Water

Kappa · The Japanese Water Yokai — A River Prankster With Power in a Head-Dish

The Kappa (Japanese Kappa, 'river child') is the water yokai that dwells in the rivers and ponds of Japan, the canonical iconographic figure of Japanese water-deity (suijin) belief, child-sized in build, with a turtle shell (kora), webbed hands and feet, and a water-holding plate (sara) on the crown of its head. The Sino-Japanese characters Kawa-warabe ('river child') correspond to the Japanese vernacular Kawako (river child), Kawataro (river boy), and many regional names. The iconographic origin is the fusion of Japanese indigenous water-deity belief with the drowning lore of riversides and ponds. The decisive textual source is the section in book 40 of the encyclopaedia Wakan Sansai Zue compiled in 1712 by Terajima Ryoan, which systematised the Kappa as the canonical figure with a beak, turtle shell on the back, and plate on the crown. The visual canon was established in the yokai catalogue Gazu Hyakki Yagyo (1776) of Toriyama Sekien (1712-1788). The decisive modern canon is Kunio Yanagita's (1875-1962) Tono Monogatari of June 1910 — seventeen Kappa folktales of the Tono region in Iwate Prefecture — which established the Japanese folkloristic Kappa canon, and Keiichi Hara's 2007 animated film Summer Days with Coo (Kappa no Ku to Natsuyasumi), released on 28 July 2007, settled the popular canon of twenty-first-century global Kappa iconography.

Freshwater Nymph of Greek Mythology

The Naiad (Greek Naias, plural Naiades, English Naiad) is the freshwater nymph (Greek nymphe) who dwells in the freshwater (springs, rivers, lakes, wells) of Greek mythology, in the form of a beautiful human female, embodying the divinity of the freshwater source — the decisive canonical iconographic figure of Greek-mythological nature spirits. The etymology derives from the Greek verb naein ('to flow'), and within the four-fold classification of nymphs — Naiad (freshwater), Oceanid (Oceanids, ocean), Nereid (Nereids, salt sea), and Dryad (Dryads, tree) — the Naiad is the decisive canon of freshwater. The decisive textual canon is in the Theogony (Theogonia) of the Greek poet Hesiod (Hesiodos), c. 700 BCE — lines 364-370, the canon of the 3,000 sisters Oceanids and 3,000 brothers River-gods (Potamoi) born to the river-god Oceanus (Okeanos) and his sister Tethys — is the decisive textual canon of the Naiad, and the river nymphs appear decisively in Books 14 and 20 of the Iliad and Books 13 and 17 of the Odyssey by Homer (Homeros) of the eighth century BCE. The Naiad Castalia of the Castalian Spring (Kastalia) by the Temple of Apollo at Delphi in Greece — the canonical inspiration of poetic prophecy — is the most decisive individual Naiad, and the 1896 painting Hylas and the Nymphs by the British Pre-Raphaelite painter John William Waterhouse (1849-1917) established the visual canon of the Naiad in the nineteenth-century Victorian era.

Water Spirit of Germanic/Slavic Folklore

The Nix (Old English nicor, Old Norse nykr, German Nix/Nixe, English Nix or Nixie) is the canonical iconographic figure of the water spirit of Germanic and Slavic folklore dwelling in fresh water — rivers, lakes, and wells — appearing in alluring human form (mostly as beautiful women or handsome men) and luring humans into the water through music and song, with the true form being canonical iconography of a fish-tail, fish-scales, or green skin. The etymology derives from the Proto-Indo-European *neigw- ('to wash, purify') through the Proto-Germanic *nikwiz — the canonical vocabulary of Old English nicor, Old Norse nykr, and Old High German nihhus. The decisive textual canon is line 422 of Book 1 and line 1427 of Book 2 of the Old English epic Beowulf (Beowulf) by an anonymous author of the 8th-10th centuries — the water-monsters 'nicras' in the lake where the hero Beowulf fights Grendel's mother with the sword Hrunting — the decisive origin of the Germanic canon, and the canon of tale 79 The Nixie of the Mill-Pond (Die Nixe im Teich) of the Kinder- und Hausmaerchen of the German Grimm Brothers (Jacob and Wilhelm) of 1812-1815 is the decisive canon of the 19th-century German fairy-tale Nix. The 1779 poem The Fisherman (Der Fischer) of the German poet Johann Wolfgang von Goethe (1749-1832) and the 1824 poem The Loreley (Die Loreley) of the German poet Heinrich Heine (1797-1856) established the 19th-century German Romantic Nix poetic canon, and the opera Rusalka by the Czech composer Antonin Dvorak (1841-1904), premiered on 31 March 1901 at the National Theatre in Prague, is the decisive musical canon of the Slavic Nix canon.

