
|
||
waters around them. They're the most straightforward and
|
||
approachable of the eladrins. The shieres are blocks of ice to
|
||
the typical cutter traveling in Arborea, the bralani are fickle
|
||
and flighty, and trying to talk seriously to a coure can drive a
|
||
sod barmy - but the novieres're willing to take a basher at his
|
||
word and deal with him the way he deals with them.
|
||
|
||
The novieres appear to be aquatic elves or nixies. Their skins
|
||
are greenish, blue, or golden in hue, and their hair ranges from
|
||
deep blue-green to pale blond. They're equally at home in the
|
||
water or on land. The novieres're somewhat more human in
|
||
appearance than a full-blooded aquatic elf; they're stockier,
|
||
and have no prominent gills or webbing in their fingers. Their
|
||
eyes mirror the color of the seas around them. In addition to
|
||
their demihuman form, novieres can take on the shape of golden
|
||
dolphins made entirely of shimmering water.
|
||
|
||
Novieres prefer to remain in the seas of Ossa, but sometimes
|
||
journey to other planes or prime-material worlds to visit with
|
||
ocean nymphs or merfolk. They love exploring a new coastline or
|
||
listening to the sound of the surf on a strange shore. Of all
|
||
eladrins, the novieres are most likely to be interested in trade
|
||
or material things; they're fascinated by gemstones and jewelry.
|
||
[ Monstrous Manual, Planescape Appendix 2, TSR ]
|
||
bralani*
|
||
singing sand*
|
||
The snowy, sandy wastes of Pelion are home to the bralani
|
||
eladrins. They're the wildest and most feral of their kind,
|
||
existing from heartbeat to heartbeat in a glorious, never-ending
|
||
passion. No eladrin can match the fury of an angry bralani, or
|
||
the keening depths of her grief or sorrow, or the blissful
|
||
heights of her joy. Bralani are tied to the plains of Pelion,
|
||
but may occasionally be found dancing in the desert winds or
|
||
arctic wastes of other realms, exulting in their freedom and
|
||
the beauty of the open land.
|
||
|
||
Bralani in their demihuman form resemble short, stocky elves,
|
||
broad in the shoulders but graceful nonetheless. Their hair is
|
||
usually a bright silvery-white, and their eyes are an
|
||
everchanging rainbow of hues that flicker and shift with the
|
||
vagaries of the bralani's mood. Bralani can also take the shape
|
||
of a whirlwind of dust, sand, or snow, racing across their
|
||
beloved plains like living zephyrs.
|
||
|
||
Bralani are the most distant and fey of the eladrins, dangerous
|
||
to approach and fickle in temperament. Strangers might be
|
||
greeted with wild celebration or attacked in a towering rage.
|
||
Although the bralani's purpose seems to be to dance and race
|
||
about in the wastes, they'll drop their endless dance in a
|
||
moment if they come across evil in their domain. A few rare and
|
||
unusual bralani sojourning in other worlds ally themselves with
|
||
the local forces of good, siding with a tribe of noble desert
|
||
savages or aiding a group of northern herdsmen.
|
||
[ Monstrous Manual, Planescape Appendix 2, TSR ]
|
||
firre*
|
||
dancing flame*
|
||
It shouldn't be any surprise that there are eladrins who devote
|
||
themselves to art, music, and magic. The firres (pronounced
|
||
feers) are creatures who live for beauty; their lives are
|
||
consumed by a fiery passion for art of any kind, and they
|
||
strive to make their own existence a living image of wonder
|
||
and delight.
|
||
|
||
The firre eladrins live as wandering minstrels and bards in
|
||
Arborea, attending the courts of more powerful eladrins or
|
||
tarrying to entertain a circle of coures in a forgotten dell.
|
||
Their pursuit of beauty leads them to any place where art,
|
||
skill, or grace is held in high esteem. A body could run
|
||
across a firre traveling the Outlands or visiting the palaces
|
||
of neutral-aligned powers just as easily as he'd find one in
|
||
Arborea. Firres have a deep love and appreciation of mortal
|
||
art, and often embark on lengthy sojourns on the Prime
|
||
Material Plane to seek out works of excellence.
|
||
|
||
In their demihuman, firre eladrins resemble stocky elves with
|
||
brilliant red hair and fiery red eyes. At first glance, a
|
||
firre might be taken for a half-elf, but her eyes give her
|
||
away; they have no iris or pupil, and glow brightly with the
|
||
firre's inner flame. Firres can also transform themselves
|
||
into man-size pillars or balls of fire.
|
||
[ Monstrous Manual, Planescape Appendix 2, TSR ]
|
||
shiere*
|
||
ball of light
|
||
The warriors of Arborea are the shieres, graceful eladrin
|
||
knights who fight with skill, strength, and honor. They're
|
||
the defenders of the eladrin courts, a shining host that
|
||
seeks out evil intruders and ensures that no darkness will
|
||
trouble the Queen of Stars or her people. By night the
|
||
shieres gather together in bright companies to ride the
|
||
wilds of Olympus and drive away any who would do the folk
|
||
of Arborea harm.
|
||
|
||
The shieres appear to be exceptionally tall high elves of
|
||
some kind. They're long-limbed and slender, with lanky
|
||
frames and long, narrow faces and hands. A shiere's as
|
||
strong as the mightiest mortal warrior despite his slender
|
||
build. All shieres are very fair-skinned, with pale golden
|
||
or silver hair and piercing eyes of blue, green, or violet.
|
||
|
||
Unlike the other eladrins, shieres're bound more permanently
|
||
into their demihuman form and can change shape only into a
|
||
harmless ball of faerie-light, similar to that of a coure
|
||
eladrin.
|
||
[ Monstrous Manual, Planescape Appendix 2, TSR ]
|
||
ghaele*
|
||
luminous cloud*
|
||
The ghaeles are the knights errant of the eladrins. Wherever
|
||
evil and tyranny raise their ugly heads, the ghaeles respond.
|
||
Working behind the scenes, they quietly muster resistance and
|
||
offer guidance to any creatures of good heart with the courage
|
||
to stand against their oppressors. More than any other
|
||
eladrins, the ghaeles are accustomed to working from behind
|
||
the veil.
|
||
|
||
Ghaeles resemble tall, athletic high elves. They might easily
|
||
be taken noble elves if not for their pearly, opalescent eyes
|
||
and radiant aura. Of course, a ghaele may be wearing any
|
||
manner of mortal guise when encountered away from Arborea.
|
||
Ghaele eladrins can also take the form of an incorporeal cloud
|
||
of luminous energy.
|
||
[ Monstrous Manual, Planescape Appendix 2, TSR ]
|
||
tulani*
|
||
ball of radiance
|
||
The greatest of the eladrins are the tulani, or faerie lords.
|
||
Their courts are scattered throughout Olympus, never staying
|
||
in the same place more than one night. The tulani are
|
||
peaceful in nature and take up arms only when Arborea itself
|
||
is threatened or the direst of emergencies requires their
|
||
attention.
|
||
|
||
Tulani're creatures of unearthly beauty and grace; their
|
||
voices are living music, and their faces shine so brightly
|
||
that mortals find it difficult to look at them. In form
|
||
they're tall, stately elven lords dressed in shimmering
|
||
robes of shifting color. A tulani is surrounded by a magical
|
||
aura that evil creatures cannot bear to be near. Tulani
|
||
eladrins can also take the form of an incorporeal globe of
|
||
eldritch colors, 5' in diameter.
|
||
|
||
Visitors to Arborea who seek out the tulani courts soon find
|
||
out that the eladrins aren't easy to find when they want to
|
||
avoid someone. When a cutter finally gets to meet with a
|
||
tulani, he's wise to keep his bone-box shut and mind his
|
||
manners. The tulani don't tolerate insolence or disrespect
|
||
from mortals, but are gracious hosts when their guests
|
||
behave themselves.
|
||
[ Monstrous Manual, Planescape Appendix 2, TSR ]
|
||
elbereth
|
||
... Even as they stepped over the threshold a single clear
|
||
voice rose in song.
|
||
|
||
A Elbereth Gilthoniel,
|
||
silivren penna miriel
|
||
o menel aglar elenath!
|
||
Na-chaered palan-diriel
|
||
o galadhremmin ennorath,
|
||
Fanuilos, le linnathon
|
||
nef aear, si nef aearon!
|
||
|
||
Frodo halted for a moment, looking back. Elrond was in his
|
||
chair and the fire was on his face like summer-light upon the
|
||
trees. Near him sat the Lady Arwen. [...]
|
||
He stood still enchanted, while the sweet syllables of the
|
||
elvish song fell like clear jewels of blended word and melody.
|
||
"It is a song to Elbereth," said Bilbo. "They will sing that,
|
||
and other songs of the Blessed Realm, many times tonight.
|
||
Come on!"
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
elder brain
|
||
The elder brain is a huge, fibrous mass of cognizant brain
|
||
tissue covered with writhing feelers. A single elder brain
|
||
floats within the depths of a briny pool found at the center
|
||
of its illithid community.
|
||
|
||
The elder brain is the center of its illithid community,
|
||
serving as an advisor and, most importantly, the living
|
||
repository of the community's technology, history, and psionic
|
||
expertise. It is the right and obligation of every illithid to
|
||
merge with the elder brain after death - living in exalted
|
||
mentality while guiding and shepherding its erstwhile
|
||
community. While most illithids believe that their personality
|
||
will survive the transition, individual egos are suborned to
|
||
the gestalt consciousness suffusing the tissue mass.
|
||
[ Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual, TSR ]
|
||
*elder elemental eye
|
||
Also known as the eye of the dragon, the eye is the holy symbol
|
||
of the Elder Elemental God, a mythic being that once ruled over
|
||
the earthly elements and reached for the heavens beyond.
|
||
|
||
The elder elemental eye can be drawn in six strokes, making
|
||
it very quick to engrave, and may be reinforced up to seven
|
||
times.
|
||
*elder sign
|
||
*eye of yggdrasil
|
||
An strange symbol that has come down to the younger races out
|
||
of the forgotten past, the elder sign resembles a six-branched
|
||
limb: a curved stroke with three branches above and two below.
|
||
The sign is effective alone, or in groups of up to six; five
|
||
forming a star around the first: three above and two below.
|
||
|
||
A simple elder sign is composed of six strokes; however, due
|
||
to the more complex star shape of the reinforced ward,
|
||
expanding the sign requires ten strokes for the first arm,
|
||
and eight thereafter.
|
||
electric eel
|
||
South-American fish (_Gymnotus electricus_), living in fresh
|
||
water. Shaped like a serpent, it can grow up to 2 metres.
|
||
This eel is known for its electrical organ which enables it
|
||
to paralyse creatures up to the size of a horse.
|
||
[ Van Dale's Groot Woordenboek der Nederlandse Taal ]
|
||
*elemental
|
||
Elementals are manifestations of the basic nature of the
|
||
universe. There are four known forms of elementals: air, fire,
|
||
water, and earth. Some mystics have postulated the necessity
|
||
for a fifth type, the spirit elemental, but none have ever
|
||
been encountered, at least on this plane of existence.
|
||
elshava
|
||
To reach Elshava, [they] need to find a pair of sagging towers
|
||
in the Clerk's Ward that leaned so heavily toward each other
|
||
that they now touch at their apexes. [...]
|
||
|
||
The sea-burg's built to resemble a nautilus shell, in that it's
|
||
an ever-expanding spiral. It floats upon the shallow sea of
|
||
Ossa and everything about it has a watery feel. The buildings
|
||
look like shells, octopi, or fish, and most of them seem to be
|
||
made from mother-of-pearl or coral. [...]
|
||
|
||
The floating city's home to sea elves, selkies, mermen, and the
|
||
like, but the inhabitants simply call themselves Sea Folk,
|
||
making no distinctions among the various races.
|
||
[ Dead Gods, by Monte Cook ]
|
||
~human or elf*
|
||
~elf ??m*
|
||
~gr?y*elf
|
||
*elf*
|
||
elvenking
|
||
elvenqueen
|
||
The Elves sat round the fire upon the grass or upon the sawn
|
||
rings of old trunks. Some went to and fro bearing cups and
|
||
pouring drinks; others brought food on heaped plates and
|
||
dishes.
|
||
"This is poor fare," they said to the hobbits; "for we are
|
||
lodging in the greenwood far from our halls. If ever you are
|
||
our guests at home, we will treat you better."
|
||
"It seems to me good enough for a birthday-party," said Frodo.
|
||
Pippin afterwards recalled little of either food or drink, for
|
||
his mind was filled with the light upon the elf-faces, and the
|
||
sound of voices so various and so beautiful that he felt in a
|
||
waking dream. [...]
|
||
Sam could never describe in words, nor picture clearly to
|
||
himself, what he felt or thought that night, though it remained
|
||
in his memory as one of the chief events of his life. The
|
||
nearest he ever got was to say: "Well, sir, if I could grow
|
||
apples like that, I would call myself a gardener. But it was
|
||
the singing that went to my heart, if you know what I mean."
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
elven cloak
|
||
elf* cl*
|
||
elv* cl*
|
||
The Elves next unwrapped and gave to each of the Company the
|
||
clothes they had brought. For each they had provided a hood
|
||
and cloak, made according to his size, of the light but warm
|
||
silken stuff that the Galadrim wove. It was hard to say of
|
||
what colour they were: grey with the hue of twilight under
|
||
the trees they seemed to be; and yet if they were moved,
|
||
or set in another light, they were green as shadowed leaves,
|
||
or brown as fallow fields by night, dusk-silver as water under
|
||
the stars.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
emerald
|
||
'Put off that mask of burning gold
|
||
With emerald eyes.'
|
||
'O no, my dear, you make so bold
|
||
To find if hearts be wild and wise,
|
||
And yet not cold.'
|
||
|
||
'I would but find what's there to find,
|
||
Love or deceit.'
|
||
'It was the mask engaged your mind,
|
||
And after set your heart to beat,
|
||
Not what's behind.'
|
||
|
||
'But lest you are my enemy,
|
||
I must enquire.'
|
||
'O no, my dear, let all that be;
|
||
What matter, so there is but fire
|
||
In you, in me?'
|
||
[ The Mask, by W.B. Yeats ]
|
||
engrav*
|
||
A.S*
|
||
Presently we reached a place where the beach narrowed; the sea
|
||
almost came up to the foot of the cliffs, leaving a passage no
|
||
wider than a couple of yards. Between two projecting rocks we
|
||
caught sight of the entrance to a dark tunnel.
|
||
There, on a slab of granite, appeared two mysterious letters, half
|
||
eaten away by time - the two initials of the bold, adventurous
|
||
traveller:
|
||
|
||
A.S.
|
||
|
||
'A.S.,' cried my uncle. 'Arne Saknussemm! Arne Saknussemm again!'
|
||
|
||
[...] at the sight of those two letters, carved there three hundred
|
||
years before, I stood in utter stupefication. Not only was the
|
||
signature of the learned alchemist legible on the rock, but I
|
||
held in my hand the dagger which had traced it. Without showing
|
||
the most appaling bad faith, I could no longer doubt the existence
|
||
of the traveller and the reality of his journey.
|
||
[ Journey to the Centre of the Earth, by Jules Verne,
|
||
translated by Robert Baldick ]
|
||
enormous rat
|
||
To set certain popular misconceptions to rest once and for all:
|
||
|
||
1) He was not found wandering the sewers of London as a child during
|
||
the winter of 1864, unable to say anything more than "Powerful
|
||
big rats, gentlemen."
|
||
|
||
2) He was never exhibited in public houses to the curious; only
|
||
briefly in July, 1865, to selected gentlemen of standing from
|
||
the scientific and literary community.
|
||
|
||
3) He did not have a vestigial tail.
|
||
|
||
4) He did indeed have what most people would commonly understand
|
||
as "eyes."
|
||
|
||
5) He was not actually the pilot of the Zeppelin, although he did
|
||
disappear for good following the explosion.
|
||
|
||
6) There is obviously no "underground kingdom beneath London,
|
||
inhabited by huge, intelligent rodents." And even if there were,
|
||
and suggestion of Neil's involvement in the mazy territorial
|
||
negotiations between Londons Above and Below can be considered a
|
||
joke, and in poor taste at that.
|
||
|
||
7) He was afraid of neither mirrors nor street conjurers.
|
||
|
||
8) There were no tooth marks on the bones.
|
||
[ The Season of Mists, Neil Gaiman ]
|
||
*epidaurus
|
||
The asclepieion at Epidaurus was the most celebrated healing center
|
||
of the Classical world, the place where ill people went in the hope
|
||
of being cured. To find out the right cure for their ailments, they
|
||
spent a night in the enkoimitiria, a big sleeping hall. In their dreams,
|
||
the god himself (Asclepius) would advise them what they had to do to
|
||
regain their health. There are also mineral springs in the vicinity
|
||
which may have been used in healing.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
epoch's curve
|
||
Epoch's Curve has served the Wardens for generations and was passed
|
||
from Warden to Warden for many years before being lost.
|
||
According to legend it was made from the first ash sapling to sprout
|
||
after the Spellblaze and carries powers of both time and renewal.
|
||
[ Tales of Maj'Eyal ]
|
||
erinys
|
||
erinyes
|
||
And more he said, but I hold it not in mind because my eye had
|
||
wholly attracted me toward the high tower with the ruddy
|
||
summit, where in an instant were uprisen suddenly three
|
||
infernal furies, stained with blood, who had the limbs of
|
||
women and their action, and were girt with greenest hydras.
|
||
Little serpents and cerastes they had for hair, wherewith
|
||
their savage brows were bound.
|
||
[ Inferno, by Dante ]
|
||
|
||
These female-seeming devils named after the Furies of mythology
|
||
attack hand to hand and poison their unwary victims as well.
|
||
ettin
|
||
The two-headed giant, or ettin, is a vicious and unpredictable
|
||
hunter that stalks by night and eats any meat it can catch.
|
||
excalibur
|
||
At first only its tip was visible, but then it rose, straight,
|
||
proud, all that was noble and great and wondrous. The tip of
|
||
the blade pointed toward the moon, as if it would cleave it
|
||
in two. The blade itself gleamed like a beacon in the night.
|
||
There was no light source for the sword to be reflecting
|
||
from, for the moon had darted behind a cloud in fear. The
|
||
sword was glowing from the intensity of its strength and
|
||
power and knowledge that it was justice incarnate, and that
|
||
after a slumber of uncounted years its time had again come.
|
||
After the blade broke the surface, the hilt was visible, and
|
||
holding the sword was a single strong, yet feminine hand,
|
||
wearing several rings that bore jewels sparkling with the
|
||
blue-green color of the ocean.
|
||
[ Knight Life, by Peter David ]
|
||
expensive camera
|
||
There was a time when Rincewind had quite liked the iconoscope.
|
||
He believed, against all experience, that the world was
|
||
fundamentally understandable, and that if he could only equip
|
||
himself with the right mental toolbox he could take the back off
|
||
and see how it worked. He was, of course, dead wrong. The
|
||
iconoscope didn't take pictures by letting light fall onto
|
||
specially treated paper, as he had surmised, but by the far
|
||
simpler method of imprisoning a small demon with a good eye for
|
||
colour and a speedy hand with a paintbrush. He had been very
|
||
upset to find that out.
|
||
[ The Light Fantastic, by Terry Pratchett ]
|
||
eye of doom
|
||
The eye! The terrible eye! Its gaze will doom us all!
|
||
eye of the aethiopica
|
||
This is a powerful amulet of ESP. In addition to its standard
|
||
powers, it regenerates the energy of anyone who carries
|
||
it, allowing them to cast spells more often. It also reduces
|
||
any spell damage to the person who carries it by half, and
|
||
protects from magic missiles. Finally, when invoked it has
|
||
the power to instantly open a portal to any other area of the
|
||
dungeon, allowing its invoker to travel quickly between
|
||
areas.
|
||
eye of the overworld
|
||
... and finally there is "the Eye of the Overworld". This
|
||
obscure artifact pushes the wearer's view sense into the
|
||
"overworld" -- another name for a segment of the Astral Plane.
|
||
Usually, there is nothing to be seen. However, the wearer
|
||
is also able to look back and see the area around herself,
|
||
much like looking on a map. Why anyone would want to ...
|
||
WSOGMM
|
||
Whole Sort Of General Mish Mash (WSOGMM)
|
||
|
||
The technical term for the sum total of all the parallel
|
||
universes, which aren't parallel, and furthermore are not,
|
||
strictly speaking, universes either. This is easiest if you
|
||
don't try to realize that until a little later, after you've
|
||
realized that everything you've realized up to that moment
|
||
is not true. The reason they are not universes is that any
|
||
given universe is not a thing as such, but rather just a way
|
||
of looking at the WSOGMM. The reason they are not parallel
|
||
is the same reason the sea is not parallel. You can slice
|
||
the WSOGMM any way you like and you will generally come up
|
||
with something that someone will call home. Please feel
|
||
free to blither now.
|
||
[ Mostly Harmless, by Douglas Adams ]
|
||
father dagon
|
||
mother hydra
|
||
"Yield up enough sacrifices an' savage knick-knacks an'
|
||
harbourage in the taown when they wanted it, an' they'd let
|
||
well enough alone. Wudn't bother no strangers as might bear
|
||
tales aoutside - that is, withaout they got pryin'. All in
|
||
the band of the faithful - Order o' Dagon - an' the children
|
||
shud never die, but go back to the Mother Hydra an' Father
|
||
Dagon what we all come from once ... Ia! Ia! Cthulhu ..."
|
||
[ The Shadow Over Innsmouth, by H.P. Lovecraft ]
|
||
fauchard
|
||
This weapon is a development of the scythe or sickle. Set
|
||
upon a long pole, the curving blade of a fauchard can be
|
||
used for both cutting and thrusting. The weapon offers little
|
||
in the way of parrying or catching/holding and has no provision
|
||
for dismounting opponents, though it is quite useful for crippling
|
||
their mounts.
|
||
________
|
||
/ ___--
|
||
/ /
|
||
| |
|
||
| |
|
||
| |
|
||
| '
|
||
||
|
||
||
|
||
fallen angel
|
||
Lucifer rebelled.
|
||
|
||
The angels fell.
|
||
|
||
We have only the tales of mortals to guide us on this. We,
|
||
the heirs of angels, must piece together our heritage from
|
||
the scraps of myth. We can surmise that some divine force
|
||
exiled Lucifer and his followers. We use their word, God,
|
||
because it is a convenient shorthand for our unknown
|
||
enemy. The demon race was bred to overthrow this enemy and
|
||
take its throne and whatever else we forget, we should
|
||
never forget that destiny. A full third of the Host fell,
|
||
according to some accounts. For their sins - for pride,
|
||
for rebellion, for desiring to be like God, for unknowable
|
||
and ineffable reasons - they were banished and they fell.
|
||
[ Infernum, Book of the Tormentor, by Gareth Hanrahan ]
|
||
fedora
|
||
Some hats can only be worn if you're willing to be jaunty, to set
|
||
them at an angle and to walk beneath them with a spring in your
|
||
stride as if you're only a step away from dancing. They demand a
|
||
lot of you.
|
||
[ Anansi Boys, by Neil Gaiman ]
|
||
*fern*
|
||
These dreadful weeds have been driven to extinction on the
|
||
surface, yet deep within the dark and damp of the dungeon
|
||
they still flourish. When it detects the motion of nearby
|
||
creatures, the dungeon fern releases a deadly, poisonous
|
||
spore, which quickly detonates to propagate the species.
|
||
|
||
Residents of the dungeon have learned how not to disturb
|
||
the dungeon fern, and will attack its spores on sight to
|
||
keep them from overtaking their home.
|
||
|
||
More than one variety of this plant is known to exist.
|
||
field*marshal* baton
|
||
"Every French soldier carries in his cartridge-pouch
|
||
the baton of a marshal of France."
|
||
[ Napoleon ]
|
||
figurine*
|
||
Then it appeared in Paris at just about the time that Paris
|
||
was full of Carlists who had to get out of Spain. One of
|
||
them must have brought it with him, but, whoever he was, it's
|
||
likely he knew nothing about its real value. It had been --
|
||
no doubt as a precaution during the Carlist trouble in Spain
|
||
-- painted or enameled over to look like nothing more than a
|
||
fairly interesting black statuette. And in that disguise,
|
||
sir, it was, you might say, kicked around Paris for seventy
|
||
years by private owners and dealers too stupid to see what
|
||
it was under the skin.
|
||
[ The Maltese Falcon, by Dashiell Hammett ]
|
||
*finger of death
|
||
wand of death
|
||
"Your sad excuse for a third-year Defence textbook will suggest to you that you
|
||
expose the mountain troll to sunlight, which will freeze it in place. This, my
|
||
young apprentices, is the sort of useless knowledge you will never find in my
|
||
lessons. You do not encounter mountain trolls in open daylight! The idea that
|
||
you should use sunlight to stop them is the result of foolish textbook authors
|
||
trying to show off their mastery of minutia at the expense of practicality.
|
||
Just because there is a ridiculously obscure way of dealing with mountain
|
||
trolls does not mean you should actually try to use it! The Killing Curse is
|
||
unblockable, unstoppable, and works every single time on anything with a brain."
|
||
[ Harry Potter and the Methods of Rationality by Eliezer Yudkowsky ]
|
||
finger
|
||
fingers
|
||
*many wormy finger*
|
||
Captain: Uh... hi there. Nice to see you again... I think.
|
||
|
||
Orz Captain: That is *funny*. You think you *see* Orz but Orz are
|
||
not *light reflections*.
|
||
Maybe you think Orz are *many bubbles* too. It is such a joke.
|
||
Orz are not *many bubbles* like *campers*. Orz are just Orz.
|
||
I am Orz. I am one with many *fingers*.
|
||
My *fingers* reach through into *heavy space* and you *see*
|
||
*Orz bubbles* but it is really *fingers*.
|
||
Maybe you do not even *smell*? That is sad.
|
||
*Smelling* *pretty colors* is the best *game*.
|
||
[ Star Control 2, by Toys for Bob ]
|
||
fire brand
|
||
So he drove out the man; and he placed at the east of the
|
||
garden of Eden Cherubim, and a flaming sword which turned
|
||
every way, to guard the way of the tree of life.
|
||
[ King James 2000 Bible ]
|
||
|
||
One of a pair of legendary swords that possess the powers of elemental
|
||
flame and ice, and will grant these to whoever is fortunate enough
|
||
to wield them.
|
||
fire trap
|
||
'Let him be for a while,' said Cohen. 'I reckon the fish disagreed
|
||
with him.'
|
||
'Don't see why,' said Truckle. 'I pulled him out before it'd hardly
|
||
chewed him. And he must've dried out nicely in that corridor. You know,
|
||
the one where the flames shot up out of the floor unexpectedly.'
|
||
'I reckon our bard wasn't expecting flames to shoot out of the floor
|
||
unexpectedly,' said Cohen.
|
||
Truckle shrugged theatrically. '_Well_, if you're not going to expect
|
||
unexpected flames, what's the point of going _anywhere_?'
|
||
[ The Last Hero, by Terry Pratchett ]
|
||
fierna
|
||
belial
|
||
These two humanlike figures are tall, dark, and sensual.
|
||
They have a pair of small horns jutting from their brows. Their
|
||
red eyes smolder with the promise of physical pleasure, and the
|
||
fine clothing that clings to their bodies completes the
|
||
debaunched image.
|
||
[ Tyrants of the Nine Hells,
|
||
by Robin Laws and Robert Schwalb ]
|
||
flail
|
||
The flail the weapon is derived from the flail the agricultural
|
||
tool. The original is made by connecting a wooden handle to a
|
||
wooden club with a rope, and is used for thrashing grain. The
|
||
weapon is made by connecting a handle to a club, metal bar,
|
||
spiked ball, or whatever will hurt the most. It is used for
|
||
thrashing advesaries.
|
||
The nunchaku is a Japanese variaty of flail on which the
|
||
business end and handle are identical. This allows for a fast-
|
||
paced eastern style of thrashing advesaries.
|
||
floating eye
|
||
Floating eyes, not surprisingly, are large, floating eyeballs
|
||
which drift about the dungeon. Though not dangerous in and
|
||
of themselves, their power to paralyze those who gaze at
|
||
their large eye in combat is widely feared. Many are the
|
||
tales of those who struck a floating eye, were paralyzed by
|
||
its mystic powers, and then nibbled to death by some other
|
||
creature that lurked around nearby.
|
||
flesh golem
|
||
With an anxiety that almost amounted to agony, I collected
|
||
the instruments of life around me, that I might infuse a spark
|
||
of being into the lifeless thing that lay at my feet. It was
|
||
already one in the morning; the rain pattered dismally against
|
||
the panes, and my candle was nearly burnt out, when, by the
|
||
glimmer of the half-extinguished light, I saw the dull yellow
|
||
eye of the creature open; it breathed hard, and a convulsive
|
||
motion agitated its limbs.
|
||
|
||
How can I describe my emotions at this catastrophe, or how
|
||
delineate the wretch whom with such infinite pains and care I
|
||
had endeavoured to form? His limbs were in proportion, and I
|
||
had selected his features as beautiful. Beautiful!--Great God!
|
||
His yellow skin scarcely covered the work of muscles and
|
||
arteries beneath; his hair was of a lustrous black, and
|
||
flowing; his teeth of a pearly whiteness; but these luxuriances
|
||
only formed a more horrid contrast with his watery eyes, that
|
||
seemed almost of the same colour as the dun white sockets in
|
||
which they were set, his shrivelled complexion and straight
|
||
black lips.
|
||
[ Frankenstein, by Mary Wollstonecraft Shelley ]
|
||
flint*
|
||
An emerald is as green as grass;
|
||
A ruby red as blood;
|
||
A sapphire shines as blue as heaven;
|
||
A flint lies in the mud.
|
||
|
||
A diamond is a brilliant stone,
|
||
To catch the world's desire;
|
||
An opal holds a fiery spark;
|
||
But a flint holds fire.
|
||
[ Precious Stones, by Christina Giorgina Rossetti ]
|
||
*flute
|
||
With this thou canst do mighty deeds
|
||
And change men's passions for thy needs:
|
||
A man's despair with joy allay,
|
||
Turn bachelors old to lovers gay.
|
||
[ The Magic Flute, by Wolfgang Amadeus Mozart ]
|
||
# also takes 'fog/vapor cloud'
|
||
fog* cloud
|
||
The fog comes
|
||
on little cat feet.
|
||
|
||
It sits looking
|
||
over harbor and city
|
||
on silent haunches
|
||
and then moves on.
|
||
[ Fog, by Carl Sandburg ]
|
||
# includes "food detection" and "detect food", which might not be the best
|
||
*food*
|
||
The little girl stood on tip-toe and picked one of the nicest
|
||
and biggest lunch-boxes, and then she sat down upon the ground
|
||
and eagerly opened it. Inside she found, nicely wrapped in
|
||
white papers, a ham sandwich, a piece of sponge-cake, a pickle,
|
||
a slice of new cheese and an apple. Each thing had a separate
|
||
stem, and so had to be picked off the side of the box; but
|
||
Dorothy found them all to be delicious, and she ate every bit
|
||
of luncheon in the box before she had finished.
|
||
[ Ozma of Oz, by L. Frank Baum ]
|
||
forge
|
||
Life's a forge! Yes, and hammer and anvil, too! You'll be
|
||
roasted, smelted, and pounded, and you'll scarce know what's
|
||
happening to you. But stand boldly to it! Metal's worthless
|
||
till it's shaped and tempered! More labor than luck. Face
|
||
the pounding, don't fear the proving; and you'll stand well
|
||
against any hammer and anvil.
|
||
[ Taran Wanderer, by Lloyd Alexander ]
|
||
fountain
|
||
Rest! This little Fountain runs
|
||
Thus for aye: -- It never stays
|
||
For the look of summer suns,
|
||
Nor the cold of winter days.
|
||
Whose'er shall wander near,
|
||
When the Syrian heat is worst,
|
||
Let him hither come, nor fear
|
||
Lest he may not slake his thirst:
|
||
He will find this little river
|
||
Running still, as bright as ever.
|
||
Let him drink, and onward hie,
|
||
Bearing but in thought, that I,
|
||
Erotas, bade the Naiad fall,
|
||
And thank the great god Pan for all!
|
||
[ For a Fountain, by Bryan Waller Procter ]
|
||
fox
|
||
One hot summer's day a Fox was strolling through an orchard
|
||
till he came to a bunch of Grapes just ripening on a vine
|
||
which had been trained over a lofty branch. "Just the thing
|
||
to quench my thirst," quoth he. Drawing back a few paces, he
|
||
took a run and a jump, and just missed the bunch. Turning
|
||
round again with a One, Two, Three, he jumped up, but with
|
||
no greater success. Again and again he tried after the
|
||
tempting morsel, but at last had to give it up, and walked
|
||
away with his nose in the air, saying: "I am sure they are
|
||
sour."
|
||
[ Aesop's Fables ]
|
||
~violet fungus
|
||
*fung*
|
||
Fungi, division of simple plants that lack chlorophyll, true
|
||
stems, roots, and leaves. Unlike algae, fungi cannot
|
||
photosynthesize, and live as parasites or saprophytes. The
|
||
division comprises the slime molds and true fungi. True
|
||
fungi are multicellular (with the exception of yeasts); the
|
||
body of most true fungi consists of slender cottony
|
||
filaments, or hyphae. All fungi are capable of asexual
|
||
reproduction by cell division, budding, fragmentation, or
|
||
spores. Those that reproduce sexually alternate a sexual
|
||
generation (gametophyte) with a spore-producing one. The
|
||
four classes of true fungi are the algaelike fungi (e.g.,
|
||
black bread mold and downy mildew), sac fungi (e.g., yeasts,
|
||
powdery mildews, truffles, and blue and green molds such as
|
||
Penicillium), basidium fungi (e.g., mushrooms and puffballs)
|
||
and imperfect fungi (e.g., species that cause athlete's foot
|
||
and ringworm). Fungi help decompose organic matter (important
|
||
in soil renewal); are valuable as a source of antibiotics,
|
||
vitamins, and various chemicals; and for their role in
|
||
fermentation, e.g., in bread and alcoholic beverage
|
||
production.
|
||
[ The Concise Columbia Encyclopedia ]
|
||
frost brand
|
||
Some say the world will end in fire,
|
||
Some say in ice.
|
||
From what I've tasted of desire
|
||
I hold with those who favor fire.
|
||
But if it had to perish twice,
|
||
I think I know enough of hate
|
||
To say that for destruction ice
|
||
Is also great
|
||
And would suffice.
|
||
[ Fire and Ice, by Robert Frost ]
|
||
|
||
One of a pair of legendary swords that possess the powers of elemental
|
||
flame and ice, and will grant these to whoever is fortunate enough
|
||
to wield them.
|
||
galadriel
|
||
I sang of leaves, of leaves of gold, and leaves of gold there grew;
|
||
Of wind I sang, a wind there came and in the branches blew.
|
||
Beyond the Sun, beyond the Moon, the foam was on the Sea,
|
||
and by the strand of Ilmarin there grew a golden Tree.
|
||
Beneath the stars of Ever-eve in Eldamar it shone,
|
||
in Eldamar beside the walls of Elven Tirion.
|
||
There long the golden leaves have grown upon the branching years,
|
||
while here beyond the Sundering Seas now fall the Elven-tears.
|
||
O Lorien! The Winter comes, the bare and leafless Day;
|
||
The leaves are falling in the stream, the River flows away.
|
||
O Lorien! Too long have I dwelt upon this Hither Shore
|
||
and in a fading crown have twined the golden elanor.
|
||
But if of ships I now should sing, what ship would come to me,
|
||
what ship would bear me ever back across so wide a Sea?
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
*garuda
|
||
The Garuda is a large mythical bird or bird-like creature
|
||
that appears in both Hindu and Buddhist mythology. Garuda
|
||
is usually the mount (vahana) of the God Vishnu. Garuda is
|
||
depicted as having the golden body of a strong man with a
|
||
white face, red wings, and an eagle's beak and with a crown
|
||
on his head. This ancient deity was said to be massive,
|
||
large enough to block out the sun.
|
||
[ Wikipedia ]
|
||
|
||
The wings of garuda require 70 strokes to fully render,
|
||
however, fragmentary drawings are effective and can be
|
||
improved in increments of ten strokes.
|
||
*gargoyle
|
||
And so it came to pass that while Man ruled on Earth, the
|
||
gargoyles waited, lurking, hidden from the light. Reborn
|
||
every 600 years in Man's reckoning of time, the gargoyles
|
||
joined battle against Man to gain dominion over the Earth.
|
||
|
||
In each coming, the gargoyles were nearly destroyed by Men
|
||
who flourished in greater numbers. Now it has been so many
|
||
hundreds of years that it seems the ancient statues and
|
||
paintings of gargoyles are just products of Man's
|
||
imagination. In this year, with Man's thoughts turned toward
|
||
the many ills he has brought among himself, Man has forgotten
|
||
his most ancient adversary, the gargoyles.
|
||
[ Excerpt from the opening narration to the movie
|
||
_Gargoyles_, written by Stephen and Elinor Karpf ]
|
||
sir garland
|
||
You impertinent fools.
|
||
I, Garland, will knock
|
||
you all down!!
|
||
[ Final Fantasy ]
|
||
garland
|
||
Remember me, Garland?
|
||
Your puny lot thought it
|
||
had defeated me. But,
|
||
the four FIENDS sent me
|
||
back 2000 years into
|
||
the past.
|
||
[ Final Fantasy ]
|
||
garo
|
||
"That is the ghost of a ninja. Its scientific name is Garo
|
||
Robe. They are merely shells that are empty on the inside.
|
||
They're the shells of spies from an enemy nation sent to
|
||
investigate Ikana. They have been unable to forget their
|
||
living days. Even now their spirits--emptiness cloaked in
|
||
darkness--continue to spy."
|
||
[ Pamela's Father, Majora's Mask ]
|
||
garo master
|
||
Leader of the ninja that came from points unknown to spy on
|
||
the Kingdom of Ikana. This master spy has uncovered secrets
|
||
greater and more dangerous than those found by lesser garo.
|
||
gas spore*
|
||
Gas spores are a vaguely intelligent fungal growth that has
|
||
evolved to strongly resemble the Beholder. If they are struck
|
||
with any amount of force they will explode violently. Gas spores
|
||
tend to grow in groups, and legends have been written about the
|
||
destruction caused by foolish adventurers who touched a
|
||
single one.
|
||
[ Adapted by Ben Lehman from Monstrous Manual, by TSR, Inc. ]
|
||
*garlic
|
||
1 November - All day long we have travelled, and at a good
|
||
speed. The horses seem to know that they are being kindly
|
||
treated, for they go willingly their full stage at best
|
||
speed. We have now had so many changes and find the same
|
||
thing so constantly that we are encouraged to think that the
|
||
journey will be an easy one. Dr. Van Helsing is laconic, he
|
||
tells the farmers that he is hurrying to Bistritz, and pays
|
||
them well to make the exchange of horses. We get hot soup,
|
||
or coffee, or tea, and off we go. It is a lovely country.
|
||
Full of beauties of all imaginable kinds, and the people are
|
||
brave, and strong, and simple, and seem full of nice
|
||
qualities. They are very, very superstitious. In the first
|
||
house where we stopped, when the woman who served us saw the
|
||
scar on my forehead, she crossed herself and put out two
|
||
fingers towards me, to keep off the evil eye. I believe they
|
||
went to the trouble of putting an extra amount of garlic into
|
||
our food, and I can't abide garlic. Ever since then I have
|
||
taken care not to take off my hat or veil, and so have
|
||
escaped their suspicions.
|
||
[ Dracula, by Bram Stoker ]
|
||
# gas spore -- see *spore
|
||
gehenn*
|
||
*h?nnom
|
||
hell
|
||
"Place of Torment." The Valley of Hinnom, south-west of
|
||
Jerusalem, where Solomon, king of Israel, built "a high place",
|
||
or place of worship, for the gods Chemosh and Moloch. The
|
||
valley came to be regarded as a place of abomination because
|
||
some of the Israelites sacrificed their children to Moloch
|
||
there. In a later period it was made a refuse dump and
|
||
perpetual fires were maintained there to prevent pestilence.
|
||
Thus, in the New Testament, Gehenna became synonymous with hell.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
gelatinous cube
|
||
Despite its popularity (or perhaps because of it), the
|
||
gelatinous cube is also widely known as one of the sillier
|
||
role-playing monsters. It is something of a commentary on the
|
||
ubiquity of treasure-laden dungeons in the Dungeons & Dragons
|
||
universe, as the cube is a creature specifically adapted to a
|
||
dungeon ecosystem. 10 feet to the side, it travels through
|
||
standard 10-foot by 10-foot dungeon corridors, cleaning up
|
||
debris and redistributing treasure by excreting indigestible
|
||
metal items.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
*gem
|
||
gem or rock
|
||
The difference between false memories and true ones is the
|
||
same as for jewels: it is always the false ones that look the
|
||
most real, the most brilliant.
|
||
[ Salvador Dali ]
|
||
*genocide
|
||
A word invented by Professor Raphael Lemkin of Duke University,
|
||
U.S.A., and used in the drafting of the official indictment of war
|
||
criminals in 1945. It is a combination of Gr. _genos_, race; and
|
||
Lat. _caedere_, to kill. It is defined as acts intended to destroy,
|
||
in whole or in part, national, ethnical, racial, or religious
|
||
groups, and in 1948 was declared by the United Nations General
|
||
Assembly to be a crime of international law.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
geryon
|
||
Geryon is an arch-devil sometimes called the Wild Beast,
|
||
attacking with his claws and poison sting. His ranking in
|
||
Hell is rumored to be quite low.
|
||
|
||
Forthwith that image vile of fraud appear'd,
|
||
His head and upper part expos'd on land,
|
||
But laid not on the shore his bestial train.
|
||
His face the semblance of a just man's wore,
|
||
So kind and gracious was its outward cheer;
|
||
The rest was serpent all: two shaggy claws
|
||
Reach'd to the armpits, and the back and breast,
|
||
And either side, were painted o'er with nodes
|
||
And orbits. Colours variegated more
|
||
Nor Turks nor Tartars e'er on cloth of state
|
||
With interchangeable embroidery wove,
|
||
Nor spread Arachne o'er her curious loom.
|
||
As ofttimes a light skiff, moor'd to the shore,
|
||
Stands part in water, part upon the land;
|
||
Or, as where dwells the greedy German boor,
|
||
The beaver settles watching for his prey;
|
||
So on the rim, that fenc'd the sand with rock,
|
||
Sat perch'd the fiend of evil. In the void
|
||
Glancing, his tail upturn'd its venomous fork,
|
||
With sting like scorpion's arm'd. Then thus my guide:
|
||
"Now need our way must turn few steps apart,
|
||
Far as to that ill beast, who couches there."
|
||
[ The Inferno, from The Divine Comedy of Dante
|
||
Alighieri, translated by H.F. Cary ]
|
||
*ghost
|
||
valley of *dea*
|
||
And now the souls of the dead who had gone below came swarming
|
||
up from Erebus -- fresh brides, unmarried youths, old men
|
||
with life's long suffering behind them, tender young girls
|
||
still nursing this first anguish in their hearts, and a great
|
||
throng of warriors killed in battle, their spear-wounds gaping
|
||
yet and all their armour stained with blood. From this
|
||
multitude of souls, as they fluttered to and fro by the
|
||
trench, there came a moaning that was horrible to hear.
|
||
Panic drained the blood from my cheeks.
|
||
[ The Odyssey, (chapter Lambda), by Homer ]
|
||
ghoul
|
||
The forces of the gloom know each other, and are strangely
|
||
balanced by each other. Teeth and claws fear what they cannot
|
||
grasp. Blood-drinking bestiality, voracious appetites, hunger
|
||
in search of prey, the armed instincts of nails and jaws which
|
||
have for source and aim the belly, glare and smell out
|
||
uneasily the impassive spectral forms straying beneath a
|
||
shroud, erect in its vague and shuddering robe, and which seem
|
||
to them to live with a dead and terrible life. These
|
||
brutalities, which are only matter, entertain a confused fear
|
||
of having to deal with the immense obscurity condensed into an
|
||
unknown being. A black figure barring the way stops the wild
|
||
beast short. That which emerges from the cemetery intimidates
|
||
and disconcerts that which emerges from the cave; the
|
||
ferocious fear the sinister; wolves recoil when they encounter
|
||
a ghoul.
|
||
[ Les Miserables, by Victor Hugo ]
|
||
|
||
Ghouls are undead creatures, once human, who now feed on the
|
||
flesh of corpses. Although the change from human to ghoul has
|
||
deranged and destroyed their minds, ghouls have a terrible
|
||
cunning which enables them to hunt their prey most effectively.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
giant eagle
|
||
That also shall come to be by the heed of Iluvatar, and before
|
||
the Children awake there shall go forth with wings like the wind
|
||
the Eagles of the Lords of the West.
|
||
[ The Silmarillion, by J.R.R. Tolkien ]
|
||
*giant
|
||
giant humanoid
|
||
Giants have always walked the earth, though they are rare in
|
||
these times. They range in size from little over nine feet
|
||
to a towering twenty feet or more. The larger ones use huge
|
||
boulders as weapons, hurling them over large distances. All
|
||
types of giants share a love for men - roasted, boiled, or
|
||
fried. Their table manners are legendary.
|
||
giant rat
|
||
'Matilda Briggs', said Holmes, 'was... a ship which is
|
||
associated with the giant rat of Sumatra, a story for which
|
||
the world is not yet prepared.'
|
||
[ The Adventure of the Sussex Vampire, A. Conan Doyle ]
|
||
giant turtle
|
||
This time I will with poetic art rehearse,
|
||
by means of words and wit,
|
||
a poem about a kind of fish,
|
||
the great sea-monster which is often unwillingly met,
|
||
terrible and cruel-hearted to seafarers,
|
||
yea, to every man;
|
||
this swimmer of the ocean-streams is known as the asp-turtle.
|
||
|
||
His appearance is like that of a rough boulder,
|
||
as if there were tossing by the shore
|
||
a great ocean-reedbank begirt with sand-dunes,
|
||
so that seamen imagine they are gazing upon an island,
|
||
and moor their high-prowed ships with cables to that false land,
|
||
make fast the ocean-coursers at the sea's end, and, bold of heart,
|
||
climb up.
