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A ghoulishly fun craft and Halloween costume piece

GOBLIN DO-IT-YOURSELF WOOD MASK W/ HANDLE

DETAILS:

Your goblin transformation awaits!

Are you ready to dive into a world of spooky creativity this Halloween season? Look no further than the Goblin DIY Mask Stake from Greenbrier International, Inc. - the perfect fusion of crafty fun and eerie delight!

The wickedly fun wooden goblin mask boasts a simple flat panel design with an attached handle. Printed on the panel is a restrained line drawing of a goblin face, including a mischievious smile of course, that gives you a great starting off point. The 3D accents, crafted from a second wood layer, bring out the menacing fangs and headgear, adding a sinister touch to your Halloween costume. The thick popsicle stick handle provides a comfortable grip, making it a breeze to carry and wear for extended periods during trick-or-treating or costume parties - and it's very lightweight. Stand out from the crowd with your adorned, one-of-a-kind goblin mask.

Unleash your creativity!
Whether you prefer a blood-red goblin or a sparkly green one, this wooden mask awaits your spooky artistic ambitions. Paint it, color it, stain it, glitter it, or decorate it with spine-tingling embellishments, the possibilities are endless. Add your unique flair to make it truly yours. Whether you're gearing up for a spooktacular Halloween night or simply seeking a fantastic craft project, the Goblin DIY Mask Stake is a terrific choice.

Crafters and Halloween fanatics, this one's for you!

Makes a great gift for the Halloween and horror enthusiasts, especially those who craft. It's a must-have for collector's of all things Halloween and goblin.

Dimensions: (inches)

Height: approx. 13-3/4"

Mask Only: approx. 8-1/4" (H) x 9"(L)

Great for all ages!
Measuring just the right size for children and teens, this mask is a fantastic addition to any Halloween costume. Get the whole family involved in the creative process and make memories that will last a lifetime.

Limited, seasonal, and hard to find!

CONDITION:

New. Wood grain pattern varies. Please see photos.

To ensure safe delivery all items are carefully packaged before shipping out.

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"A goblin is a small, grotesque, monstrous creature that appears in the folklore of multiple European cultures. First attested in stories from the Middle Ages, they are ascribed conflicting abilities, temperaments, and appearances depending on the story and country of origin, ranging from mischievous household spirits to malicious, bestial thieves.[1][2] They often have magical abilities similar to a fairy or demon, such as the ability to shapeshift.[2]

Similar creatures include brownies, dwarves, duendes, gnomes, imps, leprechauns, and kobolds, but it is also commonly used as a blanket term for all small, fay creatures.[2] The term is sometimes expanded to include goblin-like creatures of other cultures, such as the pukwudgie, dokkaebi, or ifrit.[2]
Etymology

Alternative spellings include gobblin, gobeline, gobling, goblyn, goblino, and gobbelin. The term "goblette" has been used to refer to female goblins.[3][4]

The word goblin is first recorded in the 14th century and is probably from unattested Anglo-Norman *gobelin,[5] similar to Old French gobelin, already attested around 1195 in Ambroise of Normandy's Guerre sainte, and to Medieval Latin gobelinus in Orderic Vitalis before 1141,[6][7] which was the name of a devil or daemon haunting the country around Évreux, Normandy. It may be related both to German kobold and to Medieval Latin cabalus - or *gobalus, itself from Greek κόβαλος (kobalos), "rogue", "knave", "imp", "goblin".[6] German Kobold contains the Germanic root kov- (Middle German Kobe "refuge, cavity", "hollow in a rock", Dial. English cove "hollow in a rock", English "sheltered recess on a coast", Old Norse kofi "hut, shed" ) which means originally a "hollow in the earth".[8][9] The word is probably related to Dial. Norman gobe "hollow in a cliff", with simple suffix -lin or double suffixation -el-in (cf. Norman surnames Beuzelin,[10] Gosselin,[11] Étancelin,[12] etc.)[13]

Alternatively, it may be a diminutive or other derivative of the French proper name Gobel, more often Gobeau,[14][5] diminutive forms Gobelet, Goblin, Goblot, but their signification is probably "somebody who sells tumblers or beakers or cups".[15] Moreover, these proper names are not from Normandy, where the word gobelin, gobelinus first appears in the old documents.

The Welsh coblyn, a type of knocker, derives from the Old French gobelin via the English goblin.[16]
In folklore
An illustration of a group of goblins surrounding a small child.
The Princess and the Goblin by George MacDonald, illustrated by Jessie Willcox Smith, 1920
European folklore

    Goblins are common in English, Scottish, and Irish folklore, serving as a blanket term for all sorts of evil or mischievous spirits.
    A redcap is a type of goblin who dyes its hat in human blood in Anglo-Scottish border folklore.
    Hobgoblins are friendly trickster goblins from English, Scottish, and Pilgrim folklore and literature.[2]
    The Erlking is a malevolent goblin from German legend.
    The trasgu is a Northern Spanish and Northern Portuguese mythological creature of Celtic and Roman origin.

Goblin-like creatures in other cultures

    A pukwudgie is a type of goblin from Wamponoag folklore.
    The muki is a pale goblin who lives in caves in the Andes in Quechuan folklore.
    In South Korea, goblins, known as dokkaebi (도깨비), are important creatures in folklore, where they reward good people and punish the evil, playing tricks on them.[2]
    In Bangladesh, Santal people believe in gudrobonga which is very similar to goblins.
    In South African mythology, the tokoloshe (or tikoloshe or tikoloshi) is a dwarf-like creatures similar to a goblin.
    Goblins have at times been conflated with the jinn, specifically ifrit and ghilan, of Islamic culture.[17]

In fiction
Fairy tales and folk stories

    "The Goblin Pony", from The Grey Fairy Book (French fairy tale)
    "The Benevolent Goblin", from Gesta Romanorum (England)[18]
    "The Goblins at the Bath House" (Estonia), from A Book of Ghosts and Goblins (1969)
    "The Goblins Turned to Stone" (Dutch fairy tale)[19]
    King Gobb (Moldovan Gypsy folktale)[citation needed]
    Goblins are featured in the Danish fairy tales The Elf Mound, The Goblin and the Grocer, and The Goblin and the Woman.
    Goblins are featured in the Norwegian folktale The Christmas Visitors at Kvame.
    Goblins are featured in the Swedish fairy tales The Four big Trolls and little Peter Pastureman and Dag, and Daga and the Flying Troll of Sky Mountain where they live among trolls alongside sprites and gnomes.
    Goblins are featured in the French fairy tale called The Golden Branch.
    Chinese Ghouls and Goblins (England 1928)
    "The Goblin of Adachigahara" (Japanese fairy tale)[20]
    The Boy Who Drew Cats (Japanese fairy tale)
    Twenty-Two Goblins (Indian fairy tale)[21]
    The Korean nursery song 'Mountain Goblin(산도깨비)' tells of meeting a dokkaebi and running away to live.

Modern fiction

In J. R. R. Tolkien's The Hobbit the evil creatures living in the Misty Mountains are referred to as goblins. In The Lord of the Rings the same creatures are primarily referred to as orcs.
An illustration of a goblin wearing armour made of leather and skulls, wielding a cutlass.
Representation of a goblin as it appears in the fantasy role-playing game Dungeons & Dragons

Goblinoids are a category of humanoid legendary creatures related to the goblin. The term was popularized in the Dungeons & Dragons fantasy role-playing game,[22] in which goblins and related creatures are a staple of random encounters. Goblinoids are typically barbaric foes of the various human and "demi-human" races. Even though goblinoids in modern fantasy fiction are derived from J. R. R. Tolkien's orcs, the main types of goblinoids in Dungeons & Dragons are goblins, bugbears and hobgoblins; these creatures are also figures of mythology, next to ordinary goblins.

In the Harry Potter book series and the shared universe in which its film adaptations are set, goblins are depicted as strange, but civilised, humanoids, who often serve as bankers or craftsmen.

In Terry Pratchett's Discworld series, goblins are initially a despised and shunned subterranean race; however, in later books, goblins are eventually integrated with the other races, and their mechanical and engineering talents come to be valued.

The Green Goblin is a well-known supervillain, one of the archenemies of Spider-Man, who has various abilities including enhanced stamina, durability, agility, reflexes and superhuman strength due to ingesting a substance known as the "Goblin Formula". He has appeared in various Spider-Man related media, such as comics, television series, video games, and films, including Spider-Man (2002) and Spider-Man: No Way Home (2021) as Norman Osborn, and Spider-Man 3 (2007) and The Amazing Spider-Man 2 (2014) as Harry Osborn.

In the video game series Elder Scrolls, goblins are a hostile beast race said to originate from Summerset Isle, can range in size from being smaller than a Wood Elf to being larger than a Nord and love living in dank places such as caves and sewers.

In early English translations, The Smurfs were called goblins.[23]
Goblin-related place names

    'The Gap of Goeblin', a hole and tunnel in Mortain, France.[24]
    Hobroyd (which means 'goblin clearing'), High Peak, Derbyshire, UK.[25]
    Goblin Combe, in north Somerset, UK
    Goblin Valley State Park, Utah, US
    Goblin Crescent, Bryndwr, Christchurch, New Zealand
    Yester Castle (also known as "Goblin Hall") East Lothian, Scotland
    Goblin Bay, Beausoleil Island, Ontario, Canada
    Cowcaddens and Cowlairs, Glasgow, Scotland. 'Cow' is an old Scots word for Goblin, while 'cad' means 'nasty'. 'Dens' and 'lairs' refers to goblin homes.[26]

    541132 Leleākūhonua (then known as 2015 TG387) is an object in the outer solar system nicknamed "The Goblin"" (wikipedia.org)

"A hobgoblin is a household spirit, appearing in English folklore, once considered helpful, but which since the spread of Christianity has often been considered mischievous.[1](p320) Shakespeare identifies the character of Puck in his A Midsummer Night's Dream as a hobgoblin.[2]
Etymology
Look up hobgoblin in Wiktionary, the free dictionary.

The term "hobgoblin" comes from "hob" ("elf").[a][b] The earliest known use of the word can be traced to about 1530, although it was likely in use for some time prior to that.[2]
Folklore
Hobgoblin Hall, a 1904 drawing by Herbert Railton of William Wordsworth's house, Rydal Mount

Hobgoblins seem to be small, hairy little men who, like their close relatives the brownies, are often found within human dwellings, doing odd jobs around the house while the family is asleep. Such chores are typically small tasks like dusting and ironing. Often, the only compensation necessary in return for these is food.

While brownies are more peaceful creatures, hobgoblins are more fond of practical jokes. They also seem to be able to shapeshift, as seen in one of Puck's monologues in A Midsummer Night's Dream. Robin Goodfellow is perhaps the most mischievous and most infamous of all his kind, but many are less antagonizing. Like other fairy folk, hobgoblins are easily annoyed. They can be mischievous, frightening, and even dangerous.[1](p100) Attempts to give them clothing will often banish them forever, though whether they are offended by such gifts or are simply too proud to work in new clothes differs from teller to teller.

Billy Blind
    is a clever hobgoblin or brownie found in several ballads collected by F.J. Child. Billy Blind helps humans in dramatic situations by offering valuable information and advice.[4][5][6][7]

Blue Burches
    is the name of a shapeshifting hobgoblin who played harmless pranks in the home of a shoemaker and his family on the Blackdown Hills in Somerset. His usual form was that of an old man wearing baggy blue breeches but he also took the form of a white horse, a black pig and a wisp of blue smoke. The family took his presence in good stride but some clergymen learned of his existence and banished him from the house.[1](p27)

Robin Roundcap
    (not to be confused with Robin Redcap) haunted Spaldington Hall in Spaldington, East Riding of Yorkshire and was a hearth spirit of the true hobgoblin type. He helped thresh the corn and performed other domestic chores, but when he was in the mood for mischief he would mix the wheat and chaff again, kick over the milk pail, and extinguish the fire. He is said to have been confined in a well for a stipulated number of years through the prayers of three clergymen. This well is known as Robin Roundcap's Well.[8]

Dobby
    is another term for hobgoblin in Lancashire and Yorkshire according to the folklorist Elizabeth Mary Wright, especially one that is a relentless prankster. Much like the boggart, a dobby's pranks may become so troublesome that a family decides to move elsewhere, only to find that the dobby has followed them (one version of this tale involves Robin Roundcap). However, one Yorkshire dobby (or hob) lived in a cave and was noted for curing children of the whooping cough. Dobbies could be just as industrious as other hobgoblins and brownies, which led to the expression "Master Dobbs has been helping you" whenever a person has accomplished more work than was expected.[9] The term is also referenced in the character of the house-elf Dobby in the Harry Potter series.

Variants

The bauchan is a Scottish domestic hobgoblin that is mischievous and belligerent but also very helpful when the need arises.[10]

The bwbach (or boobach, plural bwbachod) is a Welsh domestic hobgoblin that will perform household chores in return for bowls of cream. They are good-natured but mischievous and have a dislike of clergymen and teetotalers, upon whom they will play relentless pranks.[11]
Literature

In the poem "L'Allegro" (1645) by John Milton a domestic hobgoblin or brownie, known as a Lubbar Fend (or lubber fiend) and described as strong and hairy, threshes the corn then lays by the fireplace enjoying his bowl of cream that he earns as payment.[12] In the earlier play The Knight of the Burning Pestle (1607) by Francis Beaumont, a similar being is known as Lob-Lie-by-the-Fire, described as a giant and the son of a witch.[13] Folklorist K.M. Briggs stated that the two creatures are generally equated.[1](p270) Briggs' own fantasy novel, Hobberdy Dick (1955), is about a hobgoblin that lives in the home of a 17th century Puritan family.[14]

In a 1684 hymn Bunyan couples the hobgoblin with "a foul fiend", as two monstrous beings who try (and fail) to "daunt the Pilgrim's spirit".[15]

The term "hobgoblin" is used sometimes to mean a superficial object that is a source of (often imagined) fear or trouble. The best-known example of this usage is probably Ralph Waldo Emerson's line, "A foolish consistency is the hobgoblin of little minds", from the essay Self-Reliance.[16]

Hobgoblins exist in the works of Tolkien as a larger kind of orc, though they are not prominently featured. In the preface of The Hobbit, he states that "Orc is not an English word. It occurs in one or two places but is usually translated goblin (or hobgoblin for the larger kinds)".[17]

In The Spiderwick Chronicles, a hobgoblin[c] is portrayed as a selfish character, always hungry, insulting to others, and annoyed with always being confused for a goblin." (wikipedia.org)

"A monster is a type of fictional creature found in horror, fantasy, science fiction, folklore, mythology and religion. Monsters are very often depicted as dangerous and aggressive with a strange, grotesque appearance that causes terror and fear. Monsters usually resemble bizarre, deformed, otherworldly and/or mutated animals or entirely unique creatures of varying sizes, but may also take a human form, such as mutants, ghosts and spirits, zombies or cannibals, among other things. They may or may not have supernatural powers, but are usually capable of killing or causing some form of destruction, threatening the social or moral order of the human world in the process.

Animal monsters are outside the moral order, but sometimes have their origin in some human violation of the moral law (e.g. in the Greek myth, Minos does not sacrifice to Poseidon the white bull which the god sent him, so as punishment Poseidon makes Minos' wife, Pasiphaë, fall in love with the bull. She copulates with the beast, and gives birth to the man with a bull's head, the Minotaur). Human monsters are those who by birth were never fully human (Medusa and her Gorgon sisters) or who through some supernatural or unnatural act lost their humanity (werewolves, Frankenstein's monster), and so who can no longer, or who never could, follow the moral law of human society.

Monsters may also be depicted as misunderstood and friendly creatures who frighten individuals away without wanting to, or may be so large, strong and clumsy that they cause unintentional damage or death. Some monsters in fiction are depicted as mischievous and boisterous but not necessarily threatening (such as a sly goblin), while others may be docile but prone to becoming angry or hungry, thus needing to be tamed and taught to resist savage urges, or killed if they cannot be handled or controlled successfully.

