They use a variety of abilities, including seduction, disguise, ventriloquism, illusions, mirages, mirror images and other such things, to lure, entice and confuse those who wandered into their midst into dangerous situations. They sustained themselves by eating human flesh. Lamias were sinister creatures who lived in desert ruins. The upper body of a lamia was that of a human torso that did not have animalistic features such as scales, horns, or fur. The lower body of a lamia could also resemble other animals such as goats and deer. The most powerful of lamias could change their lower bodies as easily as a mortal being changed their clothes. Lamia nobles had the lower bodies of serpents, which often led to them being confused with naga, yuan-ti abominations, or medusas. However, these were the weakest forms of lamia. Most lamias appeared to be beautiful women from the waist up but had the bodies of powerful lions from the waist down. Other artists from the same period also used this method: painting Lamia as a young, enchanting woman, but always including a hint of her true nature, usually in the form of snakeskin being present somewhere in the painting.A typical lamia stood over 6 ft (1.8 m) tall, measured 8 ft (2.4 m) long, and weighed about 650‒700 lb (290,000‒320,000 g). The only clue to her true form is the dark blue embroidered cloth surrounding her, which is believed to symbolise snake skin. In Lamia (1909), Lamia sits staring at her beautiful reflection in a pool of water. However, look closely, and you will see a snakeskin hanging off her arm and a serpent's tail, symbolising her monstrous nature lying in wait. It shows Lamia as a beautiful woman with a soldier (Lycius) looking at her in awe. In Lamia and the Soldier (1905), John William Waterhouse is inspired by John Keats' Lamia. (John Keats, Lamia, Part 2)Īs soon as Lamia vanishes from the wedding celebration, Lycius dies from a broken heart.Įnglish painter John William Waterhouse (1849-1917) also found inspiration in the story of Lamia. Than with a frightful scream she vanished:Īnd Lycius' arms were empty of delight. Keen, cruel, perceant, stinging: she, as well Like a sharp spear, went through her utterly, Then Lamia breath'd death breath the sophist's eye, Of life have I preserv'd thee to this day,Īnd shall I see thee made a serpent's prey?" "Fool! Fool!" repeated he, while his eyes still Gruff with contempt which a death-nighing moanįrom Lycius answer'd, as heart-struck and lost, "Fool!" said the sophist, in an under-tone Staring pointedly at Lamia, Lycius notices her discomfort and tells Apollonius to stop staring at her. Not surprisingly, Apollonius of Tyana shows up uninvited. Lamia is opposed but eventually agrees on one condition: that the philosopher Apollonius of Tyana is not invited. They lived in isolation in Corinth until Lycius suggested they get married and invite their loved ones to the celebration. Lycius passes by Lamia on his way to Corinth, and as soon as he sees her, he falls passionately in love. In contrast, historian Monique Halm-Tisserant argues that the damaged vase shows that the figure has an erect phallus, giving credence that the creature on the vase is indeed Lamia, as Aristophanes' description of her as a hermaphrodite was widely known at the time. Art historian John Boardman claims that a satyr is shown burning her pubic hair. Her portrayal on the second vase has caused some debate – a naked Lamia is bound to a palm tree (symbolising her ties to Libya) and is being tortured by five satyrs. 500 BCE), she is depicted as a hairy, menacing figure with enormous breasts, large talons, and prominent fangs. On two of the vases - both Attic black vases (c. DepictionsĪ creature believed to be Lamia can be found on ancient Greek vases. (Philostratus, Life of Apollonius, 4.21-25). These beings fall in love, and they are devoted to the delights of Aphrodite, but especially to the flesh of human beings, and they decoy with such delights those whom they mean to devour in their feasts. Her penchant for drinking blood makes her one of the oldest figures from mythology who shares the characteristics of the modern vampire.Īnd that you may realize the truth of what I say, this fine bride is one of the vampires, that is to say of those beings whom the many regard as lamias and hobgoblins. She began to be portrayed as a woman with the power to transform into a beautiful woman, lure young men, seduce and lie with them, and then drink their blood. In later classical literature, Lamia joins forces with the Empusa, a group of demons who were either the daughters of the goddess Hecate or worked under her command.
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