|
||
[ The Whale, Old English Poem ]
|
||
githyanki*
|
||
Githyanki are an ancient race descended from humans. They dwell
|
||
upon the Astral plane but will often leave that plane to make war
|
||
on other races. They are engaged in a lengthy war with the
|
||
githzerai.
|
||
|
||
Githyanki are strongly humanoid in appearance. They are
|
||
approximately of human height but tend to be much more gaunt and
|
||
long of limb. They have rough, yellow skin and gleaming black
|
||
eyes that instantly betray their inhumanness. Like many demihuman
|
||
races, their ears have sharp points and are serrated at the back.
|
||
Dress for the githyanki is always an elaborate affair. Their
|
||
baroque armor and weapons of war are decorated with feathers,
|
||
beads, and precious metals and gems.
|
||
|
||
History provides some information on the githyanki - their race
|
||
is both ancient and reclusive. Sages believe they once were
|
||
humans that were captured by mind flayers to serve as slaves and
|
||
cattle. The mind flayers treated their human slaves cruelly and
|
||
the people harbored a deep resentment toward the illithids. For
|
||
centuries these humans increased their hatred but could not
|
||
summon the strength necessary to break free. So they waited for
|
||
many years, developing their power in secret, waiting for an
|
||
opportunity to strike out against their masters. Finally, a woman
|
||
of power came forth among them, a deliverer by the name of Gith.
|
||
She convinced the people to rise up against their cruel masters.
|
||
The struggle was long and vicious, but eventually the people
|
||
freed themselves. They had earned their freedom and become the
|
||
githyanki, (which, in their tongue, means sons of Gith).
|
||
[ Planescape Monstrous Compendium Appendix, TSR ]
|
||
gnoll*
|
||
We are born and we die.
|
||
No one cares, no one remembers,
|
||
and it doesn't matter.
|
||
This is why we laugh.
|
||
[ The Gnoll Credo, by J. Stanton ]
|
||
glaive
|
||
single?edged polearm
|
||
The glaive is a knife-bladed spear. It has the thrusting
|
||
function of the spear, and the secondary cutting function of
|
||
the convex blade of the knife. The weapon was rapidly enlarged
|
||
in the blade in order to give it a greater cutting function as
|
||
well as a cleaving attack. As with a spear or fauchard, however,
|
||
it is not overly effective at holding opponents back, nor does
|
||
it have the piercing or dismounting capabilities.
|
||
|
||
Basically, a knife on a long stick. A nine foot long stick
|
||
(2.7 meters). With a big knife on the end.
|
||
|
||
|\
|
||
I |
|
||
I |
|
||
I |
|
||
I |
|
||
I |
|
||
I_|
|
||
H
|
||
giant*er
|
||
He traveled over high hills, and on the third day he came to a
|
||
large and spacious forest through which his road lay. Scarcely
|
||
had he entered the forest when he beheld a monstrous giant
|
||
dragging along by the hair of their heads a handsome knight
|
||
and his lady. Jack alighted from his horse, and tying him to an
|
||
oak tree, put on his invisible coat, under which he carried his
|
||
sword of sharpness.
|
||
|
||
When he came up to the giant he made several strokes at him, but
|
||
could not reach his body, but wounded his thighs in several places;
|
||
and at length, putting both hands to his sword and aiming with all
|
||
his might, he cut off both his legs. Then Jack, setting his foot
|
||
upon his neck, plunged his sword into the giant's body, when the
|
||
monster gave a groan and expired.
|
||
[ The History of Jack the Giant-Killer,
|
||
from The Blue Fairy Book, ed. Andrew Lang ]
|
||
glasya
|
||
Adorned in priceless jewelry, silks, and other finery, this
|
||
humanlike creature is the vision of beauty -- though her
|
||
copper skin, batlike wings, forked tail, and pointed horns
|
||
betray her true nature.
|
||
[ Tyrants of the Nine Hells,
|
||
by Robin Laws and Robert Schwalb ]
|
||
# note: "gnomish wizard" is a monster;
|
||
~gnome ??m*
|
||
gnome*
|
||
gnomish wizard
|
||
... And then a gnome came by, carrying a bundle, an old
|
||
fellow three times as large as an imp and wearing clothes of
|
||
a sort, especially a hat. And he was clearly just as frightened
|
||
as the imps though he could not go so fast. Ramon Alonzo
|
||
saw that there must be some great trouble that was vexing
|
||
magical things; and, since gnomes speak the language of men, and
|
||
will answer if spoken to gently, he raised his hat, and asked
|
||
of the gnome his name. The gnome did not stop his hasty
|
||
shuffle a moment as he answered 'Alaraba' and grabbed the rim
|
||
of his hat but forgot to doff it.
|
||
'What is the trouble, Alaraba?' said Ramon Alonzo.
|
||
'White magic. Run!' said the gnome ..
|
||
[ The Charwoman's Shadow, by Lord Dunsany ]
|
||
|
||
"Muggles have garden gnomes, too, you know," Harry told Ron as
|
||
they crossed the lawn.
|
||
"Yeah, I've seen those things they think are gnomes," said Ron,
|
||
bent double with his head in a peony bush, "like fat little
|
||
Santa Clauses with fishing rods..."
|
||
There was a violent scuffling noise, the peony bush shuddered,
|
||
and Ron straightened up. "This is a gnome," he said grimly.
|
||
"Geroff me! Gerroff me!" squealed the gnome.
|
||
It was certainly nothing like Santa Claus. It was small and
|
||
leathery looking, with a large, knobby, bald head exactly like
|
||
a potato. Ron held it at arm's length as it kicked out at him
|
||
with its horny little feet; he grasped it around the ankles
|
||
and turned it upside down.
|
||
[ Harry Potter and the Chamber of Secrets, by J. K. Rowling ]
|
||
goblin
|
||
Now goblins are cruel, wicked, and bad-hearted. They make
|
||
no beautiful things, but they make many clever ones. They
|
||
can tunnel and mine as well as any but the most skilled
|
||
dwarves, when they take the trouble, though they are usually
|
||
untidy and dirty. Hammers, axes, swords, daggers, pickaxes,
|
||
tongs, and also instruments of torture, they make very well,
|
||
or get other people to make to their design, prisoners and
|
||
slaves that have to work till they die for want of air and
|
||
light.
|
||
[ The Hobbit, by J.R.R. Tolkien ]
|
||
god
|
||
goddess
|
||
Goddesses and Gods operate in ones, threesomes, or whole
|
||
pantheons of nine or more (see Religion). Most of them claim
|
||
to have made the world, and this is indeed a likely claim in
|
||
the case of threesomes or pantheons: Fantasyland does have
|
||
the air of having been made by a committee. But all Goddesses
|
||
and Gods, whether they say they made the world or not, have
|
||
very detailed short-term plans for it which they are determined
|
||
to carry out. Consequently they tend to push people into the
|
||
required actions by the use of coincidence or Prophecy, or just
|
||
by narrowing down your available choices of what to do next:
|
||
if a deity is pushing you, things will go miserably badly until
|
||
there is only one choice left to you.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
gold
|
||
gold piece
|
||
A metal of characteristic yellow colour, the most precious
|
||
metal used as a common commercial medium of exchange. Symbol,
|
||
Au; at. no. 79; at. wt. 197.2. It is the most malleable
|
||
and ductile of all metals, and very heavy (sp. gr., 19.3).
|
||
It is quite unalterable by heat, moisture, and most
|
||
corrosive agents, and therefore well suited for its use in
|
||
coin and jewelry.
|
||
[ Webster's New International Dictionary
|
||
of the English Language, Second Edition ]
|
||
golden knight
|
||
Originally, it was created to constrain its user's power...
|
||
It has since absorbed enough of their strength that it radiates
|
||
strength back into the mortal wearer.
|
||
If you receive a fatal attack when you still have vigor left,
|
||
you can use the rest of the vigor to heal yourself to the state you
|
||
were in before you were attacked.
|
||
[ Kubera, by Currygom]
|
||
treasury golem
|
||
gold golem
|
||
The bellows he set away from the fire, and gathered all the tools
|
||
wherewith he wrought into a silver chest; and with a sponge wiped
|
||
he his face and his two hands withal, and his mighty neck and
|
||
shaggy breast, and put upon him a tunic, and grasped a stout staff,
|
||
and went forth halting; but there moved swiftly to support their
|
||
lord handmaidens wrought of gold in the semblance of living maids.
|
||
In them is understanding in their hearts, and in them speech and
|
||
strength, and they know cunning handiwork by gift of the immortal
|
||
gods.
|
||
[ The Iliad, by Homer ]
|
||
~argentum golem
|
||
~gold golem
|
||
~treasury golem
|
||
~flesh golem
|
||
~straw golem
|
||
~wood golem
|
||
~glass golem
|
||
*golem
|
||
"The original story harks back, so they say, to the sixteenth
|
||
century. Using long-lost formulas from the Kabbala, a rabbi is
|
||
said to have made an artificial man -- the so-called Golem -- to
|
||
help ring the bells in the Synagogue and for all kinds of other
|
||
menial work.
|
||
"But he hadn't made a full man, and it was animated by some sort
|
||
of vegetable half-life. What life it had, too, so the story
|
||
runs, was only derived from the magic charm placed behind its
|
||
teeth each day, that drew down to itself what was known as the
|
||
`free sidereal strength of the universe.'
|
||
"One evening, before evening prayers, the rabbi forgot to take
|
||
the charm out of the Golem's mouth, and it fell into a frenzy.
|
||
It raged through the dark streets, smashing everything in its
|
||
path, until the rabbi caught up with it, removed the charm, and
|
||
destroyed it. Then the Golem collapsed, lifeless. All that was
|
||
left of it was a small clay image, which you can still see in
|
||
the Old Synagogue." ...
|
||
[ The Golem, by Gustav Meyrink ]
|
||
gorgoneion
|
||
Among the Ancient Greeks the most widely-used image intended to
|
||
avert evil was that of the Gorgon, the head of which now may be
|
||
called the Gorgoneion, which features wild eyes, fangs, and
|
||
protruding tongue. The full figure of the Gorgon holds the apex
|
||
of the oldest remaining Greek temple where she is flanked by two
|
||
lionesses. The Gorgon head was mounted on the aegis and shield
|
||
of Athena.
|
||
[ Wikipedia ]
|
||
One of the most versitile wards, this 60 line emblem must
|
||
typically be prepared in advance.
|
||
grave
|
||
"Who'd care to dig 'em," said the old, old man,
|
||
"Those six feet marked in chalk?
|
||
Much I talk, more I walk;
|
||
Time I were buried," said the old, old man.
|
||
[ Three Songs to the Same Tune, by W.B. Yeats ]
|
||
grayswandir
|
||
She touched Grayswandir
|
||
"What a beautiful blade! I've never seen one like it."
|
||
"There isn't another," I said, and each time that I shifted
|
||
a little, the light fell differently upon it, so that one
|
||
moment it seemed filmed over with unhuman blood of an
|
||
orange tint and the next it lay there cold and white as
|
||
snow or a woman's breast, quivering in my hand each time
|
||
a little chill took me.
|
||
[ The Guns of Avalon, by Roger Zelazny ]
|
||
graz*zt
|
||
The figure standing before the throne is darkly handsome,
|
||
an ebon-skinned man nearly 9 feet tall. His slightly
|
||
pointed ears, yellow fangs, and six-fingered hands mark
|
||
him for the demon he is.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
*grease
|
||
ANOINT, v.t. To grease a king or other great functionary
|
||
already sufficiently slippery.
|
||
[ The Devil's Dictionary, by Ambrose Bierce ]
|
||
gremlinoid
|
||
The gremlin is a highly intelligent and completely evil
|
||
creature. It lives to torment other creatures and will go
|
||
to great lengths to inflict pain or cause injury.
|
||
|
||
Suddenly, Wilson thought about war, about the newspaper
|
||
stories which recounted the alleged existence of creatures in
|
||
the sky who plagued the Allied pilots in their duties. They
|
||
called them gremlins, he remembered. Were there, actually,
|
||
such beings? Did they, truly, exist up here, never falling,
|
||
riding on the wind, apparently of bulk and weight, yet
|
||
impervious to gravity?
|
||
He was thinking that when the man appeared again.
|
||
[ Nightmare at 20,000 Feet, by Richard Matheson ]
|
||
gremlin
|
||
Look Mister, there are some rules that you've got to follow.
|
||
Yeah, what kind of rules?
|
||
First of all, keep him out of the light, he hates bright
|
||
light, especially sunlight, it'll kill him. Second, don't
|
||
give him any water, not even to drink. But the most
|
||
important rule, the rule you can never forget, no matter
|
||
how much he cries, no matter how much he begs,
|
||
never feed him after midnight.
|
||
[ Gremlins ]
|
||
gr?y*elf
|
||
Grey elves have either silver hair and amber eyes, or pale
|
||
golden hair and violet eyes (the violet-eyed ones are known as
|
||
faerie elves). They favor bright garments of white, gold, silver,
|
||
or yellow, and wear cloaks of deep blue or purple. Grey elves are
|
||
the rarest of elves, and they have little to do with the world
|
||
outside their forests. They value intelligence very highly, and,
|
||
unlike other elves, devote much time to study and contemplation.
|
||
Their treatises on nature are astounding.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
grid bug
|
||
These electronically based creatures are not native to this
|
||
universe. They appear to come from a world whose laws of
|
||
motion are radically different from ours.
|
||
|
||
Tron looked to his mate and pilot. "I'm going to check on
|
||
the beam connection, Yori. You two can keep a watch out for
|
||
grid bugs." Tron paced forward along the slender catwalk
|
||
that still seemed awfully insubstantial to Flynn, though he
|
||
knew it to be amazingly sturdy. He gazed after Tron, asking
|
||
himself what in the world a grid bug was, and hoping that the
|
||
beam connection -- to which he'd given no thought whatsoever
|
||
until this moment -- was healthy and sound."
|
||
[ Tron, novel by Brian Daley, story by Steven Lisberger ]
|
||
grimlock
|
||
Grimlocks have thick, scaly, grey skin and long, black,
|
||
filthy hair. Their teeth are white and extremely sharp.
|
||
Their eyes are blank white orbs.
|
||
|
||
Grimlocks are totally blind, but have highly developed
|
||
senses of smell and hearing. Their sensitive ears and noses
|
||
combine to allow them to distinguish objects and creatures
|
||
just as well as if they were able to see. Those same ears
|
||
render them extremely vulnerable to loud noises, however.
|
||
[ Adapted from Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual ]
|
||
grimtooth
|
||
Elves. Dwarves. Men. All cruel beyond measure, all poisoned
|
||
with a hatred true and ancient. Likewise shall we hate them
|
||
and poison them in turn - for every harm they do us, with the
|
||
grim curved blade of our wrath shall we avenge, smash them,
|
||
smite them twofold.
|
||
|
||
Let them hate us, but we will teach them a new kind of fear,
|
||
whose name even the least among us shall know and know well.
|
||
gug
|
||
It was a paw, fully two feet and a half across, and equipped
|
||
with formidable talons. Alter it came another paw, and after
|
||
that a great black-furred arm to which both of the paws were
|
||
attached by short forearms. Then two pink eyes shone, and the
|
||
head of the awakened Gug sentry, large as a barrel, wabbled
|
||
into view. The eyes jutted two inches from each side, shaded
|
||
by bony protuberances overgrown with coarse hairs. But the
|
||
head was chiefly terrible because of the mouth. That mouth
|
||
had great yellow fangs and ran from the top to the bottom of
|
||
the head, opening vertically instead of horizontally.
|
||
[ The Dream Quest of Unknown Kadath, by H.P. Lovecraft ]
|
||
guisarme
|
||
Medieval peasants discovered that their pruning hooks made
|
||
reasonably effective pole arms. The result: the guisarme.
|
||
It is furnished with a sharp cutting edge along its convex
|
||
side, with a reverse spike to hook. The spike can be used
|
||
to penetrate armor when the weapon is swung, and the curved
|
||
hook provides an ample means of pulling horsemen to the ground.
|
||
gunyoki
|
||
The samurai's last meal before battle. It was usually made
|
||
up of cooked chestnuts, dried seaweed, and sake.
|
||
gwynharwyf
|
||
furious whirlwind
|
||
A short, stocky elf stands ready for battle. Her hair is
|
||
a wild silver-white mane, and her eyes are as green as jade.
|
||
She has a tanned complexion and clutches a pair of gleaming
|
||
scimitars that seem to reflect every color of the rainbow.
|
||
[ The Book of Exalted Deeds, by James Wyatt,
|
||
Christopher Perkins, and Darrin Drader ]
|
||
hachi
|
||
Hachi was a dog that went with his master, a professor, to
|
||
the Shibuya train station every morning. In the afternoon,
|
||
when his master was to return from work Hachi would be there
|
||
waiting. One day his master died at the office, and did not
|
||
return. For over ten years Hachi returned to the station
|
||
every afternoon to wait for his master. When Hachi died a
|
||
statue was erected on the station platform in his honor. It
|
||
is said to bring you luck if you touch his statue.
|
||
halb??d
|
||
angled pole*
|
||
Basically an axe on a pole, this weapon has been a mainstay
|
||
weapon in many armies for a long time. The axe blade angles
|
||
downward, and there is usually a spear tip at the end and
|
||
a spike protruding from the back. Due to its popularity it
|
||
comes in a wide variety of styles, many reaching ten feet
|
||
(3 meters).
|
||
|
||
|
|
||
I
|
||
H >\
|
||
H_--~~ >
|
||
_H /
|
||
_- H /
|
||
----H__ /
|
||
H \/
|
||
H
|
||
*hamsa
|
||
Depicting the open right hand, an image recognized and used
|
||
as a sign of protection in many societies throughout history,
|
||
the hamsa is believed to provide defense against the evil eye.
|
||
The symbol predates Christianity and Islam. In Islam, is also
|
||
known as the hand of Fatima, so named to commemorate
|
||
Muhammad's daughter Fatima Zahra. Levantine Christians call it
|
||
the hand of Mary, for the mother of Jesus.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
|
||
A hamsa mark may be drawn in 10 strokes, making it fairly quick
|
||
to engrave; however, additional pairs after the first must be
|
||
drawn togther. Up to six hamsas may be drawn in one square.
|
||
*harp
|
||
A triangular stringed instrument, often Magic. Even when not
|
||
Magic, a Harp is surprisingly portable and tough and can be
|
||
carried everywhere on the back of the Bard or Harper in all
|
||
weathers. A Harp seldom goes out of tune and never warps.
|
||
Its strings break only in very rare instances, usually
|
||
because the Harper is sulking or crossed in love. This is
|
||
just as well as no one seems to make or sell spare strings.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
|
||
After breakfast was over, the ogre called out: "Wife, wife,
|
||
bring me my golden harp." So she brought it and put it on
|
||
the table before him. Then he said: "Sing!" and the golden
|
||
harp sang most beautifully. And it went on singing till the
|
||
ogre fell asleep, and commenced to snore like thunder.
|
||
Then Jack lifted up the copper-lid very quietly and got down
|
||
like a mouse and crept on hands and knees till he came to the
|
||
table, when up he crawled, caught hold of the golden harp and
|
||
dashed with it towards the door. But the harp called out
|
||
quite loud: "Master! Master!" and the ogre woke up just in
|
||
time to see Jack running off with his harp.
|
||
[ Jack and the Beanstalk, from English Fairy Tales,
|
||
by Joseph Jacobs ]
|
||
halberd
|
||
This form of a pole axe is seen as a convex-headed broad axe
|
||
in early examples, but the head is set at a convenient angle,
|
||
considering the point where the blade is most likely to impact
|
||
upon an enemy. This alone makes it quite distinct from an
|
||
ordinary long-hafted axe. The whole weapon reaches 8 feet in length,
|
||
and is nearly always topped with a long spear point and backed by
|
||
a spike, which was often angled or hooked slightly downward.
|
||
The spear point is, of course, designed to keep opponents at bay
|
||
and deliver a thrusting attack (this proves quite useless when
|
||
opposing mounted knights armed with lances). The opposing spike was
|
||
for penetration of heavy plate armor, with a secondary function as a
|
||
hook for dismounting opponents.
|
||
hawaiian*shirt
|
||
'One of the things he can't do, he can't ride a horse,' he said.
|
||
Then he stiffened as if sandbagged by a sudden recollection,
|
||
gave a small yelp of terror and dashed into the gloom. When he
|
||
returned, the being called Twoflower was hanging limply over his
|
||
shoulder. It was small and skinny, and dressed very oddly in a
|
||
pair of knee-length britches and a shirt in such a violent and
|
||
vivid conflict of colours that the Weasel's fastidious eye was
|
||
offended even in the half-light.
|
||
[ The Colour of Magic, by Terry Pratchett ]
|
||
healer
|
||
* healer
|
||
attendant
|
||
doctor
|
||
physician
|
||
I swear by Apollo the physician, and Aesculapius, and Health,
|
||
and All-heal, and all the gods and goddesses, that, according
|
||
to my ability and judgment, I will keep this Oath and this
|
||
stipulation -- to reckon him who taught me this Art equally dear
|
||
to me as my parents, to share my substance with him, and relieve
|
||
his necessities if required; to look upon his offspring in the
|
||
same footing as my own brothers, and to teach them this art, if
|
||
they shall wish to learn it, without fee or stipulation; and
|
||
that by precept, lecture, and every other mode of instruction,
|
||
I will impart a knowledge of the Art to my own sons, and those
|
||
of my teachers, and to disciples bound by a stipulation and oath
|
||
according to the law of medicine, but to none others. I will
|
||
follow that system of regimen which, according to my ability and
|
||
judgment, I consider for the benefit of my patients, and abstain
|
||
from whatever is deleterious and mischievous. [...]
|
||
[ Hippocrates' Oath, translated by Francis Adams ]
|
||
|
||
PHYSICIAN, n. One upon whom we set our hopes when ill and our
|
||
dogs when well.
|
||
[ The Devil's Dictionary, by Ambrose Bierce ]
|
||
heart of ahriman
|
||
The other three drew in their breath sharply, and the dark,
|
||
powerful man who stood at the head of the sarcophagus whispered:
|
||
"The Heart of Ahriman!" The other lifted a quick hand
|
||
for silence. Somewhere a dog began howling dolefully, and a
|
||
stealthy step padded outside the barred and bolted door. ...
|
||
But none looked aside from the mummy case over which the man
|
||
in the ermine-trimmed robe was now moving the great flaming
|
||
jewel, while he muttered an incantation that was old when
|
||
Atlantis sank. The glare of the gem dazzled their eyes, so
|
||
that they could not be sure what they saw; but with a
|
||
splintering crash, the carven lid of the sarcophagus burst
|
||
outward as if from some irresistible pressure applied from
|
||
within and the four men, bending eagerly forward, saw the
|
||
occupant -- a huddled, withered, wizened shape, with dried
|
||
brown limbs like dead wood showing through moldering bandages.
|
||
"Bring that thing back?" muttered the small dark man who
|
||
stood on the right, with a short, sardonic laugh. "It is
|
||
ready to crumble at a touch. We are fools ---"
|
||
[ Conan The Conqueror, by Robert E. Howard ]
|
||
hell hound*
|
||
Hell hounds are fire-breathing canines from another plane of
|
||
existence brought here in the service of evil beings. A hell
|
||
hound resembles a large hound with rust-red or red-brown fur,
|
||
and red, glowing eyes. The markings, teeth, and tongue are
|
||
soot black. It stands two to three feet high at the shoulder
|
||
and has a distinct odour of smoke and sulphur. The baying
|
||
sounds it makes have an eerie, hollow tone that sends a shiver
|
||
through any who hear them.
|
||
|
||
But suddenly they started forward in a rigid, fixed stare, and his
|
||
lips parted in amazement. At the same instant Lestrade gave a yell
|
||
of terror and threw himself face downward upon the ground. I sprang
|
||
to my feet, my inert hand grasping my pistol, my mind paralyzed by
|
||
the dreadful shape which had sprung out upon us from the shadows of
|
||
the fog. A hound it was, an enormous coal-black hound, but not
|
||
such a hound as mortal eyes have ever seen. Fire burst from its
|
||
open mouth, its eyes glowed with a smouldering glare, its muzzle
|
||
and hackles and dewlap were outlined in flickering flame. Never
|
||
in the delirious dream of a disordered brain could anything more
|
||
savage, more appalling, more hellish be conceived than that dark
|
||
form and savage face which broke upon us out of the wall of fog.
|
||
[ The Hound of the Baskervilles,
|
||
by Sir Arthur Conan Doyle. ]
|
||
hellcat
|
||
One of the worst things about the hellcat is that it's damned
|
||
near invisible in *any* kind of light. [...] However, if a
|
||
body's smart enough to douse the light when a hellcat's
|
||
suspected nearby, she'll see a glowing outline of a cat the
|
||
size of a tiger. She'll also see the thing's malevolently
|
||
glowing red eyes - 'course, that might also be the *last*
|
||
thing she sees.
|
||
[ Planes of Law, TSR ]
|
||
*heptagram
|
||
The heptagram, a sevenpointed star, is an obvious development
|
||
of the pentagram, once it was discovered. The number seven is
|
||
well known in symbolism. The traditional seven planets (the
|
||
wandering celestial bodies as opposed to the fixed stars) were
|
||
associated with seven celestial spheres, thus the old
|
||
expression "to be in seventh heaven". The names of the seven
|
||
days of the week may have been derived from the ordering of
|
||
planets based on orbital period according to the paths of the
|
||
heptagram.
|
||
[ Adapted from symbols.com, the online encyclopedia of
|
||
Western signs and ideograms ]
|
||
|
||
The heptagram ward requires 21 strokes to draw, and is one of
|
||
the most broadly effective wards. It may be reinforced up to
|
||
seven times.
|
||
*hexagram
|
||
The hexagram is based on the triangle gestalt. The earliest
|
||
examples found are dated back to around 800-600 B.C.
|
||
If the structure had been designed by a process of random
|
||
experimentation with the basic gestalt, the hexagram as
|
||
graphically simpler than the pentagram would have been
|
||
created long before it. Present archeological and historical
|
||
facts, however, indicate that it first appeared at least
|
||
3,000 years later than the pentgram. It is sometimes reffered
|
||
to as Solomon's seal, though the sign on Solomon's seal is
|
||
believed to have been a pentagram, and it is frequently used
|
||
in the magic formulas in the old book of witchcraft,
|
||
The Key of Solomon.
|
||
|
||
The alchemists of the Middle Ages used the hexagram first and
|
||
foremost as a general symbol representing the art of alchemy
|
||
and secondly as a sign for combinations of water and fire.
|
||
Combined these two triangles formed the symbol for fire water,
|
||
the essence or spiritus of wine: alcohol. It was also used as
|
||
a sign for quintessence, the fifth element.
|
||
[ Adapted from symbols.com, the online encyclopedia of
|
||
Western signs and ideograms ]
|
||
|
||
Composed of just twelve strokes, the hexagram can be drawn
|
||
fairly quickly. It may be reinforced up to seven times.
|
||
hermes
|
||
Messenger and herald of the Olympians. Being required to do
|
||
a great deal of travelling and speaking in public, he became
|
||
the god of eloquence, travellers, merchants, and thieves. He
|
||
was one of the most energetic of the Greek gods, a
|
||
Machiavellian character full of trickery and sexual vigour.
|
||
Like other Greek gods, he is endowed with not-inconsiderable
|
||
sexual prowess which he directs towards countryside nymphs.
|
||
He is a god of boundaries, guardian of graves and patron deity
|
||
of shepherds. He is usually depicted as a handsome young
|
||
man wearing winged golden sandals and holding a magical
|
||
herald's staff consisting of intertwined serpents, the
|
||
kerykeion. He is reputedly the only being able to find his way
|
||
to the underworld ferry of Charon and back again. He is said
|
||
to have invented, among other things, the lyre, Pan's Pipes,
|
||
numbers, the alphabet, weights and measures, and sacrificing.
|
||
hezrou
|
||
"Hezrou" is the common name for the type II demon. It is
|
||
among the weaker of demons, but still quite formidable.
|
||
hippocrates
|
||
Greek physician, recognized as the father of medicine. He
|
||
is believed to have been born on the island of Cos, to have
|
||
studied under his father, a physician, to have traveled for
|
||
some time, perhaps studying in Athens, and to have then
|
||
returned to practice, teach, and write at Cos. The
|
||
Hippocratic or Coan school that formed around him was of
|
||
enormous importance in separating medicine from superstition
|
||
and philosophic speculation, placing it on a strictly
|
||
scientific plane based on objective observation and critical
|
||
deductive reasoning.
|
||
[ The Columbia Encyclopedia, Sixth Edition ]
|
||
hobbit
|
||
In a hole in the ground there lived a hobbit.
|
||
[ The Hobbit, by J.R.R. Tolkien ]
|
||
|
||
Hobbits are an unobtrusive but very ancient people, more
|
||
numerous formerly than they are today; for they love peace
|
||
and quiet and good tilled earth: a well-ordered and well-
|
||
farmed countryside was their favourite haunt. They do not
|
||
and did not understand or like machines more complicated
|
||
than a forge-bellows, a water-mill, or a handloom, although
|
||
they were skillful with tools. Even in ancient days they
|
||
were, as a rule, shy of "the Big Folk", as they call us, and
|
||
now they avoid us with dismay and are becoming hard to find.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
hobgoblin
|
||
Hobgoblin. Used by the Puritans and in later times for
|
||
wicked goblin spirits, as in Bunyan's "Hobgoblin nor foul
|
||
friend", but its more correct use is for the friendly spirits
|
||
of the brownie type. In "A midsummer night's dream" a
|
||
fairy says to Shakespeare's Puck:
|
||
Those that Hobgoblin call you, and sweet Puck,
|
||
You do their work, and they shall have good luck:
|
||
Are you not he?
|
||
and obviously Puck would not wish to be called a hobgoblin
|
||
if that was an ill-omened word.
|
||
Hobgoblins are on the whole, good-humoured and ready to be
|
||
helpful, but fond of practical joking, and like most of the
|
||
fairies rather nasty people to annoy. Boggarts hover on the
|
||
verge of hobgoblindom. Bogles are just over the edge.
|
||
One Hob mentioned by Henderson, was Hob Headless who haunted
|
||
the road between Hurworth and Neasham, but could not cross
|
||
the little river Kent, which flowed into the Tess. He was
|
||
exorcised and laid under a large stone by the roadside for
|
||
ninety-nine years and a day. If anyone was so unwary as to
|
||
sit on that stone, he would be unable to quit it for ever.
|
||
The ninety-nine years is nearly up, so trouble may soon be
|
||
heard of on the road between Hurworth and Neasham.
|
||
[ A Dictionary of Fairies, by Katharine Briggs ]
|
||
*holy moonlight sword
|
||
An arcane sword discovered long ago by Ludwig.
|
||
When blue moonlight dances around the sword, and it channels
|
||
the abyssal cosmos, its great blade will hurl a shadowy lightwave.
|
||
|
||
The Holy Moonlight Sword is synonymous with Ludwig, the Holy
|
||
Blade, but few have ever set eyes on the great blade, and
|
||
whatever guidance it has to offer, it seems to be of a very
|
||
private, elusive sort. When Ludwig closed his eyes, he saw
|
||
darkness, or perhaps nothingness, and that is where he discovered
|
||
the tiny beings of light.
|
||
|
||
Ludwig was certain that these playful dancing sprites offered
|
||
"guidance." They could empty Ludwig of his fears at least in the
|
||
midst of a hunt.
|
||
[ Bloodborne, by From Software ]
|
||
holy water
|
||
"We want a word with you," said Ligur (in a tone of voice
|
||
intended to imply that "word" was synonymous with "horrifically
|
||
painful eternity"), and the squat demon pushed open the office
|
||
door.
|
||
The bucket teetered, then fell neatly on Ligur's head.
|
||
Drop a lump of sodium in water. Watch it flame and burn and
|
||
spin around crazily, flaring and sputtering. This was like
|
||
that, just nastier.
|
||
The demon peeled and flared and flickered. Oily brown smoke
|
||
oozed from it, and it screamed and it screamed and it screamed.
|
||
Then it crumpled, folded in on itself, and what was left lay
|
||
glistening on the burnt and blackened circle of carpet, looking
|
||
like a handful of mashed slugs.
|
||
"Hi," said Crowley to Hastur, who had been walking behind Ligur,
|
||
and had unfortunately not been so much as splashed.
|
||
There are some things that are unthinkable; there are some
|
||
depths that not even demons would believe other demons would
|
||
stoop to.
|
||
". . . Holy water. You bastard," said Hastur. "You complete
|
||
_bastard_. He hadn't never done nothing to _you_."
|
||
"Yet," corrected Crowley.
|
||
[ Good Omens, by Neil Gaiman and Terry Pratchett ]
|
||
hom*nculus
|
||
A homunculus is a creature summoned by a mage to perform some
|
||
particular task. They are particularly good at spying. They
|
||
are smallish creatures, but very agile. They can put their
|
||
victims to sleep with a venomous bite, but due to their size,
|
||
the effect does not last long on humans.
|
||
|
||
"Tothapis cut him off. 'Be still and hearken. You will travel
|
||
aboard the sacred wingboat. Of it you may not have heard; but
|
||
it will bear you thither in a night and a day and a night.
|
||
With you will go a homunculus that can relay your words to me,
|
||
and mine to you, across the leagues between at the speed of
|
||
thought.'"
|
||
[ Conan the Rebel, by Poul Anderson ]
|
||
~pruning hook
|
||
*hook
|
||
But as for Queequeg -- why, Queequeg sat there among them --
|
||
at the head of the table, too, it so chanced; as cool as an
|
||
icicle. To be sure I cannot say much for his breeding. His
|
||
greatest admirer could not have cordially justified his
|
||
bringing his harpoon into breakfast with him, and using it
|
||
there without ceremony; reaching over the table with it, to
|
||
the imminent jeopardy of many heads, and grappling the
|
||
beefsteaks towards him.
|
||
[ Moby Dick, by Herman Melville ]
|
||
~unicorn horn
|
||
*horn
|
||
Roland hath set the Olifant to his mouth,
|
||
He grasps it well, and with great virtue sounds.
|
||
High are those peaks, afar it rings and loud,
|
||
Thirty great leagues they hear its echoes mount.
|
||
So Charles heard, and all his comrades round;
|
||
Then said that King: "Battle they do, our counts!"
|
||
And Guenelun answered, contrarious:
|
||
"That were a lie, in any other mouth."
|
||
[ The Song of Roland ]
|
||
hooloovoo
|
||
A super-intelligent shade of the colour blue.
|
||
horn of plenty
|
||
cornucopia
|
||
The infant Zeus was fed with goat's milk by Amalthea,
|
||
daughter of Melisseus, King of Crete. Zeus, in gratitude,
|
||
broke off one of the goat's horns, and gave it to Amalthea,
|
||
promising that the possessor should always have in abundance
|
||
everything desired.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
|
||
When Amalthea's horn
|
||
O'er hill and dale the rose-crowned flora pours,
|
||
And scatters corn and wine, and fruits and flowers.
|
||
[ Os Lusiadas, by Luis Vaz de Camoes ]
|
||
horned devil
|
||
Savage determination drives one quite efficiently
|
||
[ Faces of Evil, by Colin McComb ]
|
||
|
||
Horned devils lack any real special abilities, though they
|
||
are quite difficult to kill.
|
||
*horror
|
||
Despite its eldritch appearance, the shambling horror is
|
||
among the most harmless inhabitants of the Dungeons of
|
||
Doom. Many adventurers who have returned from the depths
|
||
can attest to the varied yet innocuous aspects of this
|
||
creature. It is speculated by some that the shambling
|
||
horror may occasionally possess abilities that are quite
|
||
lethal, but if this is true, no one has yet observed
|
||
them and survived to document it.
|
||
~horsem*
|
||
*horse
|
||
King Richard III: A horse! a horse! my kingdom for a horse!
|
||
Catesby: Withdraw, my lord; I'll help you to a horse.
|
||
King Richard III: Slave, I have set my life upon a cast,
|
||
And I will stand the hazard of the die:
|
||
I think there be six Richmonds in the field;
|
||
Five have I slain to-day instead of him.
|
||
A horse! a horse! my kingdom for a horse!
|
||
[ King Richard III, by William Shakespeare ]
|
||
hound of Tindalos
|
||
I saw them for a ghastly moment. For a moment I stood on the
|
||
other side. I stood on the pale gray shores beyond time and
|
||
space. In an awful light that was not light, in a silence
|
||
that shrieked, I saw *them.*
|
||
[ The Hounds of Tindalos, by Frank Belknap Long ]
|
||
*horsem*
|
||
rider*
|
||
death
|
||
famine
|
||
pestilence
|
||
war
|
||
hunger
|
||
[Pestilence:] And I saw when the Lamb opened one of the seals,
|
||
and I heard, as it were the noise of thunder, one of the four
|
||
beasts saying, Come and see. And I saw, and behold a white
|
||
horse: and he that sat on him had a bow; and a crown was given
|
||
unto him: and he went forth conquering, and to conquer.
|
||
|
||
[War:] And when he had opened the second seal, I heard the
|
||
second beast say, Come and see. And there went out another
|
||
horse that was red: and power was given to him that sat thereon
|
||
to take peace from the earth, and that they should kill one
|
||
another: and there was given unto him a great sword.
|
||
|
||
[Famine:] And when he had opened the third seal, I heard the
|
||
third beast say, Come and see. And I beheld, and lo a black
|
||
horse; and he that sat on him had a pair of balances in his
|
||
hand. And I heard a voice in the midst of the four beasts say,
|
||
A measure of wheat for a penny, and three measures of barley
|
||
for a penny; and see thou hurt not the oil and the wine.
|
||
|
||
[Death:] And when he had opened the fourth seal, I heard the
|
||
voice of the fourth beast say, Come and see. 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.
|
||
[ Revelations of John, 6:1-8 ]
|
||
huan*ti
|
||
The first of five mythical Chinese emperors, Huan Ti is known
|
||
as the yellow emperor. He rules the _moving_ heavens, as
|
||
opposed to the _dark_ heavens. He is an inventor, said to
|
||
have given mankind among other things, the wheel, armour, and
|
||
the compass. He is the god of fortune telling and war.
|
||
hu*h*eto*l
|
||
minion of huhetotl
|
||
Huehuetotl, or Huhetotl, which means Old God, was the Aztec
|
||
(classical Mesoamerican) god of fire. He is generally
|
||
associated with paternalism and one of the group classed
|
||
as the Xiuhtecuhtli complex. He is known to send his
|
||
minions to wreak havoc upon ordinary humans.
|
||
[ after the Encyclopedia of Gods, by Michael Jordan ]
|
||
humanoid
|
||
Humanoids are all approximately the size of a human, and may
|
||
be mistaken for one at a distance. They are usually of a
|
||
tribal nature, and will fiercely defend their lairs. Usually
|
||
hostile, they may even band together to raid and pillage
|
||
human settlements.
|
||
# takes "human or elf or you" when specifying "@" as a dwarf, gnome or orc.
|
||
human
|
||
human smith
|
||
chieftain
|
||
guard
|
||
ninja
|
||
maid
|
||
nurse
|
||
page
|
||
ronin
|
||
student
|
||
thug
|
||
warrior
|
||
*watch*
|
||
player
|
||
human or elf*
|
||
These strange creatures live mostly on the surface of the
|
||
earth, gathering together in societies of various forms, but
|
||
occasionally a stray will descend into the depths and commit
|
||
mayhem among the dungeon residents who, naturally, often
|
||
resent the intrusion of such beasts. They are capable of
|
||
using weapons and magic, and it is even rumored that the
|
||
Wizard of Yendor is a member of this species.
|
||
hungry dead
|
||
blob of preserved organs
|
||
"Hm, obviously the ghoul-women would be naked, but I don't
|
||
want to make things too NSFW since I know for a fact that
|
||
over half my audience reads this from work. How can I...
|
||
oh, I know, I'll just rip out all their guts from the
|
||
genitals up to the lungs and leave an enormous scoop mark
|
||
there. That'll keep things tasteful."
|
||
[ Kyle Marquis ]
|
||
hunter
|
||
What of the hunting, hunter bold?
|
||
Brother, the watch was long and cold.
|
||
What of the quarry ye went to kill?
|
||
Brother, he crops in the jungle still.
|
||
Where is the power that made your pride?
|
||
Brother, it ebbs from my flank and side.
|
||
Where is the haste that ye hurry by?
|
||
Brother, I go to my lair to die.
|
||
[ The Jungle Book, by Rudyard Kipling ]
|
||
hunting horror
|
||
And in the air about him were great viperine creatures,
|
||
which had curiously distorted heads, and grotesquely great
|
||
clawed appendages, supporting themselves with ease by the
|
||
aid of black rubbery wings of singularly monstrous
|
||
dimensions.
|
||
[ The Lurker At the Threshold,
|
||
H.P. Lovecraft & August Derleth ]
|
||
ice devil
|
||
A thing coveted is worth the wait.
|
||
[ Faces of Evil, by Colin McComb ]
|
||
|
||
Ice devils are large semi-insectoid creatures, who are
|
||
equally at home in the fires of Hell and the cold of Limbo,
|
||
and who can cause the traveller to feel the latter with just
|
||
a touch of their tail.
|
||
idefix
|
||
Another clever translation [of the _Asterix_ character names]
|
||
is that of Idefix. An _idee fixe_ is a "fixed idea", i.e.
|
||
an obsession, a dogma. The translation, Dogmatix, manages to
|
||
conserve the "fixed idea" meaning and also include the syllable
|
||
dog -- perfect, given that the character is a dog who has very
|
||
strong views on the environment (he howls whenever he sees an
|
||
uprooted tree).
|
||
[ Wikipedia, the free encyclopedia ]
|
||
iksh*na deva
|
||
One day in the park
|
||
I had quite a surprise.
|
||
I met a girl
|
||
who had many eyes.
|
||
|
||
She was really quite pretty
|
||
(and also quite shocking!)
|
||
and I noticed she had a mouth,
|
||
so we ended up talking.
|
||
[ The Girl with Many Eyes, by Tim Burton ]
|
||
i*lona s*
|
||
We do know that Vlad later married Ilona Szilagy, who was
|
||
related to Matthias Corvinus, the king of Hungary who had
|
||
placed Vlad under arrest following his escape from Wallachia
|
||
in 1462. It appears that Corvinus made an arrangement with
|
||
Vlad to restore him to his throne. To strengthen the bond,
|
||
Vlad was offered a royal bride.
|
||
[ Dracula's Homepage, by Dr. Elizabeth Miller ]
|
||
illurien of the myriad glimpses
|
||
A strange woman composed of tears and raindrops, Illurien
|
||
of the Myriad Glimpses is a collector of information and
|
||
a keeper of secrets. She appears as a dancing array of
|
||
countless swirling droplets. This storm of stolen moments
|
||
surrounds and creates a slender, but extremely tall,
|
||
feminine form clad in gray robes.
|
||
|
||
She has no facial features other than her vivid blue eyes.
|
||
[ Adapted from Dungeons and Dragons 3.5 Edition
|
||
Monster Manual V ]
|
||
ilmater
|
||
Ilmater is the god of endurance, martyrdom, perseverence,
|
||
suffering, the oppressed, and the persecuted. His followers
|
||
seek to ease the suffering of others, and were taught to halt
|
||
and relieve the suffering of others, and to take that suffering
|
||
upon themselves if they must.
|
||
[ Adapted from the Forgotten Realms wiki ]
|
||
# takes "imp or minor demon" when specifying "i"
|
||
imp
|
||
imp or minor demon
|
||
... imps ... little creatures of two feet high that could
|
||
gambol and jump prodigiously; ...
|
||
[ The Charwoman's Shadow, by Lord Dunsany ]
|
||
|
||
An 'imp' is an off-shoot or cutting. Thus an 'ymp tree' was
|
||
a grafted tree, or one grown from a cutting, not from seed.
|
||
'Imp' properly means a small devil, an off-shoot of Satan,
|
||
but the distinction between goblins or bogles and imps from
|
||
hell is hard to make, and many in the Celtic countries as
|
||
well as the English Puritans regarded all fairies as devils.
|
||
The fairies of tradition often hover uneasily between the
|
||
ghostly and the diabolic state.
|
||
[ A Dictionary of Fairies, by Katharine Briggs ]
|
||
incantifier
|
||
Several centuries ago, there existed a faction, now almost
|
||
entirely extinct, called nowadays 'The Incantifers', then
|
||
simply as The Magicians or The Wanters. They believed that
|
||
magic, specifically arcane magic, was the key to power,
|
||
indeed the only power that mattered in the multiverse. Gain
|
||
enough knowledge of magic and skill in it and you could do
|
||
anything. Even challenge The Lady....
|
||
|
||
According to legend, at least two members of the Wanters
|
||
tried just that. They died, horribly and spectacularly.
|
||
Legend also says that one of them almost succeeded.
|
||
|
||
Then one day, they vanished. Cutters looked up one
|
||
morning and the Tower Sorcerous, the faction headquarters
|
||
of the Wanters was simply gone. Nearly all of their
|
||
members vanished with it, though a scant few remain to
|
||
wander the planes.
|
||
[ Shemeska's Story Hour, by Todd Stewart ]
|
||
|
||
"They all ate magic. They ate other people's magic.
|
||
Spells, items, anything they could buy, steal, or otherwise
|
||
get a hold of. This place is sealed off from everything.
|
||
There's no way out and you've got an entire faction of
|
||
magic eating wizard suddenly bottled up with each other and
|
||
no food source... except each other."
|
||
[ Shemeska's Story Hour, by Todd Stewart ]
|
||
incubus
|
||
succubus
|
||
"Yet it may be said that these devils assume a body not in
|
||
order that they may bestow life upon it, but that they
|
||
may by the means of this body preserve human semen,
|
||
and pass the semen on to another body."
|
||
[ Malleus Maleficarum, by Heinrich Kramer ]
|
||
|
||
The incubus and succubus are male and female versions of the
|
||
same demon, one who lies with a human for its own purposes,
|
||
usually to the detriment of the mortals who are unwise in
|
||
their dealings with them.
