The only known historical use of this phrase is in the Latin form “HC SVNT DRACONES” (i.e. hic sunt dracones) on the Lenox Globe (ca. 1503-07). Earlier maps contain a variety of references to mythical and real creatures, but the Lenox Globe is the only known surviving map to bear this phrase.

The term appeared on the Lenox Globe around the east coast of Asia, and might be related to the komodo dragons in the Indonesian islands, tales of which were quite common throughout East Asia.

The classical phrase utilized by ancient Roman and Medieval cartographers used to be HIC SVNT LEONES (literally, Here are lions) when denoting unknown territories on maps.

Dragons on maps

Dragons appear on a few other historical maps.

• The T-O Psalter map (ca. 1250 AD) has dragons, as symbols of sin, in a lower “frame” below the world, balancing Jesus and angels on the top, but the dragons do not appear on the map proper.
• The Borgia map (ca. 1430 AD), in the Vatican Library, states, over a dragon-like figure in Asia (in the upper left quadrant of the map), “Hic etiam homines magna cornua habentes longitudine quatuor pedum, et sunt etiam serpentes tante magnitudinis, ut unum bovem comedant integrum.” (“Here, indeed, are men who have large horns of the length of four feet, and there are even serpents so large, that they could eat an ox whole.”) The latter may refer to the dragons of the Chinese dragon dance.
• A 19th-century Japanese map, the Jishin-no-ben, depicts a dragon associated with causing earthquakes.

Other creatures on maps

• Ptolemy‘s atlas in Geographia (originally 2nd century, taken up again in the 15th century) warns of elephants, hippos and cannibals.
• Tabula Peutingeriana (medieval copy of Roman map) has “in his locis elephanti nascuntur”, “in his locis scorpiones nascuntur” and “hic cenocephali nascuntur” (“in these places elephants are born, in these places scorpions are born, here dog-headed beings are born”).
• Cotton MS. Tiberius B.V. fol. 58v (10th century), British Library Manuscript Collection, has “hic abundant leones” (“here lions abound”), along with a picture of a lion, near the east coast of Asia (at the top of the map towards the left); this map also has a text-only serpent reference in southernmost Africa (bottom left of the map): “Zugis regio ipsa est et Affrica. est enim fertilis. sed ulterior bestiis et serpentibus plena” (“This region of Zugis is in Africa, it is truly fertile, however it is full of beasts and serpents.”)
• The Ebstorf map (13th c.) has a dragon in the extreme south-eastern part of Africa, together with an asp and a basilisk.
• Giovanni Leardo’s map (1442) has, in southernmost Africa, “Dixerto dexabitado p. chaldo e p. serpent”.
• Martin Waldseemüller‘s Carta marina navigatoria (1516) has “an elephant-like creature in northernmost Norway, accompanied by a legend explaining that this ‘morsus’ with two long and quadrangular teeth congregated there”, i.e. a walrus, which would have seemed monstrous at the time.
• Waldseemüller’s Carta marina navigatoria (1522), revised by Laurentius Fries, has the morsus moved to the Davis Strait.
• Bishop Olaus Magnus‘s Carta Marina map of Scandinavia (1539) has many monsters in the northern sea, as well as a winged, bipedal, predatory land animal resembling a dragon in northern Lapland.

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This was because, from a perspective of the Slavic peasant, Christianity was not a replacement of old Slavic mythology, but rather an addition to it. Christianity may have offered a hope of salvation, and of blissful afterlife in the next world, but for survival in this world, for yearly harvest and protection of cattle, the old religious system with its fertility rites, its protective deities, and its household spirits was taken to be necessary. This was a problem the Christian church never really solved; at best, it could offer a Christian saint or martyr to replace the pagan deity of a certain cult, but the cult itself thrived, as did the mythological view of the world through which natural phenomena were explained.

While folk beliefs and traditions of all Slavic peoples indeed are the richest resource for reconstructing the ancient pagan beliefs, these may very likely have lost their original mythology and sanctity. People entertained a vague idea that some festivals must be celebrated in a certain way, some stories must be told or some songs must be sung, merely in accordance with tradition. Cults of old deities were mixed with worship of new Christian saints, and old rituals blended among new Christian holidays.