Monsters pre-date written history, and the academic study of the particular cultural notions expressed in a society's ideas of monsters is known as monstrophy.[1] Monsters have appeared in literature and in feature-length films. Well-known monsters in fiction include Count Dracula, Frankenstein's monster, werewolves, vampires, demons, mummies, and zombies.
Etymology
A polemical allegory presented as a five-headed monster, 1618

Monster derives from the Latin monstrum, itself derived ultimately from the verb moneo ("to remind, warn, instruct, or foretell"), and denotes anything "strange or singular, contrary to the usual course of nature, by which the gods give notice of evil," "a strange, unnatural, hideous person, animal, or thing," or any "monstrous or unusual thing, circumstance, or adventure."[2]
Cultural heritage

In the words of Tina Marie Boyer, assistant professor of medieval German literature at Wake Forest University, "monsters do not emerge out of a cultural void; they have a literary and cultural heritage".[3]

In the religious context of ancient Greeks and Romans, monsters were seen as signs of "divine displeasure", and it was thought that birth defects were especially ominous, being "an unnatural event" or "a malfunctioning of nature".[4]

Monsters are not necessarily abominations however. The Roman historian Suetonius, for instance, describes a snake's absence of legs or a bird's ability to fly as monstrous, as both are "against nature".[5] Nonetheless, the negative connotations of the word quickly established themselves, and by the playwright and philosopher Seneca's time, the word had extended into its philosophical meaning, "a visual and horrific revelation of the truth".[6]

In spite of this, mythological monsters such as the Hydra and Medusa are not natural beings, but divine entities. This seems to be a holdover from Proto-Indo-European religion and other belief systems, in which the divisions between "spirit," "monster," and "god" were less evident.
Monsters in fiction
Prose fiction

The history of monsters in fiction is long. For instance, Grendel in the epic poem Beowulf is an archetypal monster: deformed, brutal, and with enormous strength, he raids a human settlement nightly to slay and feed on his victims. The modern literary monster has its roots in examples such as the monster in Mary Shelley's Frankenstein and the vampire in Bram Stoker's Dracula.

Monsters are a staple of fantasy fiction, horror fiction, and science fiction (where the monsters are often extraterrestrial in nature). There also exists monster erotica, a subgenre of erotic fiction that involves monsters.
Film
Main article: Monster movie
Pre–World War II monster films
Hollywood's interpretation of Frankenstein's monster, played by Boris Karloff

During the age of silent films, monsters tended to be human-sized, e.g. Frankenstein's monster, the Golem, werewolves and vampires. The film Siegfried featured a dragon that consisted of stop-motion animated models, as in RKO's King Kong, the first giant monster film of the sound era.

Universal Studios specialized in monsters, with Bela Lugosi's reprisal of his stage role, Dracula, and Boris Karloff playing Frankenstein's monster. The studio also made several lesser films, such as Man-Made Monster, starring Lon Chaney Jr. as a carnival side-show worker who is turned into an electrically charged killer, able to dispatch victims merely by touching them, causing death by electrocution.

There was also a variant of Dr. Frankenstein, the mad surgeon Dr. Gogol (played by Peter Lorre), who transplanted hands that were reanimated with malevolent temperaments, in the film Mad Love.

Werewolves were introduced in films during this period, and similar creatures were presented in Cat People. Mummies were cinematically depicted as fearsome monsters as well. As for giant creatures, the cliffhanger of the first episode of the 1936 Flash Gordon serial did not use a costumed actor, instead using real-life lizards to depict a pair of battling dragons via use of camera perspective. However, the cliffhanger of the ninth episode of the same serial had a man in a rubber suit play the Fire Dragon, which picks up a doll representing Flash in its claws. The cinematic monster cycle eventually wore thin, having a comedic turn in Abbott and Costello Meet Frankenstein (1948).
Post–World War II monster films
Original Godzilla film poster

In the post–World War II era, however, giant monsters returned to the screen with a vigor that has been causally linked to the development of nuclear weapons. One early example occurred in the American film The Beast from 20,000 Fathoms, which was about a dinosaur that attacked a lighthouse. Subsequently, there were Japanese film depictions, (Godzilla, Gamera), British depictions (Gorgo), and even Danish depictions (Reptilicus), of giant monsters attacking cities. A recent depiction of a giant monster is depicted in J. J. Abrams's Cloverfield, which was released in theaters 18 January 2008. The intriguing proximity of other planets brought the notion of extraterrestrial monsters to the big screen, some of which were huge in size (such as King Ghidorah and Gigan), while others were of a more human scale. During this period, the fish-man monster Gill-man was developed in the film series Creature from the Black Lagoon.
Card from the Japanese game obake karuta, c. early 19th century[a]

Britain's Hammer Film Productions brought color to the monster movies in the late 1950s. Around this time, the earlier Universal films were usually shown on American television by independent stations (rather than network stations) by using announcers with strange personas, who gained legions of young fans. Although they have since changed considerably, movie monsters did not entirely disappear from the big screen as they did in the late 1940s.

Occasionally, monsters are depicted as friendly or misunderstood creatures. King Kong and Frankenstein's monster are two examples of misunderstood creatures. Frankenstein's monster is frequently depicted in this manner, in films such as Monster Squad and Van Helsing. The Hulk is an example of the "Monster as Hero" archetype. The theme of the "Friendly Monster" is pervasive in pop-culture. Chewbacca, Elmo, and Shrek are notable examples of friendly "monsters". The monster characters of Pixar's Monsters, Inc. franchise scare (and later entertain) children in order to create energy for running machinery in their home world, while the furry monsters of The Muppets and Sesame Street live in harmony with animals and humans alike. Japanese culture also commonly features monsters which are benevolent or likable, with the most famous examples being the Pokémon franchise and the pioneering anime My Neighbor Totoro. The book series/webisodes/toy line of Monster High is another example.
Games

Monsters are commonly encountered in fantasy or role-playing games, as well as video games, as enemies for players to fight against. They may include aliens, legendary creatures, extra-dimensional entities or mutated versions of regular animals.

Especially in role-playing games, "monster" is a catch-all term for hostile characters that are fought by the player. Sentient fictional races are usually not referred to as monsters. At other times, the term can carry a neutral connotation, such as in the Pokémon franchise, where it is used to refer to cute fictional creatures that resemble real-world animals. Characters in games may refer to all of such creatures as "monsters".

In some other games, such as Undertale and Deltarune, "Monsters" (which are usually NPCs) refer to strange beings that are either anthropomorphic animals, undead, robots, humanoids or mythical creatures that share similarities with human beings." (wikipedia.org)

"A ghoul (from Arabic: غول, ghūl) is a demon-like being or monstrous humanoid. The concept originated in pre-Islamic Arabian religion,[1] associated with graveyards and the consumption of human flesh. Modern fiction often uses the term to label a certain kind of monster.

By extension, the word ghoul is also used in a derogatory sense to refer to a person who delights in the macabre or whose occupation directly involves death, such as a gravedigger or graverobber.[2]
Etymology

Ghoul is from the Arabic غُول ghūl, from غَالَ ghāla, "to seize".[3] In Arabic, the term is also sometimes used to describe a greedy or gluttonous individual.

The term was first used in English literature in 1786 in William Beckford's Orientalist novel Vathek,[4] which describes the ghūl of Arabic folklore. This definition of the ghoul has persisted until modern times with ghouls appearing in popular culture.[5]
Folklore
Ghouls gathering for combat in a Persian poem

In Arabic folklore, the ghul is said to dwell in cemeteries and other uninhabited places. A male ghoul is referred to as ghul while the female is called ghulah.[6] A source[who?] identified the Arabic ghoul as a female creature who is sometimes called Mother Ghoul (ʾUmm Ghulah) or a relational term such as Aunt Ghoul.[7] She is portrayed in many tales luring hapless characters, who are usually men, into her home where she can eat them.[7]

Some state[who?] that a ghoul is a desert-dwelling, shapeshifting demon that can assume the guise of an animal, especially a hyena. It lures unwary people into the desert wastes or abandoned places to slay and devour them. The creature also preys on young children, drinks blood, steals coins, and eats the dead,[8] then taking the form of the person most recently eaten. One of the narratives identified a ghoul named Ghul-e Biyaban, a particularly monstrous character believed to be inhabiting the wilderness of Afghanistan and Iran.[9]

Al-Dimashqi describes the ghoul as cave-dwelling animals who only leave at night and avoid the light of the sun. They would eat both humans as well as animals.[10](p189)

It was not until Antoine Galland translated One Thousand and One Nights into French that the Western concept of ghouls was introduced into European society. [11] Galland depicted the ghoul as a monstrous creature that dwelled in cemeteries, feasting upon corpses.
Islam

Ghoul are not mentioned in the Quran, but in hadith. While some consider the ghoul to be a type of jinn, other exegetes of the Quran (tafsir) conjectured that the ghouls are burned devils. Accordingly, the shayatin (devils) once had access to the heavens, where they eavesdropped, and returned to Earth to pass hidden knowledge to the soothsayers. When Jesus was born, three heavenly spheres were forbidden to them. With the arrival of Muhammad, the other four were forbidden. The marid among the shayatin continued to rise to the heavens, but were burned by comets. If these comets didn't burn them to death, they were deformed and driven to insanity. They then fell to the deserts and were doomed to roam the earth as ghouls.[12]

In one[which?] hadith it is said, lonely travelers can escape a ghoul's attack by repeating the adhan (call to prayer).[13] When reciting the Throne Verse, a ghoul, in contrast to a devil, might decide to convert to Islam.[14]

The ghoul could appear in male and female shape, but usually appears female to lure on male travelers to devour them.[15] Al-Masudi reports that on his journey to Syria, Umar slew a ghoul with his sword.[15] According to History of the Prophets and Kings, the rebellious (maradatuhum) among the devils and the ghouls have been chased away to the deserts and mountains and valleys a long time ago.[16]

Other Muslim scholars, like Abī al-Sheikh al-Aşbahânī, describe the ghoul as a kind of female jinn that was able to change its shape and appear to travelers in the wilderness to delude and harm.[17]
Ancient Mesopotamia
   
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In ancient Mesopotamia, there was a monster called 'Gallu' that could be[weasel words] regarded as one of the origins of the arabic ghoul. Gallu was an Akkadian demon of the underworld responsible for the abduction of vegetation god Dumuzid to the realm of death.
Modern ghoul

The word ghoul entered the English tradition and was further identified as a grave-robbing creature that feeds on dead bodies and children. In the West, ghouls have no specific shape and have been described by Edgar Allan Poe as "neither man nor woman... neither brute nor human."[18]  

In "Pickman's Model", a short story by H. P. Lovecraft, ghouls are members of a subterranean race. Their diet of dead human flesh mutated them into bestial humanoids able to carry on intelligent conversations with the living. The story has ghouls set underground with ghoul tunnels that connect ancient human ruins with deep underworlds. Lovecraft hints that the ghouls emerge in subway tunnels to feed on train wreck victims.[19]

Lovecraft's vision of the ghoul, shared by associated authors Clark Ashton-Smith and Robert E. Howard, has heavily influenced the collective idea of the ghoul in American culture. Ghouls as described by Lovecraft are dog-faced and hideous creatures but not necessarily malicious. Though their primary (perhaps only) food source is human flesh, they do not seek out or hunt living people. They are able to travel back and forth through the wall of sleep. This is demonstrated in Lovecraft's "The Dream Quest of Unknown Kadath" in which Randolph Carter encounters in the dream world, Pickman after his complete transition into a mature ghoul.

Ghouls in this vein, are also changelings in the traditional way. The ghoul parent abducts a human infant and replaces it with one of its own. Ghouls appear entirely human as children but begin to take on the "ghoulish" appearance as they age past adulthood. The fate of the replaced human children is not entirely clear but Pickman offers a clue in the form of a painting depicting mature ghouls as they encourage a human child while it cannibalizes a corpse.

This version of the ghoul appears in stories by popular authors such as Neil Gaiman, Brian Lumley, and Guillermo del Toro as well as many other authors." (wikipedia.org)

"A demon is a malevolent supernatural entity. Historically, belief in demons, or stories about demons, occurs in religion, occultism, literature, fiction, mythology, and folklore; as well as in media such as comics, video games, movies, and television series.

Belief in demons probably goes back to the Paleolithic age, stemming from humanity's fear of the unknown, the strange and the horrific.[1] In ancient Near Eastern religions and in the Abrahamic religions, including early Judaism[2] and ancient-medieval Christian demonology, a demon is considered a harmful spiritual entity which may cause demonic possession, calling for an exorcism. Large portions of Jewish demonology, a key influence on Christianity and Islam, originated from a later form of Zoroastrianism, and was transferred to Judaism during the Persian era.[3]

Demons may or may not also be considered to be devils: minions of the Devil.[1] In many traditions, demons are independent operators, with different demons causing different types of evils (destructive natural phenomena, specific diseases, etc.). In religions featuring a principal Devil (e.g. Satan) locked in an eternal struggle with God, demons are often also thought to be subordinates of the principal Devil. As lesser spirits doing the Devil's work, they have additional duties— causing humans to have sinful thoughts and tempting humans to commit sinful actions.[4]

The original Ancient Greek word daimōn (δαίμων) did not carry negative connotations,[5] as it denotes a spirit or divine power.[6] The Greek conception of a daimōn notably appears in the philosophical works of Plato, where it describes the divine inspiration of Socrates.

In Christianity, morally ambivalent daimōn were replaced by demons, forces of evil only striving for corruption.[7] Such demons are not the Greek intermediary spirits, but hostile entities, already known in Iranian beliefs.[8]

In Western occultism and Renaissance magic, which grew out of an amalgamation of Greco-Roman magic, Jewish Aggadah and Christian demonology,[9] a demon is believed to be a spiritual entity that may be conjured and controlled.

Belief in demons remains an important part of many modern religions and occultist traditions. Demons are still feared largely due to their alleged power to possess living creatures. In the contemporary Western occultist tradition (perhaps epitomized by the work of Aleister Crowley), a demon (such as Choronzon, which is Crowley's interpretation of the so-called "Demon of the Abyss") is a useful metaphor for certain inner psychological processes (inner demons), though some may also regard it as an objectively real phenomenon.
Etymology
Further information: Daemon (classical mythology), Agathodaemon, Cacodemon, Daimonic, and Eudaimonia
Mephistopheles (a medieval demon from German folklore) flying over Wittenberg, in a lithograph by Eugène Delacroix.

The Ancient Greek word δαίμων (daimōn) denotes a spirit or divine power, much like the Latin genius or numen. Daimōn most likely came from the Greek verb daiesthai ("to divide" or "distribute").[6] The Greek conception of a daimōn notably appears in the philosophical works of Plato, where it describes the divine inspiration of Socrates. The original Greek word daimōn does not carry the negative connotation initially understood by implementation of the Koine δαιμόνιον (daimonion),[5] and later ascribed to any cognate words sharing the root.

The Greek terms do not have any connotations of evil or malevolence. In fact, εὐδαιμονία (eudaimonia, which literally translates as "good-spiritedness") means happiness. By the early centuries of the Roman Empire, cult statues were seen, by Pagans and their Christian neighbors alike, as inhabited by the numinous presence of the Greco-Roman gods: "Like pagans, Christians still sensed and saw the gods and their power, and as something, they had to assume, lay behind it, by an easy traditional shift of opinion they turned these pagan daimones into malevolent 'demons', the troupe of Satan. Far into the Byzantine period, Christians eyed their cities' old pagan statuary as a seat of the demons' presence. It was no longer beautiful, it was infested."[10] The term had first acquired its negative connotations in the Septuagint translation of the Hebrew Bible into Greek, which drew on the mythology of ancient Semitic religions. This was then inherited by the Koine text of the New Testament.

The English use of demon as synonym for devils goes back at least as far as about 825. The German word (Dämon), however, is different from devil (Teufel) and demons as evil spirits, and akin to the original meaning of a Daimon.[11] The Western Modern era conception of a demon, as in the Ars Goetia, derives seamlessly from the ambient popular culture of Late Antiquity....Modern interpretations
The classic oni, a Japanese ogre-like creature which often has horns and often translated into English as "demon".