|
||
intoner
|
||
People who can use the power of song to wield vast
|
||
attacking force. Six of them, all female, have been
|
||
recorded throughout history. The Intoners freed each land
|
||
from the despotic rulers that once terrorized their
|
||
people, and are now worshipped as saviors.
|
||
[ Drakengard III ]
|
||
irrational pi*
|
||
The primary purpose of the DATA statement is to give names to
|
||
constants; instead of referring to pi as 3.141592653589793 at
|
||
every appearance, the variable PI can be given that value with
|
||
a DATA statement and used instead of the longer form of the
|
||
constant. This also simplifies modifying the program, should
|
||
the value of pi change.
|
||
[ FORTRAN manual for Xerox Computers ]
|
||
*insect
|
||
*insects
|
||
A minute invertebrate animal; one of the class _Insecta_. The
|
||
true insects or hexapods have the body divided into a head,
|
||
a thorax of 3 segments, each of which bears a pair of legs,
|
||
and an abdomen of 7 to 11 segments, and in development usually
|
||
pass through a metamorphosis. There are usually 2 pairs of wings,
|
||
sometimes one pair or none.
|
||
[ Webster's Comprehensive International Dictionary
|
||
of the English Language ]
|
||
|
||
Else, if thou refuse to let my people go, behold, to morrow will
|
||
I bring the locusts into thy coast:
|
||
And they shall cover the face of the earth, that one cannot be able
|
||
to see the earth: and they shall eat the residue of that which is
|
||
escaped, which remaineth unto you from the hail, and shall eat every
|
||
tree which groweth for you out of the field:
|
||
And they shall fill thy houses, and the houses of all thy servants,
|
||
and the houses of all the Egyptians; which neither thy fathers, nor
|
||
thy fathers' fathers have seen, since the day that they were upon the
|
||
earth unto this day. And he turned himself, and went out from Pharaoh.
|
||
[ Exodus, 10:4-6 ]
|
||
*iron ball
|
||
*iron chain
|
||
"You are fettered, " said Scrooge, trembling. "Tell me why?"
|
||
"I wear the chain I forged in life," replied the Ghost. "I
|
||
made it link by link, and yard by yard; I girded it on of my
|
||
own free will, and of my own free will I wore it. Is its
|
||
pattern strange to you?"
|
||
Scrooge trembled more and more.
|
||
"Or would you know," pursued the Ghost, "the weight and
|
||
length of the strong coil you bear yourself? It was full as
|
||
heavy and as long as this, seven Christmas Eves ago. You
|
||
have laboured on it, since. It is a ponderous chain!"
|
||
[ A Christmas Carol, by Charles Dickens ]
|
||
iron bars
|
||
Stone walls do not a prison make,
|
||
Nor iron bars a cage;
|
||
Minds innocent and quiet take
|
||
That for an hermitage;
|
||
If I have freedom in my love,
|
||
And in my soul am free,
|
||
Angels alone that soar above
|
||
Enjoy such liberty.
|
||
[ To Althea from Prison, by Richard Lovelace ]
|
||
ishtar
|
||
Ishtar (the star of heaven) is the Mesopotamian goddess of
|
||
fertility and war. She is usually depicted with wings and
|
||
weapon cases at her shoulders, carrying a ceremonial double-
|
||
headed mace-scimitar embellished with lion heads, frequently
|
||
being accompanied by a lion. She is symbolized by an eight-
|
||
pointed star.
|
||
[ Encyclopedia of Gods, by Michael Jordan ]
|
||
issek
|
||
Now Issek of the Jug, whom Fafhrd chose to serve, was once
|
||
of the most lowly and unsuccessful of the gods, godlets
|
||
rather, in Lankhmar. He had dwelt there for about thirteen
|
||
years, during which time he had traveled only two squares up
|
||
the Street of the Gods and was now back again, ready for
|
||
oblivion. He is not to be confused with Issek the Armless,
|
||
Issek of the Burnt Legs, Flayed Issek, or any other of the
|
||
numerous and colorfully mutilated divinities of that name.
|
||
Indeed, his unpopularity may have been due in part to the
|
||
fact that the manner of his death -- racking -- was not
|
||
deemed particularly spectacular. ... However, after Fafhrd
|
||
became his acolyte, things somehow began to change.
|
||
[ Swords In The Mist, by Fritz Leiber ]
|
||
itlachiayaque
|
||
Tezcatlipoca (Fiery Mirror) was undoubtedly the Jupiter of the
|
||
Nahua pantheon. He carried a mirror or shield [ Itlachiayaque ],
|
||
from which he took his name, and in which he was supposed to see
|
||
reflected the actions and deeds of mankind. The evolution of this
|
||
god from the status of a spirit of wind or air to that of the
|
||
supreme deity of the Aztec people presents many points of deep
|
||
interest to students of mythology.
|
||
[ The Myths of Mexico and Peru, by Lewis Spence ]
|
||
izchak
|
||
The shopkeeper of the lighting shop in the town level of the
|
||
gnomish mines is a tribute to Izchak Miller, a founding member
|
||
of the NetHack development team and a personal friend of a large
|
||
number of us. Izchak contributed greatly to the game, coding a
|
||
large amount of the shopkeep logic (hence the nature of the tribute)
|
||
as well as a good part of the alignment system, the prayer code and
|
||
the rewrite of "hell" in the 3.1 release. Izchak was a professor
|
||
of Philosophy, who taught at many respected institutions, including
|
||
MIT and Stanford, and who also worked, for a period of time, at
|
||
Xerox PARC. Izchak was the first "librarian" of the NetHack project,
|
||
and was a founding member of the DevTeam, joining in 1986 while he
|
||
was working at the University of Pennsylvania (hence our former
|
||
mailing list address). Until the 3.1.3 release, Izchak carefully
|
||
kept all of the code synchronized and arbitrated disputes between
|
||
members of the development teams. Izchak Miller passed away at the
|
||
age of 58, in the early morning hours of April 1, 1994 from
|
||
complications due to cancer. We then dedicated NetHack 3.2 in his
|
||
memory.
|
||
[ Mike Stephenson, for the NetHack DevTeam ]
|
||
jabberwock
|
||
jabberwockian
|
||
"Beware the Jabberwock, my son!
|
||
The jaws that bite, the claws that catch!
|
||
Beware the Jubjub bird, and shun
|
||
The frumious Bandersnatch!"
|
||
|
||
He took his vorpal sword in hand;
|
||
Long time the manxome foe he sought --
|
||
So rested he by the Tumtum tree,
|
||
And stood awhile in thought.
|
||
|
||
And, as in uffish thought he stood,
|
||
The Jabberwock, with eyes of flame,
|
||
Came whiffling through the tulgey wood,
|
||
And burbled as it came!
|
||
|
||
One, two! One, two! And through and through
|
||
The vorpal blade went snicker-snack!
|
||
He left it dead, and with its head
|
||
He went galumphing back.
|
||
[ Jabberwocky, by Lewis Carroll ]
|
||
jacinth*
|
||
Sweet in the rough weather
|
||
The voice of the turtle-dove
|
||
'Beautiful altogether
|
||
Is my Love.
|
||
His Hands are open spread for love
|
||
And full of jacinth stones
|
||
As the apple-tree among trees of the grove
|
||
Is He among the sons.'
|
||
[ The Beloved, by May Probyn ]
|
||
jackal
|
||
In Asiatic folktale, jackal provides for the lion; he scares
|
||
up game, which the lion kills and eats, and receives what is
|
||
left as reward. In stories from northern India he is
|
||
sometimes termed "minister to the king," i.e. to the lion.
|
||
From the legend that he does not kill his own food has arisen
|
||
the legend of his cowardice. Jackal's heart must never be
|
||
eaten, for instance, in the belief of peoples indigenous to
|
||
the regions where the jackal abounds. ... In Hausa Negro
|
||
folktale Jackal plays the role of sagacious judge and is
|
||
called "O Learned One of the Forest." The Bushmen say that
|
||
Jackal goes around behaving the way he does "because he is
|
||
Jackal".
|
||
[ Funk & Wagnalls Standard Dictionary of Folklore ]
|
||
*jack*boot*
|
||
A large boot extending over the knee, acting as protective
|
||
armour for the leg, worn by troopers in the 17th and 18th
|
||
centuries and later. It is still the type of boot worn by
|
||
the Household Cavalry and was adopted by fishermen and others
|
||
before the advent of gum boots. Figuratively, _to be under the
|
||
jack-boot_ is to be controlled by a brutal military regime.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
jade*
|
||
Nothing grew among the ruins of the city. The streets were
|
||
broken and the walls of the houses had fallen, but there were
|
||
no weeds flowering in the cracks and it seemed that the city
|
||
had but recently been brought down by an earthquake. Only
|
||
one thing still stood intact, towering over the ruins. It
|
||
was a gigantic statue of white, gray and green jade - the
|
||
statue of a naked youth with a face of almost feminine beauty
|
||
that turned sightless eyes toward the north.
|
||
"The eyes!" Duke Avan Astran said. "They're gone!"
|
||
[ The Jade Man's Eyes, by Michael Moorcock ]
|
||
jaguar
|
||
Large, flesh-eating animal of the cat family, of Central and
|
||
South America. This feline predator (_Panthera onca_) is
|
||
sometimes incorrectly called a panther.
|
||
[ Van Dale's Groot Woordenboek der Nederlandse Taal ]
|
||
jellyfish
|
||
I do not care to share the seas
|
||
With jellyfishes such as these;
|
||
Particularly Portuguese.
|
||
[ Lines on Meeting a Portuguese Man-o'-war while
|
||
Bathing, by Michael Flanders ]
|
||
juiblex
|
||
jubilex
|
||
A shuddering, glistening cone of jelly and slime striated
|
||
with veins of black and green rears up from the pit.
|
||
Baleful red eyes swim in the things gelatinous body, and
|
||
dripping pseudopods of tremulous ooze writhe with latent
|
||
hunger in every direction at once.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
|
||
Little is known about the Faceless Lord, even the correct
|
||
spelling of his name. He does not have a physical form as
|
||
we know it, and those who have peered into his realm claim
|
||
he is a slime-like creature who swallows other creatures
|
||
alive, spits acidic secretions, and causes disease in his
|
||
victims which can be almost instantly fatal.
|
||
jubjub*
|
||
But the valley grew narrow and narrower still,
|
||
And the evening got darker and colder,
|
||
Till (merely from nervousness, not from goodwill)
|
||
They marched along shoulder to shoulder.
|
||
Then a scream, shrill and high, rent the shuddering sky,
|
||
And they knew that some danger was near:
|
||
The Beaver turned pale to the tip of its tail,
|
||
And even the Butcher felt queer.
|
||
[...]
|
||
Such friends, as the Beaver and Butcher became,
|
||
Have seldom if ever been known;
|
||
In winter or summer, 'twas always the same-
|
||
You could never meet either alone.
|
||
|
||
And when quarrels arose-as one frequently finds
|
||
Quarrels will, spite of every endeavour-
|
||
The song of the Jubjub recurred to their minds,
|
||
And cemented their friendship for ever!
|
||
[ The Hunting of the Snark, by Lewis Carroll ]
|
||
k-ration
|
||
k ration
|
||
The K ration was the [ Quartermaster Subsistence Research
|
||
and Development Laboratory's ] answer to the demand for an
|
||
individual, easy-to-carry ration that could be used in assault
|
||
and combat operations. It was noted for compactness and superior
|
||
packaging and was acknowledged as the ration that provided the
|
||
greatest variety of nutritionally balanced components within the
|
||
smallest space.
|
||
[ Special Rations for the Armed Forces, 1946-53,
|
||
by Franz A. Koehler ]
|
||
kabuto
|
||
The kabuto is the helmet worn by the samurai. It was
|
||
characterized by a prominent beaked front which jutted out over
|
||
the brow to protect the wearer's face; a feature that gives
|
||
rise to their modern Japanese name of 'shokaku tsuki kabuto'
|
||
(battering-ram helmet). Their main constructional element
|
||
was an oval plate, the shokaku bo, slightly domed for the
|
||
head with a narrow prolongation in front that curved forwards
|
||
and downwards where it developed a pronounced central
|
||
fold. Two horizontal strips encircling the head were riveted
|
||
to this frontal strip: the lower one, the koshimaki (hip
|
||
wrap), formed the lower edge of the helmet bowl; the other,
|
||
the do maki (body wrap), was set at about the level of the
|
||
temples. Filling the gaps between these strips and the shokaku
|
||
bo were small plates, sometimes triangular but more commonly
|
||
rectangular in shape. Because the front projected so
|
||
far from the head, the triangular gap beneath was filled by
|
||
a small plate, the shoshaku tei ita, whose rear edge bent
|
||
downwards into a flange that rested against the forehead.
|
||
[ Arms & Armour of the Samurai, by Bottomley & Hopson ]
|
||
kamerel
|
||
You live in the mirror as well as the real world - the
|
||
proof's right there when you gaze at the reflection.
|
||
But, does something live only in that mirror place?
|
||
Stare into the mirror my friend. Does something
|
||
besides you look back?
|
||
[ Tales from the Infinite Staircase, by Monte Cook]
|
||
katana
|
||
The katana is a long, single-edged samurai sword with a
|
||
slightly curved blade. Its long handle is designed to allow
|
||
it to be wielded with either one or two hands.
|
||
kelp*
|
||
I noticed that all the plants were attached to the soil by
|
||
an almost imperceptible bond. Devoid of roots, they seemed
|
||
not to require any nourishment from sand, soil, or pebble.
|
||
All they required was a point of support -- nothing else.
|
||
These plants are self-propagated, and their existence depends
|
||
entirely on the water that supports and nourishes them.
|
||
Most of them do not sprout leaves, but sprout blades of
|
||
various whimsical shapes, and their colors are limited to
|
||
pink, carmine, green, olive, fawn, and brown. I had the
|
||
opportunity to observe once more -- not the dried specimens
|
||
I had studied on the _Nautilus_ -- but the fresh, living
|
||
specimens in their native setting.
|
||
[ 20,000 Leagues Under the Sea, by Jules Verne ]
|
||
keter seph*
|
||
Strange spiritual machines, the Crown Enumerations enforce
|
||
the inevitability of certain Laws on the inhabitants of
|
||
this world.
|
||
chokhmah seph*
|
||
A delicate-seeming statue of mythril and adamantine, Justice
|
||
herself come down off her pedestal to bring ruin to those who
|
||
deny the inevitability of Law. Clad in sapphire armor, her
|
||
left hand bears a balance scale and her right wields a black
|
||
blade. A blindfold is tied around her neck; her onyx eyes
|
||
never leave her target. Within her body spins an infinity
|
||
of miniscule clockwork mechanisms.
|
||
|
||
"The Crown's Law shall come to pass.
|
||
Inevitability shall not be denied."
|
||
binah seph*
|
||
An angular, abstract scupture of unyielding iron and floating
|
||
hexagonal gears. The narrow pyramid of its body tapers to a
|
||
razor point, and its arms are swordblades about which dance
|
||
arcs of black light.
|
||
|
||
"Agency is not given to you,
|
||
to challenge the inevitability of your Maker."
|
||
gevurah seph*
|
||
An Onyx statue in golden armor. Its right fist crackles with
|
||
lightning and its left fist rings with peals of thunder. It
|
||
bears a leaden omega crest on its chestplate, and its face
|
||
is carved into the shape of a great skull. With each step it
|
||
takes, there is the whirring of golden gears.
|
||
|
||
"Whether by age, plague, war, or the hangman's noose,
|
||
the inevitability of death waits for none."
|
||
[ The Inevitable, by Todd Stewart ]
|
||
netzach seph*
|
||
"Whether in fire or in dust,
|
||
all things end inevitably in ruin."
|
||
hod seph*
|
||
A humanoid figure, clad in mirrored armor over wrappings of
|
||
some black cloth that drinks the light. The oval mirror that
|
||
is its head bears the reflection of your face. A pair of
|
||
mismatched wings spread from its back, one angelic and the
|
||
other demonic. Beneath its cloth skin, the turning of metal
|
||
gears can be faintly heard.
|
||
|
||
"The one time a man inevitably tells the truth
|
||
is when he makes a vow in his own heart."
|
||
[ Adapted from Code Geass ]
|
||
daat seph*
|
||
A six-arm humanoid torso, made from an amalgamation of
|
||
metal and stone, surmounts a whirling orrery of rings
|
||
of pure metals and carved stone. In the gaps between
|
||
segments of its admixed skin can be seen interlocking
|
||
gears of like composition to the rings of its orrery.
|
||
|
||
"The inevitability of separation and the turning of
|
||
the Great Wheel shall not be transcended."
|
||
yesod seph*
|
||
A humanoid sculpture of black metal and mechanical
|
||
muscles, clad in golden armor and a crimson cloak.
|
||
It bears a silver scroll on its breastplate.
|
||
|
||
"Whether by blood, or by gold, or by sweat,
|
||
the contract will inevitably be repaid."
|
||
malkuth seph*
|
||
A clockwork centaur, marble facades over a universe
|
||
of brass gears and struts. A pair of hooked chains
|
||
extend from its wrists and a coil of rope wraps
|
||
around its waist.
|
||
|
||
"Whether in this life or the next,
|
||
you shall face inevitable judgment."
|
||
kiku*ichi*
|
||
The thirteen swordsmiths of the Fukuoka School traditionally
|
||
inscribed only the character "Ichi" (one) on the tang of
|
||
their swords as their signature. They further received
|
||
permission to append the Imperial chrysanthemum crest (kiku)
|
||
on the tang, thus their swords are known collectively as
|
||
"Kiku-ichimonji" (Chrysanthemum and Ichi character).
|
||
ki-rin
|
||
The ki-rin is a strange-looking flying creature. It has
|
||
scales, a mane like a lion, a tail, hooves, and a horn. It
|
||
is brightly colored, and can usually be found flying in the
|
||
sky looking for good deeds to reward.
|
||
king arthur
|
||
*arthur
|
||
Ector took both his sons to the church before which the
|
||
anvil had been placed. There, standing before the anvil, he
|
||
commanded Kay: "Put the sword back into the steel if you
|
||
really think the throne is yours!" But the sword glanced
|
||
off the steel. "Now it is your turn", Ector said facing
|
||
Arthur.
|
||
The young man lifted the sword and thrust with both arms; the
|
||
blade whizzed through the air with a flash and drilled the
|
||
metal as if it were mere butter. Ector and Kay dropped to
|
||
their knees before Arthur.
|
||
"Why, father and brother, do you bow before me?", Arthur asked
|
||
with wonder in his voice.
|
||
"Because now I know for sure that you are the king, not only
|
||
by birth but also by law", Ector said. "You are no son of
|
||
mine nor are you Kay's brother. Immediately after your birth,
|
||
Merlin the Wise brought you to me to be raised safely. And
|
||
though it was me that named you Arthur when you were baptized,
|
||
you are really the son of brave king Uther Pendragon and queen
|
||
Igraine..."
|
||
And after these words, the lord rose and went to see the arch-
|
||
bishop to impart to him what had passed.
|
||
[ Van Gouden Tijden Zingen de Harpen, by Vladimir Hulpach,
|
||
Emanuel Frynta, and Vackav Cibula ]
|
||
kingslayer
|
||
"I think it passing odd that I am loved by one for a kindness
|
||
I never did, and reviled by so many for my finest act."
|
||
[ A Clash of Kings, George R.R. Martin ]
|
||
knife
|
||
stiletto
|
||
Possibly perceiving an expression of dubiosity on their
|
||
faces, the globetrotter went on adhering to his adventures.
|
||
|
||
-- And I seen a man killed in Trieste by an Italian chap.
|
||
Knife in his back. Knife like that.
|
||
|
||
Whilst speaking he produced a dangerous looking clasp knife,
|
||
quite in keeping with his character, and held it in the
|
||
striking position.
|
||
|
||
-- In a knockingshop it was count of a tryon between two
|
||
smugglers. Fellow hid behind a door, come up behind him.
|
||
Like that. Prepare to meet your God, says he. Chuck! It
|
||
went into his back up to the butt.
|
||
[ Ulysses, by James Joyce ]
|
||
~death knight
|
||
~golden knight
|
||
knight
|
||
* knight
|
||
Here lies the noble fearless knight,
|
||
Whose valour rose to such a height;
|
||
When Death at last had struck him down,
|
||
His was the victory and renown.
|
||
He reck'd the world of little prize,
|
||
And was a bugbear in men's eyes;
|
||
But had the fortune in his age
|
||
To live a fool and die a sage.
|
||
[ Don Quixote of La Mancha by Miquel de
|
||
Cervantes Saavedra ]
|
||
~kobold ??m*
|
||
~winged kobold
|
||
*kobold*
|
||
The race of kobolds are reputed to be an artificial creation
|
||
of a master wizard (demi-god?). They are about 3' tall with
|
||
a vaguely dog-like face. They bear a violent dislike of the
|
||
Elven race, and will go out of their way to cause trouble
|
||
for Elves at any time.
|
||
~edderkop
|
||
*kop*
|
||
The Kops are a brilliant concept. To take a gaggle of inept
|
||
policemen and display them over and over again in a series of
|
||
riotously funny physical punishments plays equally well to the
|
||
peanut gallery and the expensive box seats. People hate cops.
|
||
Even people who have never had anything to do with cops hate
|
||
them. Of course, we count on them to keep order and to protect
|
||
us when we need protecting, and we love them on television shows
|
||
in which they have nerves of steel and hearts of gold, but in
|
||
the abstract, as a nation, collectively we hate them. They are
|
||
too much like high school principals. We're very happy to see
|
||
their pants fall down, and they look good to us with pie on
|
||
their faces. The Keystone Kops turn up--and they get punished
|
||
for it, as they crash into each other, fall down, and suffer
|
||
indignity after indignity. Here is pure movie satisfaction.
|
||
|
||
The Kops are very skillfully presented. The comic originality
|
||
and timing in one of their chase scenes requires imagination
|
||
to think up, talent to execute, understanding of the medium,
|
||
and, of course, raw courage to perform. The Kops are madmen
|
||
presented as incompetents, and they're madmen rushing around
|
||
in modern machines. What's more, the machines they were operating
|
||
in their routines were newly invented and not yet experienced
|
||
by the average moviegoer. (In the early days of automobiles,
|
||
it was reported that there were only two cars registered in all
|
||
of Kansas City, and they ran into each other. There is both
|
||
poetry and philosophy in this fact, but most of all, there is
|
||
humor. Sennett got the humor.)
|
||
[ Silent Stars, by Jeanine Basinger ]
|
||
kos
|
||
"I am not a coward!" he cried. "I'll dare Thieves' House
|
||
and fetch you Krovas' head and toss it with blood a-drip at
|
||
Vlana's feet. I swear that, witness me, Kos the god of
|
||
dooms, by the brown bones of Nalgron my father and by his
|
||
sword Graywand here at my side!"
|
||
[ Swords and Deviltry, by Fritz Leiber ]
|
||
koto
|
||
A Japanese harp.
|
||
kraken
|
||
"Below the thunders of the upper deep;
|
||
Far, far beneath in the abysmal sea,
|
||
His ancient, dreamless, uninvaded sleep
|
||
The Kraken sleepeth: faintest sunlights flee
|
||
About his shadowy sides: above him swell
|
||
Huge sponges of millennial growth and height;
|
||
And far away into the sickly light,
|
||
From many a wondrous grot and secret cell
|
||
Unnumber'd and enormous polypi
|
||
Winnow with giant arms the slumbering green.
|
||
There hath he lain for ages and will lie
|
||
Battening upon huge seaworms in his sleep,
|
||
Until the latter fire shall heat the deep;
|
||
Then once by man and angels to be seen,
|
||
In roaring he shall rise and on the surface die."
|
||
[ The Kraken, by Alfred, Lord Tennyson ]
|
||
*lady
|
||
Blind Io took up the dice-box, which was a skull whose various
|
||
orifices had been stoppered with rubies, and with several of
|
||
his eyes on the Lady he rolled three fives. She smiled. This
|
||
was the nature of the Lady's eyes: they were bright green,
|
||
lacking iris or pupil, and they glowed from within.
|
||
|
||
The room was silent as she scrabbled in her box of pieces and,
|
||
from the very bottom, produced a couple that she set down on
|
||
the board with two decisive clicks. The rest of the players,
|
||
as one God, craned forward to peer at them.
|
||
|
||
"A wenegade wiffard and fome fort of clerk," said Offler the
|
||
Crocodile God, hindered as usual by his tusks. "Well,
|
||
weally!" With one claw he pushed a pile of bone-white tokens
|
||
into the centre of the table.
|
||
|
||
The Lady nodded slightly. She picked up the dice-cup and held
|
||
it as steady as a rock, yet all the Gods could hear the three
|
||
cubes rattling about inside. And then she sent them bouncing
|
||
across the table.
|
||
|
||
A six. A three. A five.
|
||
|
||
Something was happening to the five, however. Battered by the
|
||
chance collision of several billion molecules, the die flipped
|
||
onto a point, spun gently and came down a seven. Blind Io
|
||
picked up the cube and counted the sides.
|
||
|
||
"Come _on_," he said wearily, "Play fair."
|
||
[ The Colour of Magic, by Terry Pratchett ]
|
||
*lamp
|
||
When he came to himself he told his mother what had passed,
|
||
and showed her the lamp and the fruits he had gathered in the
|
||
garden, which were in reality precious stones. He then asked
|
||
for some food.
|
||
|
||
"Alas! child," she said, "I have nothing in the house, but I
|
||
have spun a little cotton and will go and sell it."
|
||
|
||
Aladdin bade her keep her cotton, for he would sell the lamp
|
||
instead. As it was very dirty she began to rub it, that it
|
||
might fetch a higher price. Instantly a hideous genie
|
||
appeared, and asked what she would have. She fainted away,
|
||
but Aladdin, snatching the lamp, said boldly:
|
||
"Fetch me something to eat!"
|
||
[ Aladdin, from The Arabian Nights, by Andrew Lang ]
|
||
lance
|
||
With this the wind increased, and the mill sails began to turn
|
||
about; which Don Quixote espying, said, 'Although thou movest
|
||
more arms than the giant Briareus thou shalt stoop to me.'
|
||
And, after saying this, and commending himself most devoutly
|
||
to his Lady Dulcinea, desiring her to succor him in that trance,
|
||
covering himself well with his buckler, and setting his lance
|
||
on his rest, he spurred on Rozinante, and encountered with the
|
||
first mill that was before him, and, striking his lance into
|
||
the sail, the wind swung it about with such fury, that it broke
|
||
his lance into shivers, carrying him and his horse after it,
|
||
and finally tumbled him a good way off from it on the field in
|
||
evil plight.
|
||
[ Don Quixote of La Mancha by Miquel de
|
||
Cervantes Saavedra ]
|
||
land mine
|
||
Your heart is intact, your brain is not badly damaged, but the rest
|
||
of your injuries are comparable to stepping on a land mine. You'd
|
||
never walk again, and you'd be in great pain. You would come to
|
||
wish you had not survived.
|
||
[ Steel Beach, by John Varley ]
|
||
*lantern
|
||
While pretending to be a fancy safety lamp, it is in fact battery powered.
|
||
A discreet little switch is marked "on/off" in elaborate lettering.
|
||
[ Adventure 770, by Mike Arnautov ]
|
||
lash of the cold waste*
|
||
When for the third time he awakened with those flights still
|
||
undescended and those hushed sunset streets still untraversed,
|
||
he prayed long and earnestly to the hidden gods of dream that
|
||
brood capricious above the clouds on unknown Kadath, in the
|
||
cold waste where no man treads.
|
||
[ The Dream Quest of Unknown Kadath, H. P. Lovecraft ]
|
||
lava
|
||
* lava
|
||
You are on the edge of a breath-taking view. Far below you is an
|
||
active volcano, from which great gouts of molten lava come surging
|
||
out, cascading back down into the depths. The glowing rock fills the
|
||
farthest reaches of the cavern with a blood-red glare, giving
|
||
everything an eerie, macabre appearance. The air is filled with
|
||
flickering sparks of ash and a heavy smell of brimstone. The walls
|
||
are hot to the touch, and the thundering of the volcano drowns out
|
||
all other sounds. Embedded in the jagged roof far overhead are
|
||
myriad twisted formations composed of pure white alabaster, which
|
||
scatter the murky light into sinister apparitions upon the walls. To
|
||
one side is a deep gorge, filled with a bizarre chaos of tortured
|
||
rock which seems to have been crafted by the devil himself. An
|
||
immense river of fire crashes out from the depths of the volcano,
|
||
burns its way through the gorge, and plummets into a bottomless pit
|
||
far off to your left. To the right, an immense geyser of blistering
|
||
steam erupts continuously from a barren island in the center of a
|
||
sulfurous lake, which bubbles ominously. The far right wall is aflame
|
||
with an incandescence of its own, which lends an additional infernal
|
||
splendor to the already hellish scene. A dark, forboding passage
|
||
exits to the south.
|
||
[ Adventure, by Will Crowther and Doug Woods. ]
|
||
law*
|
||
Then a lawyer said, But what of our Laws, master?
|
||
And he answered:
|
||
You delight in laying down laws.
|
||
Yet you delight more in breaking them.
|
||
Like children playing by the ocean who build sand-towers
|
||
with constancy and then destroy them with laughter.
|
||
But while you build your sand-towers the ocean brings more sand
|
||
to the shore, And when you destroy them the ocean laughs with you.
|
||
Verily the ocean laughs with the innocent.
|
||
[ The Prophet, by Kahlil Gibran ]
|
||
leash
|
||
They had splendid heads, fine shoulders, strong legs, and
|
||
straight tails. The spots on their bodies were jet-black and
|
||
mostly the size of a two-shilling piece; they had smaller
|
||
spots on their heads, legs, and tails. Their noses and eye-
|
||
rims were black. Missis had a most winning expression.
|
||
Pongo, though a dog born to command, had a twinkle in his
|
||
eye. They walked side by side with great dignity, only
|
||
putting the Dearlys on the leash to lead them over crossings.
|
||
[ The Hundred and One Dalmatians, by Dodie Smith ]
|
||
~legion dev*
|
||
legion
|
||
An ancient nexus of elemental forces and foul slime,
|
||
fused to the tortured flesh of a thousand fallen mortals.
|
||
It is this entity to whom Moloch trusts the command of
|
||
his armies, when he does not wish to exercise it himself.
|
||
legion dev*
|
||
This creature is humanoid in shape, with deep red skin.
|
||
It wears studded leather armor, a chain coif, and a
|
||
vicious snarl.
|
||
[ Tyrants of the Nine Hells,
|
||
by Robin Laws and Robert Schwalb ]
|
||
|
||
A soldier of the Legions of Hell. More powerful
|
||
individuals can be distinguished by their increasingly
|
||
large horns.
|
||
lembas*
|
||
In the morning, as they were beginning to pack their slender
|
||
goods, Elves that could speak their tongue came to them and
|
||
brought them many gifts of food and clothing for their
|
||
journey. The food was mostly in the form of very thin cakes,
|
||
made of a meal that was baked a light brown on the outside,
|
||
and inside was the colour of cream. Gimli took up one of the
|
||
cakes and looked at it with a doubtful eye.
|
||
'Cram,' he said under his breath, as he broke off a crisp
|
||
corner and nibbled at it. His expression quickly changed,
|
||
and he ate all the rest of the cake with relish.
|
||
'No more, no more!' cried the Elves laughing. 'You have
|
||
eaten enough already for a long day's march.'
|
||
'I thought it was only a kind of cram, such as the Dalemen
|
||
make for journeys in the wild,' said the Dwarf.
|
||
'So it is,' they answered. 'But we call it lembas or
|
||
waybread, and it is more strengthening than any foods made by
|
||
Men, and it is more pleasant than cram, by all accounts.'
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
lemure
|
||
larvae
|
||
The Larvae (Lemures) are Roman spirits of deceased family members.
|
||
These malignant spirits dwell throughout the house and frighten the
|
||
inhabitants. People tried to reconcile or avert the Larvae with
|
||
strange ceremonies which took place on May 9, 11, and 13; this
|
||
was called the "Feast of the Lemures". The master of the house
|
||
usually performed these ceremonies, either by offering black beans
|
||
to the spirits or chasing them away by making a lot of noise. Their
|
||
counterparts are the Lares, friendly and beneficent house spirits.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
|
||
The lowliest of the inhabitants of hell.
|
||
|
||
The lemures fester at the very bottom of the scale of
|
||
baatezu politics. Again, many scholars seem reluctant
|
||
to classify them as true baatezu, leaving them officially
|
||
unranked and definitely unamed. The lemures are the
|
||
mindless armies of the Blood War, the rank-and-file,
|
||
incapable of making decisions on their own. They're
|
||
driven into battle by threats of pain and destruction.
|
||
However, as pathetic as they are, lemures are also the
|
||
steppingstone to greater things.
|
||
[ Faces of Evil, Colin McComb ]
|
||
leocrotta
|
||
leu*otta
|
||
... the leucrocotta, a wild beast of extraordinary swiftness,
|
||
the size of the wild ass, with the legs of a Stag, the neck,
|
||
tail, and breast of a lion, the head of a badger, a cloven
|
||
hoof, the mouth slit up as far as the ears, and one continuous
|
||
bone instead of teeth; it is said, too, that this animal can
|
||
imitate the human voice.
|
||
[ Curious Creatures in Zoology, by John Ashton ]
|
||
Leo Nemaeus hide
|
||
lion skin
|
||
"My next perplexity was to draw the shaggy hide from the dead
|
||
beast's limbs: a very taxing labour, for to attempt it I had
|
||
neither knife of iron nor stone nor other means. Then a god
|
||
put into my head to slit the lion's skin with the lion's own
|
||
claws; with these I soon had it off and wrapped it around my
|
||
frame to serve as a shield against the cut and thrust of the
|
||
battle-rout. And there, my friend, you have that tale of the
|
||
fate that befell the lion of Nemea, that was once the cause
|
||
of many a sorrow to flocks and to men."
|
||
[ Theocritus, Idylls 25. 132 ff (trans. Rist) ]
|
||
leprechaun
|
||
The Irish Leprechaun is the Faeries' shoemaker and is known
|
||
under various names in different parts of Ireland:
|
||
Cluricaune in Cork, Lurican in Kerry, Lurikeen in Kildare
|
||
and Lurigadaun in Tipperary. Although he works for the
|
||
Faeries, the Leprechaun is not of the same species. He is
|
||
small, has dark skin and wears strange clothes. His nature
|
||
has something of the manic-depressive about it: first he
|
||
is quite happy, whistling merrily as he nails a sole on to a
|
||
shoe; a few minutes later, he is sullen and morose, drunk
|
||
on his home-made heather ale. The Leprechaun's two great
|
||
loves are tobacco and whiskey, and he is a first-rate con-man,
|
||
impossible to out-fox. No one, no matter how clever, has ever
|
||
managed to cheat him out of his hidden pot of gold or his
|
||
magic shilling. At the last minute he always thinks of some
|
||
way to divert his captor's attention and vanishes in the
|
||
twinkling of an eye.
|
||
[ A Field Guide to the Little People
|
||
by Nancy Arrowsmith & George Moorse ]
|
||
lethe
|
||
sparkling water
|
||
Of gold I am, and by gold I'm plied,
|
||
still as the tears in dead men's eyes.
|
||
Drink of silver, find no peace,
|
||
but drink of me and find release.
|
||
[ Adapted from Shemeska's Story Hour
|
||
by Todd Stewart ]
|
||
|
||
The Lethe is a river, slow, dark and deep, which flows from
|
||
the mortal world to the forbidden lands of N'Kai. It is
|
||
said that a single sip of its sparkling waters is enough to
|
||
wash a man's memories away, never to return.
|
||
leviathan
|
||
Phaeton felt a rushing then, as if he were being pulled
|
||
quickly through many waters. After a time he realized
|
||
that he did indeed feel wet - soaking wet - but the blackness
|
||
here was absolute, and the pressure on him immense.
|
||
Something swam by him, and the elf recognized
|
||
the creature again, grown somehow into immensity, and
|
||
glowing eerily. It peered at him and spoke in his mind;
|
||
the foundations of his sanity trembled. Somehow Phaeton
|
||
could perceive that this was just an image, a shadow
|
||
of something far greater; he saw in his mind's eye a
|
||
creature encased in ice, frozen and unable to touch the
|
||
world.
|
||
|
||
Here you will forget. The creature seemed to swim
|
||
lazily about him. But there is something you must yet do.
|
||
|
||
What? Phaeton thought back.
|
||
|
||
Don't you remember?
|
||
|
||
A strange sensation burned in the elf's lungs, and
|
||
recognition dawned.
|
||
Oh, yes, he thought. I must breathe.
|
||
[ Dicefreaks: The Gates of Hell ]
|
||
*lich
|
||
death knight
|
||
helm of undeath
|
||
Once in a great while, an evil master wizard or priest will
|
||
manage through use of great magics to extend his or her life
|
||
far beyond the normal span of a human. The usual effect of
|
||
this is to transform the human, over time, into an undead of
|
||
great magical power. A Lich hates life in any form; even a
|
||
touch from one of these creatures will cause a numbing cold
|
||
in the victim. They all possess the capability to use magic.
|
||
|
||
But on its heels ere the sunset faded, there came a second
|
||
apparition, striding with incredible strides and halting when
|
||
it loomed almost upon me in the red twilight-the monstrous mummy
|
||
of some ancient king still crowned with untarnished gold but
|
||
turning to my gaze a visage that more than time or the worm had
|
||
wasted. Broken swathings flapped about the skeleton legs, and
|
||
above the crown that was set with sapphires and orange rubies, a
|
||
black something swayed and nodded horribly; but, for an instant,
|
||
I did not dream what it was. Then, in its middle, two oblique
|
||
and scarlet eyes opened and glowed like hellish coals, and two
|
||
ophidian fangs glittered in an ape-like mouth. A squat, furless,
|
||
shapeless head on a neck of disproportionate extent leaned
|
||
unspeakably down and whispered in the mummy's ear. Then, with
|
||
one stride, the titanic lich took half the distance between us,
|
||
and from out the folds of the tattered sere-cloth a gaunt arm
|
||
arose, and fleshless, taloned fingers laden with glowering gems,
|
||
reached out and fumbled for my throat . . .
|
||
[ The Abominations of Yondo, by Clark Ashton Smith ]
|
||
lichen
|
||
The chamber was of unhewn rock, round, as near as might
|
||
be, eighteen or twenty feet across, and gay with rich
|
||
variety of fern and moss and lichen. The fern was in
|
||
its winter still, or coiling for the spring-tide; but
|
||
moss was in abundant life, some feathering, and some
|
||
gobleted, and some with fringe of red to it.
|
||
[ Lorna Doone, by R.D. Blackmore ]
|
||
lifehunt scythe
|
||
There once was an abomination who had no place in this
|
||
world, the bastard child of the last unliving dragon
|
||
and the goddess of sin. This scythe is born from
|
||
the soul of that stark white crossbreed, who long
|
||
ago was drawn into a cold and lonely painted world.
|
||
|
||
Even the gods feared her lifehunt ability, though
|
||
in the hands of a mortal its power will turn
|
||
upon its wielder.
|
||
[ Adapted from Dark Souls, by FromSoftware ]
|
||
# takes "light" when specifying "y"
|
||
~* of light
|
||
~black light
|
||
light
|
||
* light
|
||
Strange creatures formed from energy rather than matter,
|
||
lights are given to self-destructive behavior when battling
|
||
foes.
|
||
*lightsaber
|
||
"Not as clumsy or random as a blaster; an elegant weapon,
|
||
for a more civilized age."
|
||
[ Star Wars ]
|
||
lillend
|
||
A lillend has the torso, arms, and head of a comely man or woman,
|
||
but also has broad, powerful, feathered wings and a stout
|
||
serpentine body from the waist downwards. Though the humanlike
|
||
portions of a lillend are of unremarkable hue, the feathered and
|
||
scaled parts of its anatomy are brightly colored and strikingly
|
||
patterned. Each individual has its own unique color combination
|
||
and is quite proud of it. A lillend wears no clothing but
|
||
sometimes wears jewelry. It always carries weapons and musical
|
||
instruments.
|
||
|
||
Lillendi social status depends on a simple system of initiations
|
||
into mysteries and the ownership of certain totem masks. The
|
||
mysteries are akin to secret societies, and each mystery is a
|
||
specific kernel of wisdom passed on from one generation to the
|
||
next. The more societies a lillend is a member of, the greater
|
||
her status. Each society is devoted to particular musical forms,
|
||
songs, instruments, and weapons, so a group of lillendi usually
|
||
uses the same instruments, weaponry, and spells.
|
||
|
||
The masks are tangentially related to the societies, since each
|
||
mask design belongs to a specific family, and long ago each
|
||
family lived in a single lodge and wore a single type of mask.
|
||
Things have gotten a little more complicated since then, but the
|
||
masks still roughly indicate status and family affiliations.
|
||
[ Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual ]
|
||
crone lilith
|
||
It seems as if Euryale has always dwelt in the Hells.
|
||
Beelzebub named his present city (Malegard) after her in
|
||
ancient times, when she was the mistress of discipline there.
|
||
She customarily takes the form of an old arthritic-looking
|
||
hag with the strength of a titan and serpentine hair. In
|
||
various forms she visits the copper citidels of her plane;
|
||
if the inhabitants do not respond appropriately the burg is
|
||
destroyed in a vast inferno and servants are dispatched to
|
||
build another.
|
||
Euryale is the third ruler of Malebolge. Euryale replaced
|
||
Moloch, who in turn replaced Count Beherit, who was
|
||
destroyed by the Dark Lord for disobeying restrictions on
|
||
the elevation of devils. Lilith and Tartach convinced her
|
||
to stage a coup during the mad cycles of the last Reckoning,
|
||
and as a result she is no longer considered a subordinate
|
||
of Baalzebul.
|
||
[ Rip Van Wormer ]
|
||
mother lilith
|
||
Lilith was crafted by the Lords of Baator to haunt Prime
|
||
Material deserts, stealing children, corrupting men, and
|
||
recruiting witches to their cause. Thought to be older
|
||
than humanity, Lilith fulfilled her role across the
|
||
ages until it was feared she might become a goddess.
|
||
To prevent this from happening, she was bound to Count
|
||
Moloch, who became the Horned King to her Great Goddess.
|
||
She viewed him with hatred, and thought fondly of the
|
||
kiss of the desert wind and her throngs of adoring
|
||
consorts and covens.
|
||
|
||
During the last Great Upheaval, while Beelzebub and his
|
||
camp were busy with the war, she made her move. She
|
||
whispered to her lover that his greatest opportunities
|
||
lay with supporting the Lord of the Flies. Asmodeus cast
|
||
him down, and made his consort ruler in his place.
|
||
|
||
Moloch was sent away in disgrace, but Lilith was still
|
||
unsatisfied. She knew Asmodeus was watching her progress
|
||
and feared that he had allowed her to retain the sixth
|
||
layer of Baator only because she was being groomed to be
|
||
his bride. Knowing well what had happened to Bensozia,
|
||
Asmodeus' previous choice, she maneuvered to prevent this
|
||
from happening.
|
||
|
||
Secretly, she corrupted certain officials in Malsheem and
|
||
managed to smuggle out a small quantity of the essence of
|
||
Asmodeus and Benzozia to the yugoloths, with Glasya the
|
||
result. She hoped that a daughter would satisfy whatever
|
||
schemes Asmodus had in mind, and as a result he considers
|
||
Lilith to be the princess' honorary mother.
|
||
[ Rip Van Wormer ]
|
||
Daughter Lilith
|
||
Even in the light, the girl was difficult to see. Her
|
||
long, glossy black hair concealed most of her pale face,
|
||
and her dark clothing seemed to draw on shadows. Her
|
||
amber eyes, somehow serpentine, reflected in the light.
|
||
Yet there was something familiar about her... Somehow, he
|
||
knew her to be cause of this madness.
|
||
[ Dicefreaks: The Gates of Hell ]
|
||
gecko
|
||
iguana
|
||
lizard
|
||
Lizards, snakes and the burrowing amphisbaenids make up the
|
||
order Squamata, meaning the scaly ones. The elongate, slim,
|
||
long-tailed bodies of lizards have become modified to enable
|
||
them to live in a wide range of habitats. Lizards can be
|
||
expert burrowers, runners, swimmers and climbers, and a few
|
||
can manage crude, short-distance gliding on rib-supported
|
||
"wings". Most are carnivores, feeding on invertebrate and
|
||
small vertebrate prey, but others feed on vegetation.
|
||
[ Macmillan Illustrated Animal Encyclopedia ]
|
||
loki
|
||
Loki, or Lopt, is described in Snorri's _Edda_ as being
|
||
"pleasing and handsome in appearance, evil in character, and
|
||
very capricious in behaviour". He is the son of the giant
|
||
Farbauti and of Laufey.
|
||
Loki is the Norse god of cunning, evil, thieves, and fire.
|
||
He hated the other gods and wanted to ruin them and overthrow
|
||
the universe. He committed many murders. As a thief, he
|
||
stole Freyja's necklace, Thor's belt and gauntlets of power,
|
||
and the apples of youth. Able to shapechange at will, he is
|
||
said to have impersonated at various times a mare, flea, fly,
|
||
falcon, seal, and an old crone. As a mare he gave birth to
|
||
Odin's horse Sleipnir. He also allegedly sired the serpent
|
||
Midgard, the mistress of the netherworld, Hel, and the wolf
|
||
Fenrir, who will devour the sun at Ragnarok.
|
||
*longbow of diana
|
||
This legendary bow grants ESP when carried and can reflect magical
|
||
attacks when wielded. When invoked it provides a supply of arrows.
|
||
# long worm -- see "worm"
|
||
looking glass
|
||
mirror
|
||
But as Snow White grew, she became more and more beautiful,
|
||
and by the time she was seven years old she was as beautiful
|
||
as the day and more beautiful than the queen herself. One
|
||
day when the queen said to her mirror:
|
||
|
||
"Mirror, Mirror, here I stand.
|
||
Who is the fairest in the land?" -
|
||
|
||
the mirror replied:
|
||
|
||
"You, O Queen, are the fairest here,
|
||
But Snow White is a thousand times more fair."
