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For example, the expression "Oya ni ninu ko wa oni no ko" (親に似ぬ子は鬼の子) (Translation: "A child that does not resemble its parents is the child of an oni.") may be used by a parent to chastise a misbehaving child.
Kuzunoha figures in kabuki and bunraku plays based on her legend, including the five-part Ashiya Dōman Ōuchi Kagami (A Courtly Mirror of Ashiya Dōman).The fourth part, Kuzunoha or The White Fox of Shinoda, which is frequently performed independently of the other scenes, focuses on her story, adding minor variations such as the idea that Kuzunoha imitates a princess and is forced to depart ...
The ushi-oni (牛鬼, ox oni; ox demon), or gyūki, is a yōkai from the folklore of western Japan. [1] The folklore describes more than one kind of ushi-oni, but the depiction of a bovine-headed monster occurs in most. Ushi-oni generally appear on beaches and attack people who walk there.
In Buddhism, there is the Mara that is concerned with death, the Mrtyu-mara. [3] It is a demon that makes humans want to die, and it is said that upon being possessed by it, in a shock, one should suddenly want to die by suicide, so it is sometimes explained to be a "shinigami". [4]
Old man with lump sees the oni marching. ―Cover of the 1886 translation. " Kobutori Jiisan " ( こぶとりじいさん , Kobutori jīsan ) translated directly as "Lump-Taken Old Man" is a Japanese Folktale about an old man who had his lump (or parotid gland tumor) taken or removed by demons after joining a party of demons ( oni ) celebrating ...
Literature about them are not accompanied by folktales, and thus they are considered to be a yōkai that appear only in made-up stories [10] or exist only in pictures. [7] After the war, there was also the interpretation that their existence was on the same level as manga characters. [ 7 ]
As an example of a representative story, in the beginning of the Heian Era, in the uta monogatari "The Tales of Ise," there is the sixth part, "The Steps of Akutagawa (芥川の段)." A certain man visited a woman for several years, but due to their difference in social status, they were not able to get together.
Ṣàngó was the third Alaafin of Oyo, following Oranmiyan and Ajaka. [3] He brought prosperity to the Oyo Empire. [4] According to Professor Mason's Mythological Account of Heroes and Kings, unlike his peaceful brother Ajaka, he was a powerful and violent ruler.