Psychologist Wilhelm Wundt remarked that "among the activities attributed by myths all over the world to demons, the harmful predominate, so that in popular belief bad demons are clearly older than good ones."[137] Sigmund Freud developed this idea and claimed that the concept of demons was derived from the important relation of the living to the dead: "The fact that demons are always regarded as the spirits of those who have died recently shows better than anything the influence of mourning on the origin of the belief in demons."[138]

M. Scott Peck, an American psychiatrist, wrote two books on the subject, People of the Lie: The Hope For Healing Human Evil[139] and Glimpses of the Devil: A Psychiatrist's Personal Accounts of Possession, Exorcism, and Redemption.[140] Peck describes in some detail several cases involving his patients. In People of the Lie he provides identifying characteristics of an evil person, whom he classified as having a character disorder. In Glimpses of the Devil Peck goes into significant detail describing how he became interested in exorcism in order to debunk the myth of possession by evil spirits – only to be convinced otherwise after encountering two cases which did not fit into any category known to psychology or psychiatry. Peck came to the conclusion that possession was a rare phenomenon related to evil and that possessed people are not actually evil; rather, they are doing battle with the forces of evil.[141]

Although Peck's earlier work was met with widespread popular acceptance, his work on the topics of evil and possession has generated significant debate and derision. Much was made of his association with (and admiration for) the controversial Malachi Martin, a Roman Catholic priest and a former Jesuit, despite the fact that Peck consistently called Martin a liar and a manipulator.[142][143] Richard Woods, a Roman Catholic priest and theologian, has claimed that Dr. Peck misdiagnosed patients based upon a lack of knowledge regarding dissociative identity disorder (formerly known as multiple personality disorder) and had apparently transgressed the boundaries of professional ethics by attempting to persuade his patients into accepting Christianity.[142] Father Woods admitted that he has never witnessed a genuine case of demonic possession in all his years.[144][145][146]

According to S. N. Chiu, God is shown sending a demon against Saul in 1 Samuel 16 and 18 in order to punish him for the failure to follow God's instructions, showing God as having the power to use demons for his own purposes, putting the demon under his divine authority.[147] According to the Britannica Concise Encyclopedia, demons, despite being typically associated with evil, are often shown to be under divine control, and not acting of their own devices." (wikipedia.org)

"An orc (sometimes spelt ork; /ɔːrk/[1][2]),[3] in J. R. R. Tolkien's Middle Earth fantasy fiction, is a race of humanoid monsters, which he also calls "goblin".

Especially in Tolkien's The Lord of the Rings, orcs appear as a brutish, aggressive, ugly, and malevolent race of monsters, contrasting with the benevolent Elves. They are a corrupted race of elves, either bred that way by Morgoth, or turned savage in that manner, according to the Silmarillion.[4][5]

The orc was a sort of "hell-devil" in Old English literature, and the orc-né (pl. orc-néas, "demon-corpses") was a race of corrupted beings and descendants of Cain, alongside the elf, according to the poem Beowulf. Tolkien adopted the term orc from these old attestations, which he professed was a choice made purely for "phonetic suitability" reasons.[T 1]

Tolkien's concept of orcs has been adapted into the fantasy fiction of other authors, and into games of many different genres such as Dungeons & Dragons, Magic: The Gathering, and Warcraft.
Etymology
Further information: Beowulf and Middle-earth
Latin orcus is glossed as Old English "orc, þyrs ꝉ hel-deofol" ("Goblin, spectre or hell-devil") in the 10th century Cleopatra Glossaries.

The word orc probably derives from the Latin word/name Orcus.[6] The term orcus is glossed as "orc, þyrs, oððe hel-deofol"[a] ("Goblin, spectre, or hell-devil") in the 10th century Old English Cleopatra Glossaries, about which Thomas Wright wrote, "Orcus was the name for Pluto, the god of the infernal regions, hence we can easily understand the explanation of hel-deofol. Orc, in Anglo-Saxon, like thyrs, means a spectre, or goblin."[7][8][b]

In the sense of a monstrous being, the term is used just once in Beowulf, as the plural compound orcneas, one of the tribes belonging to the descendants of Cain, alongside the elves and ettins (giants) condemned by God:

    þanon untydras ealle onwocon
    eotenas ond ylfe ond orcneas
    swylce gigantas þa wið gode wunnon
    lange þrage he him ðæs lean forgeald

—Beowulf, Fitt I, vv. 111–14[9]
   

    Thence all evil broods were born,
    ogres and elves and evil spirits
    —the giants also, who long time fought with God,
    for which he gave them their reward

—John R. Clark Hall, tr. (1901)[10]
   
Beowulf's eotenas ond ylfe ond orcneas, "ogres and elves and demon-corpses", inspiring Tolkien to create orcs and other races

The meaning of Orcneas is uncertain. Frederick Klaeber suggested it consisted of orc < L. orcus "the underworld" + neas "corpses", to which the translation "evil spirits" failed to do justice.[11][c] It is generally supposed to contain an element -né, cognate to Gothic naus and Old Norse nár, both meaning 'corpse'.[6][d] If *orcné is to be glossed as orcus 'corpse', then the compound word can be construed as "demon-corpses",[13] or "corpse from Orcus (i.e. the underworld)".[11] Hence orc-neas may have been some sort of walking dead monster, a product of ancient necromancy,[11] or a zombie-like creature.[13][14]

Tolkien
Tolkien wrote that his orcs were influenced by the goblins in George MacDonald's 1872 The Princess and the Goblin.[T 1] Illustration "The goblins fell back a little when he began, and made horrible grimaces" by Jessie Willcox Smith, 1920

The term "orc" is used only once in the first edition of Tolkien's 1937 The Hobbit, which preferred the term "goblins". "Orc" was later used ubiquitously in The Lord of the Rings.[15][T 2] The "orc-" element occurs in the sword name Orcrist,[e][T 2][15] which is given as its Elvish language name,[T 3][16] and it is glossed as "Goblin-cleaver".[T 4]
Stated etymology

Tolkien began the more modern use of the English term "orc" to denote a race of evil, humanoid creatures. His earliest Elvish dictionaries include the entry Ork (orq-) "monster", "ogre", "demon", together with orqindi and "ogresse". He sometimes used the plural form orqui in his early texts.[f] He stated that the Elvish words for orc were derived from a root ruku, "fear, horror"; in Quenya, orco, plural orkor; in Sindarin orch, plurals yrch and Orchoth (as a class).[T 5][T 1] They had similar names in other Middle-earth languages: uruk in Black Speech;[T 1] in the language of the Drúedain gorgûn, "ork-folk"; in Khuzdul rukhs, plural rakhâs; and in the language of Rohan and in the Common Speech, orka.[T 5]

Tolkien stated in a letter to the novelist Naomi Mitchison that his orcs had been influenced by George MacDonald's The Princess and the Goblin.[T 1] He explained that his "orc" was "derived from Old English orc 'demon', but only because of its phonetic suitability",[T 1][15] and

    I originally took the word from Old English orc (Beowulf 112 orc-neas and the gloss orc: þyrs ('ogre'), heldeofol ('hell-devil')).[g] This is supposed not to be connected with modern English orc, ork, a name applied to various sea-beasts of the dolphin order".[T 6][1]

Tolkien also observed a similarity with the Latin word orcus, noting that "the word used in translation of Q[uenya] urko, S[indarin] orch is Orc. But that is because of the similarity of the ancient English word orc, 'evil spirit or bogey', to the Elvish words. There is possibly no connection between them".[T 5]

Description

Orcs are of human shape, and of varying size.[T 7] They are depicted as ugly and filthy, with a taste for human flesh. They are fanged, bow-legged and long-armed. Most are small and avoid daylight.[T 8]

By the Third Age, a new breed of orc had emerged, the Uruk-hai, larger and more powerful, and no longer afraid of daylight.[T 8] Orcs eat meat, including the flesh of Men, and may indulge in cannibalism: in The Two Towers, Grishnákh, an orc from Mordor, claims that the Isengard orcs eat orc-flesh. Whether that is true or spoken in malice is uncertain: an orc flings Peregrin Took stale bread and a "strip of raw dried flesh... the flesh of he dared not guess what creature".[T 8]

Half-orcs appear in The Lord of the Rings, created by interbreeding of orcs and Men;[T 9] they were able to go in sunlight.[T 8] The "sly Southerner" in The Fellowship of the Ring looks "more than half like a goblin";[T 10] similar but more orc-like hybrids appear in The Two Towers "man-high, but with goblin-faces, sallow, leering, squint-eyed."[T 11]
An orc mask
A close-up picture of film producer Harvey Weinstein from the shoulders up
Peter Jackson had an orc modelled on the Hollywood producer Harvey Weinstein after a disagreement.[17]

In Peter Jackson's Lord of the Rings films, the actors playing orcs are made up with masks designed to make them look evil. After a disagreement with the film producer Harvey Weinstein, Jackson had one of the masks made to resemble Weinstein, as an insult to him.[17]
Orkish language
Further information: Black Speech

The Orcs had no language of their own, merely a pidgin of many various languages. However, individual tribes developed dialects that differed so widely that Westron, often with a crude accent, was used as a common language.[T 8][18] When Sauron returned to power in Mordor in the Third Age, Black Speech was used by the captains of his armies and by his servants in Barad-dûr. A sample of debased Black Speech can be found in The Two Towers, where a "yellow-fanged" guard Orc of Mordor curses Uglúk of Isengard (an uruk-hai chief) with the words "Uglúk u bagronk sha pushdug Saruman-glob búbhosh skai!" In The Peoples of Middle-earth, Tolkien gives the translation: "Uglúk to the cesspool, sha! the dungfilth; the great Saruman-fool, skai!"[T 12] However, in a note published in Vinyar Tengwar he gives an alternative translation: "Uglúk to the dung-pit with stinking Saruman-filth, pig-guts, gah!"[19] Alexander Nemirovsky [ru] speculated that Tolkien might have drawn upon the language of the ancient Hittites and Hurrians for Black Speech.[20]

In-fiction origins
Main article: Tolkien's sentience dilemma

The origin(s) of orcs were explained two different ways (i.e., inconsistently) by Tolkien:[5] the orcs were either East Elves (Avari) enslaved, tortured, and bred by Morgoth (as Melkor became known),[T 13] or, "perhaps.. Avari [(a race of elves)].. [turned] evil and savage in the wild", both according to The Silmarillion.[T 14][h]

The orcs "multiplied" like Elves and Men, meaning that they reproduced sexually.[21] Tolkien stated in a letter dated 21 October 1963 to a Mrs. Munsby that "there must have been orc-women".[T 16][22][23] In The Fall of Gondolin Morgoth made them of slime by sorcery, "bred from the heats and slimes of the earth".[T 17] Or, they were "beasts of humanized shape", possibly, Tolkien wrote, Elves mated with beasts, and later Men.[T 18] Or again, Tolkien noted, they could have been fallen Maiar, perhaps a kind called Boldog, like lesser Balrogs; or corrupted Men.[T 9]

Shippey writes that the orcs in The Lord of the Rings were almost certainly created just to equip Middle-earth with "a continual supply of enemies over whom one need feel no compunction",[21] or in Tolkien's words from The Monsters and the Critics "the infantry of the old war" ready to be slaughtered.[21] Shippey states that all the same, orcs share the human concept of good and evil, with a familiar sense of morality, though he notes that, like many people, orcs are quite unable to apply their morals to themselves. In his view, Tolkien, as a Catholic, took it as a given that "evil cannot make, only mock", so orcs could not have an equal and opposite morality to that of men or elves.[24] In a 1954 letter, Tolkien wrote that orcs were "fundamentally a race of 'rational incarnate' creatures, though horribly corrupted, if no more so than many Men to be met today."[T 19] The scholar of English literature Robert Tally wrote in Mythlore that despite the uniform presentation of orcs as "loathsome, ugly, cruel, feared, and especially terminable", "Tolkien could not resist the urge to flesh out and 'humanize' these inhuman creatures from time to time", in the process giving them their own morality.[25] Shippey notes that in The Two Towers, the orc Gorbag disapproves of the "regular elvish trick"–an immoral act–of seeming to abandon a comrade, as he wrongly supposes Sam Gamgee has done with Frodo Baggins. Shippey describes the implied view of evil as Boethian, that evil is the absence of good. He notes, however, that Tolkien did not agree with that point of view; Tolkien believed that evil had to be actively fought, with war if necessary, something that Shippey describes as representing the Manichean position, that evil coexists with good and is at least equally powerful....Other fiction
As a response to the type-casting of orcs as generic evil characters or antagonists, some novels portray events from the point of view of the orcs, or make them more sympathetic characters. Mary Gentle's 1992 novel Grunts! presents orcs as generic infantry, used as metaphorical cannon-fodder.[18] A series of books by Stan Nicholls, Orcs: First Blood, focuses on the conflicts between orcs and humans from the orcs' point of view.[35] In Terry Pratchett's Discworld series, orcs are close to extinction; in his Unseen Academicals it is said that "When the Evil Emperor wanted fighters he got some of the Igors to turn goblins into orcs" to be used as weapons in a Great War, "encouraged" by whips and beatings." (wikipedia.org)

"A troll is a being in Nordic folklore, including Norse mythology. In Old Norse sources, beings described as trolls dwell in isolated areas of rocks, mountains, or caves, live together in small family units, and are rarely helpful to human beings.

In later Scandinavian folklore, trolls became beings in their own right, where they live far from human habitation, are not Christianized, and are considered dangerous to human beings. Depending on the source, their appearance varies greatly; trolls may be ugly and slow-witted, or look and behave exactly like human beings, with no particularly grotesque characteristic about them.

Trolls are sometimes associated with particular landmarks in Scandinavian folklore, which at times may be explained as formed from a troll exposed to sunlight. Trolls are depicted in a variety of media in modern popular culture.
Etymology

The Old Norse nouns troll and trǫll (variously meaning "fiend, demon, werewolf, jötunn") and Middle High German troll, trolle "fiend" (according to philologist Vladimir Orel likely borrowed from Old Norse) developed from Proto-Germanic neuter noun *trullan. The origin of the Proto-Germanic word is unknown.[1] Additionally, the Old Norse verb trylla 'to enchant, to turn into a troll' and the Middle High German verb trüllen "to flutter" both developed from the Proto-Germanic verb *trulljanan, a derivative of *trullan.[1]
Norse mythology

In Norse mythology, troll, like thurs, is a term applied to jötnar and is mentioned throughout the Old Norse corpus. In Old Norse sources, trolls are said to dwell in isolated mountains, rocks, and caves, sometimes live together (usually as father-and-daughter or mother-and-son), and are rarely described as helpful or friendly.[2] The Prose Edda book Skáldskaparmál describes an encounter between an unnamed troll woman and the 9th-century skald Bragi Boddason. According to the section, Bragi was driving through "a certain forest" late one evening when a troll woman aggressively asked him who he was, in the process describing herself:

    Old Norse:

        Troll kalla mik
        trungl sjǫtrungnis,
        auðsug jǫtuns,
        élsólar bǫl,
        vilsinn vǫlu,
        vǫrð nafjarðar,
        hvélsveg himins –
        hvat's troll nema þat?[3]

       

    Anthony Faulkes translation:

        'Trolls call me
        moon of dwelling-Rungnir,
        giant's wealth-sucker,
        storm-sun's bale,
        seeress's friendly companion,
        guardian of corpse-fiord,
        swallower of heaven-wheel;
        what is a troll other than that?'[4]

       

    John Lindow translation:

        They call me a troll,
        moon of the earth-Hrungnir [?]
        wealth sucker [?] of the giant,
        destroyer of the storm-sun [?]
        beloved follower of the seeress,
        guardian of the "nafjord" [?]
        swallower of the wheel of heaven [the sun].
        What's a troll if not that?[3]

       

Bragi responds in turn, describing himself and his abilities as a skillful skald, before the scenario ends.[4]

There is much confusion and overlap in the use of Old Norse terms jötunn, troll, þurs, and risi, which describe various beings. Lotte Motz theorized that these were originally four distinct classes of beings: lords of nature (jötunn), mythical magicians (troll), hostile monsters (þurs), and heroic and courtly beings (risi), the last class being the youngest addition. On the other hand, Ármann Jakobson is critical of Motz's interpretation and calls this theory "unsupported by any convincing evidence".[5] Ármann highlights that the term is used to denote various beings, such as a jötunn or mountain-dweller, a witch, an abnormally strong or large or ugly person, an evil spirit, a ghost, a blámaðr, a magical boar, a heathen demi-god, a demon, a brunnmigi, or a berserker.[6]
Scandinavian folklore
Skogtroll (Forest Troll), by Theodor Kittelsen, 1906

Later in Scandinavian folklore, trolls become defined as a particular type of being.[7] Numerous tales are recorded about trolls in which they are frequently described as being extremely old, very strong, but slow and dim-witted, and are at times described as man-eaters and as turning to stone upon contact with sunlight.[8] However, trolls are also attested as looking much the same as human beings, without any particularly hideous appearance about them, but living far away from human habitation and generally having "some form of social organization"—unlike the rå and näck, who are attested as "solitary beings". According to John Lindow, what sets them apart is that they are not Christian, and those who encounter them do not know them. Therefore, trolls were in the end dangerous, regardless of how well they might get along with Christian society, and trolls display a habit of bergtagning ('kidnapping'; literally "mountain-taking") and overrunning a farm or estate.[9]

Lindow states that the etymology of the word "troll" remains uncertain, though he defines trolls in later Swedish folklore as "nature beings" and as "all-purpose otherworldly being[s], equivalent, for example, to fairies in Anglo-Celtic traditions". They "therefore appear in various migratory legends where collective nature-beings are called for". Lindow notes that trolls are sometimes swapped out for cats and "little people" in the folklore record.[9]