|
||
[ Snow White, by Jakob and Wilhelm Grimm ]
|
||
lord carnarvon
|
||
carnarvon
|
||
Lord Carnarvon was a personality who could have been produced
|
||
nowhere but in England, a mixture of sportsman and collector,
|
||
gentleman and world traveler, a realist in action and a
|
||
romantic in feeling. ... In 1903 he went for the first time
|
||
to Egypt in search of a mild climate and while there visited
|
||
the excavation sites of several archaeological expeditions.
|
||
... In 1906 he began his own excavations.
|
||
[ Gods, Graves, and Scholars, by C. W. Ceram ]
|
||
lord sato
|
||
sato
|
||
Lord Sato was the family head of the Taro Clan, and a mighty
|
||
daimyo. He is a loyal servant of the Emperor, and will do
|
||
everything in his power to further the imperial cause.
|
||
lord surt*
|
||
surt*
|
||
Yet first was the world in the southern region, which was
|
||
named Muspell; it is light and hot; that region is glowing
|
||
and burning, and impassable to such as are outlanders and
|
||
have not their holdings there. He who sits there at the
|
||
land's-end, to defend the land, is called Surtr; he brandishes
|
||
a flaming sword, and at the end of the world he shall go forth
|
||
and harry, and overcome all the gods, and burn all the
|
||
world with fire.
|
||
[ The Prose Edda, by Snorri Sturluson ]
|
||
lucern?hammer
|
||
pronged polearm
|
||
Like many polearms, this weapon has several spikes. But
|
||
while many others have a blade or axe, this one has a
|
||
three-pronged hammer at the end of a seven foot (2 meter)
|
||
pole.
|
||
|
||
I
|
||
H
|
||
H
|
||
H______
|
||
__-H [_
|
||
-----H____[_
|
||
H
|
||
H
|
||
lucifer
|
||
I have haunted the tombs of the ages,
|
||
I have flown on the pinions of fear,
|
||
Where the smoke-belching Erebus rages;
|
||
Where the jokulls loom snow-clad and drear:
|
||
And in realms where the sun of the desert
|
||
consumes what it never can cheer.
|
||
|
||
I was old when the pharaohs first mounted
|
||
The jewel-decked throne by the Nile;
|
||
I was old in those epochs uncounted
|
||
When I, and I only, was vile;
|
||
And Man, yet untainted and happy,
|
||
dwelt in bliss on the far Arctic isle.
|
||
|
||
Oh, great was the sin of my spirit,
|
||
And great is the reach of its doom;
|
||
Not the pity of Heaven can cheer it,
|
||
Nor can respite be found in the tomb:
|
||
Down the infinite aeons come beating
|
||
the wings of unmerciful gloom.
|
||
[ Nemesis, H.P. Lovecraft ]
|
||
# if a quote for good luck gets added, make this one exclusively bad luck
|
||
luck
|
||
bad luck
|
||
"[...] We'll succeed and you'll get all the fortune you came
|
||
seeking."
|
||
Jack shook his head dismally. "You'll be better off without
|
||
me," he said. "I'm nothing but bad luck. It's because I'm
|
||
cursed. A farmer I met on the way to the city cursed me. He
|
||
said, 'I curse you Jack. May you never know wealth. May all
|
||
that you wish for be denied you.'"
|
||
"What a horrid man," said Eddie. "Why did he curse you like
|
||
that?"
|
||
Jack shrugged [...]. "Bad grace, I suppose. Just because I
|
||
shot off his ear and made him jump into a pit full of spikes."
|
||
[ the hollow chocolate bunnies of
|
||
the apocalypse, by Robert Rankin ]
|
||
# [no relation... both cover and title page list
|
||
# this book's title in all lower case]
|
||
lug
|
||
lugh
|
||
Lugh, or Lug, was the sun god of the Irish Celts. One of his
|
||
weapons was a rod-sling which worshippers sometimes saw in
|
||
the sky as a rainbow. As a tribal god, he was particularly
|
||
skilled in the use of his massive, invincible spear, which
|
||
fought on its own accord. One of his epithets is _lamfhada_
|
||
(of the long arm). He was a young and apparently more
|
||
attractive deity than Dagda, the father of the gods. Being
|
||
able to shapeshift, his name translates as lynx.
|
||
lurker*
|
||
The lurker is a carnivorous scavenger found only in subterranean
|
||
settings. It resembles a large manta ray; its grayish belly is
|
||
textured like stone. The lurker typically attaches itself to a
|
||
ceiling, where it is very difficult to detect (only 10% chance)
|
||
unless actually prodded. ... Lurkers are opportunistic feeders
|
||
that make do with whatever wanders by. The lurker flies by means
|
||
of gases generated in sacs.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
lycanthrope
|
||
were*
|
||
human were*
|
||
*were
|
||
In 1573, the Parliament of Dole published a decree, permitting
|
||
the inhabitants of the Franche-Comte to pursue and kill a
|
||
were-wolf or loup-garou, which infested that province,
|
||
"notwithstanding the existing laws concerning the chase."
|
||
The people were empowered to "assemble with javelins,
|
||
halberds, pikes, arquebuses and clubs, to hunt and pursue the
|
||
said were-wolf in all places where they could find it, and to
|
||
take, burn, and kill it, without incurring any fine or other
|
||
penalty." The hunt seems to have been successful, if we may
|
||
judge from the fact that the same tribunal in the following
|
||
year condemned to be burned a man named Giles Garnier, who
|
||
ran on all fours in the forest and fields and devoured little
|
||
children, "even on Friday." The poor lycanthrope, it appears,
|
||
had as slight respect for ecclesiastical feasts as the French
|
||
pig, which was not restrained by any feeling of piety from
|
||
eating infants on a fast day.
|
||
[ The History of Vampires, by Dudley Wright ]
|
||
lynx
|
||
The animal proverbial for its piercing eyesight is a
|
||
fabulous beast, half dog and half panther, but not like either
|
||
in character. The cat-like animal now called a lynx is not
|
||
remarkable for keen-sightedness. The word is probably related
|
||
to Greek _lussein_, to see.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
|
||
To dream of seeing a lynx, enemies are undermining your
|
||
business and disrupting your home affairs. For a woman,
|
||
this dream indicates that she has a wary woman rivaling her
|
||
in the affections of her lover. If she kills the lynx, she
|
||
will overcome her rival.
|
||
[ 10,000 Dreams Interpreted, by Gustavus Hindman Miller ]
|
||
lyre
|
||
The lyre is a stringed musical instrument well known for its
|
||
use in classical antiquity and later.
|
||
[...]
|
||
According to ancient Greek mythology, the young god Hermes
|
||
created the lyre from a slaughtered cow from Apollo's sacred
|
||
herd, using the intestines for the strings - eventually Apollo
|
||
discovered who had stolen his herd, but Hermes was forgiven
|
||
after he gave Apollo the instrument.
|
||
[ http://en.wikipedia.org/wiki/Lyre ]
|
||
~*sceptre of might
|
||
mace
|
||
sceptre
|
||
Originally a club armed with iron, and used in war; now a staff
|
||
of office pertaining to certain dignitaries, as the Speaker of
|
||
the House of Commons, Lord Mayors, Mayors etc. Both sword and
|
||
mace are symbols of dignity, suited to the times when men went
|
||
about in armour, and sovereigns needed champions to vindicate
|
||
their rights.
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
magicbane
|
||
A highly enchanted athame said to hold the power to channel
|
||
and direct magical energy. It is said by some that this
|
||
artifact is less useful when imbued with other magics, an
|
||
assertation that is fiercely debated among the most wise
|
||
and learned of those familiar with its lore.
|
||
magic marker
|
||
The pen is mightier than the sword.
|
||
[ Richelieu, by Edward Bulwer-Lytton ]
|
||
magic mirror of merlin
|
||
This powerful mirror was created by Merlin, the druid, in ages
|
||
past, when trees sang and rocks danced. It protects all who
|
||
carry it from magic missiles, and gives them ESP.
|
||
|
||
[...] In Dehenbarth (that now South Wales is hight,
|
||
What time King Ryence reigned, and dealed right)
|
||
The great magician Merlin had devised,
|
||
By his deep science, and hell-dreaded might,
|
||
A looking-glass, right wondrously aguised,
|
||
Whose virtues through the wide world soon were solemnized.
|
||
|
||
It virtue had to show in perfect sight
|
||
Whatever thing was in the world contained,
|
||
Betwixt the lowest earth and heaven's height,
|
||
So that it to the looker appertained;
|
||
Whatever foe had wrought, or friend had fained,
|
||
Therein discovered was, nor aught might pass,
|
||
Nor aught in secret from the same remained;
|
||
For-thy it round and hollow shaped was,
|
||
Like the world itself, and seemed a world of glass.
|
||
[ The Faerie Queene, by Edmund Spencer ]
|
||
mail d*emon
|
||
It is rumoured that these strange creatures can be harmed by
|
||
domesticated canines only.
|
||
malcanthet
|
||
This statuesque beauty wears a sardonic smile on her ruby lips.
|
||
Curved horns jut from her brow and hold back her long dark hair
|
||
-and her eyes smolder with dangerous red sensuality. Large
|
||
leathery wings stretch from her back, the joints of which are
|
||
laced with razorlike claws, and a sinuous tail ending in a thin
|
||
curved spike completes the image of demonic beauty. She wears a
|
||
revealing gown of diaphanous silk and razor studded leather
|
||
straps.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
green pit fiend
|
||
mammon
|
||
The Viscount bowed low again as he accepted the
|
||
silver piece. He beamed another huge smile at the Lord
|
||
Minister and turned to leave. Almost as an afterthought,
|
||
he turned back. "Tell me truly, Lord Minister. Will this
|
||
gold you have gathered go to the one you serve?"
|
||
|
||
The old man glared at the impertinence of the question,
|
||
then seemed to think the better of it. "Yes, Viscount.
|
||
It will go to His work. The aspects of His work which I
|
||
see fit to place it towards."
|
||
|
||
The Viscount beamed and bowed yet again. "One
|
||
more indulgence, Gracious Father of Salvation. Could
|
||
you read to me a page from your Holy Writ? I have
|
||
always had a passion for hearing it spoken aloud. Any
|
||
passage will do..."
|
||
|
||
Almost snarling, the Lord Minister yanked the book
|
||
from its chain and angrily opened it, tearing several
|
||
pages in the process.
|
||
|
||
"No man can serve two masters. Either he will hate
|
||
the one and love the other, or he will be enslaved to one
|
||
and betray the other. One cannot serve both God and
|
||
Mammon."
|
||
|
||
As the Lord Minister concluded the passage, the
|
||
sound of a thousand golden coins falling to the ground
|
||
resounded throughout the temple. The Viscount's smile,
|
||
now framed by a red moustache and forked beard, became
|
||
ugly as his teeth lengthened into golden fangs.
|
||
[ Dicefreaks: The Gates of Hell ]
|
||
|
||
This massive fiend has the lower body of a brown-spotted serpent
|
||
and the upper body of a muscular humanoid with two large arms.
|
||
The creature's bestial head is terrifically monstrous, with a
|
||
black-lipped maw filled with pointed teeth and a pair of serpent's
|
||
fangs. His eyes are pale white, without irises or pupils, yet he
|
||
seems to see perfectly.
|
||
[ Tyrants of the Nine Hells,
|
||
by Robin Laws and Robert Schwalb ]
|
||
ma*annan*
|
||
Normally called Manannan, Ler's son was the patron of
|
||
merchants and sailors. Manannan had a sword which never
|
||
failed to slay, a boat which propelled itself wherever its
|
||
owner wished, a horse which was swifter than the wind, and
|
||
magic armour which no sword could pierce. He later became
|
||
god of the sea, beneath which he lived in Tir na nOc, the
|
||
underworld.
|
||
manes
|
||
The gnats of the dungeon, these swarming monsters are rarely
|
||
seen alone.
|
||
|
||
Manes or Di Manes ("good ones") is the euphemistic description
|
||
of the souls of the deceased, worshipped as divinities. The
|
||
formula D.M. ( = Dis Manibus; "dedicated to the Manes-gods")
|
||
can often be found on tombstones. Manes also means metaphorically
|
||
'underworld' or 'realm of death'. Festivals in honor of the dead
|
||
were the Parentalia and the Feralia, celebrated in February.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
manticore
|
||
The manticore is a true monster, with a leonine torso and legs,
|
||
batlike wings, a man's head, a tail tipped with iron spikes, and
|
||
an appetite for human flesh.
|
||
|
||
The manticore stands 6 feet tall at the shoulder and measures 15
|
||
feet in length. It has a 25-foot wingspan. Each section of the
|
||
manticore closely resembles the creature it imitates. The leonine
|
||
torso has a tawny hide, the mane is a lion's brown-black color,
|
||
and the batlike wings are a dark brown with sparse hair. All
|
||
manticores have heads that resemble human males; the mane
|
||
resembles a heavy beard and long hair.
|
||
|
||
In combat, the manticore fires volleys of 1-6 tail spikes.
|
||
The spikes are coated in a paralyzing venom.
|
||
[ Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual ]
|
||
marauder's map
|
||
"Messrs Moony, Wormtail, Padfoot, and Prongs
|
||
Purveyors of Aids to Magical Mischief-Makers
|
||
are proud to present
|
||
THE MARAUDER'S MAP"
|
||
[ Harry Potter and the Prisoner of Azkaban,
|
||
by J. K. Rowling ]
|
||
marduk
|
||
First insisting on recognition as supreme commander, Marduk
|
||
defeated the Dragon, cut her body in two, and from it created
|
||
heaven and earth, peopling the world with human beings who not
|
||
unnaturally showed intense gratitude for their lives. The
|
||
gods were also properly grateful, invested him with many
|
||
titles, and eventually permitted themselves to be embodied in
|
||
him, so that he became supreme god, plotting the whole course
|
||
of known life from the paths of the planets to the daily
|
||
events in the lives of men.
|
||
[ The Immortals, by Derek and Julia Parker ]
|
||
marilith
|
||
"Why did the half-breed _agree_ to this dealing? Does he not
|
||
_realize_ he seeks to impress one without a _shred_ of
|
||
humanity, without the barest conception of _love_?"
|
||
[ hellBound: the Bargain, by Jeff Grubb ]
|
||
|
||
The marilith has a torso shaped like that of a human female,
|
||
and the lower body of a great snake. It has multiple arms,
|
||
and can freely attack with all of them. Since it is
|
||
intelligent enough to use weapons, this means it can cause
|
||
great damage.
|
||
mars
|
||
The god of war, and one of the most prominent and worshipped
|
||
gods. In early Roman history he was a god of spring, growth in
|
||
nature, and fertility, and the protector of cattle. Mars is
|
||
also mentioned as a chthonic god (earth-god) and this could
|
||
explain why he became a god of death and finally a god of war.
|
||
He is the son of Jupiter and Juno.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
mask
|
||
He hides who he really is and pretends to be someone else
|
||
forever. So in time he becomes that person, so his lie
|
||
becomes the truth, see? He transcends the mask. Well, don't
|
||
you get it? That's how he finds happiness. That's pretty good,
|
||
right?
|
||
[ FLCL ]
|
||
master assassin
|
||
He strolled down the stairs, followed by a number of assassins.
|
||
When he was directly in front of Ymor he said: "I've come for
|
||
the tourist." ...
|
||
"One step more and you'll leave here with fewer eyeballs than
|
||
you came with," said the thiefmaster. "So sit down and have
|
||
a drink, Zlorf, and let's talk about this sensibly. _I_
|
||
thought we had an agreement. You don't rob -- I don't kill.
|
||
Not for payment, that is," he added after a pause.
|
||
Zlorf took the proffered beer.
|
||
"So?" he said. "I'll kill him. Then you rob him. Is he that
|
||
funny looking one over there?"
|
||
"Yes."
|
||
Zlorf stared at Twoflower, who grinned at him. He shrugged.
|
||
He seldom wasted time wondering why people wanted other people
|
||
dead. It was just a living.
|
||
"Who is your client, may I ask?" said Ymor.
|
||
Zlorf held up a hand. "Please!" he protested. "Professional
|
||
etiquette."
|
||
[ The Colour of Magic, by Terry Pratchett ]
|
||
master key of thievery
|
||
This skeleton key was fashioned in ages past and imbued with
|
||
a powerful magic which allows it to open any lock. When
|
||
carried, it grants its owner warning, teleport control, and
|
||
reduces all physical damage by half. Finally, when invoked,
|
||
it has the ability to disarm any trap.
|
||
master of thieves
|
||
There was a flutter of wings at the window. Ymor shifted his
|
||
bulk out of the chair and crossed the room, coming back with
|
||
a large raven. After he'd unfastened the message capsule from
|
||
its leg it flew up to join its fellows lurking among the
|
||
rafters. Withel regarded it without love. Ymor's ravens were
|
||
notoriously loyal to their master, to the extent that Withel's
|
||
one attempt to promote himself to the rank of greatest thief
|
||
in Ankh-Morpork had cost their master's right hand man his
|
||
left eye. But not his life, however. Ymor never grudged a
|
||
man his ambitions.
|
||
[ The Colour of Magic, by Terry Pratchett ]
|
||
mastodon
|
||
Any large, elephantlike mammal of the genera Mammut, Mastodon,
|
||
etc., from the Oligocene and Pleistocene epochs, having
|
||
conical projections on the molar teeth.
|
||
[ Webster's Encyclopedic Unabridged Dictionary
|
||
of the English Language ]
|
||
|
||
Yakwawi, the Mastodon, was placed on the world to be useful
|
||
to man; but the great monstrous beast was fierce, powerful and
|
||
invincible. Its hide was so strong and so thick that the sharpest
|
||
spears and arrows could hardly penetrate it. This terrible
|
||
creature made war against all the other animals that lived in
|
||
the woods and on the plains; other animals that the Creator put
|
||
here to be used as meat for the Lenape people.)
|
||
[ From Legends of the Lenape Native Americans ]
|
||
*mattock
|
||
A mattock is an agricultural tool similar to a mining pick. It
|
||
is distinguished by the head terminating in a broader blade
|
||
rather than a narrow spike, which makes it particularly suitably
|
||
for breaking up moderately hard ground. ... During the Middle
|
||
Ages of Europe, the mattock served as an improvised shafted weapon
|
||
for the poorer classes.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
mayor cummerbund
|
||
Mine was a name that struck fear into men
|
||
And regret into plenty of lasses
|
||
Oh, how I wish I could take back those days
|
||
As I stare at these empty beer-glasses
|
||
|
||
I think of the times past when I had it all
|
||
I toyed with men's wives and their daughters
|
||
And in my pursuit of this ill-gotten wealth
|
||
I stabbed and I slashed and I slaughtered.
|
||
|
||
And for what?
|
||
The men that I've fought
|
||
Are matched by the number of women I've bought
|
||
And for what?
|
||
I've killed and I've shot
|
||
And reddened the cold tears of children with blood
|
||
And If I could go back and make my amends
|
||
I'd make all those mistakes again
|
||
I'd kill every last one of those bastards, my friend
|
||
[ Pirate Song, Alestorm ]
|
||
meat*
|
||
huge chunk of meat
|
||
Some hae meat and canna eat,
|
||
And some would eat that want it;
|
||
But we hae meat, and we can eat,
|
||
Sae let the Lord be thankit.
|
||
[ Grace Before Meat, by Robert Burns ]
|
||
medusa
|
||
perseus
|
||
Medusa, one of the three Gorgons or Graeae, is the only one
|
||
of her sisters to have assumed mortal form and inhabited the
|
||
dungeon world.
|
||
|
||
When Perseus was grown up Polydectes sent him to attempt the
|
||
conquest of Medusa, a terrible monster who had laid waste the
|
||
country. She was once a beautiful maiden whose hair was her
|
||
chief glory, but as she dared to vie in beauty with Minerva,
|
||
the goddess deprived her of her charms and changed her
|
||
beautiful ringlets into hissing serpents. She became a cruel
|
||
monster of so frightful an aspect that no living thing could
|
||
behold her without being turned into stone. All around the
|
||
cavern where she dwelt might be seen the stony figures of men
|
||
and animals which had chanced to catch a glimpse of her and
|
||
had been petrified with the sight. Perseus, favoured by
|
||
Minerva and Mercury, the former of whom lent him her shield
|
||
and the latter his winged shoes, approached Medusa while she
|
||
slept and taking care not to look directly at her, but guided
|
||
by her image reflected in the bright shield which he bore, he
|
||
cut off her head and gave it to Minerva, who fixed it in the
|
||
middle of her Aegis.
|
||
[ Bulfinch's Mythology, by Thomas Bulfinch ]
|
||
melon
|
||
"What is it, Umbopa, son of a fool?" I shouted in Zulu.
|
||
"It is food and water, Macumazahn," and again he waved the
|
||
green thing.
|
||
Then I saw what he had got. It was a melon. We had hit upon
|
||
a patch of wild melons, thousands of them, and dead ripe.
|
||
"Melons!" I yelled to Good, who was next me; and in another
|
||
second he had his false teeth fixed in one.
|
||
I think we ate about six each before we had done, and, poor
|
||
fruit as they were, I doubt if I ever thought anything nicer.
|
||
[ King Solomon's Mines, by H. Rider Haggard ]
|
||
mephistopheles
|
||
This diabolical fiend has crimson skin, massive red leathery
|
||
wings, curling horns, white eyes, and long, straight black
|
||
hair. Swathed in a flowing black cape, he is the vision of
|
||
evil.
|
||
[ Tyrants of the Nine Hells,
|
||
by Robin Laws and Robert Schwalb ]
|
||
mercury
|
||
Roman god of commerce, trade and travellers. He is commonly
|
||
depicted carrying a caduceus (a staff with two snakes
|
||
intertwining around it) and a purse.
|
||
*metroid*
|
||
Metroids appear to be able to sense the life energy of their
|
||
prey as they have no visible sensory organs.
|
||
|
||
In their natural life cycle, Metroids gradually metamorphose
|
||
to take a somewhat reptilian form, growing a hard organic
|
||
shell, a head, and limbs, eventually shedding their gelatinous
|
||
membrane completely. The shell removes their weakness to cold
|
||
temperatures. The egg-laying Metroid Queen appears to be the
|
||
only form in which Metroids can normally reproduce, although
|
||
many Metroid bioforms can divide almost instantaneously
|
||
when exposed to certain kinds of high-energy radiation.
|
||
migo
|
||
mi-go
|
||
Also known as the Fungi from Yuggoth, the Mi-go are parasitic
|
||
fungoid entities which inhabit pinkish, crustacean-like
|
||
creatures. These creatures are the size of a man, and their
|
||
bodies are composed of pyramided, fleshy rings. Where a head
|
||
would normally be sits a convoluted ellipsoid, which in turn
|
||
sprouts innumerable antennae: the true body of the
|
||
parasite pushing through the cracked shell of its host. The
|
||
hosts are about 5 feet (1.5 m) long, and their crustacean-
|
||
like bodies bear numerous sets of paired appendages. They
|
||
also possess a pair of membranous wings which are used to fly
|
||
through the thin aether of outer space.
|
||
migo worker
|
||
mi-go worker
|
||
The Mi-go hail from trans-Neptunian space, but come to Earth
|
||
to mine various rare substances not found in the environs of
|
||
far Yuggoth. Mi-go workers bore through the dark, stealing
|
||
the riches of the Earth from beneath the feet of its native
|
||
sons and daughters.
|
||
migo soldier
|
||
mi-go soldier
|
||
The Mi-go ruthlessly defend their outposts against human
|
||
intrusion. Mi-go soldiers are armed with mist projectors
|
||
and bio-armor, and many also carry earthly weapons taken
|
||
from past victims. Additionally, one in four Mi-go soldiers
|
||
are equipped with the dreaded Mi-go Electric Gun.
|
||
migo philosopher
|
||
mi-go philosopher
|
||
Mi-go Philosophers are masters of many branches of science
|
||
and magic. Mi-go Philosophers are mainly interested in the
|
||
inhabitants of earth as experimental subjects. In
|
||
particular, humanoid brains are held in high regard when it
|
||
comes to experimental fodder. Under normal circumstances a
|
||
Philosopher will take its time while removing a brain
|
||
-ensuring that the brain remains fully functional- but if it
|
||
believes that it's in danger of losing the subject completely
|
||
it can perform a partial deceribration in seconds. In
|
||
addition to their surgical tools and magical texts,
|
||
Philosophers carry improved mist projectors.
|
||
migo queen
|
||
mi-go queen
|
||
Mi-go Queens are powerful Philosophers who direct the efforts
|
||
of the Mi-go. In addition, they are the reproductive units
|
||
of the Mi-go race. They wear through host bodies at an
|
||
incredible rate, consuming the flesh and organs of their
|
||
host to support their numerous sporangia.
|
||
mist projector
|
||
migo mist projector
|
||
mi-go mist projector
|
||
The Mist Projector was created by the Mi-go. It is a cluster
|
||
of twisted metal tubes that, when turned on, slowly disperses
|
||
a cone of icy mist about ten feet across. The mist is
|
||
described as thick and intensely cold, so much that even
|
||
running automobile engines can be frozen upon long
|
||
exposure.
|
||
[ The H. P. Lovecraft Wiki ]
|
||
*mimic
|
||
The ancestors of the modern day chameleon, these creatures can
|
||
assume the form of anything in their surroundings. They may
|
||
assume the shape of objects or dungeon features. Unlike the
|
||
chameleon though, which assumes the shape of another creature
|
||
and goes in hunt of food, the mimic waits patiently for its
|
||
meals to come in search of it.
|
||
mina harker
|
||
I thought that I was asleep, and waiting for Jonathan to
|
||
come back. I was very anxious about him, and I was powerless
|
||
to act, my feet, and my hands, and my brain were weighted,
|
||
so that nothing could proceed at the usual pace. And so I
|
||
slept uneasily and thought. Then it began to dawn upon me
|
||
that the air was heavy, and dank, and cold. I put back the
|
||
clothes from my face, and found, to my surprise, that all was
|
||
dim around. The gaslight which I had left lit for Jonathan,
|
||
but turned down, came only like a tiny red spark through
|
||
the fog, which had evidently grown thicker and poured into
|
||
the room. Then it occurred to me that I had shut the window
|
||
before I had come to bed. I would have got out to make certain
|
||
on the point, but some leaden lethargy seemed to chain my limbs
|
||
and even my will. I lay still and endured, that was all. I
|
||
closed my eyes, but could still see through my eyelids. (It
|
||
is wonderful what tricks our dreams play us, and how
|
||
conveniently we can imagine.) The mist grew thicker and thicker
|
||
and I could see now how it came in, for I could see it like
|
||
smoke, or with the white energy of boiling water, pouring in,
|
||
not through the window, but through the joinings of the door.
|
||
It got thicker and thicker, till it seemed as if it became
|
||
concentrated into a sort of pillar of cloud in the room,
|
||
through the top of which I could see the light of the gas shining
|
||
like a red eye.
|
||
[...]
|
||
The last conscious effort which imagination made was to show me
|
||
a livid white face bending over me out of the mist.
|
||
[ Dracula, by Bram Stoker ]
|
||
*mind flayer
|
||
The emotions of the flesh were strong. The greed and hates,
|
||
the pains and joys, the jealousies and doubts, all of these
|
||
served as a guiding stone to enemies. In becoming flesh, the
|
||
First People became enslaved to those who *knew* flesh only
|
||
as tools for their will. *Know* these beasts were the
|
||
*illithids.*
|
||
|
||
The *illithids* were a race that had come not to *know*
|
||
themselves. They had learned how to make other races not
|
||
*know* themselves.
|
||
|
||
They were the tentacled ones. They lived in flesh and saw
|
||
flesh as tools for their will. Their blood was as water
|
||
and they shaped minds with their thoughts. When the
|
||
*illithids* came upon the People, the People were a people
|
||
no more. The People became slaves.
|
||
[ The Unbroken Circle of Zerthimon,
|
||
Planescape Torment ]
|
||
|
||
This creature has a humanoid body, tentacles around its
|
||
covered mouth, and three long fingers on each hand. Mind
|
||
flayers are telepathic, and love to devour intelligent beings,
|
||
especially humans. If they hit their victim with a tentacle,
|
||
the mind flayer will slowly drain it of all intelligence,
|
||
eventually killing its victim.
|
||
mine*
|
||
gnomish mines
|
||
Made by Dwarfs. The Rule here is that the Mine is either long
|
||
deserted or at most is inhabited by a few survivors who will
|
||
make confused claims to have been driven out/decimated by humans/
|
||
other Dwarfs/Minions of the Dark Lord. Inhabited or not, this
|
||
Mine will be very complex, with many levels of galleries,
|
||
beautifully carved and engineered. What was being mined here
|
||
is not always evident, but at least some of the time it will
|
||
appear to have been Jewels, since it is customary to find
|
||
unwanted emeralds, etc., still embedded in the rock of the
|
||
walls. Metal will also be present, but only when made up into
|
||
armor and weapons (_wondrous_).
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
minotaur
|
||
The Minotaur was a monster, half bull, half human, the
|
||
offspring of Minos' wife Pasiphae and a wonderfully beautiful
|
||
bull. ... When the Minotaur was born Minos did not kill him.
|
||
He had Daedalus, a great architect and inventor, construct a
|
||
place of confinement for him from which escape was impossible.
|
||
Daedalus built the Labyrinth, famous throughout the world.
|
||
Once inside, one would go endlessly along its twisting paths
|
||
without ever finding the exit.
|
||
[ Mythology, by Edith Hamilton ]
|
||
mirkwood spider
|
||
mirkwood elder
|
||
Old fat spider spinning in a tree!
|
||
Old fat spider can't see me!
|
||
Attercop! Attercop!
|
||
Won't you stop,
|
||
Stop your spinning and look for me!
|
||
|
||
Old Tomnoddy, all big body,
|
||
Old Tomnoddy can't spy me!
|
||
Attercop! Attercop!
|
||
Down you drop!
|
||
You'll never catch me up your tree!
|
||
|
||
Lazy Lob and crazy Cob
|
||
are weaving webs to wind me.
|
||
I am far more sweet than other meat,
|
||
but still they cannot find me!
|
||
|
||
Here am I, naughty little fly;
|
||
you are fat and lazy.
|
||
You cannot trap me, though you try,
|
||
in your cobwebs crazy.
|
||
[ The Hobbit, by J.R.R. Tolkien ]
|
||
mirror brand
|
||
What does it mean to fight for the Balance? How is one a part
|
||
of it, how does it make its way through all things?
|
||
|
||
Balance is the quest for equilibrium, the movement of all
|
||
things to the center. If the center cannot hold...that is the
|
||
fear, that the Spire is the foundation that all others
|
||
foolishly seek to crack and topple in their careless pursuit
|
||
of malice and charity, freedom and constraint.
|
||
|
||
Yes. But more -- what is the identity of Balance? Its face?
|
||
Who is that face, and what is its identity?
|
||
|
||
The identity of Balance is its citizens and its guardians.
|
||
Its citizens are those who are neither too cruel nor too
|
||
kind. Its guardians however must kill and save innocents,
|
||
must be selfish and charitable in equal quantities. The face
|
||
of Balance is the rilmani, the guardians. They are forever
|
||
walking the line, ever seeking to keep themselves in
|
||
equilibrium. Who they are is this walking, this act of
|
||
treading upon the thinnest of strands.
|
||
[ Blade of Innocence, by Sciborg ]
|
||
mirrorbright
|
||
"Copper gilt, and burnished bright, bright as sun
|
||
where there is no night,
|
||
wise men chained and wise men seek,
|
||
bubbling visions not for the weak."
|
||
[ Shemeska's Story Hour, by Todd Stewart ]
|
||
mit*ra*
|
||
Originating in India (Mitra), Mithra is a god of light who
|
||
was translated into the attendant of the god Ahura Mazda in
|
||
the light religion of Persia; from this he was adopted as
|
||
the Roman deity Mithras. He is not generally regarded as a
|
||
sky god but a personification of the fertilizing power of
|
||
warm, light air. According to the _Avesta_, he possesses
|
||
10,000 eyes and ears and rides in a chariot drawn by white
|
||
horses. Mithra, according to Zarathustra, is concerned with
|
||
the endless battle between light and dark forces: he
|
||
represents truth. He is responsible for the keeping of oaths
|
||
and contracts. He is attributed with the creation of both
|
||
plants and animals. His chief adversary is Ahriman, the
|
||
power of darkness.
|
||
[ The Encyclopaedia of Myths and Legends of All
|
||
Nations, by Herbert Spencer Robinson and
|
||
Knox Wilson ]
|
||
*mithril coat*
|
||
*mithril-coat*
|
||
_Mithril_! All folk desired it. It could be beaten like
|
||
copper, and polished like glass; and the Dwarves could make
|
||
of it a metal, light and yet harder than tempered steel.
|
||
Its beauty was like to that of common silver, but the beauty
|
||
of _mithril_ did not tarnish or grow dim.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
*mitre of holiness
|
||
This helm of brilliance performs all of the normal functions
|
||
of a helm of brilliance, but also has the ability to protect
|
||
anyone who carries it from fire. When invoked, it boosts
|
||
the energy of the invoker, allowing them to cast more spells.
|
||
mjollnir
|
||
Forged by the dwarves Eitri and Brokk, in response to Loki's
|
||
challenge, Mjollnir is an indestructible war hammer. It has
|
||
two magical properties: when thrown it always returned to
|
||
Thor's hand; and it could be made to shrink in size until it
|
||
could fit inside Thor's shirt. Its only flaw is that it has
|
||
a short handle. The other gods judged Mjollnir the winner of
|
||
the contest because, of all the treasures created, it alone had
|
||
the power to protect them from the giants. As the legends
|
||
surrounding Mjollnir grew, it began to take on the quality of
|
||
"vigja", or consecration. Thor used it to consecrate births,
|
||
weddings, and even to raise his goats from the dead. In the
|
||
Norse mythologies Mjollnir is considered to represent Thor's
|
||
governance over the entire cycle of life - fertility, birth,
|
||
destruction, and resurrection.
|
||
mog
|
||
Mog is known as the Spider God. Mog resembles a four-limbed spider
|
||
with a handsome, if not entirely human, face.
|
||
~slime mold
|
||
*mold
|
||
Mold, multicellular organism of the division Fungi, typified
|
||
by plant bodies composed of a network of cottony filaments.
|
||
The colors of molds are due to spores borne on the filaments.
|
||
Most molds are saprophytes. Some species (e.g., penicillium)
|
||
are used in making cheese and antibiotics.
|
||
[ The Concise Columbia Encyclopedia ]
|
||
mol?ch
|
||
And the Lord spake unto Moses, saying,
|
||
Again, thou shalt say to the children of Israel, Whosoever
|
||
he be of the children of Israel, or of the strangers that
|
||
sojourn in Israel, that giveth any of his seed unto Molech;
|
||
he shall surely be put to death: the people of the land shall
|
||
stone him with stones.
|
||
And I will set my face against that man, and will cut him off
|
||
from among his people; because he hath given of his seed unto
|
||
Molech, to defile my sanctuary, and to profane my holy name.
|
||
And if the people of the land do any ways hide their eyes
|
||
from the man, when he giveth of his seed unto Molech, and kill
|
||
him not:
|
||
Then I will set my face against that man, and against his
|
||
family, and will cut him off, and all that go a whoring after
|
||
him, to commit whoredom with Molech, from among their people.
|
||
[ Leviticus 20:1-5 ]
|
||
monk
|
||
* monk
|
||
grand master
|
||
master kaen
|
||
One day, an army general invited the Buddhist monk I-Hsiu
|
||
(literally, "One Rest") to his military head office for a
|
||
dinner. I-Hsiu was not accustomed to wearing luxurious
|
||
clothings and so he just put on an old ordinary casual
|
||
robe to go to the military base. To him, "form is void".
|
||
|
||
As he approached the base, two soldiers appeared before him
|
||
and shouted, "Where does this beggar came from? Identify
|
||
yourself! You do not have permission to be around here!"
|
||
|
||
"My name is I-Hsiu Dharma Master. I am invited by your
|
||
general for a supper."
|
||
|
||
The two soldiers examined the monk closely and said, "You
|
||
liar. How come my general invites such a shabby monk to
|
||
dinner? He invites the very solemn venerable I-Hsiu to our
|
||
base for a great ceremony today, not you. Now, get out!"
|
||
|
||
I-Hsiu was unable to convince the soldiers that he was
|
||
indeed the invited guest, so he returned to the temple
|
||
and changed to a very formal solemn ceremonial robe for
|
||
the dinner. And as he returned to the military base, the
|
||
soldiers observed that he was such a great Buddhist monk,
|
||
let him in with honour.
|
||
|
||
At the dinner, I-Hsiu sat in front of the table full of
|
||
food but, instead of putting the food into his mouth, he
|
||
picked up the food with his chopsticks and put it into
|
||
his sleeves. The general was curious, and whispered to
|
||
him, "This is very embarrassing. Do you want to take
|
||
some food back to the temple? I will order the cook to
|
||
prepare some take out orders for you." "No" replied the
|
||
monk. "When I came here, I was not allowed into the
|
||
base by your soldiers until I wear this ceremonial robe.
|
||
You do not invite me for a dinner. You invite my robe.
|
||
Therefore, my robe is eating the food, not me."
|
||
[ Dining with a General - a Zen Buddhism Koan,
|
||
translation by Yiu-man Chan ]
|
||
monoton
|
||
Single function laborers, they can carry out only
|
||
one command at a time, passed down to them by their
|
||
duton superiors.
|
||
duton
|
||
Bi-functional laborers, they may interpret and
|
||
carrying out two commands at once. If given only one
|
||
task at a time, it shows a limited ability to react
|
||
to unexpected stimuli.
|
||
triton
|
||
Low level overseers, typically, they receive a general
|
||
order, which they then divide into smaller tasks that
|
||
can be completed by the lower castes. They are capable
|
||
of reporting actions and observations, as well as
|
||
actually planning limited objectives on the battlefield.
|
||
quaton
|
||
Upper level managers, quatons report actions and
|
||
observations, make plans, react to unexpected
|
||
occurrences, and act to remedy them. They are thus
|
||
the first of the auton castes that can be truly
|
||
described as sapient.
|
||
quinon
|
||
Auditors of the lower castes, quinons monitor the
|
||
quatons as they carry out their duties, seeing
|
||
that the will of the One is reflected in all
|
||
matters.
|
||
axus
|
||
Ruling over the castes is Primus, the One and the
|
||
Prime. It and the plane are one in thought and deed; as
|
||
Primus turns, so do the wheels of Mechanus.
|
||
[ Planescape Monstrous Suplement, by David Cook ]
|
||
auton
|
||
modron
|
||
The most omnipresent of the beings living on
|
||
Mechanus (bar none) are the modrons. There's not
|
||
much known about the geometrical and mathematical
|
||
constructs, including their goals, their functions, and
|
||
their minds.
|
||
The short of it is that modrons are largely
|
||
unknowable by humans.
|
||
[ Planes of Law, by Colin McComb ]
|
||
auton caste*
|
||
modron caste*
|
||
Modrons are strictly divided into fourteen castes,
|
||
five common castes and nine ruling castes.
|
||
Castes are hardly unique, but the modron approach to
|
||
them is. Not only does each rank have its own functions,
|
||
but each also has its own body shape, so the rank
|
||
of any modron can be readily identified by the creature's
|
||
appearance.
|
||
[ Planescape Monstrous Suplement, by David Cook ]
|
||
monkey
|
||
"Listen, man-cub," said the Bear, and his voice rumbled like
|
||
thunder on a hot night. "I have taught thee all the Law of
|
||
the Jungle for all the peoples of the jungle--except the
|
||
Monkey-Folk who live in the trees. They have no law. They
|
||
are outcasts. They have no speech of their own, but use the
|
||
stolen words which they overhear when they listen, and peep,
|
||
and wait up above in the branches. Their way is not our way.
|
||
They are without leaders. They have no remembrance. They
|
||
boast and chatter and pretend that they are a great people
|
||
about to do great affairs in the jungle, but the falling of
|
||
a nut turns their minds to laughter and all is forgotten.
|
||
We of the jungle have no dealings with them. We do not drink
|
||
where the monkeys drink; we do not go where the monkeys go;
|
||
we do not hunt where they hunt; we do not die where they die...."
|
||
[ The Jungle Book, by Rudyard Kipling ]
|
||
morning star
|
||
The morning star was a medieval weapon resembling a mace, but
|
||
with a large spike on the end and smaller spikes around the
|
||
circumference. It was also known as the goedendag (from the
|
||
Dutch word for "good day") and the holy water sprinkler (from its
|
||
resemblance to the aspergillum sometimes used in the Catholic Mass).
|
||
It was used by both cavalry and infantry; the horseman's weapon
|
||
typically had a shorter haft than the footman's, which might be up
|
||
to six feet long. It came into use in the beginning of the 14th
|
||
century.
|
||
The name "morning star" is often erroneously applied to the
|
||
military flail (also known as the therscol), a similar weapon,
|
||
but with the head attached by a short chain.
|
||
[ Dictionary of Medieval Knighthood and Chivalry,
|
||
by Bradford Broughton ]
|
||
mortai
|
||
Mortai are a mystery of the Beastlands, enigmatic creatures
|
||
of immense intelligence and power. Also known as the
|
||
"faces in the clouds", mortai are creatures of the air.
|
||
They appear as great clouds spanning the horizon, covering
|
||
miles from side to side and towering thousands of feet in
|
||
the air. In fact, a basher who doesn'tknow what he's looking
|
||
for'll walk right under a mortai wihout even realizing that
|
||
the creature is just drifting along a half mile or so over
|
||
his head. Most of the time, mortai are happy to remain
|
||
unnoticed, and can imitate a natural cloud perfectly. But
|
||
when they want a basher to know they're present, the mortai
|
||
begin to pulsate with a golden glow, crackling with immense
|
||
power like a lightning storm. When a mortai reveals itself
|
||
this way, great faces of wisdom and beauty begin to appear
|
||
on the surface of its clouds.
|
||
[ Adapted from Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual ]
|
||
mumak*
|
||
... the Mumak of Harad was indeed a beast of vast bulk, and
|
||
the like of him does not walk now in Middle-Earth; his kin
|
||
that live still in latter days are but memories of his girth
|
||
and majesty. On he came, ... his great legs like trees,
|
||
enormous sail-like ears spread out, long snout upraised like
|
||
a huge serpent about to strike, his small red eyes raging.
|
||
His upturned hornlike tusks ... dripped with blood.
|
||
[ The Two Towers, by J.R.R. Tolkien ]
|
||
*mummy
|
||
But for an account of the manner in which the body was
|
||
bandaged, and a list of the unguents and other materials
|
||
employed in the process, and the words of power which were
|
||
spoken as each bandage was laid in its place, we must have
|
||
recourse to a very interesting papyrus which has been edited
|
||
and translated by M. Maspero under the title of Le Rituel de
|
||
l'Embaumement. ...
|
||
Everything that could be done to preserve the body was now
|
||
done, and every member of it was, by means of the words of
|
||
power which changed perishable substances into imperishable,
|
||
protected to all eternity; when the final covering of purple
|
||
or white linen had been fastened upon it, the body was ready
|
||
for the tomb.
|
||
[ Egyptian Magic, by E.A. Wallis Budge ]
|
||
mummy wrapping
|
||
He held a white cloth -- it was a serviette he had brought
|
||
with him -- over the lower part of his face, so that his
|
||
mouth and jaws were completely hidden, and that was the
|
||
reason for his muffled voice. But it was not that which
|
||
startled Mrs. Hall. It was the fact that all his forehead
|
||
above his blue glasses was covered by a white bandage, and
|
||
that another covered his ears, leaving not a scrap of his
|
||
face exposed excepting only his pink, peaked nose. It was
|
||
bright, pink, and shiny just as it had been at first. He
|
||
wore a dark-brown velvet jacket with a high, black, linen-
|
||
lined collar turned up about his neck. The thick black
|
||
hair, escaping as it could below and between the cross
|
||
bandages, project in curious tails and horns, giving him
|
||
the strangest appearance conceivable.
|
||
[ The Invisible Man, by H.G. Wells ]
|
||
mouth of the goat
|
||
Ever Their praises, and abundance to the
|
||
Black Goat of the Woods.
|
||
Ia! Shub-Niggurath! Ia! Shub-Niggurath!
|
||
The Black Goat of the Woods with a Thousand Young!
|
||
[ The Whisperer in Darkness, by H.P. Lovecraft ]
|
||
movanic deva
|
||
Movanic devas have milky white skin and silvery hair and eyes,
|
||
and are slender and exceedingly agile. Although they can carry a
|
||
variety of weapons, they most often employ a two-handed sword.
|
||
Any weapon wielded by a movanic deva is further enhanced by the
|
||
deva's fiery aura. Movanic devas are the most privileged of all
|
||
the devas, for they are sent to many other planes to aid
|
||
prominent mortal followers of good deities in moments of dire
|
||
need. They are able to pass into the Prime Material at will.
|
||
[ Adapted from Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual ]
|
||
monadic deva
|
||
Monadic devas have dark brown skin, jet hair, and piercing green
|
||
eyes, and are of strong, bulky build and rely more upon strength
|
||
than on speed and agility. On rare occasions, a power from the
|
||
Upper Planes needs a servant to go to one of the Elemental or
|
||
Paraelemental Planes. When this need arises, monadic devas are
|
||
used. Monadics can pass into any Elemental Plane at will and
|
||
survive there without ill effect.
|
||
[ Adapted from Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual ]
|
||
monastic deva
|
||
astral deva
|
||
Astral devas have golden skin, amber eyes, and fair hair, and are
|
||
extremely supple and move with inhuman quickness. They carry a
|
||
macelike weapon. Any creature struck twice in the same round by
|
||
the weapon may be stunned by the force behind the blows. Astral
|
||
devas attend to matters in the Lower Planes for the powers of
|
||
good. These powerful, pure warriors can pass into the Lower
|
||
Planes at will, bringing their justice to the heart of evil. If
|
||
directly commanded by the power they serve, they can enter any
|
||
layer of any lower plane without passing through intermediate
|
||
layers. Astral devas also commonly travel to the Astral Plane to
|
||
rescue good-aligned mortals who have become lost or stranded.