Fifty Sea Nymph Sisters of Greek Mythology

The Nereid (Greek Nereis, plural Nereides, English Nereid) is the canonical iconographic figure of the fifty sea-nymph sisters (nymphe) born to the sea-god Nereus (Nereus, 'wet one') and the Oceanid Doris (Doris) of Greek mythology. Within the classification of nymphs — Naiad (freshwater), Oceanid (ocean), Nereid (salt sea), Dryad (tree), Oread (mountain) — the Nereid is the decisive canon of salt sea, and the decisive textual canon is the canon of lines 240-264 of the Theogony (Theogonia) of the Greek poet Hesiod (Hesiodos) of c. 700 BCE — naming all fifty Nereids — the decisive canon. The most decisive Homeric canon is the canon of lines 35-64 of Book 18 of the Iliad of the eighth-century-BCE Homer (Homeros) — when the Nereid Thetis (Thetis), mother of the hero Achilles, grieves over the death of her son's friend Patroclus, thirty-three Nereid sisters rise from the deep-sea cave to comfort her — the decisive canonical scene of Greek epic, and the most decisive visual canon is the c. 1512 painting The Triumph of Galatea (Trionfo di Galatea) by the Italian Renaissance painter Raphael (Raffaello Sanzio da Urbino, 1483-1520) — held by the Villa Farnesina in Rome — the decisive culminating work of the Renaissance Nereid visual canon.

Water Spirit of Paracelsus

The Undine (Latin Undina, German Undine, English Undine) is the decisive canonical spirit of water (Aqua) among the four element spirits (Elemental Spirits) in the posthumous 1566 Latin treatise A Book of Nymphs, Sylphs, Pygmies, and Salamanders (Liber de Nymphis, Sylphis, Pygmaeis et Salamandris) by the Swiss physician-alchemist Paracelsus (Theophrastus Bombastus von Hohenheim, 1493-1541). The etymology is the canonical vocabulary of the Paracelsian coinage Undina derived from the Latin unda ('wave, billow'), and the decisive canonical iconography depicts her as a beautiful human female figure — dwelling in fresh water such as waterfalls, lakes, and springs — originally without a soul but acquiring one through marriage to a human. The decisive literary canon is the novella Undine (Undine) of 1811 by the German Romantic author Friedrich de la Motte Fouque (1777-1843) — the decisive Romantic tragic canon in which the Undine, who acquires a soul by marrying the human knight Huldbrand (Huldbrand), comes to death through her husband's betrayal — and the opera Undine premiered at the Royal Theatre in Berlin on 3 August 1816 by E. T. A. Hoffmann (E. T. A. Hoffmann, 1776-1822) — with libretto by Fouque himself — is the decisive canon of German Romantic opera. The ballet Undine of the German composer Hans Werner Henze (1926-2012), premiered at the Royal Opera House Covent Garden in London on 27 October 1958 (choreographed by Frederick Ashton, with Margot Fonteyn as Undine) is the decisive canon of 20th-century ballet.