A Scandinavian folk belief that lightning frightens away trolls and jötnar appears in numerous Scandinavian folktales, and may be a late reflection of the god Thor's role in fighting such beings. In connection, the lack of trolls and jötnar in modern Scandinavia is sometimes explained as a result of the "accuracy and efficiency of the lightning strokes".[10] Additionally, the absence of trolls in regions of Scandinavia is described in folklore as being a "consequence of the constant din of the church-bells". This ringing caused the trolls to leave for other lands, although not without some resistance; numerous traditions relate how trolls destroyed a church under construction or hurled boulders and stones at completed churches. Large local stones are sometimes described as the product of a troll's toss.[11] Additionally, into the 20th century, the origins of particular Scandinavian landmarks, such as particular stones, are ascribed to trolls who may, for example, have turned to stone upon exposure to sunlight.[8]
The Princess and the Trolls –The Changeling, by John Bauer, 1913

Lindow compares the trolls of the Swedish folk tradition to Grendel, the supernatural mead hall invader in the Old English poem Beowulf, and notes that "just as the poem Beowulf emphasizes not the harrying of Grendel but the cleansing of the hall of Beowulf, so the modern tales stress the moment when the trolls are driven off."[9]

Smaller trolls are attested as living in burial mounds and in mountains in Scandinavian folk tradition.[12] In Denmark, these creatures are recorded as troldfolk ("troll-folk"), bjergtrolde ("mountain-trolls"), or bjergfolk ("mountain-folk") and in Norway also as trollfolk[13] ("troll-folk") and tusser.[12] Trolls may be described as small, human-like beings or as tall as men depending on the region of origin of the story.[14]

In Norwegian tradition, similar tales may be told about the larger trolls and the Huldrefolk ("hidden-folk"), yet a distinction is made between the two. The use of the word trow in Orkney and Shetland, to mean beings which are very like the Huldrefolk in Norway, may suggest a common origin for the terms. The word troll may have been used by pagan Norse settlers in Orkney and Shetland as a collective term for supernatural beings who should be respected and avoided rather than worshipped. Troll could later have become specialized as a description of the larger, more menacing Jötunn-kind whereas Huldrefolk may have developed as the term for smaller trolls.[15]

John Arnott MacCulloch posited a connection between the Old Norse vættir and trolls, suggesting that both concepts may derive from spirits of the dead.[16]

Troll, a Norwegian research station in Antarctica, is so named because of the rugged mountains which stand around that place like trolls. It includes a ground station which tracks satellites in polar orbit.
In popular culture

Trolls have appeared in many works of modern fiction, most often, in the fantasy genre, with classic examples being the portrayal of trolls in works such as in Tolkien's Middle-earth[17] or the Dungeons & Dragons roleplaying game.[18]

Beginning in the 1950s, Troll dolls were a popular toy based on the folklore creature. Trolls based on the dolls appeared in the Hollywood animated movie Trolls (2016) and its subsequent sequel Trolls World Tour in 2020.

Troll[19] is the name, and main antagonist, of a 2022 Norwegian movie released by Netflix on December 1, 2022." (wikipedia.org)

"A household deity is a deity or spirit that protects the home, looking after the entire household or certain key members. It has been a common belief in paganism as well as in folklore across many parts of the world.

Household deities fit into two types; firstly, a specific deity – typically a goddess – often referred to as a hearth goddess or domestic goddess who is associated with the home and hearth, such as the ancient Greek Hestia.[1]

The second type of household deity is not one singular deity but a type or species of animistic, which usually has lesser powers than major deities. This type was common in the religions of antiquity, such as the lares of ancient Roman religion, the gashin of Korean shamanism, and cofgodas of Anglo-Saxon paganism. These survived Christianisation as fairy-like creatures existing in folklore, such as the Anglo-Scottish brownie and Slavic domovoy.

Household deities were usually worshipped not in temples but in the home, where they would be represented by small idols (such as the teraphim of the Bible, often translated as "household gods" in Genesis 31:19 for example), amulets, paintings, or reliefs. They could also be found on domestic objects, such as cosmetic articles in the case of Tawaret. The more prosperous houses might have a small shrine to the household god(s); the lararium served this purpose in the case of the Romans. The gods would be treated as members of the family and invited to join in meals or be given offerings of food and drink.
Types

In ancient and modern religions, a god would preside over the home.

Certain species, or types, of household deities existed. An example of this was the Roman Lares.

Many European cultures retained house spirits into the modern period. Some examples of these include:

    Brownie (Scotland and England) or Hob (England) / Kobold (Germany) / Goblin / Hobgoblin
    Domovoy (Slavic)
    Nisse (Norwegian or Danish) / Tomte (Swedish) / Tonttu (Finnish)
    Húsvættir (Norse)

Although the cosmic status of household deities was not as lofty as that of the Twelve Olympians or the Aesir, they were also jealous of their dignity and also had to be appeased with shrines and offerings, however humble.[2] Because of their immediacy, they had arguably more influence on the day-to-day affairs of men than the remote gods did. Vestiges of their worship persisted long after Christianity and other major religions extirpated nearly every trace of the major pagan pantheons. Elements of the practice can be seen even today, with Christian accretions, where statues to various saints (such as St. Francis) protect gardens and grottos. Even the gargoyles found on older churches could be viewed as guardians partitioning a sacred space.

For centuries, Christianity fought a mop-up war against these lingering minor pagan deities, but they proved tenacious. For example, Martin Luther's Tischreden have numerous – quite serious – references to dealing with kobolds.[3][4] Eventually, rationalism and the Industrial Revolution threatened to erase most of these minor deities until the advent of romantic nationalism rehabilitated them and embellished them into objects of literary curiosity in the 19th century. Since the 20th century, this literature has been mined for characters for role-playing games, video games, and other fantasy personae, not infrequently invested with invented traits and hierarchies somewhat different from their mythological and folkloric roots." (wikipedia.org)

"Since at least the 18th century (in French and German as well as English), grotesque has come to be used as a general adjective for the strange, mysterious, magnificent, fantastic, hideous, ugly, incongruous, unpleasant, or disgusting, and thus is often used to describe weird shapes and distorted forms such as Halloween masks. In art, performance, and literature, however, grotesque may also refer to something that simultaneously invokes in an audience a feeling of uncomfortable bizarreness as well as sympathetic pity.

The English word first appears in the 1560s as a noun borrowed from French, and comes originally from the Italian grottesca (literally "of a cave" from the Italian grotta, 'cave'; see grotto),[1] an extravagant style of ancient Roman decorative art rediscovered at Rome at the end of the fifteenth century and subsequently imitated. The word was first used of paintings found on the walls of basements of ruins in Rome that were called at that time le Grotte ('the caves'). These 'caves' were in fact rooms and corridors of the Domus Aurea, the unfinished palace complex started by Nero after the Great Fire of Rome in CE 64, which had become overgrown and buried, until they were broken into again, mostly from above. Spreading from Italian to the other European languages, the term was long used largely interchangeably with arabesque and moresque for types of decorative patterns using curving foliage elements.

Rémi Astruc[2] has argued that although there is an immense variety of motifs and figures, the three main tropes of the grotesque are doubleness, hybridity and metamorphosis.[3] Beyond the current understanding of the grotesque as an aesthetic category, he demonstrated how the grotesque functions as a fundamental existential experience. Moreover, Astruc identifies the grotesque as a crucial, and potentially universal, anthropological device that societies have used to conceptualize alterity and change....Extensions of the term in art

Artists began to give the tiny faces of the figures in grotesque decorations strange caricatured expressions, in a direct continuation of the medieval traditions of the drolleries in the border decorations or initials in illuminated manuscripts. From this the term began to be applied to larger caricatures, such as those of Leonardo da Vinci, and the modern sense began to develop. It is first recorded in English in 1646 from Sir Thomas Browne: "In nature there are no grotesques".[21] By extension backwards in time, the term became also used for the medieval originals, and in modern terminology medieval drolleries, half-human thumbnail vignettes drawn in the margins, and carved figures on buildings (that are not also waterspouts, and so gargoyles) are also called "grotesques".

A boom in the production of works of art in the grotesque genre characterized the 1920–1933 period of German art. In contemporary illustration art, the "grotesque" figures, in the ordinary conversational sense, commonly appear in the genre grotesque art, also known as fantastic art.
In literature

One of the first uses of the term grotesque to denote a literary genre is in Montaigne's Essays.[22] The Grotesque is often linked with satire and tragicomedy.[23] It is an effective artistic means to convey grief and pain to the audience, and for this has been labeled by Thomas Mann as the "genuine antibourgeois style".[23]

Some of the earliest written texts describe grotesque happenings and monstrous creatures. The literature of myth has been a rich source of monsters; from the one-eyed Cyclops from Hesiod's Theogony to Homer's Polyphemus in the Odyssey. Ovid's Metamorphoses is another rich source for grotesque transformations and hybrid creatures of myth. Horace's Art of Poetry also provides a formal introduction to classical values and to the dangers of grotesque or mixed form. Indeed, the departure from classical models of order, reason, harmony, balance and form opens up the risk of entry into grotesque worlds. Accordingly, British literature abounds with native grotesquerie, from the strange worlds of Spenser's allegory in The Faerie Queene to the tragi-comic modes of 16th-century drama. (Grotesque comic elements can be found in major works such as King Lear.)

Literary works of mixed genre are occasionally termed grotesque, as are "low" or non-literary genres such as pantomime and farce.[24] Gothic writings often have grotesque components in terms of character, style and location. In other cases, the environment described may be grotesque - whether urban (Charles Dickens), or the literature of the American south which has sometimes been termed "Southern Gothic". Sometimes the grotesque in literature has been explored in terms of social and cultural formations such as the carnival(-esque) in François Rabelais and Mikhail Bakhtin. Terry Castle has written on the relationship between metamorphosis, literary writings and masquerade.[25]

Another major source of the grotesque is in satirical writings of the 18th century. Jonathan Swift's Gulliver's Travels provides a variety of approaches to grotesque representation. In poetry, the works of Alexander Pope provide many examples of the grotesque.

In fiction, characters are usually considered grotesque if they induce both empathy and disgust. (A character who inspires disgust alone is simply a villain or a monster.) Obvious examples would include the physically deformed and the mentally deficient, but people with cringe-worthy social traits are also included. The reader becomes piqued by the grotesque's positive side, and continues reading to see if the character can conquer their darker side. In Shakespeare's The Tempest, the figure of Caliban has inspired more nuanced reactions than simple scorn and disgust. Also, in J. R. R. Tolkien's The Lord of the Rings, the character of Gollum may be considered to have both disgusting and empathetic qualities, which fit the grotesque template.

Victor Hugo's Hunchback of Notre Dame is one of the most celebrated grotesques in literature. Dr. Frankenstein's monster from Mary Shelley's 1818 novel Frankenstein can also be considered a grotesque, as well as the title character, Erik in The Phantom of the Opera and the Beast in Beauty and the Beast. Other instances of the romantic grotesque are also to be found in Edgar Allan Poe, E. T. A. Hoffmann, in Sturm und Drang literature or in Sterne's Tristram Shandy. The romantic grotesque is far more terrible and sombre than the medieval grotesque, which celebrated laughter and fertility. It is at this point that a grotesque creature such as Frankenstein's monster begins to be presented more sympathetically as the outsider who is the victim of society.[26] But the novel also makes the issue of sympathy problematic in an unkind society. This means that society becomes the generator of the grotesque, by a process of alienation.[27] In fact, the grotesque monster in Frankenstein tends to be described as "the creature".

The grotesque received a new shape with Alice's Adventures in Wonderland by Lewis Carroll, when a girl meets fantastic grotesque figures in her fantasy world. Carroll manages to make the figures seem less frightful and fit for children's literature, but still utterly strange. Another comic grotesque writer who played on the relationship between sense and nonsense was Edward Lear. Humorous, or festive nonsense of this kind has its roots in the seventeenth century traditions of fustian, bombastic and satirical writing.[28]

During the nineteenth-century category of grotesque body was increasingly displaced by the notion of congenital deformity or medical anomaly.[29] Building on this context, the grotesque begins to be understood more as deformity and disability, especially after the First World War, 1914–18. In these terms, the art historian Leah Dickerman has argued that "The sight of horrendously shattered bodies of veterans returned to the home front became commonplace. The accompanying growth in the prosthetic industry struck contemporaries as creating a race of half-mechanical men and became an important theme in dadaist work.'[30] The poetry of Wilfred Owen displays a poetic and realistic sense of the grotesque horror of war and the human cost of brutal conflict. Poems such as Spring Offensive and Greater Love combined images of beauty with shocking brutality and violence in order to produce a sense of the grotesque clash of opposites. In a similar fashion, Ernst Friedrich (1894–1967), founder of the Berlin Peace Museum, an anarchist and a pacifist, was the author of War Against War (1924) which used grotesque photographs of mutilated victims of the First World War in order to campaign for peace.

Southern Gothic is a genre frequently identified with grotesques and William Faulkner is often cited as the ringmaster. Flannery O'Connor wrote, "Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one" (Some Aspects of the Grotesque in Southern Fiction, 1960). In O'Connor's often-anthologized short story A Good Man Is Hard to Find, the Misfit, a serial killer, is clearly a maimed soul, utterly callous to human life, but driven to seek the truth. The less obvious grotesque is the polite, doting grandmother who is unaware of her own astonishing selfishness. Another oft-cited example of the grotesque from O'Connor's work is her short story entitled A Temple of the Holy Ghost. The American novelist Raymond Kennedy is another author associated with the literary tradition of the grotesque....op culture

Other contemporary writers who have explored the grotesque in pop-culture are John Docker, in the context of postmodernism; Cintra Wilson, who analyzes celebrity; and Francis Sanzaro, who discusses its relation to childbirth and obscenity.[32]
Theatre of the Grotesque

The term Theatre of the Grotesque refers to an anti-naturalistic school of Italian dramatists, writing in the 1910s and 1920s, who are often seen as precursors of the Theatre of the Absurd. Characterized by ironic and macabre themes of daily life in the World War 1 era. Theatre of the Grotesque was named after the play 'The Mask and the Face' by Luigi Chiarelli, which was described as 'a grotesque in three acts.'

Friedrich Dürrenmatt is a major author of contemporary grotesque comedy plays.
In architecture
Main article: Grotesque (architecture)
Detail from the John Mylne Monument in Greyfriars Kirkyard. The text reads ...Aetatis Suae 56 because he died at age 56

In architecture the term "grotesque" means a carved stone figure.

Grotesques are often confused with gargoyles, but the distinction is that gargoyles are figures that contain a water spout through the mouth, while grotesques do not. Without a water spout, this type of sculpture is also known as a chimera when it depicts fantastical creatures. In the Middle Ages, the term babewyn was used to refer to both gargoyles and grotesques.[33] This word is derived from the Italian word babbuino, which means "baboon".
In typography
Main article: Grotesque (typeface classification)

The word "grotesque", or "Grotesk" in German, is also frequently used as a synonym for sans-serif in typography. At other times, it is used (along with "neo-grotesque", "humanist", "lineal", and "geometric") to describe a particular style or subset of sans-serif typefaces. The origin of this association can be traced back to English typefounder William Thorowgood, who introduced the term "grotesque" and in 1835 produced 7-line pica grotesque—the first sans-serif typeface containing actual lowercase letters. An alternate etymology is possibly based on the original reaction of other typographers to such a strikingly featureless typeface.[34]

Popular grotesque typefaces include Franklin Gothic, News Gothic, Haettenschweiler, and Lucida Sans (although the latter lacks the spurred "G"[clarification needed]), whereas popular neo-grotesque typefaces include Arial, Helvetica, and Verdana." (wikipedia.org)

"Halloween costumes are costumes worn on Halloween, a festival which falls on October 31. An early reference to wearing costumes at Halloween comes from Scotland in 1585, but they may pre-date this. There are many references to the custom during the 18th and 19th centuries in the Celtic countries of Scotland, Ireland, Mann and Wales. It has been suggested that the custom comes from the Celtic festivals of Samhain and Calan Gaeaf, or from the practise of "souling" during the Christian observance of Allhallowtide. The Christian tradition of acknowledging the danse macabre is also suggested as the origin of dressing up on Halloween [1][2][3][4] Dressing up is not strictly restricted to Halloween among Christians, with similar practices being observed on holidays like Christmas.[5] Halloween costumes are traditionally based on frightening supernatural or folkloric beings. However, by the 1930s costumes based on characters in mass media such as film, literature, and radio were popular. Halloween costumes have tended to be worn mainly by young people, but since the mid-20th century they have been increasingly worn by adults also.
History of Halloween costumes
An early 20th-century Irish Halloween mask (a "rhymer" or a "vizor") displayed at the Museum of Country Life.