|
||
[ Adapted from Dungeons and Dragons 2nd Edition
|
||
Complete Monstrous Manual ]
|
||
mahadeva
|
||
Shiva (Sanskrit: Siva, meaning "The Auspicious One";
|
||
Tamil: Sivan, meaning "The Red One"), also known as
|
||
Mahadeva ("Great God"), is one of the three deities of
|
||
Hinduism. Shiva is distinct from Vishnu and Brahman yet
|
||
one with them. He is "Anant" [Who is neither found born
|
||
nor found dead]. At the highest level, Shiva is regarded
|
||
as limitless, transcendent, unchanging and formless.
|
||
Shiva also has many benevolent and fearsome forms. In
|
||
benevolent aspects, he is depicted as an omniscient Yogi
|
||
who lives an ascetic life on Mount Kailash, as well as a
|
||
householder with wife Parvati and his two children,
|
||
Ganesha and Kartikeya, and in fierce aspects, he is often
|
||
depicted slaying demons.
|
||
[ Wikipedia ]
|
||
|
||
This fearsome emanation of the divine fights with weapons
|
||
and the magic of blades. In melee combat it is capable of
|
||
forming additional arms as desired, and can strike a
|
||
poorly-defended target dozens of times in a single instant.
|
||
*naga*
|
||
*naja*
|
||
The naga is a mystical creature with the body of a snake and
|
||
the head of a man or woman. They will fiercely protect the
|
||
territory they consider their own. Some nagas can be forced
|
||
to serve as guardians by a spellcaster of great power.
|
||
naginata
|
||
A Japanese pole-arm, fitted with a curved single-edged blade.
|
||
The blades ranged in length from two to four feet, mounted on
|
||
shafts about four to five feet long. The naginata were cut
|
||
with a series of short grooves near to the tang, above which
|
||
the back edge was thinned, but not sharpened, so that the
|
||
greater part of the blade was a flattened diamond shape in
|
||
section. Seen in profile, the curve is slight or non-
|
||
existent near the tang, becoming more pronounced towards the
|
||
point.
|
||
|
||
"With his naginata he killed five, but with the sixth it
|
||
snapped asunder in the midst and, flinging it away, he drew
|
||
his sword, wielding it in the zigzag style, the interlacing,
|
||
cross, reversed dragonfly, waterwheel, and eight-sides-at-
|
||
once styles of fencing and cutting down eight men; but as he
|
||
brought down the ninth with a mighty blow on the helmet, the
|
||
blade snapped at the hilt."
|
||
[ Story of Tsutsui no Jomio Meishu from Tales of Heike ]
|
||
nalfeshnee
|
||
Not only do these demons do physical damage with their claws
|
||
and bite, but they are capable of using magic as well.
|
||
nalzok
|
||
Nalzok is Moloch's cunning and unfailingly loyal battle
|
||
lieutenant, to whom he trusts the command of warfare when he
|
||
does not wish to exercise it himself. Nalzok is a major
|
||
demon, known to command the undead. He is hungry for power,
|
||
and secretly covets Moloch's position. Moloch doesn't trust
|
||
him, but, trusting his own power enough, chooses to allow
|
||
Nalzok his position because he is useful.
|
||
nazgul
|
||
Immediately, though everything else remained as before, dim
|
||
and dark, the shapes became terribly clear. He was able to
|
||
see beneath their black wrappings. There were five tall
|
||
figures: two standing on the lip of the dell, three advancing.
|
||
In their white faces burned keen and merciless eyes; under
|
||
their mantles were long grey robes; upon their grey hairs
|
||
were helms of silver; in their haggard hands were swords of
|
||
steel. Their eyes fell on him and pierced him, as they
|
||
rushed towards him. Desperate, he drew his own sword, and
|
||
it seemed to him that it flickered red, as if it was a
|
||
firebrand. Two of the figures halted. The third was taller
|
||
than the others: his hair was long and gleaming and on his
|
||
helm was a crown. In one hand he held a long sword, and in
|
||
the other a knife; both the knife and the hand that held it
|
||
glowed with a pale light. He sprang forward and bore down
|
||
on Frodo.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
neanderthal*
|
||
1. Valley between Duesseldorf and Elberfeld in Germany,
|
||
where an ancient skull of a prehistoric ancestor to modern
|
||
man was found. 2. Human(oid) of the race mentioned above.
|
||
necronomicon
|
||
Non-Euclidean calculus and quantum physics are enough to
|
||
stretch any brain; and when one mixes them with folklore,
|
||
and tries to trace a strange background of multi-dimensional
|
||
reality behind the ghoulish hints of the Gothic tales and the
|
||
wild whispers of the chimney-corner, one can hardly expect to
|
||
be wholly free from mental tension. [...] The professors at
|
||
Miskatonic had urged him to slacken up, and had voluntarily
|
||
cut down his course at several points. Moreover, they had
|
||
stopped him from consulting the dubious old books on
|
||
forbidden secrets that were kept under lock and key in a
|
||
vault at the university library. But all these precautions
|
||
came late in the day, so that Gilman had some terrible hints
|
||
from the dreaded Necronomicon of Abdul Alhazred, the
|
||
fragmentary Book of Eibon, and the suppressed Unaussprechlichen
|
||
Kulten of von Junzt to correlate with his abstract formulae on
|
||
the properties of space and the linkage of dimensions known
|
||
and unknown.
|
||
[ "The Dreams in the Witch House," H.P. Lovecraft ]
|
||
neferet
|
||
neferet the green
|
||
Neferet the Green holds office in her hidden tower, only
|
||
reachable by magical means, where she teaches her apprentices
|
||
the enigmatic skills of occultism. Despite her many years, she
|
||
continues to investigate new spells, especially those involving
|
||
translocation. It is further rumored that when she was an
|
||
apprentice herself, she accidentally turned her skin green, and
|
||
has kept it that way ever since.
|
||
nessian pit fiend
|
||
The great horns, bat-like wings,
|
||
serpentine tail, and cloven-hoofed feet are identical to
|
||
the terror of the pit. Yet, this creature towers 20 feet in
|
||
height. Accompanying the flames that lick its translucent
|
||
flesh is a darkness that ripples the surrounding air. The
|
||
blood red form is covered in muscles and the burning,
|
||
white eyes glare from a shadowy face.
|
||
[ Dicefreaks: The Gates of Hell ]
|
||
neverwas
|
||
You weren't there. In the final days of the war. You never saw
|
||
what was born. But if the time lock's broken then everything is
|
||
coming through. Not just the Daleks, but the Star of
|
||
Degradations. The Horde of Travesties. The Nightmare Child. The
|
||
Could-Have-Been King with his army of Meanwhiles and Neverweres.
|
||
The war turned into hell! And that's what you've opened. Right
|
||
above the Earth. Hell is descending.
|
||
[ Dr. Who, The End of Time (Part Two) ]
|
||
newt
|
||
(kinds of) small animal, like a lizard, which spends most of
|
||
its time in the water.
|
||
[ Oxford's Student's Dictionary of Current English ]
|
||
|
||
"Fillet of a fenny snake,
|
||
In the cauldron boil and bake;
|
||
Eye of newt and toe of frog,
|
||
Wool of bat and tongue of dog,
|
||
Adder's fork and blind-worm's sting,
|
||
Lizard's leg and howlet's wing,
|
||
For a charm of powerful trouble,
|
||
Like a hell-broth boil and bubble."
|
||
[ Macbeth, by William Shakespeare ]
|
||
ninja
|
||
Ninja are the spy-assassins of Japan. They are quick and
|
||
stealthy, though not as strong as fighters. Their characteristic
|
||
weapon is the deadly shuriken or throwing-star.
|
||
nightmare
|
||
By a route obscure and lonely,
|
||
Haunted by ill angels only,
|
||
Where an Eidolon, named NIGHT,
|
||
On a black throne reigns upright,
|
||
I have reached these lands but newly
|
||
From an ultimate dim Thule--
|
||
From a wild weird clime that lieth, sublime,
|
||
Out of SPACE -- Out of TIME.
|
||
[ Dream-Land, by Edgar Allen Poe ]
|
||
ninja-to
|
||
A Japanese broadsword.
|
||
*nkia
|
||
*n'kai
|
||
A vast, endless, eternally dark gulf said to lie at the bottom
|
||
of the world. Even daemons fear to tread there. The basen of
|
||
the Lethe river is said to be within the great gulf. What few
|
||
tales exist of its outer reaches speak of hordes of hideous
|
||
gugs that scavenge and devour the bodies of all who enter.
|
||
noble
|
||
nobleman
|
||
noblewoman
|
||
Here the COUNTRY is organized into peasants and lords and
|
||
usually ruled by a bad KING or REGENT. The peasants will live
|
||
in HOVELS and do all the work. The lords will have all the
|
||
MONEY and oppress the peasants by taxing, beating, and
|
||
imprisoning them, and exercising unlimited droit du seigneur.
|
||
[...] Usually the arrival of the Tour is the signal for the
|
||
peasants to revolt.
|
||
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
*norn
|
||
The Norns were the three Norse Fates, or the goddesses of fate.
|
||
Female giants, they brought the wonderful Golden Age to an end.
|
||
They cast lots over the cradle of every child that was born,
|
||
and placed gifts in the cradle. Their names were Urda,
|
||
Verdandi, and Skuld, representing the past, the present, and
|
||
the future. Urda and Verdandi were kindly disposed, but Skuld
|
||
was cruel and savage. Their tasks were to sew the web of
|
||
fate, to water the sacred ash, Yggdrasil, and to keep it in
|
||
good condition by placing fresh earth around it daily. In her
|
||
fury, Skuld often spoiled the work of her sisters by tearing
|
||
the web to shreds.
|
||
[ The Encyclopedia of Myths and Legends of All
|
||
Nations by Herbert Spencer Robinson and Knox
|
||
Wilson ]
|
||
nightgaunt
|
||
night*gaunt
|
||
Suddenly, without a warning sound in the dark, Carter felt
|
||
his curved scimitar drawn stealthily out of his belt by some
|
||
unseen hand. Then he heard it clatter down over the rocks
|
||
below. And between him and the Milky Way he thought he saw
|
||
a very terrible outline of something noxiously thin and horned
|
||
and tailed and bat-winged. Then a sort of cold rubbery arm
|
||
seized his neck and something else seized his feet, and he was
|
||
lifted inconsiderately up and swung about in space. Another
|
||
minute and the stars were gone, and Carter knew that the
|
||
night-gaunts had got him.
|
||
|
||
[They] were indeed shocking and uncouth black things with smooth,
|
||
oily, whale-like surfaces, unpleasant horns that curved inward
|
||
toward each other, bat wings whose beating made no sound, ugly
|
||
prehensile paws, and barbed tails that lashed needlessly and
|
||
disquietingly. And worst of all, they never spoke or laughed,
|
||
and never smiled because they had no faces at all to smile with,
|
||
but only a suggestive blankness where a face ought to be. All
|
||
they ever did was clutch and fly and tickle; that was the way
|
||
of night-gaunts.
|
||
[ The Dream Quest of Unknown Kadath, by H.P. Lovecraft ]
|
||
nunchaku
|
||
A nunchaku is two sections of wood (or metal in modern
|
||
incarnations) connected by a cord or chain. There is much
|
||
controversy over its origins; some say it was originally a
|
||
Chinese weapon, others say it evolved from a threshing flail;
|
||
one theory purports that it was developed from a horse's bit.
|
||
Chinese nunchaku tend to be rounded, whereas Japanese are
|
||
octagonal, and they were originally linked by horse hair.
|
||
There are many variations on the nunchaku, ranging from the
|
||
three sectional staff (san-setsu-kon nunchaku), to smaller
|
||
multi-section nunchaku. The nunchaku was popularized by
|
||
Bruce Lee in a number of films, made in both Hollywood and
|
||
Hong Kong.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
nupperibo
|
||
Nupperibos are much like lemures in appearance, but are even
|
||
less defined than those creatures. Nupperibos are amorphous,
|
||
vaguely humanoid monsters with no discernible features.
|
||
They have appendages that might be construed as arms and head.
|
||
|
||
Nupperibos are blind, deaf, and mute.
|
||
|
||
There is, however, a unique and curious relationship between
|
||
the lemures and the nupperibos. The nupperibos are slightly
|
||
higher in station than the lemures, hut they can never become
|
||
higher forms of baatezu without first being demoted to lemure
|
||
status. Doubtless some greater power in Baator has set the
|
||
advancement path that way for its own fiendish reasons.
|
||
[ Planescape Monstrous Compendium Appendix, TSR ]
|
||
metamorphosed nupperibo
|
||
Planewalkers who know a little of the chant regarding
|
||
baatezu can recognize that this is no ordinary nupperibo.
|
||
For one thing, it mewls in pain and frustration at its
|
||
predicament. Nupperibos are mute. Further, it *looks*
|
||
at [them] as they enter the room. Nupperibos are blind.
|
||
|
||
[...] Suddenly, the pale, bloated stomach of the disgusting
|
||
creature bursts open, and dozens of tiny, pinkish tendrils
|
||
shoot out, attempting to grab [...] anything else in the
|
||
room.
|
||
[ Tales from the Infinite Staircase,
|
||
by Monte Cook ]
|
||
ancient nupperibo
|
||
There're shapes frozen in the of some of the [Canian]
|
||
glaciers. The ice distorts the images so that it's nearly
|
||
impossible to see what the shapes actually are, but some
|
||
enterprising Guvners have taken the time to melt passages
|
||
through the ice to the shapes. They came back shaken,
|
||
reporting that some of the figures turned out to be
|
||
frozen devas and archons battling spined creatures of
|
||
unknown origin. Other shapes were cities crused by the
|
||
glaciers of Cania. What lived in the cities, none can say.
|
||
[ Planes of Law, TSR ]
|
||
~swamp nymph
|
||
*nymph
|
||
dryad
|
||
naiad
|
||
oread
|
||
A female creature from Roman and Greek mythology, the nymph
|
||
occupied rivers, forests, ponds, etc. A nymph's beauty is
|
||
beyond words: an ever-young woman with sleek figure and
|
||
long, thick hair, radiant skin and perfect teeth, full lips
|
||
and gentle eyes. A nymph's scent is delightful, and her
|
||
long robe glows, hemmed with golden threads and embroidered
|
||
with rainbow hues of unearthly magnificence. A nymph's
|
||
demeanour is graceful and charming, her mind quick and witty.
|
||
|
||
"Theseus felt her voice pulling him down into fathoms of
|
||
sleep. The song was the skeleton of his dream, and the dream
|
||
was full of terror. Demon girls were after him, and a bull-
|
||
man was goring him. Everywhere there was blood. There was
|
||
pain. There was fear. But his head was in the nymph's lap
|
||
and her musk was about him, her voice weaving the dream. He
|
||
knew then that she had been sent to tell him of something
|
||
dreadful that was to happen to him later. Her song was a
|
||
warning. But she had brought him a new kind of joy, one that
|
||
made him see everything differently. The boy, who was to
|
||
become a hero, suddenly knew then what most heroes learn
|
||
later -- and some too late -- that joy blots suffering and
|
||
that the road to nymphs is beset by monsters."
|
||
[ The Minotaur by Bernard Evslin ]
|
||
obsidian*
|
||
A volcanic glass, homogeneous in texture and having a low water
|
||
content, with a vitreous luster and a conchoidal fracture. The
|
||
color is commonly black, but may be some shade of red or brown,
|
||
and cut sections sometimes appear to be green. Like other volcanic
|
||
glasses, obsidian is a lava that has cooled too quickly for the
|
||
contained minerals to crystallize. In chemical composition it is
|
||
rich in silica and similar to granite. It is favored by primitive
|
||
peoples for knives, arrowheads, spearheads, and other weapons
|
||
and tools.
|
||
[ The Columbia Encyclopedia, Sixth Edition ]
|
||
oceanid
|
||
The Oceanids' father Oceanus was the great primordial world-
|
||
encircling river, their mother Tethys was a sea goddess, and
|
||
their brothers the Potamoi were the personifications of the great
|
||
rivers of the world. Like the rest of their family, the Oceanid
|
||
nymphs were associated with water, as the personification of springs.
|
||
Hesiod says they are "dispersed far and wide" and everywhere "serve
|
||
the earth and the deep waters", while in Apollonius of Rhodes'
|
||
Argonautica, the Argonauts, stranded in the desert of Libya, beg the
|
||
"nymphs, sacred of the race of Oceanus" to show them "some spring of
|
||
water from the rock or some sacred flow gushing from the earth".
|
||
[ Wikipedia ]
|
||
ochre jelly
|
||
This monster resembles a giant amoeba, seeping through darkened
|
||
corridors, through cracks and under doors, searching for flesh or
|
||
cellulose to devour. ... Voraciously dissolving all types of carrion
|
||
and trash, this monster is sometimes tolerated in inhabited subterranean
|
||
areas for its janitorial services, but this activity is difficult to
|
||
organize and is usually not appreciated by the inhabitants because of
|
||
its danger.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
odin
|
||
Also called Sigtyr (god of Victory), Val-father (father of
|
||
the slain), One-Eyed, Hanga-god (god of the hanged), Farma-
|
||
god (god of cargoes), Hapta-god (god of prisoners), and
|
||
Othin. He is the prime god of the Norsemen: god of war and
|
||
victory, wisdom and prophecy, poetry, the dead, air and wind,
|
||
hospitality, and magic.
|
||
As the god of war and victory, Odin is ruler of the Valkyries,
|
||
warrior-maidens who lived in the halls of Valhalla in Asgard,
|
||
the hall of dead heroes where he held his court.
|
||
These chosen ones will defend the realm of the gods against
|
||
the Frost Giants on the final day of reckoning, Ragnarok.
|
||
As god of the wind, Odin rides through the air on his eight-
|
||
footed horse, Sleipnir, wielding Gungner, his spear, normally
|
||
accompanied by his ravens, Hugin and Munin, who he would also
|
||
use as his spies.
|
||
As a god of hospitality, he enjoys visiting the earth in
|
||
disguise to see how people were behaving and to see how they
|
||
would treat him, not knowing who he was.
|
||
Odin is usually represented as a one-eyed wise old man with a
|
||
long white beard and a wide-brimmed hat (he gave one of his
|
||
eyes to Mimir, the guardian of the well of wisdom in Hel, in
|
||
exchange for a draught of knowledge).
|
||
offler
|
||
Offler hesitated. He was a very old god, who had arisen from
|
||
steaming swamps in hot, dark lands. He had survived the rise
|
||
and fall of more modern and certainly more beautiful gods by
|
||
developing, for a god, a certain amount of wisdom.
|
||
|
||
Besides, Nuggan was one of the newer gods, all full of
|
||
hellfire and self-importance and _ambition_. Offler was not
|
||
bright, but he had some vague inkling that for long-term
|
||
survival gods needed to offer their worshippers something
|
||
more than a mere lack of thunderbolts. And he felt an
|
||
ungodlike pang of sympathy for any human whose god banned
|
||
chocolate _and_ garlic.
|
||
[ The Last Hero, by Terry Pratchett ]
|
||
|
||
'It's _you_, isn't it?' he growled. 'You're Nuggan, aren't
|
||
you?'
|
||
'You utter, utter...fifteen years! Fifteen damn years before
|
||
I ever tasted garlic! And the priests used to get up early
|
||
in the countryside round us to jump on all the mushrooms!
|
||
And do you know how _much_ a small slab of chocolate cost
|
||
in our town, and what they did to people who were caught with
|
||
one?' The minstrel shouldered the Horde aside and advanced
|
||
on the retreating god, his lyre raised like a club.
|
||
|
||
'Broccoli,' murmured Offler to Sweevo, God of Cut Timbur,
|
||
'You can't go wrong with broccoli.'
|
||
[ The Last Hero, by Terry Pratchett ]
|
||
ogre*
|
||
Anyone who has met a gluttonous, nude, angry ogre, will not
|
||
easily forget this encounter -- if he survives it at all.
|
||
Both male and female ogres can easily grow as tall as three
|
||
metres. Build and facial expressions would remind one of a
|
||
Neanderthal. Its small, pointy, keen teeth are striking.
|
||
Since ogres avoid direct sunlight, their ragged, unfurry
|
||
skin is as white as a sheet. They enjoy coating their body
|
||
with lard and usually wear nothing but a loin-cloth. An elf
|
||
would smell its rancid stench at ten metres distance.
|
||
Ogres are solitary creatures: very rarely one may encounter
|
||
a female with two or three young. They are the only real
|
||
carnivores among the humanoids, and its favourite meal is --
|
||
not surprisingly -- human flesh. They sometimes ally with
|
||
orcs or goblins, but only when they anticipate a good meaty
|
||
meal.
|
||
[ het Boek van de Regels; Het Oog des Meesters ]
|
||
oilskin cloak
|
||
During our watches below we overhauled our clothes, and made
|
||
and mended everything for bad weather. Each of us had made
|
||
for himself a suit of oil-cloth or tarpaulin, and these we
|
||
got out, and gave thorough coatings of oil or tar, and hung
|
||
upon the stays to dry. Our stout boots, too, we covered
|
||
over with a thick mixture of melted grease and tar. Thus we
|
||
took advantage of the warm sun and fine weather of the
|
||
Pacific to prepare for its other face.
|
||
[ Two Years Before the Mast, by Richard Henry Dana ]
|
||
oilskin sack
|
||
Summer passed all too quickly. On the last day of camp, Mr.
|
||
Brickle called his counselors together and paid them what he
|
||
owed them. Louis received one hundred dollars - the first
|
||
money he had ever earned. He had no wallet and no pockets,
|
||
so Mr. Brickle placed the money in a waterproof bag that had
|
||
a drawstring. He hung this moneybag around Louis' neck,
|
||
along with the trumpet, the slate, the chalk pencil, and the
|
||
lifesaving medal.
|
||
[ The Trumpet of the Swan, by E.B. White ]
|
||
olog-hai
|
||
But at the end of the Third Age a troll-race not before seen
|
||
appeared in southern Mirkwood and in the mountain borders of
|
||
Mordor. Olog-hai they were called in the Black Speech. That
|
||
Sauron bred them none doubted, though from what stock was not
|
||
known. Some held that they were not Trolls but giant Orcs;
|
||
but the Olog-hai were in fashion of body and mind quite unlike
|
||
even the largest of Orc-kind, whom they far surpassed in size
|
||
and power. Trolls they were, but filled with the evil will
|
||
of their master: a fell race, strong, agile, fierce and
|
||
cunning, but harder than stone. Unlike the older race of the
|
||
Twilight they could endure the Sun.... They spoke little,
|
||
and the only tongue they knew was the Black Speech of Barad-dur.
|
||
[ The Return of the King, by J.R.R. Tolkien ]
|
||
oona
|
||
The Morwel is the queen of the Eladrin.
|
||
The Morwel has always been queen.
|
||
The Eladrin took no side in the war of Law and Chaos.
|
||
oracle
|
||
delphi
|
||
p*thia
|
||
Delphi under towering Parnassus, where Apollo's oracle was,
|
||
plays an important part in mythology. Castalia was its
|
||
sacred spring; Cephissus its river. It was held to be the
|
||
center of the world, so many pilgrims came to it, from
|
||
foreign countries as well as Greece. No other shrine rivaled
|
||
it. The answers to the questions asked by the anxious
|
||
seekers for Truth were delivered by a priestess who went into
|
||
a trance before she spoke.
|
||
[ Mythology, by Edith Hamilton ]
|
||
orange
|
||
pear
|
||
What was the fruit like? Unfortunately, no one can describe
|
||
a taste. All I can say is that, compared with those fruits,
|
||
the freshest grapefruit you've ever eaten was dull, and the
|
||
juiciest orange was dry, and the most melting pear was hard
|
||
and woody, and the sweetest wild strawberry was sour. And
|
||
there were no seeds or stones, and no wasps. If you had once
|
||
eaten that fruit, all the nicest things in this world would
|
||
taste like medicines after it. But I can't describe it. You
|
||
can't find out what it is like unless you can get to that
|
||
country and taste it for yourself.
|
||
[ The Last Battle, by C.S. Lewis ]
|
||
*orb of fate
|
||
orb of fate
|
||
Some say that Odin himself created this ancient crystal ball,
|
||
although others argue that Loki created it and forged Odin's
|
||
signature on the bottom. In any case, it is a powerful
|
||
artifact. Anyone who carries it is granted the gift of
|
||
warning, and damage, both spell and physical, is partially
|
||
absorbed by the orb itself. When invoked it has the power
|
||
to teleport the invoker between levels.
|
||
goblin king
|
||
orcrist
|
||
The Great Goblin gave a truly awful howl of rage when he
|
||
looked at it, and all his soldiers gnashed their teeth,
|
||
clashed their shields, and stamped. They knew the sword at
|
||
once. It had killed hundreds of goblins in its time, when
|
||
the fair elves of Gondolin hunted them in the hills or did
|
||
battle before their walls. They had called it Orcrist,
|
||
Goblin-cleaver, but the goblins called it simply Biter.
|
||
They hated it and hated worse any one that carried it.
|
||
[ The Hobbit, by J.R.R. Tolkien ]
|
||
orcus
|
||
The massive, boated demon stands 15 feet tall, his immense
|
||
frame a hideous combination of muscle and bloated flesh. His
|
||
head is that of a ram with a great maw filled with tusks,
|
||
and his thick-furred legs end in cloven hooves. Leathery
|
||
wings and a barb-tipped tail complete the picture of the
|
||
archetypal demon.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
|
||
Orcus, Prince of the Undead, has a ram's head and a poison
|
||
stinger. He is most feared, though, for his powerful magic
|
||
abilities. His wand causes death to those he chooses.
|
||
~orc ??m*
|
||
~orcish barbarian
|
||
~orcish ranger
|
||
~orcish rogue
|
||
~orcish wizard
|
||
~orc of the ages of stars
|
||
orc*
|
||
* orc
|
||
Orcs, bipeds with a humanoid appearance, are related to the
|
||
goblins, but much bigger and more dangerous. The average orc
|
||
is only moderately intelligent, has broad, muscled shoulders,
|
||
a short neck, a sloping forehead and a thick, dark fur.
|
||
Their lower eye-teeth are pointing forward, like a boar's.
|
||
Female orcs are more lightly built and bare-chested. Not
|
||
needing any clothing, they do like to dress in variegated
|
||
apparels. Suspicious by nature, orcs live in tribes or
|
||
hordes. They tend to live underground as well as above
|
||
ground (but they dislike sunlight). Orcs can use all weapons,
|
||
tools and armours that are used by men. Since they don't have
|
||
the talent to fashion these themselves, they are constantly
|
||
hunting for them. There is nothing a horde of orcs cannot
|
||
use.
|
||
[ het Boek van de Regels; Het Oog des Meesters ]
|
||
orc of the ages of stars
|
||
But of those hapless who were snared by Melkor little is known
|
||
of a certainty. [...] Yet this is held true by the wise of Eressëa:
|
||
that all those of the Quendi that came into the hands of Melkor,
|
||
ere Utumno was broken, were put there in prison, and by slow arts
|
||
of cruelty and wickedness were corrupted and enslaved. Thus
|
||
did Melkor breed the hideous race of the Orkor in envy and mockery
|
||
of the Eldar, of whom they were afterwards the bitterest foes. For
|
||
the Orkor had life and multiplied after the manner of the Children
|
||
of Ilúvatar; and naught that had life of its own, nor the semblance
|
||
thereof, could ever Melkor make since his rebellion in the Ainulindalë
|
||
before the Beginning: so say the wise. And deep in their dark hearts
|
||
the Orkor loathed the Master whom they served in fear, the maker only
|
||
of their misery. This maybe was the vilest deed of Melkor and the most
|
||
hateful to Eru.
|
||
[ Morgoth's Ring, by J.R.R. Tolkien,
|
||
edited by Christopher Tolkien ]
|
||
ochre jelly
|
||
An ochre jelly resembles a giant amoeba, consisting of a thick, porous, golden
|
||
sludge. It lurks in dungeons, slowly sludging its way along floors, walls and
|
||
ceilings alike, under doors and through cracks, looking for victims. When it
|
||
finds them, it extends, latches onto them, and then proceeds to engulf and
|
||
constrict them. The ochre jelly reproduces asexually, and can sometimes be
|
||
found with several of its divided offspring.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
orihalcyon gauntlet
|
||
orihalcyon gauntlets
|
||
orihalcyon bracer
|
||
orihalcyon bracers
|
||
"I'm sick of fighting mages on this job. First I get frizzed
|
||
by the Shak'nai's boyfriend. Then a ditzy brunette knocks me
|
||
about with wards half a day. She didn't even have the book
|
||
anymore!
|
||
|
||
"This time I'm prepared! These orihalcyon bracers will absorb
|
||
any spell you throw at me!"
|
||
[ Bookwyrms, by Charles Crawford ]
|
||
orion
|
||
sirius
|
||
Orion was the son of Neptune. He was a handsome giant and a
|
||
mighty hunter. His father gave him the power of wading
|
||
through the depths of the sea, or, as others say, of
|
||
walking on its surface.
|
||
|
||
He dwelt as a hunter with Diana (Artemis), with whom he
|
||
was a favourite, and it is even said she was about to marry
|
||
him. Her brother was highly displeased and often chid her,
|
||
but to no purpose. One day, observing Orion wading through
|
||
the sea with his head just above the water, Apollo pointed
|
||
it out to his sister and maintained that she could not hit
|
||
that black thing on the sea. The archer-goddess discharged
|
||
a shaft with fatal aim. The waves rolled the dead body of
|
||
Orion to the land, and bewailing her fatal error with many
|
||
tears, Diana placed him among the stars, where he appears
|
||
as a giant, with a girdle, sword, lion's skin, and
|
||
club. Sirius, his dog, follows him, and the Pleiads fly
|
||
before him.
|
||
[ Bulfinch's Mythology, by Thomas Bulfinch ]
|
||
orpheus
|
||
Orpheus is a legendary figure, described by most ancient
|
||
sources as Thracian, and venerated throughout the ancient
|
||
Hellenised world as a heroic, civilising benefactor to
|
||
mankind. [...] Pindar calls Orpheus "the father of songs"
|
||
and asserts him as a son of the Thracian king Oeagrus and
|
||
the Muse Calliope.
|
||
[...]
|
||
The most famous story in which Orpheus figures is that of
|
||
his wife Eurydice (also known as Agriope). [...] Eurydice
|
||
fell into a nest of vipers and she suffered a fatal bite
|
||
on her heel. Her body was discovered by Orpheus who,
|
||
overcome with grief, played such sad and mournful songs
|
||
that all the nymphs and gods wept. On their advice, Orpheus
|
||
traveled to the underworld and by his music softened the
|
||
hearts of Hades and Persephone (he was the only person ever
|
||
to do so), who agreed to allow Eurydice to return with him
|
||
to earth on one condition: he should walk in front of her
|
||
and not look back until they both had reached the upper
|
||
world. He set off with Eurydice following, and, in his
|
||
anxiety, as soon as he reached the upper world, he turned to
|
||
look at her, forgetting that both needed to be in the upper
|
||
world, and she vanished for the second time, but now forever.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
osaku
|
||
The osaku is a small tool for picking locks.
|
||
owlbear
|
||
Owlbears are probably the crossbreed creation of a demented
|
||
wizard; given the lethal nature of this creation, it is quite
|
||
likely the wizard who created them is no longer alive. As
|
||
the name might already suggest, owlbears are a cross between
|
||
a giant owl and a bear. They are covered with fur and
|
||
feathers.
|
||
page
|
||
A male servant or attendant; specifically, in chivalry,
|
||
a lad or young man in training for knighthood, or a youth
|
||
of gentle parentage attending a royal or princely personage.
|
||
[ Webster's Comprehensive International Dictionary
|
||
of the English Language ]
|
||
pale night
|
||
A strange shimmering in the air announces the arrival of a
|
||
shape, little more than a billowing white diaphanous sheet.
|
||
Closer inspection reveals a writhing, seductive form beneath
|
||
the sheet, indistinct and hazy. Now and then the edges of
|
||
the sheet rise a little too high on the netherwind, yet
|
||
never enough to reveal the details that lie beyond.
|
||
[ Adapted from Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
*pall
|
||
_Pallium._ The Roman name for a square woollen cloak worn by
|
||
men in ancient Greece, especially by philosophers and
|
||
courtesans, corresponding to the Roman toga. Hence the Greeks
|
||
called themselves _gens palliata,_ and the Romans called
|
||
themselves _gens togata._
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
panther
|
||
And lo! almost where the ascent began,
|
||
A panther light and swift exceedingly,
|
||
Which with a spotted skin was covered o'er!
|
||
|
||
And never moved she from before my face,
|
||
Nay, rather did impede so much my way,
|
||
That many times I to return had turned.
|
||
[ Dante's Inferno, as translated
|
||
by Henry Wadsworth Longfellow ]
|
||
*paper
|
||
Some players, who unconsciously perceive Paper as weak or a sign of
|
||
surrender, will shy away from using it entirely or drop it from their
|
||
game when they are falling behind. On the other hand, Paper also
|
||
connects with a player's perceptions about writing. There is a quiet
|
||
power in the printed word. It has the ability to lay off thousands of
|
||
employees, declare war against nations, spread scandal or confess love.
|
||
Paper, in short, has power over masses. The fate of the entire world is
|
||
determined by print. As such, some players perceive Paper as a subtle
|
||
attack, the victory of modern culture over barbarism. Such players
|
||
may use Paper to assert their superiority and dignity.
|
||
[ The Official Rock Paper Scissors Strategy Guide ]
|
||
partisan
|
||
vulg?r polearm
|
||
Originally this weapon was a spear with small double
|
||
axe blades added below it. While the main blade retains
|
||
the same shape as a wide spearhead, the side blades
|
||
bare only a passing similarity to the axe blaes they
|
||
were in ages past. Frequently merely ceremonial now,
|
||
these weapons are from nine to ten feet long (2.7 to
|
||
3 meters).
|
||
|
||
,^.
|
||
| |
|
||
| |
|
||
| |
|
||
. | | .
|
||
< ~ ~ >
|
||
\ /
|
||
\_ _/
|
||
H
|
||
peace keeper
|
||
When someone wins, the fighting will end.
|
||
[ Code Geass ]
|
||
pelias
|
||
Conan cried out sharply and recoiled, thrusting his companion
|
||
back. Before them rose the great shimmering white form of Satha,
|
||
an ageless hate in its eyes. Conan tensed himself for one mad
|
||
berserker onslaught -- to thrust the glowing faggot into that
|
||
fiendish countenance and throw his life into the ripping sword-
|
||
stroke. But the snake was not looking at him. It was glaring
|
||
over his shoulder at the man called Pelias, who stood with his
|
||
arms folded, smiling. And in the great, cold, yellow eyes
|
||
slowly the hate died out in a glitter of pure fear -- the only
|
||
time Conan ever saw such an expression in a reptile's eyes.
|
||
With a swirling rush like the sweep of a strong wind, the great
|
||
snake was gone.
|
||
"What did he see to frighten him?" asked Conan, eyeing his
|
||
companion uneasily.
|
||
"The scaled people see what escapes the mortal eye," answered
|
||
Pelias cryptically. "You see my fleshy guise, he saw my naked
|
||
soul."
|
||
[ Conan the Usurper, by Robert E. Howard and L. Sprague de Camp ]
|
||
*pentagram
|
||
The pentagram was probably discovered as a result of
|
||
astronomical research in the Euphrates-Tigris region about
|
||
6,000 years ago. Isolated pentagrams have been found on broken
|
||
fragments of burned clay in Palestine, in layers dating from
|
||
around 4000 B.C. It was a common sign among the Sumerians around
|
||
2700 B.C. Some of those who have conducted research of symbols
|
||
believe the pentagram was used by the Sumerians as a cosmic
|
||
symbol representing the four corners of the earth and the vault
|
||
of the heavens. This, however, seems a bit far-fetched.
|
||
|
||
After the Sumerian time there is no clear evidence as to what
|
||
the pentagram might have meant until the sign appears in
|
||
Pythagorean mysticism, where it represents Hugieia ("health")
|
||
and the five hidden cavities.
|
||
|
||
The pentagram also symbolizes the five elements, and authority
|
||
over the same. King Solomon was given a ring with a pentagram
|
||
seal that gave him authority over demons and djinn.
|
||
[ Adapted from symbols.com, the online encyclopedia of
|
||
Western signs and ideograms;
|
||
and from Wikipedia ]
|
||
|
||
The pentagram is drawn with 10 strokes, and can be drawn
|
||
fairly quickly. It may be reinforced up to seven times.
|
||
*pen of the void
|
||
The first thing Tak did, he wrote himself.
|
||
|
||
The second thing Tak did, he wrote the Laws.
|
||
|
||
The third thing Tak did, he wrote the World.
|
||
|
||
The fourth thing Tak did, he wrote a cave.
|
||
|
||
The fifth thing Tak did, he wrote a geode, an egg of stone.
|
||
[ Gd Tak `Gar (The Things Tak Wrote),
|
||
translated by Sir T. D. J. Pratchett,
|
||
available from Unseen University Press for AM$8 ]
|
||
phantom fungus
|
||
A phantom fungus is a tripedal carnivorous plant that roams the
|
||
vast and deep underground caverns of the world. It wanders in
|
||
search of food, using its rootlike feet to detect movement along
|
||
the cavern floors and the sensitive tendrils surrounding its
|
||
mouth to pinpoint prey.
|
||
|
||
The maw with which a phantom fungus attacks prey is lined with
|
||
row upon row of sharp, jagged teeth that resemble pointed rocks
|
||
more than actual fangs. This "mouth" is not used to feed, however,
|
||
and does not attach to a digestive tract-it is nothing more than
|
||
a gaping natural weapon. When a phantom fungus feeds, it does so
|
||
by squatting down on its prey and infesting the corpse with
|
||
thousands of feeding filaments that burrow through dead flesh to
|
||
siphon away nutrients.
|
||
[ Pathfinder RPG ]
|
||
phase spider
|
||
Sometimes confused with neogi or driders and called planar
|
||
spiders on some worlds of the Prime, phase spiders are intelligent
|
||
web-spinners with a raised thorax and a humanlike
|
||
head. What really makes phase spiders stand out is their
|
||
enviable ability to phase back and forth between a plane and
|
||
the plane's Border.
|
||
|
||
Unknown to most creatures, phase spiders possess
|
||
large web habitats on the Ethereal (both in the Deep and on
|
||
the Border) and only appear on other planes while hunting
|
||
for food. Some phase spiders do live mostly on material
|
||
planes, but these spiders are the exception, not the rule. Like
|
||
many more familiar cultures, Ethereally-based phase spiders
|
||
are not a cohesive race, but instead exist in separate clutches
|
||
(tribes), each of which claims various Prime territories as its
|
||
sole hunting ground. Sometimes disparate phase spider
|
||
clutches cooperate, but sometimes they come into conflict
|
||
over temtorial disputes.
|
||
[ A Guide to the Ethereal Plane, by Bruce R. Cordell ]
|
||
pick*ax*
|
||
broad pick
|
||
The mine is full of holes;
|
||
With the wound of pickaxes.
|
||
But look at the goldsmith's store.
|
||
There, there is gold everywhere.
|
||
[ Divan-i Kebir Meter 2, by Mevlana Celaleddin Rumi ]
|
||
*piercer
|
||
Ye Piercer doth look like unto a stalactyte, and hangeth
|
||
from the roofs of caves and caverns. Unto the height of a
|
||
man, and thicker than a man's thigh do they grow, and in
|
||
groups do they hang. If a creature doth pass beneath them,
|
||
they will by its heat and noise perceive it, and fall upon
|
||
it to kill and devour it, though in any other way they move
|
||
but exceeding slow.
|
||
[ the Bestiary of Xygag ]
|
||
pindar
|
||
Pindar (ca. 522-443 BC), was an Ancient Greek lyric poet.
|
||
piranha
|
||
They live in "schools." Many times they will wait for prey
|
||
to come to the shallow water of the river. Then the large
|
||
group of piranhas will attack. These large groups are able
|
||
to kill large animals... Their lower teeth fit perfectly
|
||
into the spaces of their upper teeth, creating a tremendous
|
||
vice-like bite... Piranhas are attracted to any disturbance
|
||
in the water.
|
||
[ http://www.animalsoftherainforest.com ]
|
||
pit
|
||
spiked pit
|
||
Amid the thought of the fiery destruction that impended, the
|
||
idea of the coolness of the well came over my soul like balm.
|
||
I rushed to its deadly brink. I threw my straining vision
|
||
below. The glare from the enkindled roof illumined its inmost
|
||
recesses. Yet, for a wild moment, did my spirit refuse to
|
||
comprehend the meaning of what I saw. At length it forced --
|
||
it wrestled its way into my soul -- it burned itself in upon my
|
||
shuddering reason. Oh! for a voice to speak! -- oh! horror! --
|
||
oh! any horror but this!
|
||
[ The Pit and the Pendulum, by Edgar Allan Poe ]
|
||
pirate
|
||
Yo ho, yo ho, a pirate's life for me.
|
||
We pillage plunder, we rifle and loot.
|
||
Drink up me 'earties, yo ho.
|
||
We kidnap and ravage and don't give a hoot.
|
||
Drink up me 'earties, yo ho.
|
||
|
||
Yo ho, yo ho, a pirate's life for me.
|
||
We extort and pilfer, we filch and sack.
|
||
Drink up me 'earties, yo ho.
|
||
Maraud and embezzle and even highjack.
|
||
Drink up me 'earties, yo ho.
|
||
|
||
Yo ho, yo ho, a pirate's life for me.
|
||
We kindle and char and inflame and ignite.
|
||
Drink up me 'earties, yo ho.
|
||
We burn up the city, we're really a fright.
|
||
Drink up me 'earties, yo ho.
|
||
|
||
We're rascals and scoundrels, we're villians and knaves.
|
||
Drink up me 'earties, yo ho.
|
||
We're devils and black sheep, we're really bad eggs.
|
||
Drink up me 'earties, yo ho.
|
||
|
||
We're beggars and blighters and ne'er do-well cads,
|
||
Drink up me 'earties, yo ho.
|
||
Aye, but we're loved by our mommies and dads,
|
||
Drink up me 'earties, yo ho.
|
||
Yo ho, yo ho, a pirate's life for me.
|
||
[ Pirates of the Caribbean, Disneyland ]
|
||
pirate brother
|
||
The Brethren or Brethren of the Coast were a loose
|
||
coalition of pirates and privateers commonly known as
|
||
buccaneers and active in the seventeenth and eighteenth
|
||
centuries in the Atlantic Ocean, Caribbean Sea and
|
||
Gulf of Mexico.
|
||
|
||
Based primarily on the island of Tortuga off the coast
|
||
of Haiti and in the city of Port Royal on the island of
|
||
Jamaica, the original Brethren were mostly French
|
||
Huguenot and British Protestants, but their ranks were
|
||
joined by other adventurers of various nationalities
|
||
including Spaniards, and even African sailors, as well
|
||
as escaped slaves and outlaws of various sovereigns.
|
||
|
||
In keeping with their Protestant and mostly Common
|
||
Law heritage the Brethren were governed by codes of
|
||
conduct that favored legislative decision-making,
|
||
hierarchical command authority, individual rights,
|
||
and equitable division of revenues.
|
||
[ Brethren of the Coast, Wikipedia ]
|
||
pirate king
|
||
Oh, better far to live and die
|
||
Under the brave black flag I fly,
|
||
Than play a sanctimonious part,
|
||
With a pirate head and a pirate heart.
|
||
Away to the cheating world go you,
|
||
Where pirates all are well-to-do;
|
||
But I'll be true to the song I sing,
|
||
And live and die a Pirate King.
|
||
|
||
For I am a Pirate King!
|
||
And it is, it is a glorious thing
|
||
To be a Pirate King!
|
||
|
||
When I sally forth to seek my prey
|
||
I help myself in a royal way.
|
||
I sink a few more ships, it's true,
|
||
Than a well-bred monarch ought to do;
|
||
But many a king on a first-class throne,
|
||
If he wants to call his crown his own,
|
||
Must manage somehow to get through
|
||
More dirty work than ever I do,
|
||
|
||
For I am a Pirate King!
|
||
And it is, it is a glorious thing
|
||
To be a Pirate King!
|
||
[ Pirates of the Penzance, Gilbert & Sullivan ]
|
||
pit fiend
|
||
Finally, we come to the pit fiends. These creatures are the
|
||
overlords of the race, the most terrifying of all baatezu.
|
||
Raised from the shrieking agonies of the Pit of Flame, they
|
||
understand pain and suffering like no others.
|
||
|
||
Wherever they travel, they travel with the might of all
|
||
Baator behind them.
|
||
[ Faces of Evil, by Colin McComb ]
|
||
|
||
Pit fiends are among the more powerful of devils, capable of
|
||
attacking twice with weapons as well as grabbing and crushing
|
||
the life out of those unwary enough to enter their
|
||
domains.
|
||
platinum yendorian express card
|
||
This is an ancient artifact made of an unknown material. It
|
||
is rectangular in shape, very thin, and inscribed with
|
||
unreadable ancient runes. When carried, it grants the one
|
||
who carries it ESP, and reduces all spell induced damage done to
|
||
the carrier by half. It also protects from magic missile
|
||
attacks. Finally, its power is such that when invoked, it
|
||
can charge other objects.
|
||
# playing style, rather vague topic but these quotes are too apt to pass up
|
||
player
|
||
play* style
|
||
user
|
||
Be bold,
|
||
be bold,
|
||
but not too bold.
|
||
Or else your life's blood,
|
||
shall run cold.
|
||
[ The White Road, by Neil Gaiman ]
|
||
|
||
People think I'm crazy to worry all the time;
|
||
If you paid attention, you'd be worried too.
|
||
You better pay attention, or this world we love so much
|
||
Might just kill you.
|
||
[ It's a Jungle Out There, by Randy Newman ]
|
||
# [ theme song from "Monk" ]
|
||
polymorph trap
|
||
One morning, as Gregor Samsa was waking up from anxious dreams,
|
||
he discovered that in bed he had been changed into a monstrous
|
||
verminous bug. He lay on his armour-hard back and saw, as he
|
||
lifted his head up a little, his brown, arched abdomen divided
|
||
up into rigid bow-like sections. From this height the blanket,
|
||
just about ready to slide off completely, could hardly stay in
|
||
place. His numerous legs, pitifully thin in comparison to the
|
||
rest of his circumference, flickered helplessly before his eyes.
|
||
[ The Metamorphosis, by Franz Kafka, translated by Ian Johnston ]
|
||
pony
|
||
Hey! now! Come hoy now! Whither do you wander?
|
||
Up, down, near or far, here, there or yonder?
|
||
Sharp-ears, Wise-nose, Swish-tail and Bumpkin,
|
||
White-socks my little lad, and old Fatty Lumpkin!
|
||
|
||
[...]
|
||
Tom called them one by one and they climbed over the brow and
|
||
stood in a line. Then Tom bowed to the hobbits.
|
||
|
||
"Here are your ponies, now!" he said. "They've more sense (in some
|
||
ways) than you wandering hobbits have -- more sense in their noses.
|
||
For they sniff danger ahead which you walk right into; and if they
|
||
run to save themselves, then they run the right way."