Naga · Serpent People — Mythical half-human, half-serpent beings

The Naga (Sanskrit nāga, 'serpent') is a semi-divine serpent-being of Indian and Southeast Asian mythology, depicted as a human-cobra hybrid: human torso above, vast coiled serpent body below, often crowned with multiple hoods. Nagas guard rivers, lakes, wells, and the subterranean realm of Patala, summon monsoon rains, and hoard treasure in jewel-encrusted underground palaces. In Hinduism, Vishnu sleeps on the cosmic serpent Shesha amid the milk-ocean; Shiva wears Vasuki coiled around his neck. In Buddhism, the naga-king Mucalinda sheltered the freshly enlightened Buddha for seven days beneath his seven hoods. In Jainism, the twenty-third Tirthankara Parshvanatha is always depicted with a seven-headed naga halo. Across Cambodia, Thailand, and Laos, multi-headed naga balustrades flank every temple stairway, and Angkor Wat's seven- and nine-headed naga causeways link the human and divine realms.

Charybdis · Oceanic Monster — The Devouring Whirlpool

A monstrous sea-creature of Greek myth who lives at the foot of a narrow cliff in the Strait of Messina between Sicily and the Italian mainland. Daughter of Poseidon and Gaia in the later tradition, she was changed into a creature by the wrath of Zeus; three times a day she draws the dark sea down into a vast whirlpool and again belches it back, swallowing every ship and creature that comes too near. In Homer's Odyssey book 12 (c. eighth century BCE) Odysseus must pass between Charybdis and the six-headed Skylla on the opposite cliff, and from that ordeal comes the English idiom 'between Scylla and Charybdis' for an unwinnable choice.

Primordial Sea Dragon of Mesopotamian Myth

Tiamat (Akkadian Tiamat, from tiāmtum, the sea) is the oldest dragon-deity of one seat, set down in the seven tablets of the Babylonian creation epic Enūma Eliš that took its place around the 12th century BC, a mother of primal chaos that personifies the salt water. With her consort Apsû (the fresh water) of the same seat, she stood before every seat of the cosmos at the same seat, and from the pair of two seats every god of one seat was born. But when the gods of later seats made a noise that broke the peace of the same seat, and Apsû, in seeking to undo them, was himself slain by Ea, Tiamat at the same seat raised the great wrath of one stroke, set Kingu as the general of one seat, and led an army of eleven monsters, Mushhushshu (the snake-dragon), Ushumgallu (the great lion-dragon), Bashmu (the horned serpent), scorpion-men, fish-men, and bull-men, into a great struggle with the new gods of one seat. At the last of one seat the storm god Marduk split her body in two at the same seat, made heaven of one half and earth of the other, and from her two eyes flowed the two great rivers of one seat, the Tigris and the Euphrates.

Indian Vedic Drought Dragon

Vritra (Sanskrit Vṛtra) is the most powerful evil dragon-serpent of Vedic Indian mythology and the oldest canonical instance of the Indo-European Chaoskampf motif (storm-god against many-headed serpent) in the surviving textual record. The Sanskrit name itself derives from the verb-root vṛ ('to cover, enclose'), meaning 'the enveloper, the obstructer', and Vritra is represented as a great legless serpent (ahi, 'snake') or as a mountain coiled around all the world's waters. He is the embodiment of drought: by wrapping his body around the seven great rivers (Sapta Sindhu) of the Indian subcontinent, he holds the waters captive and inflicts thirst and death on humankind. He dwells inside a fortress of ninety-nine concentric strongholds (pura). The thunder-god Indra is his eternal enemy, and the Indra-Vritra duel is the central battle of the Vedic corpus, narrated most fully in Rigveda 1.32 — Indra is given the vajra ('thunderbolt' or 'diamond mace') forged by the divine smith Tvaṣṭṛ, breaks the ninety-nine strongholds, and cleaves Vritra's head; the seven rivers held captive in Vritra's body burst forth and bring the Indian subcontinent to life. In later Hindu retellings (Mahābhārata, Bhāgavata Purāṇa), Vritra is recast as the brother of Tvaṣṭṛ's son Viśvarūpa, originally Indra's friend, slain by divine treachery, which charges Indra with the sin of brahmahatyā ('the killing of a brahmin').

