Lamia Unveiling the Veiled Mysteries of Ancient Lore



Lamia is a female or a bisexual evil presence found in Greek folklore who gobbled up youngsters and enticed men. She shows up in writing as soon as the sixth century BCE and is supposed to be fearsome to view with a monstrous face, the chest area of a lady, and the lower body of a snake.

Her name gets from the Greek laimos (“neck”) and lamyros (“voracious”), which impeccably depicts her hunger for blood and yearn for human tissue. In later old style times, she turned into an early model of the vampire – tempting men with her delightful looks and afterward drinking their blood. Throughout the long term, she turned into a popular bogeyman story in Greece, told to youngsters to make them act.

Lamia and Zeus

In many sources, Lamia was the delightful girl of Ruler Belus of Libya. Nonetheless, the Greek verse writer, Stesichorus (c. 630 to c. 555 BCE), makes reference to that she is the girl of Poseidon, the divine force of the ocean, and the mother of the ocean beast, Scylla. Lamia’s excellence obviously grabbed the eye of Zeus, who tempted her, and they had a few youngsters together. Notwithstanding, Hera was incensed by her significant other’s betrayal and killed their youngsters in general, with the exception of one – Scylla. In different sources, Hera mercilessly made Lamia kill her own youngsters. Made frantic by her melancholy, Lamia set off on a mission to kill different youngsters in a turned type of vengeance.

Her external magnificence before long mirrored her disdain and outrage, and she changed from a delightful lady into a devilish looking animal. In a frantic endeavor to mollify her, Zeus gave her the endowment of prediction and the odd capacity to cull out her eyes and supplant them, so she wouldn’t need to check herself out.

Appearance and Nature


Lamia was a half-human, half-snake animal with an unnerving wicked face who hid away far from civilization and smelled terribly. As per the antiquated Greek satire writer Aristophanes (c. 460 to c. 380 BCE), Lamia was bisexual: “It had a voice like a thundering deluge, the odor of a seal, the unwashed wads of a Lamia and the arse of a camel.” (Wasps, 1: 1035). The possibility of Lamia being bisexual was maybe concocted to cause Lamia to appear to be considerably more turned and immense.

She would much of the time creep into homes whenever obscurity had fallen, take babies from their bunks, and torture dozing people. Lamia’s terrible demonstration of killing children and grabbing babies from the belly guaranteed that different moms would sympathize with her aggravation by denying them of their maternal obligations and delights.

In later traditional writing, Lamia unites with the Empusa, a gathering of devils who were either the little girls of the goddess Hecate or worked under her order. She started to be depicted as a lady with the ability to change into a delightful lady, bait young fellows, tempt and lie with them, and afterward drink their blood. Her inclination for drinking blood makes her one of the most seasoned figures from folklore who shares the qualities of the advanced vampire.


An animal accepted to be Lamia can be tracked down on old Greek jars. On two of the jars – both Loft dark jars (c. 500 BCE), she is portrayed as a furry, threatening figure with tremendous bosoms, huge claws, and unmistakable teeth. Her depiction on the subsequent jar has caused some discussion – a bare Lamia is bound to a palm tree (representing her connections to Libya) and is being tormented by five satyrs. Workmanship student of history John Boardman claims that a satyr is shown consuming her pubic hair. Conversely, history specialist Monique Halm-Tisserant contends that the harmed container shows that the figure has an erect phallus, giving confidence that the animal on the jar is without a doubt Lamia, as Aristophanes’ portrayal of her as a bisexual was commonly known at that point.

One of Lamia’s more current and well known depictions is tracked down in the story sonnet Lamia (1819), composed by the English artist John Keats (1795-1821). In Lamia, the Greek god Hermes embarks to view a fairy who is reputed as more gorgeous than some other sprite. Bombing in his central goal to find this celebrated fairy, Hermes plunks down to rest yet before long hears a voice. Getting up to explore, he runs over Lamia, who is caught in the body of a snake. Lamia vows to uncover the area of the tricky sprite to Hermes on the off chance that he transforms her back into a human lady, as a youthful Corinthian male called Lycius had grabbed her attention. Hermes concurs and changes her into a wonderful lady.
Lycius passes by Lamia en route to Corinth, and when he sees her, he falls energetically infatuated. They lived in detachment in Corinth until Lycius recommended they get hitched and welcome their friends and family to the festival. Lamia is against however in the long run settles on one condition: that the rationalist Apollonius of Tyana isn’t welcomed. Of course, Apollonius of Tyana appears excluded. Gazing distinctly at Lamia, Lycius sees her distress and advises Apollonius to quit gazing at her. Apollonius answers:

“Fool!” said the sophist, in an under-tone

Gruff with contempt; which a death-nighing moan

From Lycius answer’d, as heart-struck and lost,

He sank supine beside the aching ghost.

“Fool! Fool!” repeated he, while his eyes still

Relented not, nor mov’d; “from every ill

Of life have I preserv’d thee to this day,

And shall I see thee made a serpent’s prey?”

Then Lamia breath’d death breath; the sophist’s eye,

Like a sharp spear, went through her utterly,

Keen, cruel, perceant, stinging: she, as well

As her weak hand could any meaning tell,

Motion’d him to be silent; vainly so,

He look’d and look’d again a level—No!

“A Serpent!” echoed he; no sooner said,

Than with a frightful scream she vanished:

And Lycius’ arms were empty of delight

When Lamia disappears from the wedding festivity, Lycius kicks the bucket from a wrecked heart.

English painter John William Waterhouse (1849-1917) additionally tracked down motivation in the account of Lamia. In Lamia and the Warrior (1905), John William Waterhouse is roused by John Keats’ Lamia. It shows Lamia as a delightful lady with a warrior (Lycius) seeing her in wonder. Nonetheless, look carefully, and you will see a snakeskin hanging off her arm and a snake’s tail, representing her huge nature ready to pounce. In Lamia (1909), Lamia sits gazing at her lovely appearance in a pool of water. The main hint to her actual structure is the dull blue weaved material encompassing her, which is accepted to represent snake skin. Different specialists from a similar period likewise utilized this technique: painting Lamia as a youthful, charming lady, yet continuously including a touch of her real essence, ordinarily as snakeskin being available some place in the canvas.

Similarities with Other Demons

English writer and history specialist Robert Graves (1895-1985) alluded to Lamia just like the defamed type of Neith (additionally called Anatha and Athene), the Libyan goddess of war and love whose love the Achaeans disallowed. There are additionally matches among Lamia and the Sumerian Lamme, animals who ate the tissue of kids

She has likewise been contrasted with the scriptural Lilith, with the name Lilith-Lamia being instituted to allude to the two demons. They shared a comparable appearance and were seen as a danger to infants and kids. What’s more, the two of them have messy sexual undertones and suck the blood from their sweethearts. Together, they are alluded to as a “night witch”, “night beast”, and “night pixie”.

Lamia Since forever ago

In Greek society, Lamia was seen as a useful example of what ladies became when they lost their ethical compass. Great Greek ladies should wed and mate with young fellows – not kill them, and their obligation was to deliver and really focus on kids – not eat up them. Thinkers involved her as a negative illustration of want and eagerness; what might give off an impression of being appealing and enchanting will later consistently end in ruin and debasement. The tale of Lamia was additionally used to startle kids into acting great. She was the bogeyman of old Greece.

Both Artistotle (384-322 BCE) and the regular thinker Albert the Incomparable (d. 1280 CE) attempt to get a handle on Lamia by contrasting her with a creature, giving sense to the normal world. In his Set of experiences of Creatures, Aristotle alludes to an enormous fish known as the “lamia-shark”, a thought which has persevered, as later Greeks have a Lamia of the ocean – a hazardous mermaid-like animal.

In his De animalibus (On Creatures), Albert the Incomparable alludes to the Lamia as a huge creature lady half and half who nurture their young and is given to them. Lamia being committed to her young seems OK than a lady who brutally kills and eats kids, as it conflicts with all that a lady should address.

Lamia’s savage and tormented nature has stayed unmistakable since forever ago. She has been utilized to terrify kids into acting, and as an ethical illustration, motivated writers and craftsmen and assisted with restoring the significance of the innate sciences.


About Cerekarama

Leave a Reply

Your email address will not be published. Required fields are marked *