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
*portal
|
||
Portals can be Mirrors, Pictures, Standing Stones, Stone
|
||
Circles, Windows, and special gates set up for the purpose.
|
||
You will travel through them both to distant parts of the
|
||
continent and to and from our own world. The precise manner
|
||
of their working is a Management secret.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
poseido*n
|
||
Poseido(o)n, lord of the seas and father of rivers and
|
||
fountains, was the son of Chronos and Rhea, brother of Zeus,
|
||
Hades, Hera, Hestia and Demeter. His rank of ruler of the
|
||
waves he received by lot at the Council Meeting of the Gods,
|
||
at which Zeus took the upper world for himself and gave
|
||
dominion over the lower world to Hades.
|
||
Poseidon is associated in many ways with horses and thus is
|
||
the god of horses. He taught men how to ride and manage the
|
||
animal he invented and is looked upon as the originator and
|
||
guardian deity of horse races.
|
||
His symbol is the familiar trident or three-pronged spear
|
||
with which he can split rocks, cause or quell storms, and
|
||
shake the earth, a power which makes him the god of
|
||
earthquakes as well. Physically, he is shown as a strong and
|
||
powerful ruler, every inch a king.
|
||
[ The Encyclopedia of Myths and Legends of All
|
||
Nations, by Herbert Robinson and Knox Wilson ]
|
||
~*sleeping
|
||
~*booze
|
||
*potion*
|
||
POTABLE, n. Suitable for drinking. Water is said to be
|
||
potable; indeed, some declare it our natural beverage,
|
||
although even they find it palatable only when suffering
|
||
from the recurrent disorder known as thirst, for which it
|
||
is a medicine. Upon nothing has so great and diligent
|
||
ingenuity been brought to bear in all ages and in all
|
||
countries, except the most uncivilized, as upon the
|
||
invention of substitutes for water. To hold that this
|
||
general aversion to that liquid has no basis in the
|
||
preservative instinct of the race is to be unscientific --
|
||
and without science we are as the snakes and toads.
|
||
[ The Devil's Dictionary, by Ambrose Bierce ]
|
||
|
||
Jack Burton: What's in the flask, Egg? Magic potion?
|
||
Egg Shen: Yeah.
|
||
Jack: I thought so, good. What do we do? Drink it?
|
||
Egg: Yeah.
|
||
Jack: Good, I thought so.
|
||
[later]
|
||
Jack: This does what again, exactly?
|
||
Egg: Huge buzz! [drinks] Oh good! See things no
|
||
one else can see, do things no one else can do.
|
||
[ Big in Trouble in Little China, directed by
|
||
John Carpenter, written by Gary Goldman &
|
||
David Z. Weinstein, adaptation by W. D. Richter ]
|
||
pray*
|
||
Whatever a man prays for, he prays for a miracle. Every prayer
|
||
reduces itself to this: Great God, grant that twice two be not four.
|
||
[ Ivan Sergeyevich Urgenev ]
|
||
preservative engine
|
||
An invention of the School of Hellfire in the eight circle of Hell.
|
||
Designed to ward off the rending claws of certain demons, only a few
|
||
prototypes have thus-far been completed, and many of those have been
|
||
lost. When set to high intensity, also protects one's possessions
|
||
against many forms of energy-based damage.
|
||
~priest of an unknown god
|
||
~priest of Ghaunadaur
|
||
~priestess of Ghaunadaur
|
||
~elder*
|
||
priest*
|
||
* priest*
|
||
acolyte
|
||
[...] For the two priests were talking exactly like priests,
|
||
piously, with learning and leisure, about the most aerial
|
||
enigmas of theology. The little Essex priest spoke the more
|
||
simply, with his round face turned to the strengthening stars;
|
||
the other talked with his head bowed, as if he were not even
|
||
worthy to look at them. But no more innocently clerical
|
||
conversation could have been heard in any white Italian cloister
|
||
or black Spanish cathedral. The first he heard was the tail of
|
||
one of Father Brown's sentences, which ended: "... what they
|
||
really meant in the Middle Ages by the heavens being
|
||
incorruptible." The taller priest nodded his bowed head and
|
||
said: "Ah, yes, these modern infidels appeal to their reason;
|
||
but who can look at those millions of worlds and not feel that
|
||
there may well be wonderful universes above us where reason is
|
||
utterly unreasonable?"
|
||
[ The Innocence of Father Brown, by G.K. Chesterton ]
|
||
elder priest
|
||
From Leng, where rocky peaks climb bleak and bare
|
||
Under cold stars obscure to human sight,
|
||
There shoots at dusk a single beam of light
|
||
Whose far blue rays make shepherds whine in prayer.
|
||
They say (though none has been there) that it comes
|
||
Out of a pharos in a tower of stone,
|
||
Where the last Elder One lives on alone,
|
||
Talking to Chaos with the beat of drums.
|
||
|
||
The Thing, they whisper, wears a silken mask
|
||
Of yellow, whose queer folds appear to hide
|
||
A face not of this earth, though none dares ask
|
||
Just what those features are, which bulge inside.
|
||
Many, in man's first youth, sought out that glow,
|
||
But what they found, no one will ever know.
|
||
[ H. P. Lovecraft, Fungi from Yuggoth XXVII. ]
|
||
priest of an unknown god
|
||
"To the Gods of Asia and Europe and Africa,
|
||
to the unknown and strange gods."
|
||
[ Inscription found on an altar at Athens, ~60AD ]
|
||
priest of Ghaunadaur
|
||
Ghaunadaur, god of fallen stars, slime, outcasts, and the
|
||
discarded, is best known as a peripheral member of the
|
||
drow pantheon. However, he is also an ancient,
|
||
pre-humanoid entity, thought to have emerged from the
|
||
primordial ooze, or even to have born that ancient life
|
||
with him to this world from some forgotten home. Most
|
||
slimes and oozes are mindless and unable to worship
|
||
Ghaunadaur, but the deity is known and revered by
|
||
shoggoths, from which its most powerful priests are
|
||
drawn.
|
||
priestess of Ghaunadaur
|
||
Ghaunadaur, god of fallen stars, slime, outcasts, and the
|
||
discarded, is a peripheral member of the drow pantheon.
|
||
He is worshiped mainly by disaffected drow, especially
|
||
those warped into punishment forms and exiled by Lolth.
|
||
The most powerful droven followers of Ghaunadaur are
|
||
often former priestesses of Lolth, warped into drider
|
||
form after failing one of their goddess's many tests.
|
||
prisoner
|
||
Where am I?
|
||
In the Village.
|
||
What do you want?
|
||
Information.
|
||
Whose side are you on?
|
||
That would be telling. We want information ...
|
||
information ...
|
||
You won't get it.
|
||
By hook or by crook, we will.
|
||
Who are you?
|
||
The new Number 2.
|
||
Who is Number 1?
|
||
You are Number 6.
|
||
I am not a number! I am a free man!
|
||
[ The Prisoner, by Patrick McGoohan ]
|
||
ptah
|
||
Known under various names (Nu, Neph, Cenubis, Amen-Kneph,
|
||
Khery-Bakef), Ptah is the creator god and god of craftsmen.
|
||
He is usually depicted as wearing a closely fitting robe
|
||
with only his hands free. His most distinctive features are
|
||
the invariable skull-cap exposing only his face and ears,
|
||
and the _was_ or rod of domination which he holds,
|
||
consisting of a staff surmounted by the _ankh_ symbol of
|
||
life. He is otherwise symbolized by his sacred animal, the
|
||
bull.
|
||
*pudding
|
||
" It's all very fine," said the Puddin' gloomily, " singing about
|
||
the joys of being penguins and pirates, but how'd you like to be a
|
||
Puddin' and be eaten all day long? "
|
||
And in a very gruff voice he sang as follows :--
|
||
" O, who would be a puddin',
|
||
A puddin' in a pot,
|
||
A puddin' which is stood on
|
||
A fire which is hot ?
|
||
O sad indeed the lot
|
||
Of puddin's in a pot.
|
||
...
|
||
" But as I am a puddin',
|
||
A puddin' in a pot,
|
||
I hope you get the stomachache
|
||
For eatin' me a lot.
|
||
I hope you get it hot,
|
||
You puddin'-eatin' lot ! "
|
||
" Very well sung, Albert," said Bill encouragingly, " though you're
|
||
a trifle husky in your undertones, which is no doubt due to the gravy
|
||
in your innards. However, as a reward for bein' a bright little
|
||
feller we shall have a slice of you all round before turnin' in for
|
||
the night."
|
||
[ The Magic Pudding: The Adventures of Bunyip Bluegum. Norman Lindsay ]
|
||
*purple worm
|
||
A gargantuan version of the harmless rain-worm, the purple
|
||
worm poses a huge threat to the ordinary adventurer. It is
|
||
known to swallow whole and digest its victims within only a
|
||
few minutes. These worms are always on guard, sensitive
|
||
to the most minute vibrations in the earth, but may also
|
||
be awakened by a remote shriek.
|
||
|
||
"With a single, savage thrust of her spear, the warrior-woman
|
||
impaled the fungus, silencing it. However, it was too late:
|
||
the alarm had been raised[...]
|
||
Suddenly, a large, dark shape rose from the abyss before them,
|
||
its fetid bulk looming overhead...The monster was some kind of
|
||
great dark worm, but that was about all they were sure of."
|
||
[ The Adventurers, Epic IV, by Thomas A. Miller ]
|
||
pyrolisk
|
||
At first glance around the corner, I thought it was another
|
||
cockatrice. I had encountered the wretched creatures two or
|
||
three times since leaving the open area. I quickly ducked my
|
||
head back and considered what to do next. My heart had begun
|
||
to thump audibly as I patted my pack to make sure I still had
|
||
the dead lizards at close reach. A check of my attire showed
|
||
no obvious holes or damage. I had to keep moving. One deep
|
||
breath, and a count of three, two, one, and around the corner
|
||
I bolted. But it was no cockatrice! I felt a sudden intense
|
||
searing of the skin around my face, and flames began to leap
|
||
from my pack. I tossed it to the ground, and quickly retreated
|
||
back, around that corner, desperately striving to get out of
|
||
its sight.
|
||
python
|
||
A monstrous serpent in Greek mythology, and the child of Gaia,
|
||
the goddess earth. It was produced from the slime and mud that
|
||
was left on the earth by the great flood of Deucalion. It lived
|
||
in a cave and guarded the oracle of Delphi on mount Parnassus.
|
||
|
||
No man dared to approach the beast and the people asked Apollo
|
||
for help. He came down from Mount Olympus with his silver bow
|
||
and golden arrows. With using only one arrow he killed the serpent
|
||
and claimed the oracle for himself. ... The old name of
|
||
Delphi, Pytho, refers to the serpent.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
serpent people
|
||
serpent man
|
||
serpent man of Yoth
|
||
They resemble upright serpents, with arms and legs,
|
||
ophidian heads and tails, and commonly wear robes of
|
||
the highest quality.
|
||
|
||
This ancient race first reach prominence in the
|
||
Permian Age, long before the first dinosaurs.
|
||
That primordial civilization built cities of black
|
||
basalt, fought deadly wars, and mastered profound
|
||
chemical and hypergeometrical techniques. The
|
||
species dwindled in the Triassic. In the Pliocene,
|
||
Serpent People increased and once again built cities,
|
||
thriving into the early Pleistocene. Now they are
|
||
again a relict species, here and in the Dreamlands.
|
||
|
||
Their first civilization learned the secret of
|
||
immortality, later enabling isolated scholars to
|
||
contribute profoundly in epochs when civilization
|
||
was prostrate.
|
||
[ S. Petersen's Field Guide to
|
||
Creatures of the Dreamlands ]
|
||
*silver sky
|
||
Hear not just my words, but the meaning behind them.
|
||
Zerthimon's will, my will, your will. Let us all be as one.
|
||
In this place, broken upon shadow, carved deep in earth.
|
||
What once was sundered, from two peoples born.
|
||
Make all that was scattered whole again
|
||
by the heart that guides the will.
|
||
By the will that guides the hand.
|
||
And the hand... that guides the blade.
|
||
[ Neverwinter Nights 2 ]
|
||
*sky reflected
|
||
Zerthimon took the blade and studied its surface.
|
||
In it, he saw his reflection. It was in the
|
||
reflection of the steel that Zerthimon first *knew*
|
||
himself. Its edge was sharp, its will the wearer's.
|
||
It was the blade that would come to be raised against
|
||
Gith when Zerthimon made the Pronouncement of Two
|
||
Skies.
|
||
[ The Unbroken Circle of Zerthimon,
|
||
Planescape Torment ]
|
||
*speed*
|
||
"Attack on ground where your enemy believes you will not, from an unexpected
|
||
direction at an unexpected time. Defend where your enemy believes you are not,
|
||
and when he believes you will run. Surprise is the key to victory, and speed
|
||
is the key to surprise. For the soldier, speed is life."
|
||
[ Lord of Chaos by Robert Jordan ]
|
||
*starshadow
|
||
*star-phantom
|
||
Strange is the night where black stars rise,
|
||
And strange moons circle through the skies,
|
||
But stranger still is
|
||
Lost Carcosa.
|
||
[ The King in Yellow, by Robert W. Chambers ]
|
||
Stranger
|
||
The Stranger
|
||
Cassilda*
|
||
Camilla: You, sir, should unmask.
|
||
|
||
Stranger: Indeed?
|
||
|
||
Cassilda: Indeed, it's time. We all have laid aside disguise but you.
|
||
|
||
Stranger: I wear no mask.
|
||
|
||
Camilla: (Terrified, aside to Cassilda) No mask? No mask!
|
||
[ The King in Yellow by Robert W. Chambers ]
|
||
quadruped
|
||
The woodlands and other regions are inhabited by multitudes
|
||
of four-legged creatures which cannot be simply classified.
|
||
They might not have fiery breath or deadly stings, but
|
||
adventurers have nevertheless met their end numerous times
|
||
due to the claws, hooves, or bites of such animals.
|
||
quantum mechanic
|
||
These creatures are not native to this universe; they seem
|
||
to have strangely derived powers, and unknown motives.
|
||
|
||
_Uncertainty Principle_ The principle that it is not possible
|
||
to know with unlimited accuracy both the position and momentum
|
||
of a particle. ... An explanation of the uncertainty is that
|
||
in order to locate a particle exactly, an observer must be
|
||
able to bounce off it a photon of radiation; this act of
|
||
location itself alters the position of the particle
|
||
in an unpredictable way. To locate the position accurately,
|
||
photons of short wavelength would have to be used. The high
|
||
momentum of such photons would cause a large effect on the
|
||
position. On the other hand, using photons of lower momenta
|
||
would have less effect on the particle's position, but would
|
||
be less accurate because of the lower wavelength.
|
||
[ A Concise Dictionary of Physics ]
|
||
quasit
|
||
Quasits are small, evil creatures, related to imps. Their
|
||
talons release a very toxic poison when used in an attack.
|
||
queen bee
|
||
The term queen bee is typically used to refer to an adult,
|
||
mated female that lives in a honey bee colony or hive; she is
|
||
usually the mother of most, if not all, the bees in the hive.
|
||
The queens are developed from larvae selected by worker bees
|
||
and specially fed in order to become sexually mature.
|
||
There is normally only one adult, mated queen in a hive.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
*quest
|
||
Many, possibly most, Tours are organized as a Quest. This
|
||
is like a large-scale treasure hunt, with clues scattered
|
||
all over the continent, a few false leads, Mystical Masters
|
||
as game-show hosts, and the Dark Lord and the Terrain to
|
||
make the Quest interestingly difficult. [...]
|
||
In order to be assured of your future custom, the Management
|
||
has a further Rule: Tourists, far from being rewarded for
|
||
achieving their Quest Object, must then go on to conquer
|
||
the Dark Lord or set about Saving the World, or both. And
|
||
why not? By then you will have had a lot of practice in
|
||
that sort of thing and, besides, the Quest Object is usually
|
||
designed to help you do it.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
quetzalcoatl
|
||
One of the principal Aztec-Toltec gods was the great and wise
|
||
Quetzalcoatl, who was called Kukumatz in Guatemala, and
|
||
Kukulcan in Yucatan. His image, the plumed serpent, is found
|
||
on both the oldest and the most recent Indian edifices. ...
|
||
The legend tells how the Indian deity Quetzalcoatl came from
|
||
the "Land of the Rising Sun". He wore a long white robe and
|
||
had a beard; he taught the people crafts and customs and laid
|
||
down wise laws. He created an empire in which the ears of
|
||
corn were as long as men are tall, and caused bolls of colored
|
||
cotton to grow on cotton plants. But for some reason or other
|
||
he had to leave his empire. ... But all the legends of
|
||
Quetzalcoatl unanimously agree that he promised to come again.
|
||
[ Gods, Graves, and Scholars, by C. W. Ceram ]
|
||
quickling
|
||
A blur of color and a hint of movement are the only clues most
|
||
people have of the existence of the quickling. Great speed and
|
||
small size make it difficult to find and focus on these swift
|
||
beings.
|
||
[ ADOM, by Thomas Biskup ]
|
||
quit*
|
||
Maltar: [...] I remembered a little saying I learned my
|
||
first day at the academy.
|
||
Natalie: Yeah, yeah, I know. Winners never quit and quitters
|
||
never win.
|
||
Maltar: What? No! Winners never quit and quitters should
|
||
be cast into the Flaming Pit of Death.
|
||
[ Snow Day, directed by Chris Koch,
|
||
written by Will McRobb and Chris Viscardi ]
|
||
quivering blob
|
||
A blind, brainless monster that lives in a state of constant,
|
||
undirected terror.
|
||
raijin
|
||
raiden
|
||
The Japanese god of thunder (rai) and lightning (den). He prevented
|
||
the Mongols from invading Japan in 1274. Sitting on a cloud he sent
|
||
forth a shower of lightning arrows upon the invading fleet. Only three
|
||
men escaped. Raiden is portrayed as a red demon with sharp claws,
|
||
carrying a large drum. He is fond of eating human navels. The only
|
||
protection against him is to hide under a mosquito net.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
ramiel
|
||
I AM THE THUNDER OF GOD. ANGEL OF LIGHTNING.
|
||
I AM RAMIEL. I HAVE COME.
|
||
[ NGE, Nobody Dies, by Gregg Landsman ]
|
||
rans??r
|
||
hilted polearm
|
||
This wepaon is essentially a spear with a hilt,
|
||
designed to block and possibly disarm the opponent.
|
||
The hilt can be curved backwards or stick straight
|
||
out from the thin spear head. It is from nine to
|
||
eleven feet long (2.7 to 3.3 meters).
|
||
|
||
|
||
A
|
||
H
|
||
H
|
||
H
|
||
T
|
||
-=ZZZ=-
|
||
H
|
||
ranger
|
||
* ranger
|
||
"Lonely men are we, Rangers of the wild, hunters -- but hunters
|
||
ever of the servants of the Enemy; for they are found in many
|
||
places, not in Mordor only.
|
||
If Gondor, Boromir, has been a stalwart tower, we have played
|
||
another part. Many evil things there are that your strong walls
|
||
and bright swords do not stay. You know little of the lands
|
||
beyond your bounds. Peace and freedom, do you say? The North
|
||
would have known them little but for us. Fear would have
|
||
destroyed them. But when dark things come from the houseless
|
||
hills, or creep from sunless woods, they fly from us. What
|
||
roads would any dare to tread, what safety would there be in
|
||
quiet lands, or in the homes of simple men at night, if the
|
||
Dunedain were asleep, or were all gone into the grave?"
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
ranseur
|
||
A variant of the pike, the ranseur has a thin, double-edged
|
||
primary blade. Secondary blades are backward-hooking projections
|
||
set well below the large central blade, forming a crown-shape.
|
||
The spearing function of the weapon is apparent, and the
|
||
deflection includes the trapping of opponent weapons in the space
|
||
below the main blade, where a twist of the shaft would apply
|
||
pressure from it or the secondary projections to either break the
|
||
caught weapon or disarm its wielder. Additionally, the side
|
||
projections provide both a means of holding an opponent at long
|
||
range or of pulling mounted opponents off their steed.
|
||
rat
|
||
sewer rat
|
||
rabid rat
|
||
Rats are long-tailed rodents. They are aggressive,
|
||
omnivorous, and adaptable, often carrying diseases.
|
||
|
||
"The rat," said O'Brien, still addressing his invisible
|
||
audience, "although a rodent, is carnivorous. You are aware
|
||
of that. You will have heard of the things that happen in
|
||
the poor quarters of this town. In some streets a woman dare
|
||
not leave her baby alone in the house, even for five minutes.
|
||
The rats are certain to attack it. Within quite a small time
|
||
they will strip it to the bones. They also attack sick or
|
||
dying people. They show astonishing intelligence in knowing
|
||
when a human being is helpless."
|
||
[ 1984, by George Orwell ]
|
||
raven
|
||
But the raven, sitting lonely on the placid bust, spoke only
|
||
That one word, as if his soul in that one word he did outpour.
|
||
Nothing further then he uttered -- not a feather then he fluttered--
|
||
Till I scarcely more than muttered, 'other friends have flown before--
|
||
On the morrow *he* will leave me, as my hopes have flown before.'
|
||
Then the bird said, 'Nevermore.'
|
||
[ The Raven - Edgar Allan Poe ]
|
||
razorvine
|
||
razor vine
|
||
Razorvine's a fact of life in Sigil and on some of the Lower
|
||
Planes. It's a black-leaved creeper or ivy with an exceptionally
|
||
sharp-edged stem hidden under the lush foliage. The plant's
|
||
capable of surviving almost any conditions, and flourishes in
|
||
most environments - regardless of the quality of the soil, atmos-
|
||
phere, rainfall, or light. Razorvine can grow several feet in a
|
||
single day, and can cover a small building or untended wall in
|
||
a week. There are few creatures as can stomach razorvine, so
|
||
its growth is often unimpeded by natural means.
|
||
|
||
Merchants and other cutters interested in extra security have
|
||
been bringing razorvine cuttings with them to the Outlands,
|
||
planting the vines on whatever they wanted kept safe, and then
|
||
learning just how virulent ravorvine growth really is. Chant is
|
||
they recently had a sod drawn and quartered in Ribcage for trying
|
||
to smuggle cuttings in after they'd just finished clearing the
|
||
town of the stuff.
|
||
[ Planescape Monstrous Compendium II, by Rich Baker ]
|
||
~*invisibility
|
||
~ring of wishes
|
||
*ring
|
||
ring of *
|
||
Three Rings for the Elven-kings under the sky,
|
||
Seven for the Dwarf-lords in their halls of stone,
|
||
Nine for Mortal Men doomed to die,
|
||
One for the Dark Lord on his dark throne,
|
||
In the Land of Mordor where the Shadows lie.
|
||
One Ring to rule them all, One Ring to find them,
|
||
One Ring to bring them all and in the darkness bind them
|
||
In the Land of Mordor where the Shadows lie.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
ring of invisibility
|
||
[...] "When time came for the shepherds to hold their customary
|
||
assembly in order to prepare their monthly report to the king
|
||
about the state of the flocks, he came too, wearing this ring.
|
||
While he was sitting with the others, it chanced that he moved
|
||
the collet of the ring around toward himself into the inside of
|
||
his hand; having done this, he disappeared from the sight of
|
||
those who were sitting beside him, and they discussed of him as
|
||
of someone who had left. And he wondered and once again feeling
|
||
for the ring, he turned the collet outwards and, by turning it,
|
||
reappeared. Reflecting upon this, he put the ring to the test
|
||
to see if it indeed had such power, and he came to this conclusion
|
||
that, by turning the collet inwards, he became invisible, outwards,
|
||
visible. Having perceived this, he at once managed for himself to
|
||
become one of the envoys to the king; upon arrival, having seduced
|
||
his wife, with her help, he laid a hand on the king, murdered
|
||
him and took hold of the leadership."
|
||
[ The Republic, by Plato, translated by James Adam ]
|
||
ring of wishes
|
||
A simple black ring, decorated only by a cluster of stars. Each
|
||
star is an indicator of the magics enchanted into the ring,
|
||
which the wearer can then invoke to summon a djinni.
|
||
robe
|
||
Robes are the only garments, apart from Shirts, ever to have
|
||
sleeves. They have three uses:
|
||
1. As the official uniform of Priests, Priestesses, Monks,
|
||
Nuns (see Nunnery), and Wizards. The OMT [ Official Management
|
||
Term ] prescribed for the Robes of Priests and Nuns is that
|
||
they _fall in severe folds_; of Priestesses that they _float_;
|
||
and of Wizards that they _swirl_. You can thus see who you
|
||
are dealing with.
|
||
2. For Kings. The OMT here is _falling in stately folds_.
|
||
3. As the garb of Desert Nomads. [...]
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
rock
|
||
Bilbo saw that the moment had come when he must do something.
|
||
He could not get up at the brutes and he had nothing to shoot
|
||
with; but looking about he saw that in this place there were
|
||
many stones lying in what appeared to be a now dry little
|
||
watercourse. Bilbo was a pretty fair shot with a stone, and
|
||
it did not take him long to find a nice smooth egg-shaped one
|
||
that fitted his hand cosily. As a boy he used to practise
|
||
throwing stones at things, until rabbits and squirrels, and
|
||
even birds, got out of his way as quick as lightning if they
|
||
saw him stoop; and even grownup he had still spent a deal of
|
||
his time at quoits, dart-throwing, shooting at the wand,
|
||
bowls, ninepins and other quiet games of the aiming and
|
||
throwing sort - indeed he could do lots of things, besides
|
||
blowing smoke-rings, asking riddles and cooking, that I
|
||
haven't time to tell you about. There is no time now. While
|
||
he was picking up stones, the spider had reached Bombur, and
|
||
soon he would have been dead. At that moment Bilbo threw.
|
||
The stone struck the spider plunk on the head, and it dropped
|
||
senseless off the tree, flop to the ground, with all its legs
|
||
curled up.
|
||
[ The Hobbit, by J.R.R. Tolkien ]
|
||
rock mole
|
||
A rock mole is a member of the rodent family. They get their
|
||
name from their ability to tunnel through rock in the same
|
||
fashion that a mole tunnels through earth. They are known to
|
||
eat anything they come across in their diggings, although it
|
||
is still unknown how they convert some of these things into
|
||
something of nutritional value.
|
||
rodent
|
||
A gnawing mammal (order _Rodentia_) having in each jaw two
|
||
(rarely four) incisors, growing continually from persistent
|
||
pulps, and no canine teeth, as a squirrel, beaver, or rat.
|
||
[ Webster's Comprehensive International Dictionary
|
||
of the English Language ]
|
||
rodent of unusual size
|
||
"Rodents Of Unusual Size? I don't think they exist."
|
||
[The Princess Bride, by William Goldman ]
|
||
*rod of seven parts*
|
||
A canvas's colors of blood and ichor soak the ground upon the
|
||
fields of Pesh, mountains of corpses surrounding a creature
|
||
whose body wavers between forms arachnid and lupine. Miska
|
||
the Wolf-Spyder.
|
||
|
||
The wind dukes and their servants (slaves?) are falling, the
|
||
former comets being doused and the latter as if a wind put
|
||
darkens a field of candles. One duke is a pillar for the the
|
||
forces of Law and its allies, shining in its gorgeous
|
||
androgyne nudity despite the vastness of Miska's shadow which
|
||
flows through forms like quicksilver. In his hand is a simple
|
||
black rod, elegant in its minimalism as befitting the nature
|
||
of its orderly creators.
|
||
|
||
The duke moves toward Miska, attendants falling around him as
|
||
sacrificial fodder for the historical moment. A mountainous
|
||
black wolf with golden pupiless orbs has eight bebillith legs
|
||
that slash through the surrounding enemy. Then it is a silver
|
||
haired spider with eight lupine eyes and slavering jaws
|
||
between fangs should be, biting through stone giants and
|
||
lawful titans whose race ends here.
|
||
|
||
What happens next is unclear - those who might have recalled
|
||
these moments better are lost even to the great powers shining
|
||
their light on this ancient past. One of the wind dukes that
|
||
was there before the tide of the demonic horde fell upon them
|
||
is dead, his body torn by gaping but perfectly circular holes.
|
||
One of the Vaati has speared the body of the Miska the
|
||
Wolf-Spyder, who is in his drider like form, his eye-holes
|
||
pouring out light that strangely resembles rotted gold.
|
||
[ Blade of Innocence, by Sciborg ]
|
||
rogue
|
||
* rogue
|
||
I understand the business, I hear it: to have an open ear, a
|
||
quick eye, and a nimble hand, is necessary for a cut-purse; a
|
||
good nose is requisite also, to smell out work for the other
|
||
senses. I see this is the time that the unjust man doth
|
||
thrive. <...> The prince himself is about a piece of iniquity,
|
||
stealing away from his father with his clog at his heels: if
|
||
I thought it were a piece of honesty to acquaint the king
|
||
withal, I would not do't: I hold it the more knavery to
|
||
conceal it; and therein am I constant to my profession.
|
||
[ Autolycus the Rogue, from The Winter's Tale by
|
||
William Shakespeare ]
|
||
roshi
|
||
Roshi is a Japanese word, common in Zen Buddhism, meaning "old"
|
||
(ro) and "teacher" (shi). Roshi can be used as a term of respect,
|
||
as in the Rinzai school; as a simple reference to actual age, as
|
||
in the Soto school; or it can mean a teacher who has transmitted
|
||
knowledge to, and thus "given birth" to, a new teacher.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
rothe
|
||
The rothe (pronounced roth-AY) is a musk ox-like creature with
|
||
an aversion to light. It prefers to live underground near
|
||
lichen and moss.
|
||
*royal jelly
|
||
"'Royal Jelly,'" he read aloud, "'must be a substance of
|
||
tremendous nourishing power, for on this diet alone, the
|
||
honey-bee larva increases in weight fifteen hundred times in
|
||
five days!'"
|
||
|
||
"How much?"
|
||
|
||
"Fifteen hundred times, Mabel. And you know what that means
|
||
if you put it in terms of a human being? It means," he said,
|
||
lowering his voice, leaning forward, fixing her with those
|
||
small pale eyes, "it means that in five days a baby weighing
|
||
seven and a half pounds to start off with would increase in
|
||
weight to five tons!"
|
||
[ Royal Jelly, by Roald Dahl ]
|
||
ruby
|
||
sapphire
|
||
_Corundum._ Mineral, aluminum oxide, Al2O3. The clear varieties
|
||
are used as gems and the opaque as abrasive materials. Corundum
|
||
occurs in crystals of the hexagonal system and in masses. It is
|
||
transparent to opaque and has a vitreous to adamantine luster.
|
||
[...] The chief corundum gems are the ruby (red) and the
|
||
sapphire (blue).
|
||
[ The Columbia Encyclopedia, Sixth Edition ]
|
||
~stormbringer
|
||
~orcrist
|
||
rune*sword
|
||
Runes are an intensely magical form of writing. Anything
|
||
written in Runes is going to be a Spell.
|
||
[...]
|
||
6. Written on Rings and Swords. These Runes always
|
||
make words and nearly always mean trouble. Avoid any
|
||
artifact with Runes on it, even if the Runes prove only to
|
||
spell the maker's name.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
rust monster
|
||
Rust monsters are subterranean creatures with an appetite for
|
||
all sorts of metals. These unique creatures, though generally
|
||
inoffensive, are the bane of fighters everywhere.
|
||
The average rust monster measures 5 feet long and 3 feet high
|
||
at the shoulder. It has a strange tail that appears armor plated
|
||
and ends in an odd-looking bony projection that resembles a
|
||
double-ended paddle. Two prehensile antennae are located under
|
||
the thing's two eyes. The hide of the rust monster is rough,
|
||
covered with lumpy projections. Coloration varies from a
|
||
yellowish tan on the underside and legs, to a rust red upper
|
||
back. Rust monsters smell like wet, oxidized metal.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
r*lyeh
|
||
Then, driven ahead by curiosity in their captured yacht under
|
||
Johansen's command, the men sight a great stone pillar
|
||
sticking out of the sea, and come upon a coastline of mingled
|
||
mud, ooze, and weedy Cyclopean masonry which can be nothing
|
||
less than the tangible substance of earth's supreme terror -
|
||
the nightmare corpse-city of R'lyeh, that was built in
|
||
measureless aeons behind history by the vast, loathsome
|
||
shapes that seeped down from the dark stars.
|
||
[...]
|
||
I suppose that only a single mountain-top, the hideous
|
||
motolith-crowned citadel whereon great Cthulhu was buried,
|
||
actually emerged from the waters. When I think of the extent
|
||
of all that may be brooding down there I almost wish to kill
|
||
myself forthwith.
|
||
[ The Call of Cthulhu, H. P. Lovecraft ]
|
||
r*lyehian
|
||
star spawn*
|
||
When the stars were right, They could plunge from world to
|
||
world through the sky; but when the stars were wrong, They
|
||
could not live. But although They no longer lived, They would
|
||
never really die. They all lay in stone houses in Their great
|
||
city of R'lyeh, preserved by the spells of mighty Cthulhu for
|
||
a glorious surrection when the stars and the earth might once
|
||
more be ready for Them.
|
||
[ The Call of Cthulhu, by H. P. Lovecraft ]
|
||
r*lyehian faceplate
|
||
In the elder time chosen men had talked with the entombed Old
|
||
Ones in dreams, but then something happened. The great stone
|
||
city R'lyeh, with its monoliths and sepulchres, had sunk
|
||
beneath the waves; and the deep waters, full of the one primal
|
||
mystery through which not even thought can pass, had cut off
|
||
the spectral intercourse.
|
||
[ The Call of Cthulhu, by H. P. Lovecraft ]
|
||
the drowned
|
||
Long, long ago, before your ancestors
|
||
had discovered flint or fire or songs,
|
||
my people already climbed the great heights of civilization.
|
||
Settling on an island in the midst of the lonely seas,
|
||
we raised a great city to the stars.
|
||
|
||
...But Time washes away all things,
|
||
and that shining city has long since drowned
|
||
beneath the uncaring ocean.
|
||
~lightsaber
|
||
~saber-toothed cat
|
||
*saber
|
||
*sabre
|
||
Flashed all their sabres bare,
|
||
Flashed as they turned in air,
|
||
Sab'ring the gunners there,
|
||
Charging an army, while
|
||
All the world wondered:
|
||
Plunged in the battery smoke,
|
||
Right through the line they broke;
|
||
Cossack and Russian
|
||
Reeled from the sabre-stroke
|
||
Shattered and sundered.
|
||
Then they rode back, but not--
|
||
Not the six hundred.
|
||
[ The Charge of the Light Brigade,
|
||
by Alfred, Lord Tennyson ]
|
||
saber-toothed cat
|
||
The saber-toothed tiger, a common term for a member of the
|
||
genus Smilodon, is perhaps the most well-known of the
|
||
saber-toothed cats. Notable for the long, dagger-like fangs
|
||
from which the name of the genus is derived, these apex predators
|
||
stalked mammoths, bison, and other large herbivores across the
|
||
plains of prehistoric North America
|
||
saddle
|
||
*black web entity
|
||
The horseman serves the horse,
|
||
The neat-herd serves the neat,
|
||
The merchant serves the purse,
|
||
The eater serves his meat;
|
||
'Tis the day of the chattel,
|
||
Web to weave, and corn to grind,
|
||
Things are in the saddle,
|
||
And ride mankind.
|
||
[ Ode, by Ralph Waldo Emerson ]
|
||
sake
|
||
Japanese rice wine.
|
||
salamander
|
||
For hundreds of years, many people believed that salamanders
|
||
were magical. In England in the Middle Ages, people thought
|
||
that fire created salamanders. When they set fire to damp
|
||
logs, dozens of the slimy creatures scurried out. The word
|
||
salamander, in fact, comes from a Greek word meaning "fire
|
||
animal".
|
||
[ Salamanders, by Cherie Winner ]
|
||
samurai
|
||
* samurai
|
||
By that time, Narahara had already slipped his arm from the
|
||
sleeve of his outer robe, drew out his two-and-a-half-foot
|
||
Fujiwara Tadahiro sword, and, brandishing it over his head,
|
||
began barreling toward the foreigners. In less than a minute,
|
||
he had charged upon them and cut one of them through the torso.
|
||
The man fled, clutching his bulging guts, finally to fall from
|
||
his horse at the foot of a pine tree about a thousand yards
|
||
away. Kaeda Takeji finished him off. The other two Englishmen
|
||
were severely wounded as they tried to flee. Only the woman
|
||
managed to escape virtually unscathed.
|
||
[ The Fox-horse, from Drunk as a Lord, by Ryotaro Shiba ]
|
||
sandestin
|
||
Ildefonse left the terrace and almost immediately sounds
|
||
of contention came from the direction of the work-room.
|
||
Ildefonse presently returned to the terrace, followed by
|
||
Osherl and a second sandestin using the guise of a gaunt blue
|
||
bird-like creature, some six feet in height.
|
||
|
||
Ildefonse spoke in scathing tones: "Behold these two
|
||
creatures! They can roam the chronoplex as easily as you
|
||
or I can walk around the table; yet neither has the wit to
|
||
announce his presence upon arrival. I found Osherl asleep
|
||
in his fulgurite and Sarsem perched in the rafters."
|
||
[...]
|
||
"No matter," said Rhialto. "He has brought Sarsem, and this
|
||
was his requirement. In the main, Osherl, you have done well!"
|
||
|
||
"And my indenture point?"
|
||
|
||
"Much depends upon Sarsem's testimony. Sarsem, will you sit?"
|
||
|
||
"In this guise, I find it more convenient to stand."
|
||
|
||
"Then why not alter to human form and join us in comfort at
|
||
the table?"
|
||
|
||
"That is a good idea." Sarsem became a naked young epicene
|
||
in an integument of lavender scales with puffs of purple hair
|
||
like pom-poms growing down his back. He seated himself at
|
||
the table but declined refreshment. "This human semblance,
|
||
though typical, is after all, only a guise. If I were to put
|
||
such things inside myself, I might well become uneasy."
|
||
[ Rhialto the Marvellous, by Jack Vance ]
|
||
sasquatch
|
||
The name _Sasquatch_ doesn't really become important in Canada
|
||
until the 1930s, when it appeared in the works of J. W. Burns,
|
||
a British Columbian writer who used a great deal of Indian
|
||
lore in his stories. Burn's Sasquatch was a giant Indian who
|
||
lived in the wilderness. He was hairy only in the sense that
|
||
he had long hair on his head, and while this Sasquatch lived a
|
||
wild and primitive life, he was fully human.
|
||
Burns's character proved to be quite popular. There was a
|
||
Sasquatch Inn near the town of Harrison, British Columbia, and
|
||
Harrison even had a local celebration called "Sasquatch Days."
|
||
The celebration which had been dormant for years was revived
|
||
as part of British Columbia's centennial, and one of the
|
||
events was to be a Sasquatch hunt. The hunt never took place,
|
||
perhaps it was never supposed to, but the publicity about it
|
||
did bring out a number of people who said they had encountered
|
||
a Sasquatch -- not Burns's giant Indian, but the hairy apelike
|
||
creature that we have all come to know.
|
||
[ The Encyclopedia of Monsters, by Daniel Cohen ]
|
||
sara
|
||
sara*the last oracle
|
||
Tell the king; the fair wrought house has fallen
|
||
No shelter has Apollo, nor sacred laurel leaves
|
||
The fountains are now silent; the voice is stilled.
|
||
It is finished.
|
||
[ The last Oracle of Delphi
|
||
to a representative of the Emperor Theodosius ]
|
||
scalpel
|
||
A scalpel is a very sharp knife used for surgery ... Merely
|
||
touching a medical scalpel with bare hands to test it will
|
||
cut through the skin. ... Medical scalpel blades are gradually
|
||
curved for greater precision when cutting through tissue.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
*sceptre of might
|
||
This mace was created aeons ago in some unknown cave,
|
||
and has been passed down from generation to generation of
|
||
cave dwellers. It is a very mighty mace indeed, and in
|
||
addition will protect anyone who carries it from magic
|
||
missile attacks. When invoked, it causes conflict in the
|
||
area around it.
|
||
scimitar
|
||
Oh, how handsome, how noble was the Vizier Ali Tebelin,
|
||
my father, as he stood there in the midst of the shot, his
|
||
scimitar in his hand, his face black with powder! How his
|
||
enemies fled before him!
|
||
[ The Count of Monte Cristo, by Alexandre Dumas ]
|
||
*scion queen*
|
||
The scion queen mother rules over all the social insects,
|
||
and many other creatures besides. Her sign is a stylized
|
||
insect head composed of eight strokes, and may be
|
||
reinforced up to seven times.
|
||
scorpio*
|
||
A sub-species of the spider (_Scorpionidae_), the scorpion
|
||
distinguishes itself from them by having a lower body that
|
||
ends in a long, jointed tail tapering to a poisonous stinger.
|
||
They have eight legs and pincers.
|
||
[ Van Dale's Groot Woordenboek der Nederlandse Taal ]
|
||
scorpius
|
||
Since early times, the Scorpion has represented death, darkness,
|
||
and evil. Scorpius is the reputed slayer of Orion the Hunter.
|
||
[...] The gods put both scorpion and hunter among the stars, but
|
||
on opposite sides of the sky so they would never fight again.
|
||
As Scorpius rises in the east, Orion sets in the west.
|
||
[ 365 Starry Nights, by Chet Raymo ]
|
||
~*amnesia
|
||
~*genocide
|
||
~*light
|
||
~*paper
|
||
~stamped scroll
|
||
unlabeled scroll
|
||
scroll*
|
||
And I was gazing on the surges prone,
|
||
With many a scalding tear and many a groan,
|
||
When at my feet emerg'd an old man's hand,
|
||
Grasping this scroll, and this same slender wand.
|
||
I knelt with pain--reached out my hand--had grasp'd
|
||
Those treasures--touch'd the knuckles--they unclasp'd--
|
||
I caught a finger: but the downward weight
|
||
O'erpowered me--it sank. Then 'gan abate
|
||
The storm, and through chill aguish gloom outburst
|
||
The comfortable sun. I was athirst
|
||
To search the book, and in the warming air
|
||
Parted its dripping leaves with eager care.
|
||
Strange matters did it treat of, and drew on
|
||
My soul page after page, till well-nigh won
|
||
Into forgetfulness; when, stupefied,
|
||
I read these words, and read again, and tried
|
||
My eyes against the heavens, and read again.
|
||
[ Endymion, by John Keats ]
|
||
scythe
|
||
A scythe consists of a wooden shaft about 170 centimetres
|
||
(67 in) long called a snaith, snath, snathe or sned. The
|
||
snaith may be straight, or with an "S" curve, but the more
|
||
sophisticated versions are curved in three dimensions,
|
||
allowing the mower to stand more upright. The snaith has
|
||
either one or two short handles at right angles to it -
|
||
usually one near the upper end and always another roughly
|
||
in the middle. A long, curved blade about 60 to 90 centimetres
|
||
(24 to 35 in)) long is mounted at the lower end, perpendicular
|
||
to the snaith.
|
||
[ Wikipedia ]
|
||
sea monster
|
||
The oceans of the surface world are populated by numerous sea
|
||
creatures, both vast and deadly, and by way of magic or
|
||
underwater tunnels many of these have found their way into
|
||
the dungeon environment.
|
||
|
||
Out from the water a long sinuous tentacle had crawled; it
|
||
was pale-green and luminous and wet. Its fingered end had
|
||
hold of Frodo's foot, and was dragging him into the water.
|
||
Sam on his knees was now slashing at it with a knife. The
|
||
arm let go of Frodo, and Sam pulled him away, crying out
|
||
for help. Twenty other arms came rippling out. The dark
|
||
water boiled, and there was a hideous stench.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
seal
|
||
Selkie is simply the Orcadian dialect word for "seal".
|
||
|
||
So, selkies are a very common sight across Orkney. Heads
|
||
bobbing above the waves, they are often seen by the shore,
|
||
watching inquisitively with uncannily human eyes.
|
||
[ Orkneyjar, by Sigurd Towrie ]
|
||
selkie
|
||
Unlike the Finfolk, who retained their malicious tendencies
|
||
throughout the years, the selkie-folk have come to be
|
||
regarded as gentle creatures, with the ability to transform
|
||
from seals into beautiful, lithe humans.
|
||
|
||
In the surviving folklore, there is no agreement as to how
|
||
often the selkie-folk were able to carry out the
|
||
transformation. Some tales say it was once a year, usually
|
||
Midsummer's Eve, while others state it could be "every
|
||
ninth night" or "every seventh stream".
|
||
|
||
Regardless of how often they were able to transform, the
|
||
folklore tells us that once in human form, the selkie-folk
|
||
would dance on lonely stretches of moonlit shore, or bask
|
||
in the sun on outlying skerries.
|
||
[ Orkneyjar, by Sigurd Towrie ]
|
||
secret-whisperer
|
||
truth-seer
|
||
dream-eater
|
||
veil-render
|
||
You noticed them, and they noticed that you noticed them.
|
||
[ The Mothman Prophecies ]
|
||
|
||
The Great Ones that inhabit the nightmare are sympathetic
|
||
in spirit, and often answer when called upon.
|
||
[ Bloodborne, by From Software ]
|
||
|
||
The hole in your room is a hole in you.