The Imperial Dragon of Chinese Myth

The Chinese long is the archetypal East-Asian dragon, the source from which the Korean cheongnyong, the Japanese ryu and the Vietnamese long descend. Its image runs unbroken from the Neolithic — the C-shaped jade dragon of Hongshan culture (c. 3500-3000 BCE, excavated at Ongniud Banner, Inner Mongolia, in 1971, now a national first-class cultural relic in the National Museum of China) and the shell-mosaic dragon at the Xishuipo site of the Yangshao culture in Puyang (excavated 1987, c. 5300 BCE) — through Xu Shen's 'Shuowen Jiezi' (100 CE), which defined the dragon as 'chief of the scaled creatures', Wang Fu's 'Qianfu Lun' of the late Han, which first codified the 'nine resemblances' (deer antlers, camel head, rabbit eyes, snake neck, clam belly, carp scales, eagle talons, tiger soles), and Li Shizhen's 'Bencao Gangmu' (1578). The five-toed foot was fixed as the imperial monogram by an edict of the Hongwu emperor in 1393 and remained so through the Qing; princes were limited to four toes and commoners to three. The long is arranged in a five-direction colour system — Azure Dragon (East), White (West), Vermilion (South), Black (North), Yellow (Centre) — and is held to bring rain, govern rivers and embody cosmic justice; it is the only mythical creature in the twelve-animal cycle, and a child born in a Dragon year is reckoned to share the emperor's auspice.

The Aspiring Dragon

The imugi is the Korean 'unrealised dragon', a great serpent that must endure a thousand years of practice in deep pools, beneath waterfalls and in hidden caves, accumulating moral merit before it can earn the wish-fulfilling pearl (yeouiju) and ascend as a true dragon. It is depicted as a serpent of immense thickness and scale, with a faint pair of nascent horns on its brow; the same image recurs in folktales collected across South Pyongan, Gangwon and South Jeolla provinces. The earliest Korean-language textual mention is in the 'Sun-o-ji' (1678) of Hong Man-jong (1643-1725), while the most systematic ethnographic record is the field collection of Son Jin-tae (1900-1950?) — published as 'Researches on Korean Folk Narratives' (1947) — and Im Seok-jae's 'Collection of Korean Oral Tales' (Pyongminsa, twelve volumes, 1987-1993), which classifies more than two hundred imugi tales under the 'imugi and the maiden' and 'dragon-pool' types. The Standard Korean Dictionary defines it as 'a great snake that failed to become a dragon', and Korean folklorists treat it as a fusion of the Chinese 'jiao' serpent-dragon with native Korean serpent cults. The image was modernised in the manhwa 'Yongbi the Invincible' / 'Land of the Wind' (Kim Jin, 1992-), in the Hollywood-style blockbuster 'D-War' (2007) directed by Shim Hyung-rae, and in Jeong Ju-yeon's 'Myojin Imugi' (2014).

The Divine Dragon of Korean Myth

The Korean yong is the indigenous Korean dragon, a benevolent water-deity occupying a distinct position within the East-Asian dragon tradition. It is depicted with a long serpentine body, the branched antlers of a deer, the scales of a carp, the talons of a hawk, the soles of a tiger and — most decisively — four toes on each foot, which mark Korea's rank between the five-toed Chinese imperial long and the three-toed Japanese ryu. The earliest extant records are the dragon-deity passages of Iryeon's 'Samguk Yusa' (1281), book I 'Strange Affairs', particularly the entries on Dongmyeong, King Suro and King Munmu, and the dragon iconography on the Baekje and Silla roof-tile-ends of the fifth and sixth centuries. In Korean myth, the yong is the form an imugi attains after a millennium of practice when it finally wins the wish-fulfilling pearl (yeouiju). The image runs through the royal dragon robe (gollyongpo) of King Jeongjo (reigned 1776-1800, National Palace Museum of Korea) and the twin golden dragons on the throne ceiling of the Geunjeongjeon hall of Gyeongbokgung Palace (founded 1395, rebuilt 1865) and is the antithesis of the malevolent Western dragon — fundamentally good, generous and bound to bring rain to the fields.