The wearing of costumes at Halloween may come from the belief that supernatural beings, or the souls of the dead, roamed the earth at this time. The practice may have originated in a Celtic festival, held on 31 October to mark the beginning of winter. It was called Samhain in Ireland, Scotland and the Isle of Man, and Calan Gaeaf in Wales, Cornwall and Brittany. The festival is believed to have pre-Christian roots. After the Christianization of Ireland in the 5th century, some of these customs may have been retained in the Christian observance of All Hallows' Eve in that region—which continued to be called Samhain/Calan Gaeaf—blending the traditions of their ancestors with Christian ones.[6][7] It was seen as a liminal time, when the spirits or fairies (the Aos Sí), and the souls of the dead, could more easily come into our world.[8] It was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter.

From at least the 16th century,[9] the festival included mumming and guising,[10] which involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food.[10] It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[11] It is suggested that the mummers and guisers "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[12] F. Marian McNeill suggests the ancient pagan festival included people wearing masks or costumes to represent the spirits, and that faces were marked (or blackened) with ashes taken from the sacred bonfire.[9] In parts of southern Ireland, a man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses—some of which had pagan overtones—in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[13] In 19th century England , youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[10] In parts of Wales, men went about dressed as fearsome beings called gwrachod,[10] while in some places, young people cross-dressed.[10] Elsewhere in Europe, mumming and costumes were part of other yearly festivals. However, in the Celtic-speaking regions they were "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[10]

It has also been suggested that the wearing of Halloween costumes developed from the custom of souling, which was practised by Christians in parts of Western Europe from at least the 15th century.[14][15] At Allhallowtide, groups of poor people would go door-to-door, collecting soul cakes – either as representatives of the dead,[16] or in return for saying prayers for them.[17] One 19th century English writer said it "used to consist of parties of children, dressed up in fantastic costume, who went round to the farm houses and cottages, singing a song, and begging for cakes (spoken of as "Soal-cakes"), apples, money, or anything that the goodwives would give them".[18] The soulers typically asked for "mercy on all Christian souls for a soul cake".[19] The practice was mentioned by Shakespeare his play The Two Gentlemen of Verona (1593).[20][21] Christian minister Prince Sorie Conteh wrote on the wearing of costumes: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognised by any soul that might be seeking such vengeance, people would don masks or costumes to disguise their identities".[22] In the Middle Ages, statues and relics of martyred saints were paraded through the streets at Allhallowtide. Some churches who could not afford these things had people dress as saints instead.[23][24] Some believers continue the practice of dressing as saints, biblical figures, and reformers in Halloween celebrations today.[25] Many Christians in continental Europe, especially in France, believed that on Halloween "the dead of the churchyards rose for one wild, hideous carnival," known as the danse macabre, which has often been depicted in church decoration.[26] An article published by Christianity Today claimed the danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and suggested this was the origin of Halloween costume parties.[27][28]
People in Halloween Costumes

The custom of guising at Halloween in North America is first recorded in 1911, where a newspaper in Kingston, Ontario reported children going "guising" around the neighborhood.[29] In 19th century America, Halloween was often celebrated with costume parades and "licentious revelries".[30] However, efforts were made to "domesticate" the festival to conform with Victorian era morality. Halloween was made into a private rather than public holiday, celebrations involving liquor and sensuality de-emphasized, and only children were expected to celebrate the festival.[31] Early Halloween costumes emphasized the gothic nature of Halloween, and were aimed primarily at children. Costumes were also made at home, or using items (such as make-up) which could be purchased and utilized to create a costume. But in the 1930s, A.S. Fishbach, Ben Cooper, Inc., and other firms began mass-producing Halloween costumes for sale in stores as trick-or-treating became popular in North America. Halloween costumes are often designed to imitate supernatural and scary beings. Costumes are traditionally those of monsters such as vampires, werewolves, zombies, ghosts,[32] skeletons, witches, goblins, trolls, devils, etc. or in more recent years such science fiction-inspired characters as aliens and superheroes. There are also costumes of pop culture figures like presidents, athletes, celebrities, or characters in film, television, literature, etc. Another popular trend is for women (and in some cases, men) to use Halloween as an excuse to wear sexy or revealing costumes, showing off more skin than would be socially acceptable otherwise.[33] Young girls also often dress as entirely non-scary characters at Halloween, including princesses, fairies, angels, cute animals and flowers.
Child in a plain white mask

Halloween costume parties generally take place on or around October 31, often on the Friday or Saturday prior to the holiday. Halloween parties are the 3rd most popular type of party held in Western countries, falling behind only to Super Bowl & New Year's Eve parties.[34]
College students dressed up for Halloween.
A couple trying Halloween face masks at a costume store in Iowa
Economics of Halloween costumes
[35] Researchers conducted a survey for the National Retail Federation in the United States and found that 53.3 percent of consumers planned to buy a costume for Halloween 2005, spending $38.11 on average (up $10 from the year before). They were also expected to spend $4.96 billion in 2006, up significantly from just $3.3 billion the previous year.[36] The troubled economy has caused many Americans to cut back on Halloween spending. In 2009, the National Retail Federation anticipated that American households would decrease Halloween spending by as much as 15% to $56.31.[37] In 2013, Americans spent an estimated $6.9 billion to celebrate Halloween, including a predicted $2.6 billion on costumes (with more spent on adult costumes than for children's costumes) and $330 million on pet costumes.[38][39] In 2017 it was estimated that Americans would spend $9.1 billion on Halloween merchandise with $3.4 billion of that being on spend on Halloween costumes.[40] Another survey by NRF showed that 67% of Halloween shoppers would buy Halloween costumes spending $3.2 billion in 2019.[41] It is estimated that the Halloween spending in 2022 could reach $10.6 billion." (wikipedia.org)

"A mask is an object normally worn on the face, typically for protection, disguise, performance, or entertainment, and often employed for rituals and rites. Masks have been used since antiquity for both ceremonial and practical purposes, as well as in the performing arts and for entertainment. They are usually worn on the face, although they may also be positioned for effect elsewhere on the wearer's body.

In art history, especially sculpture, "mask" is the term for a face without a body that is not modelled in the round (which would make it a "head"), but for example appears in low relief.
Etymology

The word "mask" appeared in English in the 1530s, from Middle French masque "covering to hide or guard the face", derived in turn from Italian maschera, from Medieval Latin masca "mask, specter, nightmare".[1] This word is of uncertain origin, perhaps from Arabic maskharah مَسْخَرَۃٌ "buffoon", from the verb sakhira "to ridicule". However, it may also come from Provençal mascarar "to black (the face)" (or the related Catalan mascarar, Old French mascurer). This in turn is of uncertain origin – perhaps from a Germanic source akin to English "mesh", but perhaps from mask- "black", a borrowing from a pre-Indo-European language.[2] One German author claims the word "mask" is originally derived from the Spanish más que la cara (literally, "more than the face" or "added face"), which evolved to "máscara", while the Arabic "maskharat" – referring to the buffoonery which is possible only by disguising the face – would be based on these Spanish roots.[3] Other related forms are Hebrew masecha= "mask"; Arabic maskhara مَسْخَرَ = "he ridiculed, he mocked", masakha مَسَخَ = "he transfomed" (transitive)....Masks in performance
Theatrical masks of Tragedy and Comedy. Mosaic, Roman mosaic, second century AD
Batak mask dance at a funeral feast in the Dutch East Indies, 1930s

Throughout the world, masks are used for their expressive power as a feature of masked performance – both ritually and in various theatre traditions. The ritual and theatrical definitions of mask usage frequently overlap and merge but still provide a useful basis for categorisation. The image of juxtaposed Comedy and Tragedy masks are widely used to represent the Performing Arts, and specifically drama.

In many dramatic traditions including the theatre of ancient Greece, the classical Noh drama of Japan (14th century to present), the traditional Lhamo drama of Tibet, Talchum in Korea, and the Topeng dance of Indonesia, masks were or are typically worn by all the performers, with several different types of mask used for different types of character.

In Ancient Rome, the word persona meant 'a mask'; it also referred to an individual who had full Roman citizenship. A citizen could demonstrate his or her lineage through imagines, death masks of the ancestors. These were wax casts kept in a lararium, the family shrine. Rites of passage, such as initiation of young members of the family, or funerals, were carried out at the shrine under the watch of the ancestral masks. At funerals, professional actors would wear these masks to perform deeds of the lives of the ancestors,[21] thus linking the role of mask as a ritual object and in theatre.

Masks are a familiar and vivid element in many folk and traditional pageants, ceremonies, rituals, and festivals, and are often of an ancient origin. The mask is normally a part of a costume that adorns the whole body and embodies a tradition important to the religious and/or social life of the community as whole or a particular group within the community. Masks are used almost universally and maintain their power and mystery both for their wearers and their audience. The continued popularity of wearing masks at carnival, and for children at parties and for festivals such as Halloween are good examples. Nowadays these are usually mass-produced plastic masks, often associated with popular films, television programmes, or cartoon characters – they are, however, reminders of the enduring power of pretence and play and the power and appeal of masks....Masks in theatre
Wikimedia Commons has media related to Theatre masks.
Masked dancers at a tshechu festival, Bhutan, 2013

Masks play a key part within world theatre traditions, particularly non-western theatre forms. They also continue to be a vital force within contemporary theatre, and their usage takes a variety of forms.

In many cultural traditions, the masked performer is a central concept and is highly valued. In the western tradition, actors in Ancient Greek theatre wore masks, as they do in traditional Japanese Noh drama. In some Greek masks, the wide and open mouth of the mask contained a brass megaphone enabling the voice of the wearer to be projected into the large auditoria. In medieval Europe, masks were used in mystery and miracle plays to portray allegorical creatures, and the performer representing God frequently wore a gold or gilt mask. During the Renaissance, masques and ballet de cour developed – courtly masked entertainments that continued as part of ballet conventions until the late eighteenth century. The masked characters of the Commedia dell'arte included the ancestors of the modern clown. In contemporary western theatre, the mask is often used alongside puppetry to create a theatre that is essentially visual, rather than verbal, and many of its practitioners have been visual artists.

Masks are an important part of many theatre forms throughout world cultures, and their usage in theatre has often developed from, or continues to be part of old, highly sophisticated, stylized theatrical traditions.
Contemporary theatre

Masks and puppets were often incorporated into the theatre work of European avant-garde artists from the turn of the nineteenth century. Alfred Jarry, Pablo Picasso, Oskar Schlemmer, other artists of the Bauhaus School, as well as surrealists and Dadaists, experimented with theatre forms and masks in their work.

In the 20th century, many theatre practitioners, such as Meyerhold, Edward Gordon Craig, Jacques Copeau, and others in their lineage, attempted to move away from Naturalism. They turned to sources such as Oriental Theatre (particularly Japanese Noh theatre) and commedia dell'arte,[43] both of which forms feature masks prominently.

Edward Gordon Craig (1872–1966) in A Note on Masks (1910) proposed the virtues of using masks over the naturalism of the actor.[44] Craig was highly influential, and his ideas were taken up by Brecht, Cocteau, Genet, Eugene O'Neill – and later by Arden, Grotowski, Brook, and others who "attempted to restore a ritualistic if not actually religious significance to theatre".[45]

Copeau, in his attempts to "Naturalise" actors,[46] decided to use masks to liberate them from their "excessive awkwardness". In turn, Copeau's work with masks was taken on by his students including Etienne Decroux and later, via Jean Daste and Jacques Lecoq.[43] Lecoq, having worked as movement director at Teatro Piccalo in Italy, was influenced by the Commedia tradition. Lecoq met Amleto Satori, a sculptor, and they collaborated on reviving the techniques of making traditional leather Commedia masks. Later, developing Copeau's "noble mask", Lecoq would ask Satori to make him masques neutre (the neutral mask). For Lecoq, masks became an important training tool, the neutral mask being designed to facilitate a state of openness in the student-performers, moving gradually on to character and expressive masks, and finally to "the smallest mask in the world" the clown's red-nose. One highly important feature of Lecoq's use of mask, wasn't so much its visual impact on stage, but how it changed the performers movement on stage. It was a body-based approach to mask work, rather than a visually led one.[43][47] Lecoq's pedagogy has been hugely influential for theatre practitioners in Europe working with mask and has been exported widely across the world. This work with masks also relates to performing with portable structures and puppetry. Students of Lecoq have continued using masks in their work after leaving the school, such as in John Wright's Trestle Theatre.

In America, mask-work was slower to arrive, but the Guerrilla Theatre movement, typified by groups such as the San Francisco Mime Troupe and Bread and Puppet Theatre took advantage of it. Influenced by modern dance, modern mime, Commedia dell'arte and Brecht such groups took to the streets to perform highly political theatre. Peter Schumann, the founder of Bread and Puppet theatre, made particular use of German Carnival masks.[48] Bread and Puppet inspired other practitioners around the world, many of whom used masks in their work. In the US and Canada, these companies include In the Heart of the Beast Puppet and Mask Theater of Minneapolis; Arm-of-the Sea Theatre from New York State; Snake Theater from California; and Shadowland Theatre of Toronto, Ontario. These companies, and others, have a strong social agenda, and combine masks, music and puppetry to create a visual theatrical form. Another route masks took into American Theatre was via dancer/choreographers such as Mary Wigman, who had been using masks in dance and had emigrated to America to flee the Nazi regime.

In Europe, Schumann's influence combined with the early avant-garde artists to encourage groups such as Moving Picture Mime Show and Welfare State (both in the UK). These companies had a big influence on the next generation of groups working in visual theatre, including IOU and Horse and Bamboo Theatre, who create a theatre in which masks are used along with puppets, film and other visual forms, with an emphasis on the narrative structure.[49]
Functional masks

Masks are also familiar as pieces of kit associated with practical functions, usually protective. There has been a proliferation of such masks recently but there is a long history of protective armour and even medical masks to ward off plague. The contrast with performance masks is not always clear-cut. Ritual and theatrical masks themselves can be considered to be practical, and protective masks in a sports context in particular are often designed to enhance the appearance of the wearer....Fashion

Decorative masks may be worn as part of a costume outside of ritual or ceremonial functions. This is often described as a masque, and relates closely to carnival styles. For example, attendants of a costume party will sometimes wear masks as part of their costumes.

Several artists in the 20th and 21st century, such as Isamaya Ffrench and Damselfrau, create masks as wearable art.[52]

    Wrestling masks are used most widely in Mexican and Japanese wrestling. A wrestler's mask is usually related to a wrestler's persona (for example, a wrestler known as 'The Panda' might wear a mask with a panda's facial markings). Often, wrestlers will put their masks on the line against other wrestlers' masks, titles or an opponent's hair. While in Mexico and Japan, masks are a sign of tradition, they are looked down upon in the United States and Canada.
    Several bands and performers, notably members of the groups Slipknot, Mental Creepers and Gwar, and the guitarist Buckethead, wear masks when they perform on stage. Several other groups, including Kiss, Alice Cooper, and Dimmu Borgir simulate the effect with facepaint. Hollywood Undead also wears masks but often remove them mid-performance.
    Leather-working, steampunk, and other methods and themes are occasionally used to create artisanal gas masks.

One user of masks in fashion is musician and fashion designer Kanye West.[53] West has donned masks from Balenciaga and Maison Margiela, most notably on his Yeezus Tour.
In works of fiction
Main article: Masked villain

Masks have been used in many horror films to conceal the identities of the killer. Notable examples include Jason Voorhees of the Friday the 13th series, Jigsaw Killer from Saw, Ghostface of the Scream series, and Michael Myers of the Halloween series." (wikipedia.org)

"Cosplay, a portmanteau of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character.[1] Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, comic books, manga, television series, rock music performances, video games and in some cases original characters . The term is composed of the two aforementioned counterparts – costume and role play.

Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City in 1939.[2] The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1984. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending.
Etymology
The term "cosplay" is a Japanese portmanteau of the English terms costume and play.[1] The term was coined by Nobuyuki Takahashi [ja] of Studio Hard[3] after he attended the 1984 World Science Fiction Convention (Worldcon) in Los Angeles[4] and saw costumed fans, which he later wrote about in an article for the Japanese magazine My Anime [ja].[3] Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because that translates into Japanese as "an aristocratic costume", which did not match his experience of the Worldcon.[5][6] The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ)....Costumes

Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008.[48] A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons.

Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self,[49] yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits"[50] such as level of attractiveness, body size, and disability[51] that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form.[52] Cosplaying can also help some of those with self-esteem problems.[53][54]

Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately.[55] Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality.

