While her primary dwelling place was the body of water in which she died, the rusalka could come out of the water at night, climb a tree, and sit there singing songs, sit on a dock and comb her hair, or join other rusalki in circle dances (Russian: хороводы, Polish: korowody) in the field.

Though in some versions of the myth, the eyes shine like green fire, others describe them with extremely pale and translucent skin, and no visible pupils. Her hair is sometimes depicted as green or golden, and often perpetually wet. The Rusalka could not live long on dry land, but with her comb she was always safe, for it gave her the power to conjure water when she needed it. According to some legends, should the rusalka's hair dry out, she will die.

The rusalki were believed to be at their most dangerous during the Rusalka Week (Rusal'naia) in early June. At this time, they were supposed to have left their watery depths in order to swing on branches of birch and willow trees by nights. Swimming during this week was strictly forbidden, lest mermaids would drag a swimmer down to the river floor. A common feature of the celebration of Rusal'naia week was the ritual banishing or burial of the rusalka at the end of the week, which remained as entertainment in Russia until the 1930s.

Rusalki like to have men and children join in their games. They can do so by enticing men with their singing and then drowning them, while the children were often lured with baskets of fruit. Men seduced by the rusalka could die in her arms, and in some versions hearing her laugh could also cause death.

A familiar spirit, imp, or familiar (from Middle English familiar, related to family) is an animal-shaped spirit who serves for witchery, a demon, or other magician-related subjects.

Familiars serve their owners as domestic servants, farmhands, spies, and companions, and may help bewitch enemies.

and now i know olivia's true form.

In Polish mythology, sky women were the warm-weather incarnations of the rusalki. Slavic women would go out in the first snowfall and build snow women to honor them, as snow is believed to be brought by the sky women. One belief has it that the thunder and lightning of springtime are brought on by Sky Women mating with the thunder gods; hence spring festivals included a celebration of the return of the rusalki from the waters with the placing of wreaths on the waters, and with circle dances and fire festivals.

рушчд шуртч Ш Нруздф! Агслштп црщку ыдге. Нщг сфтэе умшт ызуфл Кгылшфтю

Ot zhizni k smerti.
Ot smerti k zhizni.
Ty mozhete bt vechn sushestvuite.

Люди инвалиды

>>11
that's a retarded thing to say lrn2russian

>>11

Isn't that a song?

>>13
yep but it isnt really an insult as such or anything

>>10
You can't just CHOOSE which verbs to conjugate and how. Just because someone will understand you after some straining and imagining his retarded little brother trying to talk, doesn't mean you are justified in butchering an entire language

>>15
It made sense to me. Fuck face.

>>16
Because you can't speak Russian for shit, butthurt.

Whooppee! Jerking off to pictures of beautiful teenage girls metamorphosing slowly but inexorably into bickering over the finer points of obscure foreign languages. I think I'm going to switch boards.

>>17
Ok so you have to have that shitty troll thing going on all the time? Lol at the sage.

>>19
The best way to troll is always to tell the truth, I guess.

>>16
English, despite being your mother tongue, doesn't really seem to work for you.

In that video you remind me of one of these nymphs. I've always thought that. It's so hypnotizing.

>>22
<3

Who is the singer of this song?
A boatman on the Rhine,
And we always hear the echo
Of the Three-Knight-Stone:

Lorelei
Lorelei
Lorelei

As though there were three of us.

>>28
Lorelei is a stupid name.

>>30
That isn't at all creepy.

Get off the car
kick his chain, kick his pride
get him soaked hit run
lift up your toes
in my mouth
and we can make love
and we can go
we're covered by the sacred fire
when you come to me, you come to me broke

without a doubt

we're covered by the sacred fire
when you come to me, you come to me broke
guilty girl, guilty boy
get to make out
him chocked with mousse
lift up your toes
in my mouth
and we can make love
and we can go

Just so the wandering "this-is-just-so-faggy"-shouters can enjoy another brief moment of glory, a link to one of the more tolerable of the many recordings of Robert Schumann's "Waldgespräch" available on YouTube:

http://www.youtube.com/watch?v=FwuWaSr8PgI

Matthias (not "Matthis") Goerne is a fine singer and the "video" has the advantage of not actually being a video (i.e. not distracting the listener with crassly obvious or entirely inappropriate accompanying images). The song itself, in case anyone's wondering, IS a version of the Lorelei legend: one of the most moving and disturbing, because unencumbered with all the traditional "mermaid" paraphernalia. The text, by Joseph von Eichendorff, shows us the succubus merely as a girl who appears to be lost and vulnerable in a deep forest at nightfall. Her destruction, however, of the knight who approaches her to "lead her home" is stated to be total and eternal. It is probably only German-speakers who will be able to appreciate how much more disturbing the simple story is made by Schumann's setting of the words into a "Lied". The emphases and phrasal repetitions are strange and unnatural - a reflection of the disintegration of the knight's will and consciousness under the influence of the Lorelei, as well as a premonition of Schumann's own imminent descent into mental illness.

It occurs to me that translating the words sung, even if it runs a heavy risk of making the whole thing even more faggy, could just possibly also end up making it less so - since it will at least serve to make clear that Eichendorff's version of the Lorelei myth does have some sort of "existential" relevance for those obsessed with Olivia and/or Lia:

"It is already late; the evening is already cold.
What are you doing riding alone in this wood?
The wood is vast, and you have no one to protect you;
Come, beautiful child, I will lead you home."

That was the knight. The change in the timbre of the baritone's voice is noticeable as he now sings the part of the girl:

"Great is the cunning and deceit of men;
My heart has been broken by the pain of it.
Do you hear the sound of the hunter's horn, wandering among the trees?
Leave here; flee; you do not know who I am."

The Knight again:

"How richly apparelled are you and your steed;
How your young body glows with the promise of joy.
Oh God help me! Now I know you!
You are the bewitching Lorelei!"

"You know me now indeed;
From high upon its cliff my castle gazes down into the Rhine.
It is already late; the evening is already cold.
Nevermore shall you leave this wood."

>>32
And this is relevant how?

>>35
You weren't there man; you weren't there.

>>35

It needs explaining? It was just a little pun on the name Lorelei.

>>37

Well i was asked a question. I chose not to be ignorant.