靑龍 · Eastern Guardian of the Four Symbols

The Azure Dragon (Chinese 'Qinglong', Korean 'Cheongnyong', Japanese 'Seiryu') is the eastern guardian of the East-Asian Four Symbols (sasin / Sishen), the celestial dragon governing the East, the spring, the Wood phase of the five elements and the colour green-blue. The system — Azure Dragon of the East, White Tiger of the West, Vermilion Bird of the South, Black Tortoise of the North — was codified under the Han dynasty, in particular the 'Huainanzi' (c. 139 BCE) of Liu An and Wang Chong's 'Lunheng' (c. 80 CE), and unifies the seven lunar mansions of the eastern quadrant (Jiao, Kang, Di, Fang, Xin, Wei, Ji). Visually the Azure Dragon is distinguished from the imperial yellow long by a slimmer, more serpentine body, a green-blue scale-pattern, branched deer-style antlers and carp scales; it is the canonical image of the geomantic principle that the dragon of the East guards the left side of a settlement. The best-preserved early representations are the eastern murals of the Goguryeo tombs Gangseo Daemyo and Jungmyo (late sixth century, South Pyongan, North Korea) and the late-seventh- to early-eighth-century Kitora Tomb (Asuka village, Nara prefecture, Japan, recognised as a National Treasure in 1998). The Azure Dragon also names the Cheongwadae presidential residence in Korea ('house of green tiles', built 1939) and watches over the Eastern Flowery Gate (Donghuamen) of the Forbidden City completed in 1420.

The Sea Dragon of Japanese Myth

The Ryū is the Japanese dragon, descended from the Chinese long imported via Buddhism in the sixth century and fused with native serpent and water cults. The most visible mark of its lower rank in the East-Asian dragon hierarchy is the three-toed foot, contrasted with the five-toed Chinese imperial dragon and the four-toed Korean dragon. The most celebrated ryū in the corpus is Yamata-no-Orochi, the eight-headed, eight-tailed serpent recorded in the Kojiki (712, compiled by Ō no Yasumaro) and the Nihon Shoki (720), defeated by the storm god Susanoo-no-Mikoto after being made drunk on rice wine; from its tail emerged the sword Kusanagi-no-Tsurugi, one of the three imperial regalia. The dragon king Ryūjin commands sea and storm and reigns over Ryūgū-jō, the undersea palace to which the fisherman Urashima Tarō is led. The ryū is a fixture of temple and shrine ceiling paintings — most famously Kanō Tan'yū's 'Naki-Ryū' (1640s) at Nikkō Tōshō-gū — and of ukiyo-e prints such as Hokusai's 'Hundred Views of Mount Fuji' (1834).

Fishfolk · The Deep-Sea Fish People — Wild Tribes of the Abyss

A people of scaled bodies, fins, and gills, more savage and warlike than the elegant merfolk, who hold tribes in lightless trenches and sunken cities. They arm themselves with tridents, harpoons, and abyssal magic and worship ancient gods of storm and tide. The figure descends from the Semitic fish-god Dagon (Ugaritic tablets from Ras Shamra, c. 14th century BCE), was refigured by H. P. Lovecraft's Deep Ones in The Shadow over Innsmouth (Visionary Publishing, 1936), and was given its modern visual canon by the film Creature from the Black Lagoon (Universal Pictures, 1954); Dungeons & Dragons split it into the Sahuagin and the Kuo-toa in the Greyhawk supplement (TSR, 1975) and the Monster Manual (TSR, 1977).