|
||
|
||
You called me, so here I am. I know I shut you out sometimes
|
||
- I'm always glad to hear from you.
|
||
[ Control, by Remedy Entertainment ]
|
||
serpent-necked lioness
|
||
The image generally is classified as a feline, and with
|
||
close inspection resembles an unusually long-necked
|
||
lioness. It bears the characteristic tuft of the species
|
||
at the end of the tail, there are no spots, the
|
||
round-eared head most closely resembles the lioness rather
|
||
than a serpent, because serpents do not have ears, and
|
||
there are no typical serpent features such as scales,
|
||
tongue, or head shape.
|
||
|
||
It has been suggested that in Ancient Egyptian art the
|
||
serpent-necked lioness represents "a symbol of the chaos
|
||
that reigned beyond Egypt's borders", which the king must
|
||
tame. They are normally shown conquered or restrained, as
|
||
in the Narmer Palette, or attacking other animals. But in
|
||
Mesopotamian art they are shown in pairs, with intertwined
|
||
necks.
|
||
|
||
There is no known name for the creature in any ancient
|
||
texts.
|
||
[ Wikipedia ]
|
||
set
|
||
seth
|
||
The ancient Egyptian god of chaos (Set), the embodiment of hostility
|
||
and even of outright evil. He is also a god of war, deserts, storms, and
|
||
foreign lands. ... In the Book of the Dead, Seth is called "Lord of
|
||
the Northern Sky" and is held responsible for storms and cloudy weather.
|
||
... Seth was portrayed as a man with the head of undeterminable origin,
|
||
although some see in it the head of an aardvark. He had a curved snout,
|
||
erect square-tipped ears and a long forked tail. He was sometimes
|
||
entirely in animal form with the body similar to that of a greyhound.
|
||
Animals sacred to this god were the dog, the jackal, the gazelle, the
|
||
donkey, the crocodile, the hippopotamus, and the pig.
|
||
[ Encyclopedia Mythica, ed. M.F. Lindemans ]
|
||
~shadowsteel*
|
||
~shadowlander's torch*
|
||
shad*
|
||
Shades are undead creatures. They differ from zombies in
|
||
that a zombie is an undead animation of a corpse, while a
|
||
shade is an undead creature magically created by the use
|
||
of black magic.
|
||
shaman karnov
|
||
Making his quarters in the Caves of the Ancestors, Shaman
|
||
Karnov unceasingly tries to shield his neanderthal people
|
||
from the Chromatic Dragon's minions' harassments.
|
||
shan*lai*ching
|
||
The Chinese god of Mountains and Seas, also the name of an
|
||
old book (also Shan Hai Tjing), the book of mountains and
|
||
seas - which deals with the monster Kung Kung trying to
|
||
seize power from Yao, the fourth emperor.
|
||
[ Spectrum Atlas van de Mythologie ]
|
||
shark
|
||
As the shark moved, its dark top reflected virtually no
|
||
light. The denticles on its skin muted the whoosh of its
|
||
movements as the shark rose, driven by the power of the
|
||
great tail sweeping from side to side, like a scythe.
|
||
The fish exploded upward.
|
||
Charles Bruder felt a slight vacuum tug in the motion of
|
||
the sea, noted it as a passing current, the pull of a wave,
|
||
the tickle of undertow. He could not have heard the faint
|
||
sucking rush of water not far beneath him. He couldn't
|
||
have seen or heard what was hurtling from the murk at
|
||
astonishing speed, jaws unhinging, widening, for the
|
||
enormous first bite. It was the classic attack
|
||
that no other creature in nature could make -- a bomb from
|
||
the depths.
|
||
[ Close to Shore, by Michael Capuzzo ]
|
||
lamb
|
||
sheep
|
||
A Wolf, wanting lamb for his dinner,
|
||
Growled out “Lamb you wronged me, you sinner;”
|
||
Bleated Lamb – “Nay, not true!”
|
||
Answered Wolf – “Then ’twas Ewe…
|
||
Ewe or lamb; you will serve for my dinner.”
|
||
[ Retelling of Aesop's The Wolf and the Lamb
|
||
from The Baby's Own Aesop, by W.J. Linton ]
|
||
shield of the resolute heart
|
||
The wind is in the sky,
|
||
and the stars are in the heavens,
|
||
and a resolute heart
|
||
beats within my chest!
|
||
shito
|
||
A Japanese stabbing knife.
|
||
*shoggoth
|
||
*shuggoth
|
||
"... in the place of utter blasphemy, the unholy pit where
|
||
the black realm begins and the watcher guards the gate -
|
||
I saw a shoggoth - it changed shape ..."
|
||
[ The Thing on the Doorstep, by H.P. Lovecraft ]
|
||
|
||
It was a terrible, indescribable thing vaster than any subway
|
||
train -- a shapeless congeries of protoplasmic bubbles, faintly
|
||
self-luminous, and with myriads of temporary eyes forming and
|
||
un-forming as pustules of greenish light all over the tunnel-
|
||
filling front that bore down upon us, crushing the frantic
|
||
penguins and slithering over the glistening floor that it and
|
||
its kind had swept so evilly free of all litter. Still came
|
||
that eldritch, mocking cry -- "Tekeli-li! Tekeli-li!" and at
|
||
last we remembered that the demoniac Shoggoths - given life,
|
||
thought, and plastic organ patterns solely by the Old Ones ...
|
||
[ At the Mountains of Madness, by H.P. Lovecraft ]
|
||
shopkeeper
|
||
There have been three general theories put forward to explain
|
||
the phenomenon of the wandering shops or, as they are generically
|
||
known, _tabernae vagantes._
|
||
The first postulates that many thousands of years ago there
|
||
evolved somewhere in the multiverse a race whose single talent
|
||
was to buy cheap and sell dear. Soon they controlled a vast
|
||
galactic empire or, as they put it, Emporium, and the more
|
||
advanced members of the species found a way to equip their very
|
||
shops with unique propulsion units that could break the dark
|
||
walls of space itself and open up vast new markets. And long
|
||
after the worlds of the Emporium perished in the heat death of
|
||
their particular universe, after one last defiant fire sale, the
|
||
wandering starshops still ply their trade, eating their way
|
||
through the pages of spacetime like a worm through a three-volume
|
||
novel.
|
||
The second is that they are the creation of a sympathetic Fate,
|
||
charged with the role of supplying exactly the right thing
|
||
at the right time.
|
||
The third is that they are simply a very clever way of getting
|
||
around the various Sunday Closing acts.
|
||
All these theories, diverse as they are, have two things in
|
||
common. They explain the observed facts, and they are completely
|
||
and utterly wrong.
|
||
[ The Light Fantastic, by Terry Pratchett ]
|
||
shrieker
|
||
With a single, savage thrust of her spear, the warrior-woman
|
||
impaled the fungus, silencing it. However, it was too late:
|
||
the alarm had been raised[...]
|
||
Suddenly, a large, dark shape rose from the abyss before them,
|
||
its fetid bulk looming overhead...The monster was some kind of
|
||
great dark worm, but that was about all they were sure of.
|
||
[ The Adventurers, Epic IV, by Thomas A. Miller ]
|
||
throwing star
|
||
shuriken
|
||
You know, that's what I hate most about fighting against magic:
|
||
you never know what they're trying to do to you until it hits.
|
||
The sorceress knew what hit her, however. Two of the shuriken
|
||
got past whatever defenses she had. One caught her just below
|
||
the throat, the other in the middle of her chest. It wouldn't
|
||
kill her, but she wouldn't be fighting anyone for a while.
|
||
[ Jhereg, by Steven Brust ]
|
||
*sickle
|
||
A sickle is a hand-held agricultural tool with a variously
|
||
curved blade typically used for harvesting grain crops or
|
||
cutting succulent forage chiefly for feeding livestock
|
||
(either freshly cut or dried as hay).
|
||
|
||
The inside of the blade's curve is sharp, so that the user
|
||
can either draw or swing it against the base of the crop,
|
||
catching the stems in the curve and slicing them at the same
|
||
time. The material to be cut may be held in a bunch in the
|
||
other hand (for example when reaping), held in place by a
|
||
wooden stick, or left free.
|
||
[ Wikipedia ]
|
||
siege ogre
|
||
Grey as a mouse
|
||
Big as a house
|
||
Nose like a snake
|
||
I make the earth shake
|
||
As I tramp through the grass
|
||
Trees crack as I pass
|
||
With horns in my mouth
|
||
I walk in the South
|
||
Flapping big ears
|
||
Beyond count of years
|
||
I stump round and round
|
||
Never lie on the ground
|
||
Not even to die
|
||
Oliphaunt am I
|
||
Biggest of all
|
||
Huge, old, and tall
|
||
If ever you'd met me
|
||
You wouldn't forget me
|
||
If you never do
|
||
You won't think I'm true
|
||
But old Oliphaunt am I
|
||
And I never lie
|
||
[ Oliphaunt, by J.R.R. Tolkien ]
|
||
silver
|
||
A white, precious, metallic chemical element that is extremely
|
||
ductile and malleable, capable of high polish, and an excellent
|
||
conductor of heat and electricity: symbol, Ag; atomic weight,
|
||
107.880; atomic number, 47.
|
||
[ Webster's New Twentieth Century Dictionary Unabridged,
|
||
Second Edition ]
|
||
|
||
The toxicity of certain heavy metals is a well-known effect,
|
||
with lead, mercury, and cadmium best known examples. Other
|
||
metals have a reduced or negligible effect on humans, but
|
||
negativly effect smaller organisms such as bacteria. Silver
|
||
is perhaps the best known example of this latter class, being
|
||
used since ancient times to treat external infections. It's
|
||
well known efficacy in this regard led to the idea that it
|
||
was effective against many other forms of evil, both seen
|
||
and unseen.
|
||
silver key
|
||
But the key-Carter sent me a photograph of that. Its curious
|
||
arabesques were not letters, but seem to have belonged to the
|
||
same culture-tradition as the hieroglyphs on the parchment.
|
||
Carter always spoke of being on the point of solving the
|
||
mystery, though he never gave details. Once he grew almost
|
||
poetic about the whole business. That antique Silver Key, he
|
||
said, would unlock the successive doors that bar our free
|
||
march down the mighty corridors of space and time to the very
|
||
Border which no man has crossed since Shaddad with his
|
||
terrific genius built and concealed in the sands of Arabia
|
||
Petraea the prodigious domes and uncounted minarets of
|
||
thousand-pillared Irem.
|
||
[ Through the Gates of the Silver Key,
|
||
H.P. Lovecraft ]
|
||
skeleton
|
||
A skeleton is a magically animated undead creature. Unlike
|
||
shades, only a humanoid creature can be used to create a
|
||
skeleton. No one knows why this is true, but it has become
|
||
an accepted fact amongst the practitioners of the black arts.
|
||
slasher
|
||
"That dog belonged to a settler who tried to build his cabin
|
||
on the bank of the river a few miles south of the fort,"
|
||
grunted Conan. ... "We took him to the fort and dressed his
|
||
wounds, but after he recovered he took to the woods and turned
|
||
wild. -- What now, Slasher, are you hunting the men who
|
||
killed your master?" ... "Let him come," muttered Conan.
|
||
"He can smell the devils before we can see them." ...
|
||
Slasher cleared the timbers with a bound and leaped into the
|
||
bushes. They were violently shaken and then the dog slunk
|
||
back to Balthus' side, his jaws crimson. ... "He was a man,"
|
||
said Conan. "I drink to his shade, and to the shade of the
|
||
dog, who knew no fear." He quaffed part of the wine, then
|
||
emptied the rest upon the floor, with a curious heathen
|
||
gesture, and smashed the goblet. "The heads of ten Picts
|
||
shall pay for this, and seven heads for the dog, who was a
|
||
better warrior than many a man."
|
||
[ Conan The Warrior, by Robert E Howard ]
|
||
slave to armok
|
||
Losing is fun
|
||
*sleep
|
||
Sleep is a death; oh, make me try
|
||
By sleeping, what it is to die,
|
||
And as gently lay my head
|
||
On my grave, as now my bed.
|
||
[ Religio Medici, by Sir Thomas Browne ]
|
||
*slime
|
||
A hideous growth, green slime is bright green, sticky, and wet. It
|
||
grows in dark subterranean places on walls, ceilings and floors.
|
||
... Green slime attaches itself to living flesh and in 1-4 melee
|
||
rounds turns the creature into green slime ... Green slime is an
|
||
infestation that all creatures avoid; it is burned out of caverns
|
||
or mines if found. Once it has infected an area, it has a tendency
|
||
to grow back, even after being frozen or burned away, because dormant
|
||
spores can germinate years later.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
slime mold
|
||
Slime mold or slime fungus, organism usually classified with
|
||
the fungi, but showing equal affinity to the protozoa. Slime
|
||
molds have complex life cycles with an animal-like motile
|
||
phase, in which feeding and growth occur, and a plant-like
|
||
immotile reproductive phase. The motile phase, commonly
|
||
found under rotting logs and damp leaves, consists of either
|
||
solitary amoebalike cells or a brightly colored multinucleate
|
||
mass of protoplasm called a plasmodium, which creeps about
|
||
and feeds by amoeboid movement.
|
||
[ The Concise Columbia Encyclopedia ]
|
||
sling
|
||
And it came to pass, when the Philistine arose, and came and
|
||
drew nigh to meet David, that David hasted, and ran toward
|
||
the army to meet the Philistine.
|
||
And David put his hand in his bag, and took thence a stone,
|
||
and slang it, and smote the Philistine in his forehead, that
|
||
the stone sunk into his forehead; and he fell upon his face
|
||
to the earth.
|
||
So David prevailed over the Philistine with a sling and with
|
||
a stone, and smote the Philistine, and slew him; but there
|
||
was no sword in the hand of David.
|
||
[ 1 Samuel 17:48-50 ]
|
||
*snake
|
||
serpent
|
||
water moccasin
|
||
python
|
||
pit viper
|
||
Now the serpent was more subtle than any beast of the field
|
||
which the Lord God had made. And he said unto the woman, Yea,
|
||
hath God said, Ye shall not eat of every tree of the garden?
|
||
And the woman said unto the serpent, We may eat of the fruit of
|
||
the trees of the garden: but of the fruit of the tree which is
|
||
in the midst of the garden, God hath said, Ye shall not eat of
|
||
it, neither shall ye touch it, lest ye die. And the serpent
|
||
said unto the woman, Ye shall not surely die: for God doth
|
||
know that in the day ye eat thereof, then your eyes shall be
|
||
opened, and ye shall be as gods, knowing good and evil. And
|
||
when the woman saw that the tree was good for food, and that it
|
||
was pleasant to the eyes, and a tree to be desired to make one
|
||
wise, she took of the fruit thereof, and did eat, and gave also
|
||
unto her husband with her; and he did eat.
|
||
|
||
And the Lord God said unto the woman, What is this that thou
|
||
hast done? And the woman said, The serpent beguiled me, and I
|
||
did eat. And the Lord God said unto the serpent, Because thou
|
||
hast done this, thou art cursed above all cattle, and above
|
||
every beast of the field; upon thy belly shalt thou go, and
|
||
dust shalt thou eat all the days of thy life: And I will put
|
||
enmity between thee and the woman, and between thy seed and her
|
||
seed; it shall bruise thy head, and thou shalt bruise his heel.
|
||
[ Genesis 3:1-6,13-15 ]
|
||
snickersnee
|
||
Ah, never shall I forget the cry,
|
||
or the shriek that shrieked he,
|
||
As I gnashed my teeth, and from my sheath
|
||
I drew my Snickersnee!
|
||
--Koko, Lord high executioner of Titipu
|
||
[ The Mikado, by Sir W.S. Gilbert ]
|
||
sode no shirayuki
|
||
Then at the very least, you would do well to learn the
|
||
name of my Zanpakutou. Dance, Sode no Shirayuki!
|
||
[ Bleach, Tite Kubo ]
|
||
|
||
Said to be the most beautiful of the soul-cutting swords,
|
||
Sode no Shirayuki (Sleaves of White Snow) demands a graceful,
|
||
dance-like fighting style of its wielder. It's most powerful
|
||
techniques are activated by moving the blade in a specific
|
||
way while calling out the name of the technique. The first
|
||
dance, White Moon, invokes a freezing circle that embraces
|
||
both heaven and earth. The next dance, White Ripple, fires
|
||
a beam of snow and ice. The last dance, White Sword, repairs
|
||
any damage the blade has suffered, and temporarily boosts its
|
||
attack power.
|
||
sokoban
|
||
Sokoban (Japanese for "warehouse person") is a puzzle-type
|
||
game where the player must push around treasure to a goal
|
||
area. It apparently won first prize in a Japanese programming
|
||
contest.
|
||
[ Xsokoban web site ]
|
||
|
||
Sokoban (Japanese for "warehouse keeper") is a transport puzzle in
|
||
which the player pushes boxes around a maze, viewed from above, and
|
||
tries to put them in designated locations. Only one box may be pushed
|
||
at a time, not two, and boxes cannot be pulled. As the puzzle would
|
||
be extremely difficult to create physically, it is usually implemented
|
||
as a video game.
|
||
|
||
Sokoban was created in 1982 by Hiroyuki Imabayashi, and was published
|
||
by Thinking Rabbit, a software house based in Takarazuka, Japan. Thinking
|
||
Rabbit also released three sequels: Boxxle, Sokoban Perfect and Sokoban
|
||
Revenge.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
*soldier
|
||
sergeant
|
||
lieutenant
|
||
captain
|
||
The soldiers of Yendor are well-trained in the art of war,
|
||
many trained by the Wizard himself. Some say the soldiers
|
||
are explorers who were unfortunate enough to be captured,
|
||
and put under the Wizard's spell. Those who have survived
|
||
encounters with soldiers say they travel together in platoons,
|
||
and are fierce fighters. Because of the load of their combat
|
||
gear, however, one can usually run away from them, and doing
|
||
so is considered a wise thing.
|
||
son of Typhon
|
||
First [Herakles] was assigned to fetch the skin of the
|
||
Nemeian lion, an invulnerable animal sired by Typhon . . .
|
||
He then went to Nemea, found the lion, and shot it first with
|
||
arrows. But when he knew for sure it was invulnerable, he
|
||
picked up his club and started after it.
|
||
It escaped into a double-mouthed cave, but Herakles blocked
|
||
up one of the mouths, and ran in after the creature through
|
||
the other. He encircled its neck with his arm, and by squeezing
|
||
choked it to death.
|
||
[ Pseudo-Apollodorus, Bibliotheca 2. 74 - 76
|
||
(trans. Aldrich) (Greek mythographer C2nd A.D.) ]
|
||
* soulstone
|
||
Though most damned souls are reborn as least fiends, this
|
||
unfortunate has been shaped into a stone that constantly
|
||
leaks the energies that dominated its life.
|
||
|
||
The pietous may wish to sanctify the rock and attempt to
|
||
set the soul free, while the morally flexible may wish to
|
||
expend the soul's energies for immediate benefit. As with
|
||
many soul-harnessing devices, curses strengthen the
|
||
stone's effects, but blessings also work to amplify the
|
||
passively exuded energy.
|
||
*spear
|
||
javelin
|
||
- they come together with great random, and a spear is brast,
|
||
and one party brake his shield and the other one goes down,
|
||
horse and man, over his horse-tail and brake his neck, and
|
||
then the next candidate comes randoming in, and brast his
|
||
spear, and the other man brast his shield, and down he goes,
|
||
horse and man, over his horse-tail, and brake his neck, and
|
||
then there's another elected, and another and another and
|
||
still another, till the material is all used up; and when you
|
||
come to figure up results, you can't tell one fight from
|
||
another, nor who whipped; and as a picture of living, raging,
|
||
roaring battle, sho! why it's pale and noiseless - just
|
||
ghosts scuffling in a fog. Dear me, what would this barren
|
||
vocabulary get out of the mightiest spectacle? - the burning
|
||
of Rome in Nero's time, for instance? Why, it would merely
|
||
say 'Town burned down; no insurance; boy brast a window,
|
||
fireman brake his neck!' Why, that ain't a picture!
|
||
[ A Connecticut Yankee in King Arthur's Court, by Mark
|
||
Twain ]
|
||
*spellbook*
|
||
The Book of Three lay closed on the table. Taran had never
|
||
been allowed to read the volume for himself; now he was sure
|
||
it held more than Dallben chose to tell him. In the sun-
|
||
filled room, with Dallben still meditating and showing no
|
||
sign of stopping, Taran rose and moved through the shimmering
|
||
beams. From the forest came the monotonous tick of a beetle.
|
||
His hands reached for the cover. Taran gasped in pain and
|
||
snatched them away. They smarted as if each of his fingers
|
||
had been stung by hornets. He jumped back, stumbled against
|
||
the bench, and dropped to the floor, where he put his fingers
|
||
woefully into his mouth.
|
||
Dallben's eyes blinked open. He peered at Taran and yawned
|
||
slowly. "You had better see Coll about a lotion for those
|
||
hands," he advised. "Otherwise, I shouldn't be surprised if
|
||
they blistered."
|
||
[ The Book of Three, by Lloyd Alexander ]
|
||
spetum
|
||
forked polearm
|
||
This polearm has a thin spearhead with two angled dagger-
|
||
type blades at about 45 degrees. They can be used to attack,
|
||
block, or hold an oppenent at bay. Unfortunately, they can't
|
||
do any of those tasks excedingly well. This weapon is
|
||
nine to ten feet long (2.7 to 3 meters).
|
||
|
||
A
|
||
H
|
||
H
|
||
H
|
||
\ H /
|
||
\\H//
|
||
\H/
|
||
H
|
||
~phase spider
|
||
~mirkwood spider
|
||
*spider
|
||
Eight legged creature capable of spinning webs to trap prey.
|
||
|
||
"You mean you eat flies?" gasped Wilbur.
|
||
"Certainly. Flies, bugs, grasshoppers, choice beetles,
|
||
moths, butterflies, tasty cockroaches, gnats, midges, daddy
|
||
longlegs, centipedes, mosquitoes, crickets - anything that is
|
||
careless enough to get caught in my web. I have to live,
|
||
don't I?"
|
||
"Why, yes, of course," said Wilbur.
|
||
[ Charlotte's Web, by E.B. White ]
|
||
spell
|
||
A spell is a consciously directed act of magic which may take
|
||
almost any form, depending on the laws of magic in operation.
|
||
Commonly there will be a spoken element, ranging from a simple
|
||
phrase or name to elaborately complex ritual incantations.
|
||
[...] Hand-gestures or passes may be required -- called
|
||
the "somatic element" by the scientific magic investigators
|
||
in L. Sprague de Camp's and Fletcher Pratt's _Incomplete
|
||
Enchanter_ series.
|
||
Many spells exhaust the caster, like Gorice's arduous conjuration
|
||
in _The Worm Ouroboros_ (1922) by E. R. Eddison. Jack Vance's
|
||
_The Dying Earth_ (1950) has spells which must be painstakingly
|
||
impressed on the mind (whose capacity is finite), and when cast
|
||
are gone until re-learned.
|
||
[ The Encyclopedia of Fantasy by David Langford ]
|
||
*sphere
|
||
The attack by those who want to die -- this is the attack
|
||
against which you cannot prepare a perfect defense.
|
||
--Human aphorism
|
||
[ The Dosadi Experiment, by Frank Herbert ]
|
||
spire
|
||
"Long ago a silver queen emerged from the Hinterlands below,
|
||
having followed the path of the great pillar, Axis Mundi,
|
||
that extended deep into the earth. She had come to see the
|
||
top of this edifice, and perhaps learn who had built the
|
||
foundation of her underground realm. Yet when she emerged
|
||
with her eight children--four sons and four daughters--she
|
||
saw that the Spire extended far into the sky. Eight great
|
||
roads extended out from the monument to Mystery, veering and
|
||
branching into sixteen paths that crossed and diverted,
|
||
shifting like living streams.
|
||
|
||
While her children stared off into the distance, the queen
|
||
herself looked up into the sky. In the distance she saw that
|
||
infinity might have an end, a height that might be ascended
|
||
to. Her children felt the same way about the roads that ran
|
||
to embrace the horizon. Together they realized they might
|
||
walk and climb and thereby measure the Wheel, squaring the
|
||
circle at last.
|
||
|
||
To each son and each daughter was given a blade, to keep them
|
||
safe on their journeys. And so the children each picked a
|
||
road and began walking, choosing different forks and turns,
|
||
getting lost but always finding themselves once more.
|
||
Meanwhile, the silver queen began to climb. She was
|
||
determined to reach the top of the Spire, for it was there
|
||
that she might watch for her children as she waited for their
|
||
return."
|
||
[ Blade of Innocence, by Sciborg ]
|
||
sprow
|
||
A droven punishment form combining the worst aspects of humanoids
|
||
and spiders. Sprow combine the head and torso of a drow with the
|
||
limbs of a spider. This form is typically inflicted on drow
|
||
novices who see spiders as holy creatures worthy of worship,
|
||
rather than as allegories and useful tools. It may also be
|
||
inflicted on young drow who boast about their cunning to others.
|
||
Unlike driders, sprow are too weak to survive alone and are not
|
||
driven out of the droven cities, instead being used as
|
||
slave-laborers or beasts of burden.
|
||
squeaky board
|
||
A floorboard creaked. Galder had spent many hours tuning them,
|
||
always a wise precaution with an ambitious assistant who walked
|
||
like a cat.
|
||
D flat. That meant he was just to the right of the door.
|
||
"Ah, Trymon," he said, without turning, and noted with some
|
||
satisfaction the faint indrawing of breath behind him. "Good
|
||
of you to come. Shut the door, will you?"
|
||
[ The Light Fantastic, by Terry Pratchett ]
|
||
~*aesculapius
|
||
*staff
|
||
So they stood, each in his place, neither moving a finger's
|
||
breadth back, for one good hour, and many blows were given
|
||
and received by each in that time, till here and there were
|
||
sore bones and bumps, yet neither thought of crying "Enough,"
|
||
or seemed likely to fall from off the bridge. Now and then
|
||
they stopped to rest, and each thought that he never had seen
|
||
in all his life before such a hand at quarterstaff. At last
|
||
Robin gave the stranger a blow upon the ribs that made his
|
||
jacket smoke like a damp straw thatch in the sun. So shrewd
|
||
was the stroke that the stranger came within a hair's breadth
|
||
of falling off the bridge; but he regained himself right
|
||
quickly, and, by a dexterous blow, gave Robin a crack on the
|
||
crown that caused the blood to flow. Then Robin grew mad
|
||
with anger, and smote with all his might at the other; but
|
||
the stranger warded the blow, and once again thwacked Robin,
|
||
and this time so fairly that he fell heels over head into the
|
||
water, as the queen pin falls in a game of bowls.
|
||
[ The Merry Adventures of Robin Hood, by Howard Pyle ]
|
||
*staff of aesculapius
|
||
This staff is considered sacred to all healers, as it truly
|
||
holds the powers of life and death. When wielded, it
|
||
protects its user from all life draining attacks, and
|
||
additionally gives the wielder the power of regeneration.
|
||
When invoked it performs healing magic.
|
||
staircase down
|
||
While dreaming, you or I might notice a huge staircase
|
||
leading enticingly down, out of ordinary dream, down
|
||
the seventy stairs of light slumber, down into the
|
||
Cavern of Flame.
|
||
|
||
In this flickering chamber dwell Nasht and Kaman-Thah,
|
||
hoary priests who have the power to accept the most
|
||
worthy as initiate dreamers and to send them on, down
|
||
seven hundred steps more to the Gates of Deeper Slumber...
|
||
[ S. Petersen's Field Guide to
|
||
Creatures of the Dreamlands ]
|
||
staircase up
|
||
Dr. Ray Stantz: Hey, where do those stairs go?
|
||
Dr. Peter Venkman: They go up.
|
||
[ Ghostbusters, directed by Ivan Reitman,
|
||
written by Dan Ackroyd and Harold Ramis ]
|
||
stairs
|
||
ladder
|
||
Up he went -- very quickly at first -- then more slowly -- then
|
||
in a little while even more slowly than that -- and finally,
|
||
after many minutes of climbing up the endless stairway, one
|
||
weary foot was barely able to follow the other. Milo suddenly
|
||
realized that with all his effort he was no closer to the top
|
||
than when he began, and not a great deal further from the
|
||
bottom. But he struggled on for a while longer, until at last,
|
||
completely exhausted, he collapsed onto one of the steps.
|
||
"I should have known it," he mumbled, resting his tired legs
|
||
and filling his lungs with air. "This is just like the line
|
||
that goes on forever, and I'll never get there."
|
||
"You wouldn't like it much anyway," someone replied gently.
|
||
"Infinity is a dreadfully poor place. They can never manage to
|
||
make ends meet."
|
||
[ The Phantom Tollbooth, by Norton Juster ]
|
||
stalker
|
||
invisible stalker
|
||
The invisible stalker is a creature from the elemental plane of
|
||
Air. Those encountered on the Prime Material plane have almost
|
||
always been summoned by wizards to fulfill a specific task.
|
||
The true form of the invisible stalker is unknown. On the Material,
|
||
Astral, or Ethereal planes, the invisible stalker can only be
|
||
perceived as a shimmering air mass which looks much like the
|
||
refraction effect caused by hot air passing in front of cold.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
~statue trap
|
||
statue*
|
||
Then at last he began to wonder why the lion was standing so
|
||
still - for it hadn't moved one inch since he first set eyes
|
||
on it. Edmund now ventured a little nearer, still keeping in
|
||
the shadow of the arch as much as he could. He now saw from
|
||
the way the lion was standing that it couldn't have been
|
||
looking at him at all. ("But supposing it turns its head?"
|
||
thought Edmund.) In fact it was staring at something else -
|
||
namely a little dwarf who stood with his back to it about
|
||
four feet away. "Aha!" thought Edmund. "When it springs at
|
||
the dwarf then will be my chance to escape." But still the
|
||
lion never moved, nor did the dwarf. And now at last Edmund
|
||
remembered what the others had said about the White Witch
|
||
turning people into stone. Perhaps this was only a stone
|
||
lion. And as soon as he had thought of that he noticed that
|
||
the lion's back and the top of its head were covered with
|
||
snow. Of course it must be only a statue!
|
||
[ The Lion, the Witch and the Wardrobe by C.S. Lewis ]
|
||
sting
|
||
There was the usual dim grey light of the forest-day about
|
||
him when he came to his senses. The spider lay dead beside
|
||
him, and his sword-blade was stained black. Somehow the
|
||
killing of the giant spider, all alone and by himself in the
|
||
dark without the help of the wizard or the dwarves or of
|
||
anyone else, made a great difference to Mr. Baggins. He felt
|
||
a different person, and much fiercer and bolder in spite of
|
||
an empty stomach, as he wiped his sword on the grass and put
|
||
it back into its sheath.
|
||
"I will give you a name," he said to it, "and I shall call
|
||
you Sting."
|
||
[ The Hobbit, by J.R.R. Tolkien ]
|
||
stormbringer
|
||
There were sounds in the distance, incongruent with the
|
||
sounds of even this nameless, timeless sea: thin sounds,
|
||
agonized and terrible, for all that they remained remote -
|
||
yet the ship followed them, as if drawn by them; they grew
|
||
louder - pain and despair were there, but terror was
|
||
predominant.
|
||
Elric had heard such sounds echoing from his cousin Yyrkoon's
|
||
sardonically named 'Pleasure Chambers' in the days before he
|
||
had fled the responsibilities of ruling all that remained of
|
||
the old Melnibonean Empire. These were the voices of men
|
||
whose very souls were under siege; men to whom death meant
|
||
not mere extinction, but a continuation of existence, forever
|
||
in thrall to some cruel and supernatural master. He had
|
||
heard men cry so when his salvation and his nemesis, his
|
||
great black battle-blade Stormbringer, drank their souls.
|
||
[ The Lands Beyond the World, by Michael Moorcock ]
|
||
stormhelm
|
||
Harmony within, hurricane without.
|
||
[ Destiny ]
|
||
*strange object
|
||
He walked for some time through a long narrow corridor
|
||
without finding any one and was just going to call out,
|
||
when suddenly in a dark corner between an old cupboard
|
||
and the door he caught sight of a strange object which
|
||
seemed to be alive.
|
||
[ Crime and Punishment, by Fyodor Dostoevsky ]
|
||
straw golem
|
||
Dorothy leaned her chin upon her hand and gazed thoughtfully
|
||
at the Scarecrow. Its head was a small sack stuffed with straw,
|
||
with eyes, nose, and mouth painted on it to represent a face.
|
||
An old, pointed blue hat, that had belonged to some Munchkin,
|
||
was perched on his head, and the rest of the figure was a blue suit
|
||
of clothes, worn and faded, which had also been stuffed with straw.
|
||
On the feet were some old boots with blue tops, such as every man
|
||
wore in this country, and the figure was raised above the stalks
|
||
of corn by means of the pole stuck up its back.
|
||
[ The Wonderful Wizard of Oz, by L. Frank Baum ]
|
||
sunflower
|
||
A single species of plant evenly dispersed across the land,
|
||
from here to the infinity-horizon. Each plant had a single blossom,
|
||
and each blossom turned to follow Louis Wu as he dropped. A
|
||
tremendous audience, silent and attentive.
|
||
|
||
He landed and dismounted beside one of the plants. The plant stood
|
||
a foot high on a knobbly green stalk. Its single blossom was as big
|
||
as a large man's face. The back of that blossom was stringy, as if
|
||
laced with veins or tendons; and the inner surface was a smooth
|
||
concave mirror. From its center protruded a short stalk ending in
|
||
a dark green bulb.
|
||
|
||
All the flowers in sight watched him. He was bathed in the glare.
|
||
Louis knew they were trying to kill him, and he looked up somewhat
|
||
uneasily; but the cloud cover held.
|
||
|
||
"You were right," he said, speaking into the intercom. "They're
|
||
Slaver sunflowers. If the cloud cover hadn't come up, we'd have
|
||
been dead the instant we rose over the mountains."
|
||
sunsword
|
||
What you seek is a blade of light,
|
||
a weapon for vengance.
|
||
[ Expedition to Castle Ravenloft, Cordell and Wyatt ]
|
||
susano*o
|
||
The Shinto chthonic and weather god and brother of the sun
|
||
goddess Amaterasu, he was born from the nose of the
|
||
primordial creator god Izanagi and represents the physical,
|
||
material world. He has been expelled from heaven and taken
|
||
up residence on earth.
|
||
[ Encyclopedia of Gods, by Michael Jordan ]
|
||
swamp nymph
|
||
As a forest pathogen, a fungus can be very destructive.
|
||
Its high destructiveness comes from the fact that, unlike
|
||
most parasites, it doesn't need to moderate its growth in
|
||
order to avoid killing its host, since it will continue to
|
||
thrive on the dead material.
|
||
[ Adapted from Wikipedia ]
|
||
~excalibur
|
||
~giantslayer
|
||
~vorpal*
|
||
sword
|
||
* sword
|
||
Then said Jesus unto him, Put up again thy sword into his place:
|
||
for all they that take the sword shall perish with the sword.
|
||
[ Matthew, 26:52 ]
|
||
tanko
|
||
Samurai plate armor of the Yamato period (AD 300 - 710).
|
||
*temple
|
||
To every man upon this earth
|
||
Death cometh soon or late;
|
||
And how can man die better
|
||
Than facing fearful odds
|
||
For the ashes of his fathers
|
||
And the temples of his gods?
|
||
[ Lays of Ancient Rome, by Thomas B. Macaulay ]
|
||
tengu
|
||
The tengu was the most troublesome creature of Japanese
|
||
legend. Part bird and part man, with red beak for a nose
|
||
and flashing eyes, the tengu was notorious for stirring up
|
||
feuds and prolonging enmity between families. Indeed, the
|
||
belligerent tengu were supposed to have been man's first
|
||
instructors in the use of arms.
|
||
[ Mythical Beasts, by Deirdre Headon (The Leprechaun Library) ]
|
||
tensa zangetsu
|
||
Cast off your fear.
|
||
Look forward.
|
||
Move forward.
|
||
Never stand still.
|
||
Retreat and you will age.
|
||
Hesitate and you will die.
|
||
Shout. My name is:
|
||
ZANGETSU!
|
||
[ Bleach, Kubo Tite ]
|
||
|
||
A soul-cutting sword that is advanced to Bankai (Final
|
||
Release) typically gains the ability to project some large,
|
||
flashy effect, or to manifest a massive creature to do battle
|
||
for its master. Not so Zangetsu. Instead, its final form,
|
||
Tensa Zangetsu (Heaven-chain Slaying Moon), focuses all its
|
||
power into the form of a normal daito sword. The shear
|
||
intensity of the energies within this sword make the blade
|
||
almost impervious to damage, allowing it to parry a wide
|
||
variety of effects. The blade can additionally create a
|
||
protective field around its wielder in the form of a cloak
|
||
or long coat. Tensa Zangetsu may also be invoked to fire a
|
||
powerful energy blast known as a Getsuga Tenso (Heaven-
|
||
Piercing Moon-Fang) which can cleave through enemies and
|
||
obstructing terrain alike. Finally, the compressed forces
|
||
at play in Tensa Zangetsu greatly affect the wielder's
|
||
sense of time, allowing them to move and attack much faster
|
||
than they otherwise could. The immense pressures acting on
|
||
the blade, however, are far beyond what a mortal can endure.
|
||
Any living creature that wields this sword will find their
|
||
body and bones gradually ground into dust.
|
||
thriae
|
||
The Thriae were nymphs, three virginal sisters, one of a number
|
||
of such triads in Greek mythology. They were named Melaina
|
||
("The Black"), Kleodora ("Famed for her Gift"), and Daphnis
|
||
("Laurel") or Corycia. They were the three Naiads (nymphs) of
|
||
the sacred springs of the Corycian Cave of Mount Parnassus in
|
||
Phocis, and the patrons of bees. The nymphs had heads like
|
||
women and lower body with wings like a bee.
|
||
[ Wikipedia ]
|
||
thorin*
|
||
Known as 'Thorin Oakenshield' because in the Battle of Azanulbizar
|
||
he used an oak-branch as a shield and club. He is the King of
|
||
Durin's folk in exile, and wears a golden necklace and a belt.
|
||
thoth
|
||
The Egyptian god of the moon and wisdom, Thoth is the patron
|
||
deity of scribes and of knowledge, including scientific,
|
||
medical and mathematical writing, and is said to have given
|
||
mankind the art of hieroglyphic writing. He is important as
|
||
a mediator and counsellor amongst the gods and is the scribe
|
||
of the Heliopolis Ennead pantheon. According to mythology,
|
||
he was born from the head of the god Seth. He may be
|
||
depicted in human form with the head of an ibis, wholly as an
|
||
ibis, or as a seated baboon sometimes with its torso covered
|
||
in feathers. His attributes include a crown which consists
|
||
of a crescent moon surmounted by a moon disc.
|
||
Thoth is generally regarded as a benign deity. He is also
|
||
scrupulously fair and is responsible not only for entering
|
||
in the record the souls who pass to afterlife, but of
|
||
adjudicating in the Hall of the Two Truths. The Pyramid
|
||
Texts reveal a violent side of his nature by which he
|
||
decapitates the adversaries of truth and wrenches out their
|
||
hearts.
|
||
[ Encyclopedia of Gods, by Michael Jordan ]
|
||
thoth*amon
|
||
Men say that he [Thutothmes] has opposed Thoth-Amon, who is
|
||
master of all priests of Set, and dwells in Luxor, and that
|
||
Thutothmes seeks hidden power [The Heart of Ahriman] to
|
||
overthrow the Great One.
|
||
[ Conan the Conqueror, by Robert E. Howard ]
|
||
*throne
|
||
Methought I saw the footsteps of a throne
|
||
Which mists and vapours from mine eyes did shroud--
|
||
Nor view of who might sit thereon allowed;
|
||
But all the steps and ground about were strown
|
||
With sights the ruefullest that flesh and bone
|
||
Ever put on; a miserable crowd,
|
||
Sick, hale, old, young, who cried before that cloud,
|
||
"Thou art our king,
|
||
O Death! to thee we groan."
|
||
Those steps I clomb; the mists before me gave
|
||
Smooth way; and I beheld the face of one
|
||
Sleeping alone within a mossy cave,
|
||
With her face up to heaven; that seemed to have
|
||
Pleasing remembrance of a thought foregone;
|
||
A lovely Beauty in a summer grave!
|
||
[ Sonnet, by William Wordsworth ]
|
||
thug
|
||
A worshipper of Kali, who practised _thuggee_, the strangling
|
||
of human victims in the name of the religion. Robbery of the
|
||
victim provided the means of livelihood. They were also
|
||
called _Phansigars_ (Noose operators) from the method employed.
|
||
Vigorous suppression was begun by Lord William Bentinck in
|
||
1828, but the fraternity did not become completely extinct
|
||
for another 50 years or so.
|
||
In common parlance the word is used for any violent "tough".
|
||
[ Brewer's Concise Dictionary of Phrase and Fable ]
|
||
tiamat*
|
||
So, you have come this
|
||
far----
|
||
I, TIAMAT the FIEND of
|
||
the Wind will now put an
|
||
end to your adventure!!
|
||
[ Final Fantasy ]
|
||
tiger
|
||
1. A well-known tropical predator (_Felis tigris_): a
|
||
feline. It has a yellowish skin with darker spots or
|
||
stripes. 2. Figurative: _a paper tiger_, something that is
|
||
meant to scare, but has no really scaring effect whatsoever,
|
||
(after a statement by Mao Ze Dong, August 1946).
|
||
[ Van Dale's Groot Woordenboek der Nederlandse Taal ]
|
||
|
||
Tyger! Tyger! burning bright
|
||
In the forests of the night,
|
||
What immortal hand or eye
|
||
Could frame thy fearful symmetry?
|
||
[ The Tyger, by William Blake ]
|
||
tin
|
||
tin of *
|
||
tinning kit
|
||
"You know salmon, Sarge," said Nobby.
|
||
"It is a fish of which I am aware, yes."
|
||
"You know they sell kind of slices of it in tins..."
|
||
"So I am given to understand, yes."
|
||
"Weell...how come all the tins are the same size? Salmon
|
||
gets thinner at both ends."
|
||
"Interesting point, Nobby. I think-"
|
||
[ Soul Music, by Terry Pratchett ]
|
||
tin opener
|
||
Less than thirty Cat tribes now survived, roaming the cargo
|
||
decks on their hind legs in a desperate search for food.
|
||
But the food had gone.
|
||
The supplies were finished.
|
||
Weak and ailing, they prayed at the supply hold's silver
|
||
mountains: huge towering acres of metal rocks which, in their
|
||
pagan way, the mutant Cats believed watched over them.
|
||
Amid the wailing and the screeching one Cat stood up and held
|
||
aloft the sacred icon. The icon which had been passed down
|
||
as holy, and one day would make its use known.
|
||
It was a piece of V-shaped metal with a revolving handle on
|
||
its head.
|
||
He took down a silver rock from the silver mountain, while
|
||
the other Cats cowered and screamed at the blasphemy.
|
||
He placed the icon on the rim of the rock, and turned the
|
||
handle.
|
||
And the handle turned.
|
||
And the rock opened.
|
||
And inside the rock was Alphabetti spaghetti in tomato sauce.
|
||
[ Red Dwarf, by Rob Grant and Doug Naylor ]
|
||
titan
|
||
Gaea, mother earth, arose from the Chaos and gave birth to
|
||
Uranus, heaven, who became her consort. Uranus hated all
|
||
their children, because he feared they might challenge his
|
||
own authority. Those children, the Titans, the Gigantes,
|
||
and the Cyclops, were banished to the nether world. Their
|
||
enraged mother eventually released the youngest titan,
|
||
Chronos (time), and encouraged him to castrate his father and
|
||
rule in his place. Later, he too was challenged by his own
|
||
son, Zeus, and he and his fellow titans were ousted from
|
||
Mount Olympus.
|
||
[ Greek Mythology, by Richard Patrick ]
|
||
tobiume
|
||
Kochifukaba
|
||
nioiokoseyo
|
||
umenohana.
|
||
Arujinashitote
|
||
harunawasureso
|
||
[ a waka by Michizane Sugawara ]
|
||
|
||
A powerful fire-type soul-cutting sword, Tobiume (Flying
|
||
Plum Tree) launches searing fireballs from behind a stiff
|
||
defense.
|
||
|
||
Tobiume takes the form of a three-branched-sword, it's two side
|
||
branches making it strong defensively but awkward on the offense.
|
||
Tobiume is a mage's sword, able to draw on the mystical energies
|
||
of its wielder to launch fireballs without pause. Should the
|
||
wielder be forced into close combat, the branches can be used to
|
||
disarm weapon-wielding opponents. Should the wielder succeed in
|
||
overcoming an opponent in melee, Tobiume will launch their bodies
|
||
backwards much like one of its fireballs.
|
||
|
||
When East Winds blow
|
||
send me your sweet scent
|
||
my blooming plum!
|
||
Though your master's gone
|
||
Do not forget the Spring!
|
||
[ translation of same;
|
||
from The 5th Season, by Robin Gill ]
|
||
topaz
|
||
Aluminum silicate mineral with either hydroxyl radicals or
|
||
fluorine, Al2SiO4(F,OH)2, used as a gem. It is commonly
|
||
colorless or some shade of pale yellow to wine-yellow;
|
||
[...] The stone is transparent with a vitreous luster. It has
|
||
perfect cleavage on the basal pinacoid, but it is nevertheless
|
||
hard and durable. The brilliant cut is commonly used. Topaz
|
||
crystals, which are of the orthorhombic system, occur in highly
|
||
acid igneous rocks, e.g., granites and rhyolites, and in
|
||
metamorphic rocks, e.g., gneisses and schists.
|
||
[ The Columbia Encyclopedia, Sixth Edition ]
|
||
touch*stone
|
||
"Gold is tried by a touchstone, men by gold."
|
||
[ Chilon (c. 560 BC) ]
|
||
tourist
|
||
* tourist
|
||
The road from Ankh-Morpork to Chrim is high, white and
|
||
winding, a thirty-league stretch of potholes and half-buried
|
||
rocks that spirals around mountains and dips into cool green
|
||
valleys of citrus trees, crosses liana-webbed gorges on
|
||
creaking rope bridges and is generally more picturesque than
|
||
useful.