To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting.[56] Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used.[57] Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look.

Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look....Cosplay in Western countries

Western cosplay's origins are based primarily in science fiction and fantasy fandoms. It is also more common for Western cosplayers to recreate characters from live-action series than it is for Japanese cosplayers. Western costumers also include subcultures of hobbyists who participate in Renaissance faires, live action role-playing games, and historical reenactments. Competition at science fiction conventions typically include the masquerade (where costumes are presented on stage and judged formally) and hall costumes[100] (where roving judges may give out awards for outstanding workmanship or presentation).[101]

The increasing popularity of Japanese animation outside of Asia during the late 2000s led to an increase in American and other Western cosplayers who portray manga and anime characters. Anime conventions have become more numerous in the West in the previous decade, now competing with science fiction, comic book and historical conferences in attendance. At these gatherings, cosplayers, like their Japanese counterparts, meet to show off their work, be photographed, and compete in costume contests.[102] Convention attendees also just as often dress up as Western comic book or animated characters, or as characters from movies and video games.

Differences in taste still exist across cultures: some costumes that are worn without hesitation by Japanese cosplayers tend to be avoided by Western cosplayers, such as outfits that evoke Nazi uniforms. Some Western cosplayers have also encountered questions of legitimacy when playing characters of canonically different racial backgrounds,[103][104] and people can be insensitive to cosplayers playing as characters who are canonically of other skin color.[105][106] Western cosplayers of anime characters may also be subjected to particular mockery.[107]

In contrast to Japan, the wearing of costumes in public is more accepted in the UK, Ireland, US, Canada and other western countries. These countries have a longer tradition of Halloween costumes, fan costuming and other such activities. As a result, for example, costumed convention attendees can often be seen at local restaurants and eateries, beyond the boundaries of the convention or event." (wikipedia.org)

"Halloween is a celebration observed on October 31, the day before the feast of All Hallows, also known as Hallowmas or All Saint's Day. The celebrations and observances of this day occur primarily in regions of the Western world, albeit with some traditions varying significantly between geographical areas.
Origins

Halloween is the eve of vigil before the Western Christian feast of All Hallows (or All Saints) which is observed on November 1. This day begins the triduum of Hallowtide, which culminates with All Souls' Day. In the Middle Ages, many Christians held a folk belief that All Hallows' Eve was the "night where the veil between the material world and the afterlife was at its most transparent".[2]
Americas
Canada

Scottish emigration, primarily to Canada before 1870 and to the United States thereafter, brought the Scottish version of the holiday to each country. The earliest known reference to ritual begging on Halloween in English speaking North America occurs in 1911 when a newspaper in Kingston, Ontario reported that it was normal for the smaller children to go street "guising" on Halloween between 6 and 7 p.m., visiting shops, and neighbours to be rewarded with nuts and candies for their rhymes and songs.[3] Canadians spend more on candy at Halloween than at any time apart from Christmas. Halloween is also a time for charitable contributions. Until 2006 when UNICEF moved to an online donation system, collecting small change was very much a part of Canadian trick-or-treating.[4] Quebec offers themed tours of parts of the old city and historic cemeteries in the area.[5] In 2014 the hamlet of Arviat, Nunavut moved their Halloween festivities to the community hall, cancelling the practice of door-to-door "trick or treating", due to the risk of roaming polar bears.[6][7] In British Columbia it is a tradition to set off fireworks at Halloween.[8]
United States
Children in Halloween costumes at High Point, Seattle, 1943

In the United States, Halloween did not become a holiday until the 19th century. The transatlantic migration of nearly two million Irish following the Great Irish Famine (1845–1849) brought the holiday to the United States.

American librarian and author Ruth Edna Kelley wrote the first book length history of the holiday in the U.S., The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America": "All Hallowe'en customs in the United States are borrowed directly or adapted from those of other countries. The taste in Hallowe'en festivities now is to study old traditions, and hold a Scotch party, using Robert Burns's poem Halloween as a guide; or to go a-souling as the English used. In short, no custom that was once honored at Hallowe'en is out of fashion now."[9] The main event for children of modern Halloween in the United States and Canada is trick-or-treating, in which children, teenagers, (sometimes) young adults, and parents (accompanying their children) disguise themselves in costumes and go door-to-door in their neighborhoods, ringing each doorbell and yelling "Trick or treat!" to solicit a gift of candy or similar items.[10] Teenagers and adults will more frequently attend Halloween-themed costume parties typically hosted by friends or themed events at nightclubs either on Halloween itself or a weekend close to the holiday.

At the turn of the 20th century, Halloween had turned into a night of vandalism, with destruction of property and cruelty to animals and people.[11] Around 1912, the Boy Scouts, Boys Clubs, and other neighborhood organizations came together to encourage a safe celebration that would end the destruction that had become so common on this night.

The commercialization of Halloween in the United States did not start until the 20th century, beginning perhaps with Halloween postcards (featuring hundreds of designs), which were most popular between 1905 and 1915.[12] Dennison Manufacturing Company (which published its first Halloween catalog in 1909) and the Beistle Company were pioneers in commercially made Halloween decorations, particularly die-cut paper items.[13][14] German manufacturers specialised in Halloween figurines that were exported to the United States in the period between the two World Wars.

Halloween is now the United States' second most popular holiday (after Christmas) for decorating; the sale of candy and costumes is also extremely common during the holiday, which is marketed to children and adults alike. The National Confectioners Association (NCA) reported in 2005 that 80% of American adults planned to give out candy to trick-or-treaters.[15] The NCA reported in 2005 that 93% of children planned to go trick-or-treating.[16] According to the National Retail Federation, the most popular Halloween costume themes for adults are, in order: witch, pirate, vampire, cat, and clown.[17][when?] Each year, popular costumes are dictated by various current events and pop culture icons. On many college campuses, Halloween is a major celebration, with the Friday and Saturday nearest 31 October hosting many costume parties. Other popular activities are watching horror movies and visiting haunted houses. Total spending on Halloween is estimated to be $8.4 billion.[18]
Events
Four contestants in the Halloween Slick Chick beauty contest in Anaheim, California, 1947

Many theme parks stage Halloween events annually, such as Halloween Horror Nights at Universal Studios Hollywood and Universal Orlando, Mickey's Halloween Party and Mickey's Not-So-Scary Halloween Party at Disneyland Resort and Magic Kingdom respectively, and Knott's Scary Farm at Knott's Berry Farm. One of the more notable parades is New York's Village Halloween Parade. Each year approximately 50,000 costumed marchers parade up Sixth Avenue.[19] Salem, Massachusetts, site of the Salem witch trials, celebrates Halloween throughout the month of October with tours, plays, concerts, and other activities.[20] A number of venues in New York's lower Hudson Valley host various events to showcase a connection with Washington Irving's Legend of Sleepy Hollow. Van Cortlandt Manor stages the "Great Jack o' Lantern Blaze" featuring thousands of lighted carved pumpkins.[21]

Some locales have had to modify their celebrations due to disruptive behavior on the part of young adults. Madison, Wisconsin hosts an annual Halloween celebration. In 2002, due to the large crowds in the State Street area, a riot broke out, necessitating the use of mounted police and tear gas to disperse the crowds.[22] Likewise, Chapel Hill, site of the University of North Carolina, has a downtown street party which in 2007 drew a crowd estimated at 80,000 on downtown Franklin Street, in a town with a population of just 54,000. In 2008, in an effort to curb the influx of out-of-towners, mayor Kevin Foy put measures in place to make commuting downtown more difficult on Halloween.[23] In 2014, large crowds of college students rioted at the Keene, New Hampshire Pumpkin Fest, whereupon the City Council voted not to grant a permit for the following year's festival,[24] and organizers moved the event to Laconia for 2015.[25]
Brazil
Main article: Saci Day

The Brazilian non-governmental organization named Amigos do Saci created Saci Day as a Brazilian parallel in opposition to the "American-influenced" holiday of Halloween that saw minor celebration in Brazil. The Saci is a mischievous evil character in Brazilian folklore. Saci Day is commemorated on October 31st, the same day as Halloween, and is an official holiday in the state of São Paulo. Despite official recognition in Sao Paulo and several other municipalities throughout the country, few Brazilians celebrate it.[26][27]
Dominican Republic

In the Dominican Republic it has been gaining popularity, largely due to many Dominicans living in the United States and then bringing the custom to the island. In the larger cities of Santiago or Santo Domingo it has become more common to see children trick-or-treating, but in smaller towns and villages it is almost entirely absent, partly due to religious opposition. Tourist areas such as Sosua and Punta Cana feature many venues with Halloween celebrations, predominantly geared towards adults.[28]
Mexico (Día de Muertos)
Mexican tomb on the Day of the Dead, adorned with the cempasúchil, the holiday's traditional flower, and a Halloween ghost balloon, at the historic cemetery of San Luis Potosí City

Observed in Mexico and Mexican communities abroad, Day of the Dead (Spanish: Día de Muertos) celebrations arose from the syncretism of indigenous Aztec traditions with the Christian Hallowtide of the Spanish colonizers. Flower decorations, altars and candies are part of this holiday season. The holiday is distinct from Halloween in its origins and observances, but the two have become associated because of cross-border connections between Mexico and the United States through popular culture and migration, as the two celebrations occur at the same time of year and may involve similar imagery, such as skeletons. Halloween and Día de Muertos have influenced each other in some areas of the United States and Mexico, with Halloween traditions such as costumes and face-painting becoming increasingly common features of the Mexican festival.[29][30]
Asia
China

The Chinese celebrate the "Hungry Ghost Festival" in mid-July, when it is customary to float river lanterns to remember those who have died. By contrast, Halloween is often called "All Saints' Festival" (Wànshèngjié, 萬聖節), or (less commonly) "All Saints' Eve" (Wànshèngyè, 萬聖夜) or "Eve of All Saints' Day" (Wànshèngjié Qiányè, 萬聖節前夕), stemming from the term "All Hallows Eve" (hallow referring to the souls of holy saints). Chinese Christian churches hold religious celebrations. Non-religious celebrations are dominated by expatriate Americans or Canadians, but costume parties are also popular for Chinese young adults, especially in large cities. Hong Kong Disneyland and Ocean Park (Halloween Bash) host annual Halloween shows.

Mainland China has been less influenced by Anglo traditions than Hong Kong and Halloween is generally considered "foreign". As Halloween has become more popular globally it has also become more popular in China, however, particularly amongst children attending private or international schools with many foreign teachers from North America.[31]
Hong Kong

Traditional "door-to-door" trick or treating is not commonly practiced in Hong Kong due to the vast majority of Hong Kong residents living in high-rise apartment blocks. However, in many buildings catering to expatriates, Halloween parties and limited trick or treating is arranged by the management. Instances of street-level trick or treating in Hong Kong occur in ultra-exclusive gated housing communities such as The Beverly Hills populated by Hong Kong's super-rich and in expatriate areas like Discovery Bay and the Red Hill Peninsula. For the general public, there are events at Tsim Sha Tsui's Avenue of the Stars that try to mimic the celebration.[32] In the Lan Kwai Fong area of Hong Kong, known as a major entertainment district for the international community, a Halloween celebration and parade has taken place for over 20 years, with many people dressing in costume and making their way around the streets to various drinking establishments.[33] Many international schools also celebrate Halloween with costumes, and some put an academic twist on the celebrations such as the "Book-o-ween" celebrations at Hong Kong International School where students dress as favorite literary characters.
Japan
A Halloween display in a local bank window, in Saitama, Japan

Halloween arrived in Japan mainly as a result of American pop culture. In 2009 it was celebrated only by expats.[34] The wearing of elaborate costumes by young adults at night has since become popular in areas such as Amerikamura in Osaka and Shibuya in Tokyo, where, in October 2012, about 1700 people dressed in costumes to take part in the Halloween Festival.[35] Celebrations have become popular with young adults as a costume party and club event.[36] Trick-or-treating for Japanese children has taken hold in some areas. By the mid-2010s, Yakuza were giving snacks and sweets to children.[37]
Philippines

The period from 31 October through 2 November is a time for remembering dead family members and friends. Many Filipinos travel back to their hometowns for family gatherings of festive remembrance.[38]

Trick-or-treating is gradually replacing the dying tradition of Pangangaluluwâ, a local analogue of the old English custom of souling. People in the provinces still observe Pangangaluluwâ by going in groups to every house and offering a song in exchange for money or food. The participants, usually children, would sing carols about the souls in Purgatory, with the abúloy (alms for the dead) used to pay for Masses for these souls. Along with the requested alms, householders sometimes gave the children suman (rice cakes). During the night, various small items, such as clothing, plants, etc., would "mysteriously" disappear, only to be discovered the next morning in the yard or in the middle of the street. In older times, it was believed that the spirits of ancestors and loved ones visited the living on this night, manifesting their presence by taking an item.[39]

As the observation of Christmas traditions in the Philippines begins as early as September, it is a common sight to see Halloween decorations next to Christmas decorations in urban settings.[citation needed]
Saudi Arabia

Starting 2022, Saudi Arabia began to celebrate Halloween in the public in Riyadh under its Saudi Vision 2030.[40]
Singapore

Around mid-July Singapore Chinese celebrate "Zhong Yuan Jie / Yu Lan Jie" (Hungry Ghosts Festival), a time when it is believed that the spirits of the dead come back to visit their families.[41] In recent years, Halloween celebrations are becoming more popular, with influence from the west.[42] In 2012, there were over 19 major Halloween celebration events around Singapore.[43] SCAPE's Museum of Horrors held its fourth scare fest in 2014.[44] Universal Studios Singapore hosts "Halloween Horror Nights".[45]
South Korea

The popularity of the holiday among young people in South Korea comes from English academies and corporate marketing strategies, and was influenced by Halloween celebrations in Japan and America.[46] Despite not being a public holiday, it is celebrated in different areas around Seoul, especially Itaewon and Hondae.[47]
Taiwan
Children dressed up in Halloween costume in Songshan District, Taipei, Taiwan

Traditionally, Taiwanese people celebrate "Zhong Yuan Pudu Festival", where spirits that do not have any surviving family members to pay respects to them, are able to roam the Earth during the seventh lunar month. It is known as Ghost Month.[48] While some have compared it to Halloween, it has no relations and the overall meaning is different. In recent years, mainly as a result of American pop culture, Halloween is becoming more widespread amongst young Taiwanese people. Halloween events are held in many areas across Taipei, such as Xinyi Special District and Shilin District where there are many international schools and expats.[49] Halloween parties are celebrated differently based on different age groups. One of the most popular Halloween event is the Tianmu Halloween Festival, which started in 2009 and is organised by the Taipei City Office of Commerce.[50] The 2-day annual festivity has attracted more than 240,000 visitors in 2019. During this festival, stores and businesses in Tianmu place pumpkin lanterns outside their stores to identify themselves as trick-or-treat destinations for children.[51]
Australia and New Zealand
Halloween display in Sydney, Australia

Non-religious celebrations of Halloween modelled on North American festivities are growing increasingly popular in Australia despite not being traditionally part of the culture.[52] Some Australians criticise this intrusion into their culture.[53][54] Many dislike the commercialisation and American pop-culture influence.[54][55] Some supporters of the event place it alongside other cultural traditions such as Saint Patrick's Day.[56]

Halloween historian and author of Halloween: Pagan Festival to Trick or Treat, Mark Oxbrow says while Halloween may have been popularised by depictions of it in US movies and TV shows, it is not a new entry into Australian culture.[57] His research shows Halloween was first celebrated in Australia in Castlemaine, Victoria, in 1858, which was 43 years before Federation. His research shows Halloween traditions were brought to the country by Scottish and Irish miners who settled in Victoria during the Gold Rush.

Because of the polarised opinions about Halloween, growing numbers of people are decorating their letter boxes to indicate that children are welcome to come knocking. In the past decade, the popularity of Halloween in Australia has grown.[58] In 2020, the first magazine dedicated solely to celebrating Halloween in Australia was launched, called Hallozween,[59] and in 2021, sales of costumes, decorations and carving pumpkins soared to an all-time high[60] despite the effect of the globals.