Merfolk · The Sea People — Human Above, Fish Below

A sea-people with human upper bodies and fishlike tails, raising kingdoms in deep waters or among coral cities, gifted with enchanting song, oceanic magic, and the ability to breathe and move freely beneath the waves. The figure is the crystallisation of a worldwide aquatic-human tradition that runs from the Mesopotamian fish-god Oannes (Berossus' Babyloniaca, 3rd century BCE) through Greek Tritons and Nereids, Japanese ningyo (Nihon Shoki, 720 CE), and Hans Christian Andersen's Den lille Havfrue (C. A. Reitzel, Copenhagen, 1837), down to the modern fantasy roster fixed by Dungeons & Dragons in 1975-77.

Poseidon · Greek God of the Sea — Earth-Shaker and Lord of Horses

Poseidon (Ancient Greek Poseidon, Latin Neptunus) is the decisive canonical god of the sea, earthquakes, and horses among the 12 Olympian gods of Greek mythology, and the decisive canonical iconographic figure as the son of Kronos (Kronos) and Rhea (Rhea), elder brother of Zeus (Zeus), and brother of Hades (Hades). The etymology Greek Poseidon is the decisive canonical vocabulary as the compound of 'pos- (lord) and da- (earth)', meaning 'lord of the earth', and the aliases Gaieochos (Gaieochos, 'earth-shaker'), Enosigaios (Enosigaios, 'earth-quaker'), Hippios (Hippios, 'of horses'), and Asphaleios (Asphaleios, 'of safety') are the decisive canonical vocabulary. The decisive textual canon is the Theogony (Theogony) lines 453-491 of Hesiod (Hesiod) of c. 8th-7th century BCE — the decisive canon in which Kronos swallows his children — and lines 881-885 — the decisive canon in which Zeus, Poseidon, and Hades divided the sky, sea, and underworld by lot. The Iliad (Iliad) Book 15 lines 184-217 of Homer (Homer) of c. 8th century BCE — the decisive canon of Poseidon's protest about the lot — and the Odyssey (Odyssey) Book 1 lines 20-25 — the decisive canon of Poseidon's wrath against Odysseus (Odysseus) — are the decisive heroic-epic canon.

Aphrodite · Goddess of Love, Beauty, and Desire

Aphrodite (Ancient Greek Aphrodite, Latin Venus) is the goddess of love, beauty, desire, and fertility in Greek mythology — the decisive canon, the decisive canonical iconographic figure born from the foam (aphros, sea foam) after Kronos (Kronos) castrated his father Ouranos (Ouranos) and threw his genitals into the sea. The etymology is the decisive canonical vocabulary of the Greek aphros (foam, sea foam) — 'the one born from foam'. The decisive textual canon is the Theogony (Theogony) lines 188-206 of Hesiod (Hesiod) of c. 8th-7th century BCE — the decisive canon in which Kronos castrated his father Ouranos and the genitals fell into the sea, foam (aphros) formed, and Aphrodite was born and landed on the shores of Kypros (Kypros) or Kythera (Kythera) — and the Iliad (Iliad) Book 5 lines 311-430 of Homer (Homer) of c. 8th century BCE — the decisive canon of Diomedes (Diomedes) wounding her wrist with a spear and making her flee — and Book 14 lines 214-221 — the decisive canon of the kestos himas (kestos himas, girdle of love) — and the Odyssey (Odyssey) Book 8 lines 266-366 — the decisive canon of the affair with Ares (Ares) caught in Hephaistos's (Hephaistos) bronze net. The fragment 1 Hymn to Aphrodite (Hymn to Aphrodite) of Sappho (Sappho) of c. 7th century BCE and the Homeric Hymns (Homeric Hymns) No. 5 Hymn to Aphrodite of c. 7th-6th century BCE — the decisive canon of conceiving Aineias (Aineias) with the love of Anchises (Anchises).