Gamayun, one of three prophetic birds of Russian folklore, alongside Alkonost and Sirin (painting by Viktor Vasnetsov, 1897).

This led scholars to analyse the structure of folklore itself, and to devise methodologies through which they could reconstruct the lost mythology from this structure. We can roughly divide the folklore accounts into two groups:

• Fairy tales about various fantastical characters and creatures such as Alkonost, Baba Yaga, Koschei the Deathless, Firebird, Zmey songs and tales of legendary heroes such as Russian bogatyrs, and superstitions about various demons and spirits such as domovoi, likho, vilas, vampires, vodyanoy, rusalkas etc. Many of these tales and beliefs may be quite ancient, and probably contain at least some elements of old mythical structure, but they are not myths themselves. They lack a deeper, sacral meaning and religious significance, and furthermore they tend to vary greatly among various Slavic populations.

• Folk celebrations of various Christian festivals and popular beliefs in various saints. It is, for instance, quite clear that a popular saint in many Slavic countries, St Elijah the Thunderer, is a replacement of old thunder-god Perun. Likewise, traces of ancient deities can also be found in cults of many other saints, such as St Mary, St Vitus, St George, St Blaise, St Nicholas, and it is also obvious that various folk celebrations, such as the spring feast of Jare or Jurjevo and the summer feast of Ivanje or Ivan Kupala, both very loosely associated with Christian holidays, are abundant with pre-Christian elements. These beliefs have considerable religious and sacral significance to the people still performing them. The problem is, of course, that the elements of pre-Christian religion are hopelessly mixed into popular Christianity.

Reconstruction of original Slavic myths is thus a true detective work, requiring a considerable knowledge of various scientific disciplines such as semiotics, linguistics, philology, comparative mythology and ethnology. Folklore accounts must be analysed on level of structure, not merely as songs or stories, but as groups of signs and symbols which contain some internal structural logic. Each of these signs is composed of some key words, which are more than simply names of characters, places or artifacts. One important aspect of symbols is that they are almost impossible to change; while their names may be altered, their structure may not. Changing or losing of key words would result in a change of symbol, which would then invalidate the internal structural logic of a text and render the entire tale meaningless. It would then soon be forgotten, because the pattern, or logic, through which it was transmitted over generations would be lost.

For example: as stated already, the Slavic god of thunder, Perun, was mostly equated with St Elijah the Thunderer in Christian folklore. But he was also sometimes equated with St Michael, and sometimes even with the Christian God, whilst in some of Russian or Belarusian folk stories, he was downgraded to various fairy characters such as Tsar Ogin (Tsar Flame) or Grom (Thunder). Notwithstanding changes in the name itself, there are always some key words present which were used to describe Perun as a symbol in ancient mythical texts, and have survived through folklore. Perun is always gore (up, above, high, on the top of the mountain or in heaven; Perun is a heavenly god, and he is also the ‘highest’ deity of old Slavic pantheon), he is suh (dry, as opposite of wet; he is god of thunder and lightning, which causes fire), he treska/razbija/goni/ubija (strikes/hits/pursues/kills; he is a god of thunder and storms, destructive and furious) with strela/kamen/molnija (arrow/stone/lightning; Perun’s weapons, are of course, his bolts of lightning. He fires them as arrows which are so powerful they explode and blow up stones when they hit). These key words are always preserved in folklore traces, even if the true name of Perun has been long ago forgotten. Consequently, the structure of this symbol allowed the identification of Perun with similar characters either from Christian religion or from later folklore, which share these similarities in structure of their own symbols.

Following similar methodology, and drawing parallels with structure of other, related Indo-European mythologies (particularly Baltic mythology), and occasionally using some hints found in historical records of Slavic paganism, some of the ancient myths could be reconstructed. Significant progress in the study of Slavic mythology was made during last 30 years, mostly through the work of the Russian philologists Vladimir Toporov and Vyacheslav Vsevolodovich Ivanov, as well as that of the Croatian scientists Radoslav Katičić and Vitomir Belaj. Also very valuable are the studies of Russian scholar Boris Uspensky and of Serbian philologist and ethnologist Veselin Čajkanović.

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