In New Zealand, Halloween is not celebrated to the same extent as in North America, although in recent years non-religious celebrations have become more common.[61][62] Trick-or-treat has become increasingly popular with minors in New Zealand, despite being not a "British or Kiwi event" and the influence of American globalisation.[63] One criticism of Halloween in New Zealand is that it is overly commercialised - by The Warehouse, for example.[63]
Europe
A jack-o'-lantern in Finland

Over the years, Halloween has become more popular in Europe and has been partially ousting some older customs like the Rübengeistern [de] (English: turnip ghosts, beet spirit), Martinisingen, and others.[64]
France

Halloween was introduced to most of France in the 1990s.[65] In Brittany, Halloween had been celebrated for centuries and is known as Kalan Goañv (Night of Spirits). During this time, it is believed that the spirits of the dead return to the world of the living lead by the Ankou, the collector of souls.[66] Also during this time, Bretons bake Kornigou, a pastry shaped like the antlers of a stag.[citation needed]
Germany
"Don't drink and fly" Halloween decoration in Germany

Halloween was not generally observed in Germany prior to the 1990s, but has been increasing in popularity. It has been associated with the influence of United States culture, and "Trick or Treating" (German: Süßes sonst gibt's Saures) has been occurring in various German cities, especially in areas such as the Dahlem neighborhood in Berlin, which was part of the American zone during the Cold War. Today, Halloween in Germany brings in 200 million euros a year, through multiple industries.[67] Halloween is celebrated by both children and adults. Adults celebrate at themed costume parties and clubs, while children go trick or treating. Complaints of vandalism associated with Halloween "Tricks" are increasing, particularly from many elderly Germans unfamiliar with "Trick or Treating".[68]
Greece

In Greece, Halloween is not celebrated widely and it is a working day, with little public interest, since the early 2000s. Recently, it has somewhat increased in popularity as both a secular celebration; although Carnival is vastly more popular among Greeks. For very few, Halloween is[when?] considered the fourth most popular festival in the country after Christmas, Easter, and Carnival. Retail businesses, bars, nightclubs, and certain theme parks might organize Halloween parties. This boost in popularity has been attributed to the influence of western consumerism.

Since it is a working day, Halloween is not celebrated on 31 October unless the date falls on a weekend, in which case it is celebrated by some during the last weekend before All Hallow's Eve, usually in the form of themed house parties and retail business decorations. Trick-or-treating is not widely popular because similar activities are already undertaken during Carnival. The slight rise in popularity of Halloween in Greece has led to some increase in its popularity throughout nearby countries in the Balkans and Cyprus. In the latter, there has been an increase in Greek-Cypriot retailers selling Halloween merchandise every year.[69]
Ireland
A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[70]

On Halloween night, adults and children dress up as various monsters and creatures, light bonfires, and enjoy fireworks displays; Derry in Northern Ireland is home to the largest organized Halloween celebration on the island, in the form of a street carnival and fireworks display.[71]
Snap-Apple Night, painted by Daniel Maclise in 1833, depicts apple bobbing and divination games at a Halloween party in Ireland

Games are often played, such as bobbing for apples, in which apples, peanuts, other nuts and fruits, and some small coins are placed in a basin of water.[72] Everyone takes turns catching as many items possible using only their mouths. Another common game involves the hands-free eating of an apple hung on a string attached to the ceiling. Games of divination are also played at Halloween.[73] Colcannon is traditionally served on Halloween.[72]

31 October is the busiest day of the year for the Emergency Services.[74] Bangers and fireworks are illegal in the Republic of Ireland; however, they are commonly smuggled in from Northern Ireland where they are legal.[75] Bonfires are frequently built around Halloween.[76] Trick-or-treating is popular amongst children on 31 October and Halloween parties and events are commonplace.
Italy
A carved pumpkin in Sardinia

In Italy, All Saints' Day is a public holiday. On 2 November, Tutti i Morti or All Souls' Day, families remember loved ones who have died. These are still the main holidays.[77] In some Italian tradition, children would awake on the morning of All Saints or All Souls to find small gifts from their deceased ancestors. In Sardinia, Concas de Mortu (Head of the deads), carved pumpkins that look like skulls, with candles inside are displayed.[78][79][80] Halloween is, however, gaining in popularity, and involves costume parties for young adults.[81] The traditions to carve pumpkins in a skull figure, lighting candles inside, or to beg for small gifts for the deads e.g. sweets or nuts, also belong to North Italy.[82] In Veneto these carved pumpkins were called lumère (lanterns) or suche dei morti (deads' pumpkins).[83]
Poland

Since the fall of Communism in 1989, Halloween has become increasingly popular in Poland. Particularly, it is celebrated among younger people. The influx of Western tourists and expats throughout the 1990s introduced the costume party aspect of Hallowe'en celebrations, particularly in clubs and at private house parties. Door-to-door trick or treating is not common. Pumpkin carving is becoming more evident, following a strong North American version of the tradition.
Romania

Romanians observe the Feast of St. Andrew, patron saint of Romania, on 30 November. On St. Andrew's Eve ghosts are said to be about. A number of customs related to divination, in other places connected to Halloween, are associated with this night.[84] However, with the popularity of Dracula in western Europe, around Halloween the Romanian tourist industry promotes trips to locations connected to the historical Vlad Tepeș and the more fanciful Dracula of Bram Stoker. One of the most successful Halloween Parties in Transylvania takes place in Sighișoara, the citadel where Vlad the Impaler was born. This party include magician shows, ballet show and The Ritual Killing of a Living Dead[85] The biggest Halloween party in Transylvania take place at Bran Castle, aka Dracula's Castle from Transylvania.[86]

Both the Catholic and Orthodox Churches in Romania discourage Halloween celebrations, advising their parishioners to focus rather on the "Day of the Dead" on 1 November, when special religious observances are held for the souls of the deceased.[87] Opposition by religious and nationalist groups, including calls to ban costumes and decorations in schools in 2015, have been met with criticism.[88][89][90] Halloween parties are popular in bars and nightclubs.[91]
Russia

In Russia, most Christians are Orthodox, and in the Orthodox Church, Halloween is on the Saturday after Pentecost, and therefore 4 to 5 months before western Halloween. Celebration of western Halloween began in the 1990s around the downfall of the Soviet regime, when costume and ghoulish parties spread in night clubs throughout Russia. Halloween is generally celebrated by younger generations and is not widely celebrated in civic society (e.g. theaters or libraries). In fact, Halloween is among the Western celebrations that the Russian government and politicians—which have grown increasingly anti-Western in the early 2010s—are trying to eliminate from public celebration.[92][93][94]
Spain

In Spain, celebrations involve eating castanyes (roasted chestnuts), panellets (special almond balls covered in pine nuts), moniatos (roast or baked sweet potato), Ossos de Sant cake and preserved fruit (candied or glazed fruit). Moscatell (Muscat) is drunk from porrons.[95] Around the time of this celebration, it is common for street vendors to sell hot toasted chestnuts wrapped in newspaper. In many places, confectioners often organise raffles of chestnuts and preserved fruit.

The tradition of eating these foods comes from the fact that during All Saints' night, on the eve of All Souls' Day in the Christian tradition, bell ringers would ring bells in commemoration of the dead into the early morning. Friends and relatives would help with this task, and everyone would eat these foods for sustenance.[96]

Other versions of the story state that the Castanyada originates at the end of the 18th century and comes from the old funeral meals, where other foods, such as vegetables and dried fruit were not served. The meal had the symbolic significance of a communion with the souls of the departed: while the chestnuts were roasting, prayers would be said for the person who had just died.[97]

The festival is usually depicted with the figure of a castanyera: an old lady, dressed in peasant's clothing and wearing a headscarf, sitting behind a table, roasting chestnuts for street sale.

In recent years, the Castanyada has become a revetlla of All Saints and is celebrated in the home and community. It is the first of the four main school festivals, alongside Christmas, Carnestoltes and St George's Day, without reference to ritual or commemoration of the dead.[98]

Galicia is known two have the second largest Halloween or Samain festivals in Europe and during this time, a drink called Queimada is often served.
Sweden

On All Hallow's Eve, a Requiem Mass is widely attended every year at Uppsala Cathedral, part of the Lutheran Church of Sweden.[99]

Throughout the period of Allhallowtide, starting with All Hallow's Eve, Swedish families visit churchyards and adorn the graves of their family members with lit candles and wreaths fashioned from pine branches.[99]

Among children, the practice of dressing in costume and collecting candy gained popularity beginning around 2005.[100] The American traditions of Halloween have however been met with skepticism among the older generations, in part due to conflicting with the Swedish traditions on All Hallow's Eve and in part due to their commercialism.[101]
Switzerland

In Switzerland, Halloween, after first becoming popular in 1999, is on the wane, and is most popular with young adults who attend parties. Switzerland already has a "festival overload" and even though Swiss people like to dress up for any occasion, they do prefer a traditional element, such as in the Fasnacht tradition of chasing away winter using noise and masks.[102][103]
United Kingdom and Crown dependencies
England
See also: Mischief Night
See also: Allantide

In the past, on All Souls' Eve families would stay up late, and little "soul cakes" were eaten. At the stroke of midnight, there was solemn silence among households, which had candles burning in every room to guide the souls back to visit their earthly homes and a glass of wine on the table to refresh them. The tradition of giving soul cakes that originated in Great Britain and Ireland was known as souling, often seen as the origin of modern trick or treating in North America, and souling continued in parts of England as late as the 1930s, with children going from door to door singing songs and saying prayers for the dead in return for cakes or money.[104]

Trick or treating and other Halloween celebrations are extremely popular, with shops decorated with witches and pumpkins, and young people attending costume parties.[105]
Scotland

The name Halloween is first attested in the 16th century as a Scottish shortening of the fuller All-Hallow-Even, that is, the night before All Hallows' Day.[106] Dumfries poet John Mayne's 1780 poem made note of pranks at Halloween "What fearfu' pranks ensue!". Scottish poet Robert Burns was influenced by Mayne's composition, and portrayed some of the customs in his poem Halloween (1785).[107] According to Burns, Halloween is "thought to be a night when witches, devils, and other mischief-making beings are all abroad on their baneful midnight errands".[108]

Among the earliest record of Guising at Halloween in Scotland is in 1895, where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit and money.[109] If children approached the door of a house, they were given offerings of food. The children's practice of "guising", going from door to door in costumes for food or coins, is a traditional Halloween custom in Scotland.[3] These days children who knock on their neighbours doors have to sing a song or tell stories for a gift of sweets or money.[110]

A traditional Halloween game includes apple "dooking",[111] or "dunking" or (i.e., retrieving one from a bucket of water using only one's mouth), and attempting to eat, while blindfolded, a treacle/jam-coated scone hanging on a piece of string.

Traditional customs and lore include divination practices, ways of trying to predict the future. A traditional Scottish form of divining one's future spouse is to carve an apple in one long strip, then toss the peel over one's shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[112]

In Kilmarnock, Halloween is also celebrated on the last Friday of the month, and is known colloquially as "Killieween".[113]
Isle of Man
See also: Hop-tu-Naa

Halloween is a popular traditional occasion on the Isle of Man, where it is known as Hop-tu-Naa.
Elsewhere
The children of the largest town in Bonaire gather together on Halloween day.
Saint Helena
In Saint Helena, Halloween is actively celebrated, largely along the American model, with ghosts, skeletons, devils, vampires, witches and the like. Imitation pumpkins are used instead of real pumpkins because the pumpkin harvesting season in Saint Helena's hemisphere is not near Halloween. Trick-or-treating is widespread. Party venues provide entertainment for adults." (wikipedia.org)

"Wood is a structural tissue found in the stems and roots of trees and other woody plants. It is an organic material – a natural composite of cellulose fibers that are strong in tension and embedded in a matrix of lignin that resists compression. Wood is sometimes defined as only the secondary xylem in the stems of trees,[1] or it is defined more broadly to include the same type of tissue elsewhere such as in the roots of trees or shrubs.[citation needed] In a living tree it performs a support function, enabling woody plants to grow large or to stand up by themselves. It also conveys water and nutrients between the leaves, other growing tissues, and the roots. Wood may also refer to other plant materials with comparable properties, and to material engineered from wood, or woodchips or fiber.

Wood has been used for thousands of years for fuel, as a construction material, for making tools and weapons, furniture and paper. More recently it emerged as a feedstock for the production of purified cellulose and its derivatives, such as cellophane and cellulose acetate.

As of 2020, the growing stock of forests worldwide was about 557 billion cubic meters.[2] As an abundant, carbon-neutral[3] renewable resource, woody materials have been of intense interest as a source of renewable energy. In 2008, approximately 3.97 billion cubic meters of wood were harvested.[2] Dominant uses were for furniture and building construction....Art

Wood has long been used as an artistic medium. It has been used to make sculptures and carvings for millennia. Examples include the totem poles carved by North American indigenous people from conifer trunks, often Western Red Cedar (Thuja plicata).

Other uses of wood in the arts include:

    Woodcut printmaking and engraving
    Wood can be a surface to paint on, such as in panel painting
    Many musical instruments are made mostly or entirely of wood" (wikipedia.org)

"A costume party (American English) or fancy dress party (other varieties of English) is a type of party, common in contemporary Western culture, in which many of the guests are dressed in costume, usually depicting a fictional or stock character, or historical figure. Such parties are popular in the United States, United Kingdom, Canada, Australia, Ireland and New Zealand, especially during Halloween.
By country
Australia

Australian fancy dress parties typically follow the style of the United States, and Halloween costume parties have been common since the early 1990s, even though Halloween has not historically been a celebrated event in Australia. Typical events for Australians that involve dressing up are the Sydney Gay and Lesbian Mardi Gras, the staff Christmas party and cricket matches.

One of the oldest examples of fancy dress being worn in Australia is on display at the Western Australia Museum. It was a child's fancy dress costume worn by Rita Lloyd, aged nine, to the ‘Lord Mayor’s Juvenile Fancy Dress Ball’ at Mansion House in Perth on 8 January 1909.
Iraq

It is a tradition to have a costume party at a university graduation.[1]
United Kingdom
Nineteenth century
Manchester fancy dress ball of 1828, painting by Arthur Perigal

The origins of fancy dress parties in the United Kingdom can in some respects be traced to masked balls of the 18th century period. In the period to 1850, fancy dress balls were a typical part of the social life of music festivals.[2]

Common costumes of the period were specific historical characters, generic historical or regional clothing, abstract concepts (such as "winter", "starlight" or "night"), and objects (such as "champagne bottle" or "aquarium"). Popular characters included Marie Antoinette and Elizabeth I for women and Napoleon and Robin Hood for men.[3]
Twentieth century

Notable amongst early events in the 20th century was the Chelsea Arts Club ball. Such events were often elaborate affairs and for the most part confined to those with considerable means.[4]

Amongst the general population, costume parties also occurred with increasing frequency from the late 1940s onward; for the most part the costumes were simple affairs until the mid-1970s. Prior to the late 1990s, most costumes were either hired or constructed at home. Although 'accessory' items had been available for some time, retail purchased costumes are, in respect of the U.K., largely since in the late 1990s. Many materials and costumes being imported from the Far East (with cost savings in labour and bulk orders) had increased in volume at that time. This has seen the price of purchased costumes becoming more and more affordable.

Coupled with the modern trend in costume parties, 'retro' fashion as a costume theme (such as a 1970s or 1980s fancy dress) is also popular, the costumes to some extent parodying or pastiching the fashions of earlier decades. Amongst the most popular parodied costumes are: Audrey Hepburn (as Holly Golightly), Madonna in her classic stage outfits, and more recently Lady Gaga.

Fancy dress parties are popular year round in the United Kingdom. The 1996 novel Bridget Jones's Diary features the classic British costume party theme "Tarts and Vicars" at which the women wear sexually provocative ("tart") costumes, while the men dress as Anglican priests ("vicars"). Fancy dress parties have been held by the British Royal Family. Prince William, heir to the British Throne, celebrated his 21st birthday with an "Out of Africa" theme, Princess Beatrice of York chose an 1888 themed party for her 18th birthday, and Lord Frederick ("Freddie") Windsor and his sister Lady Gabriella Windsor, celebrated a joint birthday party with a pre-French Revolution courtly theme.[5]
United States
Contestants line up for a "best costume" competition at a Halloween party in the United States.
Nineteenth century

In late nineteenth century New York, costume parties were popular amongst the affluent. Costumes were typically historical European aristocracy. Authenticity was important, even extending to using actual period elements. For example, Cornelia Bradley-Martin attended her own party, the notorious Bradley-Martin Ball, dressed as Marie Antoinette, wearing jewellery actually owned and worn by Antoinette herself. The choice of aristocratic costume allowed rich Americans, with relatively limited family history, to assume some element of history and legitimacy.[6] This coincides with the celebration of Halloween in the United States during the late nineteenth century. As a reaction to Halloween pranks and vandalism brought to the country by Celtic immigrants, women's magazines introduced a new, middle-class rendition of the holiday that would come to assert women as the dominant celebrants of Halloween throughout the coming decades. It sought to enforce the ideals of white Anglo-Saxon Protestants by encouraging young people to partake in tame, preferably indoor, activities instead, often with a focus on romance. While the middle and upper classes shifted their Halloween celebrations toward these new actives, including costume parties, the poor and immigrant populations of the United States continued to celebrate in the ways that they always had, demonstrating the effect that class differences had on costume parties during this time.[7]
Twentieth century

Costume parties are especially popular in the United States around Halloween, when teenagers and adults who may be considered too old for trick-or-treating attend a costume party instead. Costume parties are also popular during the carnival season, such as at Mardi Gras.