Freya · Norse Goddess of Love, Fertility, War, and Seiðr

Freya (Old Norse Freyja, 'lady') is the decisive canonical goddess of love, beauty, fertility, war, death, and seidr (seidr, prophecy and fate magic) of the Vanir (Vanir) in Norse mythology, and the decisive canonical iconographic figure as the daughter of Njord (Njord) of the Vanir and sister of Freyr (Freyr). The etymology is the decisive canonical vocabulary derived from the Old Norse freyja ('lady, mistress'), and according to some scholars, cognate with the English Friday (Old English Frigedaeg) and the German Freitag. The decisive textual canon is the Prose Edda (Prose Edda) of c. 1220 of the early 13th-century Icelandic poet-historian Snorri Sturluson (Snorri Sturluson, 1179-1241) — chapters 24 and 35 of Gylfaginning (Gylfaginning) — the decisive canon of Freya — and the Skaldskaparmal (Skaldskaparmal) of the Prose Edda are the decisive canon, and the Voluspa (Voluspa), Lokasenna (Lokasenna), and Thrymskvida (Thrymskvida) of the Poetic Edda (Poetic Edda) of the c. 1270 Codex Regius (Codex Regius) manuscript are the decisive poetic canon. After the end of the Vanir-Aesir War (Aesir-Vanir War), she came to Asgard (Asgard) as a peace hostage, and half of the slain go to her Folkvangr (Folkvangr, 'field of the host') hall Sessrumnir (Sessrumnir), while only the other half go to Odin's Valhalla (Valholl) — the decisive canonical iconography.

Leviathan· Vast Sea Monster Prince of Envy

Leviathan (Hebrew Liwyāṯān, Greek Leviathan, Latin Leviathan) is the great sea monster of the Old Testament — the decisive canon, the demon that developed into the Archduke of Envy in the Christian tradition — the decisive canonical iconographic figure of 'the coiling one', derived from the Hebrew 'lawah' meaning 'to twist, coil'. The aliases Liwyāṯān, Lotan (Ugaritic prototype), sea serpent, piercing serpent, and nachash bariach are the decisive canonical vocabulary. The decisive textual canon is the decisive origin canon of the 7-headed sea chaos monster Lotan (Lotan, ltn) in the Baal Cycle (Baal Cycle) of Ugarit (Ugarit) of c. 13th century BCE, and the decisive canon of the invincible sea monster that only God could subdue in Job (Job) 41:1-34 (40:25-41:26 in the Hebrew text) of c. 6th-4th century BCE. The decisive canon of the slaying of Leviathan at the 'end of days' in Isaiah (Isaiah) 27:1, Psalm (Psalm) 74:14 and 104:26, and the decisive canon of Leviathan and Behemoth (Behemoth) in the Babylonian Talmud Bava Batra (Bava Batra) 74b-75a of the 4th-6th century.

Isis · Egyptian Goddess of Magic and Motherhood — Goddess of Ten Thousand Names

Isis (Egyptian Iset or Aset, Greek Isis, Latin Isis) is the goddess of magic, healing, motherhood, and kingship of ancient Egyptian mythology — the decisive canon, the daughter of Geb (Geb) and Nut (Nut) of the Heliopolitan Ennead (Ennead), the sister and wife of Osiris (Osiris), and the mother of Horus (Horus) — the decisive canonical iconographic figure. The etymology of the Egyptian Iset (Aset) is 'throne (throne)' — the decisive canon as the personification of the throne — and the aliases Aset (Aset), Auset (Auset), Weret-hekau (Weret-hekau, 'Great Sorceress'), Mut-netjeret (Mut-netjeret, 'Mother of God'), and Anima Versatilis (Anima Versatilis, 'goddess of ten thousand names') are the decisive canonical vocabulary. The decisive textual canon is the decisive origin canon of the Pyramid Texts (Pyramid Texts) of Unas (Unas) of the Old Kingdom 5th dynasty of c. 2400-2300 BCE, and the decisive canon of 'Isis and the Secret Name of Ra (Isis and the Secret Name of Ra)' of the Turin Papyrus (Turin Papyrus) of the New Kingdom of c. 1250 BCE. The De Iside et Osiride (De Iside et Osiride) of Plutarch (Plutarchos) of c. 100 CE of the c. 1st century CE and the decisive canon of the 'goddess of ten thousand names' in Book 11 of the Metamorphoses (Metamorphoses) of Apuleius (Apuleius) of c. 170 CE.