|
||
Picturesque. That was a new word to Rincewind the wizard
|
||
(BMgc, Unseen University [failed]). It was one of a number
|
||
he had picked up since leaving the charred ruins of
|
||
Ankh-Morpork. Quaint was another one. Picturesque meant --
|
||
he decided after careful observation of the scenery that
|
||
inspired Twoflower to use the word -- that the landscape was
|
||
horribly precipitous. Quaint, when used to describe the
|
||
occasional village through which they passed, meant fever-
|
||
ridden and tumbledown.
|
||
Twoflower was a tourist, the first ever seen on the discworld.
|
||
Tourist, Rincewind had decided, meant "idiot".
|
||
[ The Colour of Magic, by Terry Pratchett ]
|
||
tove
|
||
'Twas brillig, and the slithy toves
|
||
Did gyre and gimble in the wabe;
|
||
All mimsy were the borogoves,
|
||
And the mome raths outgrabe.
|
||
[ Jabberwocky, by Lewis Carroll ]
|
||
|
||
Something like badgers -
|
||
they're something like lizards -
|
||
and they are something like corkscrews.
|
||
[ Through the Looking Glass, by Lewis Carroll ]
|
||
towel
|
||
The Hitchhiker's Guide to the Galaxy has a few things to say
|
||
on the subject of towels.
|
||
A towel, it says, is about the most massively useful thing
|
||
an interstellar hitchhiker can have. Partly it has great
|
||
practical value. You can wrap it around you for warmth as
|
||
you bound across the cold moons of Jaglan Beta; you can lie
|
||
on it on the brilliant marble-sanded beaches of Santraginus
|
||
V, inhaling the heady sea vapors; you can sleep under it
|
||
beneath the stars which shine so redly on the desert world
|
||
of Kakrafoon; use it to sail a miniraft down the slow heavy
|
||
River Moth; wet it for use in hand-to-hand combat; wrap it
|
||
round your head to ward off noxious fumes or avoid the gaze
|
||
of the Ravenous Bugblatter Beast of Traal (a mind-bogglingly
|
||
stupid animal, it assumes that if you can't see it, it can't
|
||
see you - daft as a brush, but very very ravenous); you can
|
||
wave your towel in emergencies as a distress signal, and of
|
||
course dry yourself off with it if it still seems to be clean
|
||
enough.
|
||
[ The Hitchhiker's Guide to the Galaxy,
|
||
by Douglas Adams ]
|
||
*tower
|
||
*tower of darkness
|
||
Towers (_brooding_, _dark_) stand alone in Waste Areas and
|
||
almost always belong to Wizards. All are several stories high,
|
||
round, doorless, virtually windowless, and composed of smooth
|
||
blocks of masonry that make them very hard to climb. [...]
|
||
You will have to go to a Tower and then break into it at some
|
||
point towards the end of your Tour.
|
||
[ The Tough Guide to Fantasyland, by Diana Wynne Jones ]
|
||
trap*door
|
||
I knew my Erik too well to feel at all comfortable on jumping
|
||
into his house. I knew what he had made of a certain palace at
|
||
Mazenderan. From being the most honest building conceivable, he
|
||
soon turned it into a house of the very devil, where you could
|
||
not utter a word but it was overheard or repeated by an echo.
|
||
With his trap-doors the monster was responsible for endless
|
||
tragedies of all kinds.
|
||
[ The Phantom of the Opera, by Gaston Leroux ]
|
||
# takes "trapper or lurker above" when specifying "t"
|
||
trapper
|
||
trapper or lurker above
|
||
The trapper is a creature which has evolved a chameleon-like
|
||
ability to blend into the dungeon surroundings. It captures
|
||
its prey by remaining very still and blending into the
|
||
surrounding dungeon features, until an unsuspecting creature
|
||
passes by. It wraps itself around its prey and digests it.
|
||
tree
|
||
I think that I shall never see
|
||
A poem lovely as a tree.
|
||
A tree whose hungry mouth is prest
|
||
Against the earth's sweet flowing breast;
|
||
A tree that looks at God all day,
|
||
And lifts her leafy arms to pray;
|
||
A tree that may in Summer wear
|
||
A nest of robins in her hair;
|
||
Upon whose bosom snow has lain;
|
||
Who intimately lives with rain.
|
||
Poems are made by fools like me,
|
||
But only God can make a tree.
|
||
[ Trees, by Joyce Kilmer ]
|
||
treesinger
|
||
I sang of leaves, of leaves of gold,
|
||
and leaves of gold there grew:
|
||
Of wind I sang, a wind there came
|
||
and in the branches blew.
|
||
Beyond the Sun, beyond the Moon,
|
||
the foam was on the Sea,
|
||
And by the strand of Ilmarin
|
||
there grew a golden Tree.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
trilobite
|
||
Trilobite, any member of a group of extinct fossil arthropods
|
||
easily recognized by their distinctive three-lobed, three-
|
||
segmented form. Trilobites, exclusively marine animals, first
|
||
appeared at the beginning of the Cambrian Period, about 542
|
||
million years ago, when they dominated the seas. Although
|
||
they became less abundant in succeeding geologic periods, a
|
||
few forms persisted into the Permian Period, which ended
|
||
about 251 million years ago.
|
||
[ Encyclopaedia Britannica ]
|
||
tripe
|
||
tripe ration
|
||
If you start from scratch, cooking tripe is a long-drawn-out
|
||
affair. Fresh whole tripe calls for a minimum of 12 hours of
|
||
cooking, some time-honored recipes demanding as much as 24.
|
||
To prepare fresh tripe, trim if necessary. Wash it thoroughly,
|
||
soaking overnight, and blanch, for 1/2 hour in salted water.
|
||
Wash well again, drain and cut for cooking. When cooked, the
|
||
texture of tripe should be like that of soft gristle. More
|
||
often, alas, because the heat has not been kept low enough,
|
||
it has the consistency of wet shoe leather.
|
||
[ Joy of Cooking, by I Rombauer and M Becker ]
|
||
*troll
|
||
The troll shambled closer. He was perhaps eight feet tall,
|
||
perhaps more. His forward stoop, with arms dangling past
|
||
thick claw-footed legs to the ground, made it hard to tell.
|
||
The hairless green skin moved upon his body. His head was a
|
||
gash of a mouth, a yard-long nose, and two eyes which drank
|
||
the feeble torchlight and never gave back a gleam.
|
||
[...]
|
||
Like a huge green spider, the troll's severed hand ran on its
|
||
fingers. Across the mounded floor, up onto a log with one
|
||
taloned forefinger to hook it over the bark, down again it
|
||
scrambled, until it found the cut wrist. And there it grew
|
||
fast. The troll's smashed head seethed and knit together.
|
||
He clambered back on his feet and grinned at them. The
|
||
waning faggot cast red light over his fangs.
|
||
[ Three Hearts and Three Lions, by Poul Anderson ]
|
||
*tsurugi of muramasa
|
||
This most ancient of swords has been passed down through the
|
||
leadership of the Samurai legions for hundreds of years. It
|
||
is said to grant luck to its wielder, but its main power is
|
||
terrible to behold. It has the capability to cut in half any
|
||
creature it is wielded against, instantly killing them.
|
||
~*muramasa
|
||
tsurugi
|
||
The tsurugi, also known as the long samurai sword, is an
|
||
extremely sharp, two-handed blade favored by the samurai.
|
||
It is made of hardened steel, and is manufactured using a
|
||
special process, causing it to never rust. The tsurugi is
|
||
rumored to be so sharp that it can occasionally cut
|
||
opponents in half!
|
||
~*spellbook
|
||
turquoise*
|
||
TUBAL: There came divers of Antonio's creditors in my company
|
||
to Venice that swear he cannot choose but break.
|
||
SHYLOCK: I am very glad of it; I'll plague him, I'll torture him;
|
||
I am glad of it.
|
||
TUBAL: One of them showed me a ring that he had of your
|
||
daughter for a monkey.
|
||
SHYLOCK: Out upon her! Thou torturest me, Tubal. It was my
|
||
turquoise; I had it of Leah when I was a bachelor; I
|
||
would not have given it for a wilderness of monkeys.
|
||
[ The Merchant of Venice, by William Shakespeare ]
|
||
*twin gear*spirit*
|
||
The Clockwork Perfection of Mechanus is driven by great
|
||
gears. Tending these gears and making sure they run
|
||
smoothly are given to creatures called "gear spirits."
|
||
These gear spirits have the ability to turn themselves
|
||
into almost any tool or common mechanical device... even
|
||
crossbows. This dual crossbow is actually two gear spirits,
|
||
and they seem to have willingly fled with from Mechanus.
|
||
|
||
Their duties are so essential to the smooth functioning of
|
||
Mechanus that the modrons have officially assigned these
|
||
spirits to the various gears. While the gear spirits love
|
||
the gears they tend so much, their servitude to the modrons
|
||
rankles them, making them somewhat disgruntled. As a
|
||
result, there are tales of gear spirits that leave the
|
||
great gears of Mechanus, leaving their duties for a while
|
||
to sample the Planes beyond their own. Most likely, these
|
||
two spirits caught this wanderlust, and they now piggyback
|
||
along with you, peppering any hostile creature they see
|
||
with crossbow bolts. The gear spirits can make endless
|
||
supplies of these bolts, so there is never any need for
|
||
to reload unless you wish to fire special crossbow bolts.
|
||
|
||
The spirits occasionally make small clicking and rattling
|
||
noises. They seem to be talking to each other, but their
|
||
conversation is indecipherable. They're most likely
|
||
discussing the finer points of crossbow mechanics.
|
||
[ Adapted from Planescape: Torment ]
|
||
twoflower
|
||
guide
|
||
"Rincewind!"
|
||
Twoflower sprang off the bed. The wizard jumped back,
|
||
wrenching his features into a smile.
|
||
"My dear chap, right on time! We'll just have lunch, and
|
||
then I'm sure you've got a wonderful programme lined up for
|
||
this afternoon!"
|
||
"Er --"
|
||
"That's great!"
|
||
Rincewind took a deep breath. "Look," he said desperately,
|
||
"let's eat somewhere else. There's been a bit of a fight
|
||
down below."
|
||
"A tavern brawl? Why didn't you wake me up?"
|
||
"Well, you see, I - _what_?"
|
||
"I thought I made myself clear this morning, Rincewind. I
|
||
want to see genuine Morporkian life - the slave market, the
|
||
Whore Pits, the Temple of Small Gods, the Beggar's Guild...
|
||
and a genuine tavern brawl." A faint note of suspicion
|
||
entered Twoflower's voice. "You _do_ have them, don't you?
|
||
You know, people swinging on chandeliers, swordfights over
|
||
the table, the sort of thing Hrun the Barbarian and the
|
||
Weasel are always getting involved in. You know --
|
||
_excitement_."
|
||
[ The Colour of Magic, by Terry Pratchett ]
|
||
tyr
|
||
Yet remains that one of the Aesir who is called Tyr:
|
||
he is most daring, and best in stoutness of heart, and he
|
||
has much authority over victory in battle; it is good for
|
||
men of valor to invoke him. It is a proverb, that he is
|
||
Tyr-valiant, who surpasses other men and does not waver.
|
||
He is wise, so that it is also said, that he that is wisest
|
||
is Tyr-prudent. This is one token of his daring: when the
|
||
Aesir enticed Fenris-Wolf to take upon him the fetter Gleipnir,
|
||
the wolf did not believe them, that they would loose him,
|
||
until they laid Tyr's hand into his mouth as a pledge. But
|
||
when the Aesir would not loose him, then he bit off the hand
|
||
at the place now called 'the wolf's joint;' and Tyr is one-
|
||
handed, and is not called a reconciler of men.
|
||
[ The Prose Edda, by Snorri Sturluson ]
|
||
*hulk
|
||
Umber hulks are powerful subterranean predators whose
|
||
iron-like claws allow them to burrow through solid stone in
|
||
search of prey. They are tremendously strong; muscles bulge
|
||
beneath their thick, scaly hides and their powerful arms and
|
||
legs all end in great claws.
|
||
*unicorn
|
||
unicorn horn
|
||
Men have always sought the elusive unicorn, for the single
|
||
twisted horn which projected from its forehead was thought to
|
||
be a powerful talisman. It was said that the unicorn had
|
||
simply to dip the tip of its horn in a muddy pool for the water
|
||
to become pure. Men also believed that to drink from this horn
|
||
was a protection against all sickness, and that if the horn was
|
||
ground to a powder it would act as an antidote to all poisons.
|
||
Less than 200 years ago in France, the horn of a unicorn was
|
||
used in a ceremony to test the royal food for poison.
|
||
|
||
Although only the size of a small horse, the unicorn is a very
|
||
fierce beast, capable of killing an elephant with a single
|
||
thrust from its horn. Its fleetness of foot also makes this
|
||
solitary creature difficult to capture. However, it can be
|
||
tamed and captured by a maiden. Made gentle by the sight of a
|
||
virgin, the unicorn can be lured to lay its head in her lap, and
|
||
in this docile mood, the maiden may secure it with a golden rope.
|
||
[ Mythical Beasts, by Deirdre Headon (The Leprechaun Library) ]
|
||
|
||
Martin took a small sip of beer. "Almost ready," he said.
|
||
"You hold your beer awfully well."
|
||
Tlingel laughed. "A unicorn's horn is a detoxicant. Its
|
||
possession is a universal remedy. I wait until I reach the
|
||
warm glow stage, then I use my horn to burn off any excess and
|
||
keep me right there."
|
||
[ Unicorn Variations, by Roger Zelazny ]
|
||
~priest of an unknown god
|
||
*unknown god
|
||
"You sing of the young gods easily
|
||
In the days when you are young;
|
||
But I go smelling yew and sods,
|
||
And I know there are gods behind the gods,
|
||
Gods that are best unsung.
|
||
|
||
"And a man grows ugly for women,
|
||
And a man grows dull with ale,
|
||
Well if he find in his soul at last
|
||
Fury, that does not fail.
|
||
|
||
"The wrath of the gods behind the gods
|
||
Who would rend all gods and men,
|
||
Well if the old man's heart hath still
|
||
Wheels sped of rage and roaring will,
|
||
Like cataracts to break down and kill,
|
||
Well for the old man then--
|
||
|
||
"While there is one tall shrine to shake,
|
||
Or one live man to rend;
|
||
For the wrath of the gods behind the gods
|
||
Who are weary to make an end.
|
||
|
||
"There lives one moment for a man
|
||
When the door at his shoulder shakes,
|
||
When the taut rope parts under the pull,
|
||
And the barest branch is beautiful
|
||
One moment, while it breaks.
|
||
|
||
"So rides my soul upon the sea
|
||
That drinks the howling ships,
|
||
Though in black jest it bows and nods
|
||
Under the moons with silver rods,
|
||
I know it is roaring at the gods,
|
||
Waiting the last eclipse.
|
||
|
||
"And in the last eclipse the sea
|
||
Shall stand up like a tower,
|
||
Above all moons made dark and riven,
|
||
Hold up its foaming head in heaven,
|
||
And laugh, knowing its hour.
|
||
|
||
"And the high ones in the happy town
|
||
Propped of the planets seven,
|
||
Shall know a new light in the mind,
|
||
A noise about them and behind,
|
||
Shall hear an awful voice, and find
|
||
Foam in the courts of heaven.
|
||
[ The Ballad of the White Horse, by G. K. Chesterton ]
|
||
upgrade kit
|
||
An assortment of tools, components, and other miscellaneous things
|
||
that can be used to do anything from upgrading clockwork automatons
|
||
to tripling the size of some plate mail armor. No prior skill is
|
||
required -- just open up the kit and go!
|
||
uranium imp
|
||
Despite being imbued with reality-warping powers, these trouble-
|
||
making servants of darkness seem unaware of their true power, and
|
||
probably would run away if yelled at.
|
||
|
||
GG: those stupid things are impossible to kill :(
|
||
TG: no you can kill them
|
||
TG: youll get better dont worry
|
||
[ Homestuck Act 5, by Andrew Hussie ]
|
||
uruk*hai
|
||
uruk*captain
|
||
"What of the dawn?" they jeered. "We are the Uruk-hai:
|
||
we do not stop the fight for night or day, for fair
|
||
weather or for storm. We come to kill, by sun or moon.
|
||
What of the dawn?"
|
||
[ The Two Towers, by J.R.R. Tolkien ]
|
||
uvuudaum
|
||
Strange creatures with long, claw-tipped tentacles in place
|
||
of heads, Uvuudaums hail from far realms beyond the known
|
||
planes. It is said that they are the lords of those realms,
|
||
although evidence for this is thin at best. As with all
|
||
supposed facts about that place, this claim is more likely
|
||
a gross anthropomorphism, if not an outright falsehood.
|
||
The merest glimpse of their form drives men mad, and they
|
||
are capable of crushing a man's head with a single flick
|
||
of their headspikes. Even if the victim escapes this fate,
|
||
their long spikes run with strange venoms.
|
||
valkyrie
|
||
* valkyrie
|
||
The Valkyries were the thirteen choosers of the slain, the
|
||
beautiful warrior-maids of Odin who rode through the air and
|
||
over the sea. They watched the progress of the battle and
|
||
selected the heroes who were to fall fighting. After they
|
||
were dead, the maidens rewarded the heroes by kissing them
|
||
and then led their souls to Valhalla, where the warriors
|
||
lived happily in an ideal existence, drinking and eating
|
||
without restraint and fighting over again the battles in
|
||
which they died and in which they had won their deathless
|
||
fame.
|
||
[ The Encyclopaedia of Myths and Legends of All
|
||
Nations, by Herbert Robinson and Knox
|
||
Wilson ]
|
||
vampire
|
||
vampire bat
|
||
vampire lord
|
||
vampire mage
|
||
The Oxford English Dictionary is quite unequivocal:
|
||
_vampire_ - "a preternatural being of a malignant nature (in
|
||
the original and usual form of the belief, a reanimated
|
||
corpse), supposed to seek nourishment, or do harm, by sucking
|
||
the blood of sleeping persons. ..."
|
||
vampire killer
|
||
"I am the morning sun, come to vanquish this horrible night!"
|
||
[ Castlevania: Order of Ecclesia ]
|
||
venus
|
||
Venus, the goddess of love and beauty, was the daughter of
|
||
Jupiter and Dione. Others say that Venus sprang from the
|
||
foam of the sea. The zephyr wafted her along the waves to
|
||
the Isle of Cyprus, where she was received and attired by
|
||
the Seasons, and then led to the assembly of the gods. All
|
||
were charmed with her beauty, and each one demanded her
|
||
for his wife. Jupiter gave her to Vulcan, in gratitude for
|
||
the service he had rendered in forging thunderbolts. So
|
||
the most beautiful of the goddesses became the wife of the
|
||
most ill-favoured of gods.
|
||
[ Bulfinch's Mythology, by Thomas Bulfinch ]
|
||
victorian underwear
|
||
The Victorian woman wore an extraordinary amount of
|
||
underwear. The basic items consisted of chemise, drawers,
|
||
corset and several petticoats. In general, these main
|
||
garments remained throughout the period, but new ones were
|
||
added (and taken away, too), including crinolines, bustles,
|
||
corset covers and combinations.
|
||
[ An Overview of Underwear, Ladies Treasury 2003 ]
|
||
|
||
-Elizabeth, how's it coming?
|
||
-It's difficult *gasps* to say.
|
||
-I'm told it's the latest fashion in London.
|
||
-Well, women in London must have learnt to not breathe.
|
||
[ Pirates of the Caribbean ]
|
||
violet fungus
|
||
Violet fungus growths resemble shriekers, and are usually
|
||
encountered with them. The latter are immune to the touch of
|
||
violet fungi, and the two types of creatures complement each
|
||
other's existence.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
viper tree
|
||
This creature might be mistaken for a white beech tree at a
|
||
distance. A closer look, however, reveals reptilian skin and
|
||
branches tipped with fanged viper heads.
|
||
[ Expedition to the Demonweb Pits, by Wolfgang Baur
|
||
and Gwendolyn F.M. Kestrel ]
|
||
vlad*
|
||
Vlad Dracula the Impaler was a 15th-Century monarch of the
|
||
Birgau region of the Carpathian Mountains, in what is now
|
||
Romania. In Romanian history he is best known for two things.
|
||
One was his skilled handling of the Ottoman Turks, which kept
|
||
them from making further inroads into Christian Europe. The
|
||
other was the ruthless manner in which he ran his fiefdom.
|
||
He dealt with perceived challengers to his rule by impaling
|
||
them upright on wooden stakes. Visiting dignitaries who
|
||
failed to doff their hats had them nailed to their head.
|
||
vorpal*
|
||
The Cat materialized at the far end of the bar, downed the
|
||
Hatter's drink, and said, "I hear the burbling, and eyes of
|
||
flame are drifting to the left."
|
||
I glanced at the mural, and I, too, saw the fiery eyes and heard
|
||
a peculiar sound.
|
||
"It could be any number of things," Luke remarked.
|
||
The Cat moved to a rack behind the bar and reached high up on
|
||
the wall to where a strange weapon hung, shimmering and shifting
|
||
in shadow. He lowered the thing and slid it along the bar; it came
|
||
to rest before Luke.
|
||
"Better have the Vorpal Sword in hand, that's all I can say."
|
||
Luke laughed, but I stared fascinated at the device which looked
|
||
as if it were made of moth wings and folded moonlight.
|
||
[ Sign of Chaos, by Roger Zelazny ]
|
||
voulge
|
||
pole cleaver
|
||
Place a cleaver at the end of a seven to nine foot shaft
|
||
(2 to 2.7 meters) and you end up with this weapon. Its
|
||
short broad blade is ideal for slicing through armor.
|
||
|
||
/\
|
||
/ \
|
||
| \
|
||
Z[ |
|
||
H| |
|
||
H| |
|
||
H| |
|
||
Z[__-'
|
||
H
|
||
*vortex
|
||
vortices
|
||
Swirling clouds of pure elemental energies, the vortices are
|
||
thought to be related to the larger elementals. Though the
|
||
vortices do no damage when touched, they are noted for being
|
||
able to envelop unwary travellers. The hapless fool thus
|
||
swallowed by a vortex will soon perish from exposure to the
|
||
element the vortex is composed of.
|
||
voulge
|
||
Place a hefty cleaver at the end of a long, stout shaft, and
|
||
the leverage which the pole gives the wielder will enable him
|
||
to cleave through armor. The voulge has no provision to keep
|
||
the enemy at a distance in its basic model, but with the top
|
||
front or back edge is ground down so as to provide a pointed,
|
||
dagger-like tip, the weapon assumes a more complete form.
|
||
vrock
|
||
The vrock is one of the weaker forms of demon. It resembles
|
||
a cross between a human being and a vulture and does physical
|
||
damage by biting and by using the claws on both its arms and
|
||
feet.
|
||
wage of *
|
||
The economies of the lower planes are ultimately based on the
|
||
transmigration of souls, however well the fiends use coins of
|
||
gold. Though most damned souls are reborn as least fiends,
|
||
those who lived lives dominated by the pure expression of a
|
||
single sin are instead smelted into soul coins.
|
||
|
||
The pietous may wish to sanctify the container and attempt to
|
||
set the soul free, while the morally flexible may wish to take
|
||
up the sin and harness the soul's energy to their own benefit.
|
||
A doubly-damned coin amplifies both its effects and the moral
|
||
cost of its use.
|
||
wakizashi
|
||
A wakizashi was used as a samurai's weapon when the katana was
|
||
unavailable. When entering a building, a samurai would leave
|
||
his katana on a rack near the entrance. However, the wakizashi
|
||
would be worn at all times, and therefore, it made a sidearm for
|
||
the samurai (similar to a soldier's use of a pistol). The samurai
|
||
would have worn it from the time they awoke to the time they went
|
||
to sleep. In earlier periods, and especially during times of civil
|
||
wars, a tanto was worn in place of a wakizashi.
|
||
[ Wikipedia, the free encyclopedia ]
|
||
# takes "wand or a wall" when specifying "/"
|
||
~*sleep
|
||
~wand of death
|
||
wand of *
|
||
*wand
|
||
'Saruman!' he cried, and his voice grew in power and authority.
|
||
'Behold, I am not Gandalf the Grey, whom you betrayed. I am
|
||
Gandalf the White, who has returned from death. You have no
|
||
colour now, and I cast you from the order and from the Council.'
|
||
He raised his hand, and spoke slowly in a clear cold voice.
|
||
'Saruman, your staff is broken.' There was a crack, and the
|
||
staff split asunder in Saruman's hand, and the head of it
|
||
fell down at Gandalf's feet. 'Go!' said Gandalf. With a cry
|
||
Saruman fell back and crawled away.
|
||
[ The Two Towers, by J.R.R. Tolkien ]
|
||
ward
|
||
Apotropaic magic (from Greek apotrepein, to ward off : apo-,
|
||
away + trepein, to turn) is a type of magic intended to
|
||
"turn away" harm or evil influences, as in deflecting
|
||
misfortune or averting the evil eye. "Apotropaic"
|
||
observances may also be practiced out of vague superstition
|
||
or out of tradition, as in good luck charm (perhaps some
|
||
token on a charm bracelet), amulets, or gestures like
|
||
fingers crossed or knocking on wood.
|
||
[ Wikipedia ]
|
||
warg
|
||
Suddenly Aragorn leapt to his feet. "How the wind howls!"
|
||
he cried. "It is howling with wolf-voices. The Wargs have
|
||
come west of the Mountains!"
|
||
"Need we wait until morning then?" said Gandalf. "It is as I
|
||
said. The hunt is up! Even if we live to see the dawn, who
|
||
now will wish to journey south by night with the wild wolves
|
||
on his trail?"
|
||
"How far is Moria?" asked Boromir.
|
||
"There was a door south-west of Caradhras, some fifteen miles
|
||
as the crow flies, and maybe twenty as the wolf runs,"
|
||
answered Gandalf grimly.
|
||
"Then let us start as soon as it is light tomorrow, if we can,"
|
||
said Boromir. "The wolf that one hears is worse than the orc
|
||
that one fears."
|
||
"True!" said Aragorn, loosening his sword in its sheath. "But
|
||
where the warg howls, there also the orc prowls."
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
~mjollnir
|
||
war*hammer
|
||
They had come together at the ford of the Trident while the
|
||
battle crashed around them, Robert with his warhammer and his
|
||
great antlered helm, the Targaryen prince armored all in
|
||
black. On his breastplate was the three-headed dragon of his
|
||
House, wrought all in rubies that flashed like fire in the
|
||
sunlight. The waters of the Trident ran red around the
|
||
hooves of their destriers as they circled and clashed, again
|
||
and again, until at last a crushing blow from Robert's hammer
|
||
stove in the dragon and the chest behind it. When Ned had
|
||
finally come on the scene, Rhaegar lay dead in the stream,
|
||
while men of both armies scrambled in the swirling waters for
|
||
rubies knocked free of his armor.
|
||
[ A Game of Thrones, by George R.R. Martin ]
|
||
*watcher in the water
|
||
'I felt that something horrible was near from the moment that
|
||
my foot first touched the water,' said Frodo. 'What was that
|
||
thing, or were there many of them?'
|
||
|
||
'I do not know,' answered Gandalf; 'but the arms were all
|
||
guided by one purpose. Something has crept, or has been
|
||
driven out of dark waters under the mountains. There are
|
||
older and fouler things than Orcs in the deep places of
|
||
the world.'
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
|
||
Far, far below the deepest delvings of the Dwarves, the
|
||
world is gnawed by nameless things. Even Sauron knows
|
||
them not. They are older than he. Now I have walked
|
||
there, but I will bring no report to darken the light
|
||
of day.
|
||
[ The Two Towers, by J.R.R. Tolkien ]
|
||
long sinuous tentacle
|
||
Out from the water a long sinuous tentacle had crawled; it
|
||
was pale-green and luminous and wet. Its fingered end had
|
||
hold of Frodo's foot, and was dragging him into the water.
|
||
Sam on his knees was now slashing at it with a knife. The
|
||
arm let go of Frodo, and Sam pulled him away, crying out
|
||
for help. Twenty other arms came rippling out. The dark
|
||
water boiled, and there was a hideous stench.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
watchman
|
||
They may be called the Palace Guard, the City Guard, or the
|
||
Patrol. Whatever their name, their purpoes in any work of
|
||
heroic fantasy is identical: it is, round about Chapter Three
|
||
(or ten minutes into the film) to rush into the room, attack
|
||
the hero one at a time, and be slaughtered. No-one ever asks
|
||
them if they wanted to.
|
||
[ Guards, Guards by Terry Pratchett ]
|
||
watch captain
|
||
"In all, I've had seventeen demands for your badge. Some want
|
||
parts of your body attached. Why did you have to upset
|
||
everybody?"
|
||
[ Feet of Clay, by Terry Pratchett ]
|
||
water
|
||
Day after day, day after day,
|
||
We stuck, nor breath nor motion;
|
||
As idle as a painted ship
|
||
Upon a painted ocean.
|
||
|
||
Water, water, everywhere,
|
||
And all the boards did shrink;
|
||
Water, water, everywhere
|
||
Nor any drop to drink.
|
||
[ The Rime of the Ancient Mariner, by Samuel Taylor
|
||
Coleridge ]
|
||
water demon
|
||
[ The monkey king ] walked along the bank, around the pond. He examined
|
||
the footprints of the animals that had gone into the water, and saw
|
||
that none came out again! So he realized this pond must be possessed
|
||
by a water demon. He said to the 80,000 monkeys, "This pond is
|
||
possessed by a water demon. Do not let anybody go into it."
|
||
|
||
After a little while, the water demon saw that none of the
|
||
monkeys went into the water to drink. So he rose out of the middle of
|
||
the pond, taking the shape of a frightening monster. He had a big blue
|
||
belly, a white face with bulging green eyes, and red claws and feet.
|
||
He said, "Why are you just sitting around? Come into the pond and drink
|
||
at once!"
|
||
|
||
The monkey king said to the horrible monster, "Are you the water
|
||
demon who owns this pond?" "Yes, I am," said he. "Do you eat whoever
|
||
goes into the water?" asked the king. "Yes, I do," he answered,
|
||
"including even birds. I eat them all. And when you are forced by your
|
||
thirst to come into the pond and drink, I will enjoy eating you, the
|
||
biggest monkey, most of all!" He grinned, and saliva dripped down his
|
||
hairy chin.
|
||
[ Buddhist Tales for Young and Old, Vol. 1 ]
|
||
*water walking*
|
||
And Peter answered him and said, Lord, if it be thou, bid me come unto
|
||
thee on the water. And he said, Come. And when Peter was come down out
|
||
of the ship, he walked on the water, to go to Jesus. But when he saw
|
||
the wind boisterous, he was afraid; and beginning to sink, he cried,
|
||
saying, Lord, save me. And immediately Jesus stretched forth his hand,
|
||
and caught him, and said unto him, O thou of little faith, wherefore
|
||
didst thou doubt? And when they were come into the ship, the wind ceased.
|
||
[ Matthew, 14:28-32 ]
|
||
weapon
|
||
A weapon is a device for making your enemy change his mind.
|
||
[ The Vor Game, by Lois McMaster Bujold ]
|
||
web
|
||
I watch her in the corner there,
|
||
As, restless, bold, and unafraid,
|
||
She slips and floats along the air
|
||
Till all her subtile house is made
|
||
|
||
Her home, her bed, her daily food
|
||
All from that hidden store she draws;
|
||
She fashions it and knows it good,
|
||
By instinct's strong and sacred laws.
|
||
|
||
No tenuous threads to weave her nest,
|
||
She seeks and gathers there or here;
|
||
But spins it from her faithful breast,
|
||
Renewing still, till leaves are sere.
|
||
|
||
Then, worn with toil, and tired of life,
|
||
In vain her shining traps are set.
|
||
Her frost hath hushed the insect strife
|
||
And gilded flies her charm forget.
|
||
|
||
But swinging in the snares she spun,
|
||
She sways to every winter wind:
|
||
Her joy, her toil, her errand done,
|
||
Her corse the sport of storms unkind.
|
||
[ Arachne, by Rose Terry Cooke ]
|
||
|
||
Oh what a tangled web we weave,
|
||
When first we practise to deceive!
|
||
[ Marmion, by Sir Walter Scott ]
|
||
weeping *angel
|
||
Lonely assassins they used to be called. No one quite knows
|
||
where they came from, but they're as old as the universe. Or
|
||
very nearly, and they have survived this long because they
|
||
have the most perfect defense system ever evolved. They're
|
||
quantum locked. They don't exist when they're being observed,
|
||
in the moment they are seen by any other living creature
|
||
they freeze into rock. No choice, it's a fact that their
|
||
biology, in the sight of any other living thing they literally
|
||
turn to stone. And you can't kill a stone. 'Course a stone
|
||
can't kill you either, but then you turn your head away.
|
||
Then you blink. And oh yes it can.
|
||
[ Doctor Who, "Blink" ]
|
||
|
||
"This whole book, it's a warning about the weeping angels, so
|
||
why no pictures? Why not show us what to look out for?"
|
||
"There was a bit about images. What was that?"
|
||
"Yes. Hang on.... 'That which holds the image of an angel
|
||
becomes itself an angel.'"
|
||
[ Doctor Who, "The Time of Angels" ]
|
||
whistle
|
||
There were legends both on the front and on the back of the
|
||
whistle. The one read thus:
|
||
|
||
FLA FUR BIS FLE The other: QUIS EST ISTE QUI VENIT
|
||
'I ought to be able to make it out,' he thought;
|
||
'but I suppose I am a little rusty in my Latin.
|
||
When I come to think of it, I don't believe I even
|
||
know the word for a whistle. The long one does seem
|
||
simple enough. It ought to mean, "Who is this who is coming?"
|
||
|
||
Well, the best way to find out is evidently to whistle
|
||
for him.'
|
||
|
||
[Ghost Stories of an Antiquary, by Montague Rhodes James
|
||
'Oh, Whistle, and I'll Come to You My Lad']
|
||
# werecritter -- see "lycanthrope"
|
||
*wight
|
||
A wight is a fearsome undead spirit inhabiting the remains of a
|
||
deceased humanoid. Due to their corporeal nature, wights are able
|
||
to make use of both weapons and magic.
|
||
|
||
When he came to himself again, for a moment he could recall
|
||
nothing except a sense of dread. Then suddenly he knew that
|
||
he was imprisoned, caught hopelessly; he was in a barrow. A
|
||
Barrow-wight had taken him, and he was probably already under
|
||
the dreadful spells of the Barrow-wights about which whispered
|
||
tales spoke. He dared not move, but lay as he found himself:
|
||
flat on his back upon a cold stone with his hands on his
|
||
breast.
|
||
[ The Fellowship of the Ring, by J.R.R. Tolkien ]
|
||
winged kobold
|
||
All kobolds believe themselves to be descended from dragons.
|
||
The race of winged kobolds (Urds) just has a bit more
|
||
evidence than the rest.
|
||
~gnomish wizard
|
||
wizard
|
||
* wizard
|
||
apprentice
|
||
Ebenezum walked before me along the closest thing we could
|
||
find to a path in these overgrown woods. Every few paces he
|
||
would pause, so that I, burdened with a pack stuffed with
|
||
arcane and heavy paraphernalia, could catch up with his
|
||
wizardly strides. He, as usual, carried nothing, preferring,
|
||
as he often said, to keep his hands free for quick conjuring
|
||
and his mind free for the thoughts of a mage.
|
||
[ A Dealing with Demons, by Craig Shaw Gardner ]
|
||
rodney
|
||
wizard of yendor
|
||
No one knows how old this mighty wizard is, or from whence he
|
||
came. It is known that, having lived a span far greater than
|
||
any normal man's, he grew weary of lesser mortals; and so,
|
||
spurning all human company, he forsook the dwellings of men
|
||
and went to live in the depths of the Earth. He took with
|
||
him a dreadful artifact, the Book of the Dead, which is said
|
||
to hold great power indeed. Many have sought to find the
|
||
wizard and his treasure, but none have found him and lived to
|
||
tell the tale. Woe be to the incautious adventurer who
|
||
disturbs this mighty sorcerer!
|
||
wolf
|
||
*wolf
|
||
*wolf cub
|
||
The ancestors of the modern day domestic dog, wolves are
|
||
powerful muscular animals with bushy tails. Intelligent,
|
||
social animals, wolves live in family groups or packs made
|
||
up of multiple family units. These packs cooperate in hunting
|
||
down prey.
|
||
*wolfsbane
|
||
1. Any of various, usually poisonous perennial herbs of the
|
||
genus Aconitum, having tuberous roots, palmately lobed leaves,
|
||
blue or white flowers with large hoodlike upper sepals, and an
|
||
aggregate of follicles. 2. The dried leaves and roots of some
|
||
of these plants, which yield a poisonous alkaloid that was
|
||
formerly used medicinally. In both senses also called monkshood.
|
||
[ The American Heritage Dictionary of the English Language,
|
||
Fourth Edition. ]
|
||
wood golem
|
||
Come, old broomstick, you are needed,
|
||
Take these rags and wrap them round you!
|
||
Long my orders you have heeded,
|
||
By my wishes now I've bound you.
|
||
Have two legs and stand,
|
||
And a head for you.
|
||
Run, and in your hand
|
||
Hold a bucket too.
|
||
...
|
||
See him, toward the shore he's racing
|
||
There, he's at the stream already,
|
||
Back like lightning he is chasing,
|
||
Pouring water fast and steady.
|
||
Once again he hastens!
|
||
How the water spills,
|
||
How the water basins
|
||
Brimming full he fills!
|
||
[ The Sorcerer's Apprentice, by Johann Wolfgang von Goethe,
|
||
translation by Edwin Zeydel ]
|
||
woodchuck
|
||
The Usenet Oracle requires an answer to this question!
|
||
|
||
> How much wood could a woodchuck chuck if a woodchuck could
|
||
> chuck wood?
|
||
|
||
"Oh, heck! I'll handle *this* one!" The Oracle spun the terminal
|
||
back toward himself, unlocked the ZOT-guard lock, and slid the
|
||
glass guard away from the ZOT key. "Ummmm....could you turn around
|
||
for a minute? ZOTs are too graphic for the uninitiated. Even *I*
|
||
get a little squeamish sometimes..." The neophyte turned around,
|
||
and heard the Oracle slam his finger on a computer key, followed
|
||
by a loud ZZZZOTTTTT and the smell of ozone.
|
||
[ Excerpted from Internet Oracularity 576.6 ]
|
||
# avoid false hits for non-long worms
|
||
worm
|
||
long worm
|
||
long worm tail
|
||
Where the dunes began, perhaps fifty metres away at the foot of a
|
||
rock beach, a silver-gray curve broached from the desert, sending
|
||
rivers of sand and dust cascading all around. It lifted higher,
|
||
resolved into a giant, questing mouth. It was a round, black hole
|
||
with edges glistening in the moonlight.
|
||
The mouth snaked toward the narrow crack where Paul and Jessica
|
||
huddled. Cinnamon yelled in their nostrils. Moonlight flashed from
|
||
crystal teeth.
|
||
[ Dune, by Frank Herbert ]
|
||
worm that walks
|
||
"The nethermost caverns," wrote the mad Arab, "are not for the
|
||
fathoming of eyes that see; for their marvels are strange and
|
||
terrific. Cursed the ground where dead thoughts live new and
|
||
oddly bodied, and evil the mind that is held by no head. Wisely
|
||
did Ibn Schacabao say, that happy is the tomb where no wizard
|
||
hath lain, and happy the town at night whose wizards are all
|
||
ashes. For it is of old rumour that the soul of the devil-bought
|
||
hastes not from his charnel clay, but fats and instructs the
|
||
very worm that gnaws; till out of corruption horrid life
|
||
springs, and the dull scavengers of earth wax crafty to vex it
|
||
and swell monstrous to plague it. Great holes secretly are
|
||
digged where earth's pores ought to suffice, and things have
|
||
learnt to walk that ought to crawl."
|
||
[ The Festival, by H.P. Lovecraft ]
|
||
worm tooth
|
||
crysknife
|
||
[The crysknife] is manufactured in two forms from teeth taken
|
||
from dead sandworms. The two forms are "fixed" and "unfixed".
|
||
An unfixed knife requires proximity to a human body's
|
||
electrical field to prevent disintegration. Fixed knives
|
||
are treated for storage. All are about 20 centimeters long.
|
||
[ Dune, by Frank Herbert ]
|
||
wraith
|
||
The wraith is an evil undead spirit of a powerful human that seeks
|
||
to absorb human life energy.
|
||
These horrible creatures are usually seen as black, vaguely man-shaped
|
||
clouds. They have no true substance, but tend to shape themselves with
|
||
two upper limbs, a torso, and a head with two glowing red eyes. This
|
||
shape is a convenience born from the habit of once having a human body.
|
||
[ Monstrous Manual, by TSR inc. ]
|
||
*wumpus
|
||
The Wumpus, by the way, is not bothered by the hazards since
|
||
he has sucker feet and is too big for a bat to lift. If you
|
||
try to shoot him and miss, there's also a chance that he'll
|
||
up and move himself into another cave, though by nature the
|
||
Wumpus is a sedentary creature.
|
||
[ wump (6) -- "Hunt the Wumpus" ]
|
||
|
||
_Wumpus yobgregorii_, in the flesh...
|
||
Later, all you will be able to remember are its eyes. They are
|
||
rich mud-brown, and they hold your own without effort.
|
||
[ Hunter, In Darkness, by Andrew Plotkin ]
|
||
xan
|
||
They sent their friend the mosquito [xan] ahead of them to
|
||
find out what lay ahead. "Since you are the one who sucks
|
||
the blood of men walking along paths," they told the mosquito,
|
||
"go and sting the men of Xibalba." The mosquito flew
|
||
down the dark road to the Underworld. Entering the house of
|
||
the Lords of Death, he stung the first person that he saw...
|
||
|
||
The mosquito stung this man as well, and when he yelled, the
|
||
man next to him asked, "Gathered Blood, what's wrong?" So
|
||
he flew along the row stinging all the seated men until he
|
||
knew the names of all twelve.
|
||
[ Popul Vuh, as translated by Ralph Nelson ]
|
||
xorn
|
||
A distant cousin of the earth elemental, the xorn has the
|
||
ability to shift the cells of its body around in such a way
|
||
that it becomes porous to inert material. This gives it the
|
||
ability to pass through any obstacle that might be between it
|
||
and its next meal.
|
||
ya
|
||
The arrow of choice of the samurai, ya are made of very
|
||
straight bamboo, and are tipped with hardened steel.
|
||
yeenoghu
|
||
This gaunt, 12-foot tall humanoid demon is covered with
|
||
mangy patches of yellow fur and has pale grey flesh
|
||
showing where the fur is absent. His face is that of
|
||
a leering, amber-eyed hyena, and he wields a massive
|
||
flail with three spiked heads.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|
||
|
||
Yeenoghu, demon lord of gnolls. He casts magic projectiles
|
||
at those close to him, and a mere glance into his piercing
|
||
eyes may hopelessly confuse the battle-weary adventurer.
|
||
yeti
|
||
The Abominable Snowman, or yeti, is one of the truly great
|
||
unknown animals of the twentieth century. It is a large hairy
|
||
biped that lives in the Himalayan region of Asia ... The story
|
||
of the Abominable Snowman is filled with mysteries great and
|
||
small, and one of the most difficult of all is how it got that
|
||
awful name. The creature is neither particularly abominable,
|
||
nor does it necessarily live in the snows. _Yeti_ is a Tibetan
|
||
word which may apply either to a real, but unknown animal of
|
||
the Himalayas, or to a mountain spirit or demon -- no one is
|
||
quite sure which. And after nearly half a century in which
|
||
Westerners have trampled around looking for the yeti, and
|
||
asking all sorts of questions, the original native traditions
|
||
concerning the creature have become even more muddled and
|
||
confused.
|
||
[ The Encyclopedia of Monsters, by Daniel Cohen ]
|
||
yog*sothoth
|
||
truth
|
||
I am the world, I am the universe, I am God, I am truth,
|
||
I am all, I am one, and I am also you.
|
||
[ Fullmetal Alchemist Brotherhood ]
|
||
*yugake
|
||
Japanese leather archery gloves. Gloves made for use while
|
||
practicing had thumbs reinforced with horn. Those worn into
|
||
battle had thumbs reinforced with a double layer of leather.
|
||
yuki-onna
|
||
The Yuki Onna is one of Japan's most well-known and yet
|
||
unknown yokai. There is no single story of the Yuki Onna.
|
||
From dread snow vampire of the mountains to a loving bride
|
||
and mother, she has played many roles over the centuries;
|
||
worn many costumes. She is ephemeral as a windblown mist
|
||
of snow, and as impossible to hold.
|
||
[ Yuki Onna - The Snow Woman, by Zach Davisoson ]
|
||
yumi
|
||
The samurai is highly trained with a special type of bow,
|
||
the yumi. Like the ya, the yumi is made of bamboo. With
|
||
the yumi-ya, the bow and arrow, the samurai is an extremely
|
||
accurate and deadly warrior.
|
||
*zombi*
|
||
The zombi... is a soulless human corpse, still dead, but
|
||
taken from the grave and endowed by sorcery with a
|
||
mechanical semblance of life, -- it is a dead body which is
|
||
made to walk and act and move as if it were alive.
|
||
[ W. B. Seabrook ]
|
||
zruty
|
||
The zruty are wild and gigantic beings, living in the
|
||
wildernesses of the Tatra mountains.
|
||
zuggtmoy
|
||
This foul demoness resembles a human only from the torso
|
||
up. This portion of her body is composed of thick rancid
|
||
sheets and coils of fungus that just happens to have grown
|
||
into the shape of what would otherwise be an attractive
|
||
woman. Four fibrous antlers grow from her brow, and her
|
||
hands bear cruel talons. Her lower torso is a coiling
|
||
pillar of lashing ropy tendrils and other fungus growths.
|
||
Her skin is a nauseating swirl of grays, blues, purples,
|
||
and blacks.
|
||
[ Hordes of the Abyss,
|
||
by Ed Stark, James Jacobs, and Erik Mona ]
|