Attendees occasionally dress in costume for popular science fiction and fantasy events, movie openings and book releases. Web site theonering.net held a The Lord of the Rings dress Oscar party that was attended by Peter Jackson. Star Wars parties were held to celebrate the opening of Star Wars: Episode I – The Phantom Menace. Many bookstores have held Harry Potter themed parties to celebrate the releases of the series' later novels, and some movie theaters have had Potter-themed celebrations as the movie adaptations have been released.

Larger scale 'parties' are often related to organised societies or conventions.[8]
Fan costuming

The hobby of fan costuming and modern cosplay largely developed from the World Science Fiction Conventions (Worldcons), starting with the first in New York in 1939 when two attendees, Forrest J Ackerman and Myrtle R. Douglas, wore "futuristicostumes".[9] From the 2nd World Science Fiction Convention (1940) in Chicago, masquerade balls were a traditional feature of the convention.[9]
Conventions

Fan conventions, often abbreviated to "cons", of various descriptions have followed the example of the Worldcons with many attendees wearing costumes representing fictional characters. Some conventions feature costume competitions and other scheduled costuming events. Several well-known conventions that feature costuming include the San Diego Comic-Con International, New York Comic Con, and Atlanta's Dragon Con.
Cosplay

Cosplay (a blend of "costume" and "play" via the Japanese kosupure (コスプレ)) was coined by Nobuyuki Takahashi in reporting on the 42nd World Science Fiction Convention for Japanese magazine My Anime.[10][11] It is a performance art in which participants called cosplayers wear costumes, wigs and fashion accessories to represent a specific character. Cosplay is popular at conventions across the world. An example of a major cosplay convention in the United States would be Anime Expo, held annually in Los Angeles, California.[12]
Events and themes

There are many annual events that generate the chance to dress up in fancy dress costumes; Christmas, New Year, birthdays, Hen and Stag parties, and Book Day, amongst others.

Halloween is the most popular costume or fancy dress event of the year in western society. Halloween originated centuries ago, the Celts believed that on 31 October the line between the living and the dead became distorted, condemned souls would come back to wreak havoc for the night. In defense, the Celts would dress up in ghoulish costumes to scare evil spirits away.

Within many fancy dress events, a theme is usually present, and with fancy dress outfits often from Hollywood films such as Star Wars, Grease, James Bond, and Spider-Man. Themes are also extremely popular with fundraising events, such as the Great Gorilla Run, where 1,000 people dressed as gorillas in London in aid for Great Gorillas, a charity that focuses on the endangered species.[citation needed]

Some costume parties are themed around 80s fashion. The most popular costumes researched for such fancy dress are the Madonna Look, punk fashion and neon-colored clothing. Some of the easiest and cheapest 1980s costumes include Rambo, Samantha Fox, and Tom Cruise from Risky Business or Top Gun. Alternative eighties costumes include dresses, prom dresses and denim from the period, including high waisted pants and stone wash denim.

Fans sometimes attend sporting events in a costume as a sign of support of their favored team. Some sporting events have large numbers of fans attending in fancy dress costume. Examples include Wellington Rugby Sevens, where almost every fan who attends wears some sort of costume, and San Jose Bike Party, where each month's ride has a different theme encouraging riders to come in costume. " (wikipedia.org)

"Halloween or Hallowe'en (less commonly known as Allhalloween,[5] All Hallows' Eve,[6] or All Saints' Eve)[7] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Saints' Day. It begins the observance of Allhallowtide,[8] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[9][10][11][12]

One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which are believed to have pagan roots.[13][14][15][16] Some go further and suggest that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[17] Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[18][19][20][21] Celebrated in Ireland and Scotland for centuries, Irish and Scottish immigrants took many Halloween customs to North America in the 19th century,[22][23] and then through American influence Halloween had spread to other countries by the late 20th and early 21st century.[24][25]

Popular Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins or turnips into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.[26] Some people practice the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead,[27][28][29] although it is a secular celebration for others.[30][31][32] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.[33][34][35][36]
Etymology
"Halloween" (1785) by Scottish poet Robert Burns, recounts various legends of the holiday.

The word Halloween or Hallowe'en ("Saints' evening"[37]) is of Christian origin;[38][39] a term equivalent to "All Hallows Eve" is attested in Old English.[40] The word hallowe[']en comes from the Scottish form of All Hallows' Eve (the evening before All Hallows' Day):[41] even is the Scots term for "eve" or "evening",[42] and is contracted to e'en or een;[43] (All) Hallow(s) E(v)en became Hallowe'en.
History
Christian origins and historic customs

Halloween is thought to have influences from Christian beliefs and practices.[44][45] The English word 'Halloween' comes from "All Hallows' Eve", being the evening before the Christian holy days of All Hallows' Day (All Saints' Day) on 1 November and All Souls' Day on 2 November.[46] Since the time of the early Church,[47] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[48][44] These three days are collectively called Allhallowtide and are a time when Western Christians honour all saints and pray for recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[49] In 4th-century Roman Edessa it was held on 13 May, and on 13 May 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs".[50] This was the date of Lemuria, an ancient Roman festival of the dead.[51]

In the 8th century, Pope Gregory III (731–741) founded an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[44][52] Some sources say it was dedicated on 1 November,[53] while others say it was on Palm Sunday in April 732.[54][55] By 800, there is evidence that churches in Ireland[56] and Northumbria were holding a feast commemorating all saints on 1 November.[57] Alcuin of Northumbria, a member of Charlemagne's court, may then have introduced this 1 November date in the Frankish Empire.[58] In 835, it became the official date in the Frankish Empire.[57] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[57] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[59] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[57][59] It is also suggested the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome's sultry summers.[60][44]
On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[61] Top: Christians in Bangladesh lighting candles on the headstone of a relative. Bottom: Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard.

By the end of the 12th century, the celebration had become known as the holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory. It was also "customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls".[62] The Allhallowtide custom of baking and sharing soul cakes for all christened souls,[63] has been suggested as the origin of trick-or-treating.[64] The custom dates back at least as far as the 15th century[65] and was found in parts of England, Wales, Flanders, Bavaria and Austria.[66] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives. This was called "souling".[65][67][68] Soul cakes were also offered for the souls themselves to eat,[66] or the 'soulers' would act as their representatives.[69] As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.[70] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[71] While souling, Christians would carry "lanterns made of hollowed-out turnips", which could have originally represented souls of the dead;[72][73] jack-o'-lanterns were used to ward off evil spirits.[74][75] On All Saints' and All Souls' Day during the 19th century, candles were lit in homes in Ireland,[76] Flanders, Bavaria, and in Tyrol, where they were called "soul lights",[77] that served "to guide the souls back to visit their earthly homes".[78] In many of these places, candles were also lit at graves on All Souls' Day.[77] In Brittany, libations of milk were poured on the graves of kinfolk,[66] or food would be left overnight on the dinner table for the returning souls;[77] a custom also found in Tyrol and parts of Italy.[79][77]

Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes".[80] In the Middle Ages, churches in Europe that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[81][82] Some Christians observe this custom at Halloween today.[83] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[84] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which was often depicted in church decoration.[85] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians "not to forget the end of all earthly things".[86] The danse macabre was sometimes enacted in European village pageants and court masques, with people "dressing up as corpses from various strata of society", and this may be the origin of Halloween costume parties.[87][88][89][72]

In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a "popish" doctrine incompatible with the Calvinist doctrine of predestination. State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow's Day remained in the English liturgical calendar to "commemorate saints as godly human beings".[90] For some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; "souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits".[91] Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).[92] In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead;[46][93] the Anglican church eventually suppressed this bell-ringing.[94] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth".[95] After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night (5 November), which appropriated some of its customs.[96] In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th–19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[97] There was a similar custom in Hertfordshire, and the lighting of 'tindle' fires in Derbyshire.[98] Some suggested these 'tindles' were originally lit to "guide the poor souls back to earth".[99] In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they "were important to the life cycle and rites of passage of local communities" and curbing them would have been difficult.[22]

In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.[79] In 19th-century Italy, churches staged "theatrical re-enactments of scenes from the lives of the saints" on All Hallow's Day, with "participants represented by realistic wax figures".[79] In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.[79] In the same country, "parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night".[79] In Spain, they continue to bake special pastries called "bones of the holy" (Spanish: Huesos de Santo) and set them on graves.[100] At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all night vigil.[101] In 19th-century San Sebastián, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who "appeal[ed] to the tender recollectons of one's deceased relations and friends" for sympathy.[102]
Gaelic folk influence
An early 20th-century Irish Halloween mask displayed at the Museum of Country Life

Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[103] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[104] The origins of Halloween customs are typically linked to the Gaelic festival Samhain.[105]

Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated on 31 October – 1 November[106] in Ireland, Scotland and the Isle of Man.[107][108] A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival begins the evening before 1 November by modern reckoning.[109] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[110] and are still the Gaelic and Welsh names for Halloween.
Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland.[111]

Samhain marked the end of the harvest season and beginning of winter or the 'darker half' of the year.[112][113] It was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[114][115] Most scholars see them as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[116] They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[117][118] At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for them.[119][120][121] The souls of the dead were also said to revisit their homes seeking hospitality.[122] Places were set at the dinner table and by the fire to welcome them.[123] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.[66] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[124]

Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one's future, especially regarding death and marriage.[125] Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[126] Special bonfires were lit and there were rituals involving them. Their flames, smoke, and ashes were deemed to have protective and cleansing powers.[112] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[110] It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.[123][127][128] They were also used for divination and to ward off evil spirits.[74] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[129] In Wales, bonfires were also lit to "prevent the souls of the dead from falling to earth".[130] Later, these bonfires "kept away the devil".[131]
photograph
A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[132]

From at least the 16th century,[133] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[134] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to 'souling'. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[135] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[136] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[134] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.[133] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[134] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[134]

Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[134] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.[134] Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.[134] By those who made them, the lanterns were variously said to represent the spirits,[134] or used to ward off evil spirits.[137][138] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[134] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of Britain and became generally known as jack-o'-lanterns.[134]
Spread to North America
The annual New York Halloween Parade in Greenwich Village, Manhattan, is the world's largest Halloween parade, with millions of spectators annually, and has its roots in New York’s queer community.[139]

Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[140][141] although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.[142] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[22]

It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.[22] Most American Halloween traditions were inherited from the Irish and Scots,[23][143] though "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[144] Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.[145] Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe and some parts of the Far East.[24][25][146]
Symbols
At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including skeletons, ghosts, cobwebs, headstones, and scary looking witches.

Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[73][147] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[148] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[149]

    On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[150]

In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[151][152] but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip.[151] The American tradition of carving pumpkins is recorded in 1837[153] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[154]
Decorated house in Weatherly, Pennsylvania

The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein; or, The Modern Prometheus and Dracula) and classic horror films such as Frankenstein (1931) and The Mummy (1932).[155][156] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[157] skulls have therefore been commonplace in Halloween, which touches on this theme.[158] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[159] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "bogles" (ghosts),[160] influencing Robert Burns' "Halloween" (1785).[161] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[162] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[163]
Trick-or-treating and guising
Main article: Trick-or-treating
Trick-or-treaters in Sweden

Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[64] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[164] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[165] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[166][167] Mumming practiced in Germany, Scandinavia and other parts of Europe,[168] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[169]
Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising was first recorded in North America

In England, from the medieval period,[170] up until the 1930s,[171] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[93] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[67] In the Philippines, the practice of souling is called Pangangaluluwa and is practiced on All Hallow's Eve among children in rural areas.[26] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[26]

In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[172] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[152][173] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[172] The practice of guising at Halloween in North America was first recorded in 1911, where a newspaper in Kingston, Ontario, Canada, reported children going "guising" around the neighborhood.[174]

American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[175] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[176]

While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[177] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[178]
An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois

The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[179] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[180] and the first use in a national publication occurring in 1939.[181]

A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[100][182] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[183] such as those of children's literature, movies, scripture, and job roles.[184] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[185][186]
Costumes
Main article: Halloween costume

Halloween costumes were traditionally modeled after figures such as vampires, ghosts, skeletons, scary looking witches, and devils.[64] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses.
Halloween shop in Derry, Northern Ireland, selling masks

Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[152] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[173] In Ireland and Scotland, the masks are known as 'false faces',[38][187] a term recorded in Ayr, Scotland in 1890 by a Scot describing guisers: "I had mind it was Halloween . . . the wee callans were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand)".[38] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[178][188]

Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[189][190]

"Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[64] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[191][192]

The yearly New York's Village Halloween Parade was begun in 1974; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[193]

Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[194] Such and other potentially offensive costumes have been met with increasing public disapproval.[195][196]
Pet costumes

According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.[197]
Games and other activities
In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband.

There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[198] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[125] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[199] Some also suggest that they derive from Roman practices in celebration of Pomona.[64]
Children bobbing for apples at Hallowe'en

The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[200] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[201]
Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting

Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[202][203] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[204][205] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[206] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[207] The custom was widespread enough to be commemorated on greeting cards[208] from the late 19th century and early 20th century.

Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[209][210][211][212] The game features prominently in the James Joyce short story "Clay" (1914).[213][214][215]

In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[216]

Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[110]

Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday.
Haunted attractions
Main article: Haunted attraction (simulated)
Humorous tombstones in front of a house in California
Humorous display window in Historic 25th Street, Ogden, Utah

Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[217] and the level of sophistication of the effects has risen as the industry has grown.

The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[218][219] The House still exists, in the Hollycombe Steam Collection.

It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[220]

The haunted house as an American cultural icon can be attributed to the opening of The Haunted Mansion in Disneyland on 12 August 1969.[221] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[222] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[223]

The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[224] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[225]

On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[226] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[227][228] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[229][230][231]

In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[232] The theme park haunts are by far the largest, both in scale and attendance.[233]
Food
Pumpkins for sale during Halloween

On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[234]
A candy apple

Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts.

At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[235] While there is evidence of such incidents,[236] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[237]

One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[238] It is considered fortunate to be the lucky one who finds it.[238] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. Halloween-themed foods are also produced by companies in the lead up to the night, for example Cadbury releasing Goo Heads (similar to Creme Eggs) in spooky wrapping.[239]
A jack-o'-lantern Halloween cake with a witches hat

List of foods associated with Halloween:

    Barmbrack (Ireland)
    Bonfire toffee (Great Britain)
    Candy apples/toffee apples (Great Britain and Ireland)
    Candy apples, candy corn, candy pumpkins (North America)
    Chocolate
    Monkey nuts (peanuts in their shells) (Ireland and Scotland)
    Caramel apples
    Caramel corn
    Colcannon (Ireland; see below)
    Halloween cake
    Sweets/candy
    Novelty candy shaped like skulls, pumpkins, bats, worms, etc.
    Roasted pumpkin seeds
    Roasted sweet corn
    Soul cakes
    Pumpkin Pie

Christian religious observances
The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en

On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[240] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day and serving pancakes or colcannon instead.[241] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[242]

The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[243] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[244][245] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[246][247] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[248][249] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[250]
Halloween Scripture Candy with gospel tract

Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[251][252] Some of these practices include praying, fasting and attending worship services.[1][2][3]

    O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[253]

Votive candles in the Halloween section of Walmart

Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[254] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[255] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[256] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[257] Others order Halloween-themed Scripture Candy to pass out to children on this day.[258][259]
Belizean children dressed up as Biblical figures and Christian saints

Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[260] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[261] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[262] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[263] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[264]

In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[265][266] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[267] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[268] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[269]
Analogous celebrations and perspectives
Judaism

According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[270] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[271] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[272] Purim has sometimes been compared to Halloween, in part due to some observants wearing costumes, especially of Biblical figures described in the Purim narrative.[273]
Islam

Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[274] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[275][276] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[277]
Hinduism

Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[278] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[279] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[280]
Neopaganism

There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[281] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[282] and "avoid Halloween, because of the interruptions from trick or treaters".[283] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[281]
Geography
Main article: Geography of Halloween
Halloween display in Kobe, Japan

The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[172][284][285] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[286] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[172] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Brazil, Ecuador, Chile,[287] Australia,[288] New Zealand,[289] (most) continental Europe, Finland,[290] Japan, and other parts of East Asia." (wikipedia.org)