The surface highlights of the moon that are noticeable from Earth have been interpreted by many societies as the face or figure of a man, regularly called the Man in the Moon in English. Many societies furthermore have a moon god, whether owing to this pareidolia or not. Therefore, there are different clarifications concerning how there came to take care of business in the Moon.

A longstanding European convention holds that the man was expelled to the moon for some wrongdoing. Christian legend generally held that he is the man found gathering sticks on the sabbath and condemned by God to death by stoning in the book of Numbers XV.32–36. Some Germanic societies thought he was a man discovered stealing from a neighbor’s hedgerow to fix his own. There is a Roman legend that he is a sheep-criminal.

One medieval Christian custom cases him as Cain, the Wanderer, perpetually bound to circle the Earth.

John Lyly says in the introduction to his Endymion (1591), “There liveth none under the sunne, that realizes what to think about the man in the moone.”

Some early messages are preventative and stress the seriousness of the Man in the Moon’s discipline by emphasizing its long length or his physical separation. Anyway in spite of this, he is regularly delineated as effectively observing and notwithstanding communicating with characters on earth. For instance, in Queen Zixi of Ix, Queen Lulea easily interacts with him just by gazing up at him and having a discussion as though he were just a short separation away. Additionally, in a delineation accompanying “A Message to Mother Goose,” the Man in the Moon, while as yet sitting on the moon, is close enough to the Man so Wondrous Wise as to try and place his hand on him while they talk.

In spite of his probably everlasting expulsion, forced by God Himself according to many stories, the Man in the Moon nevertheless visits the earth every now and again and without hardly lifting a finger. In L. Straight to the point Baum’s story “The Man in the Moon,” he visits earth by sliding down a moonbeam, and in the renowned nursery rhyme, he truly tumbles from the moon to arrive on earth with no vital sick impact. Indeed, the main injury he is portrayed as sustaining is his burning himself eating natural nourishment. (In any case, Mother Goose’s Melodies delineates an alternate character, “The man in the south,” as the person who consumes himself, and in Five Mice in a Mouse‐Trap, the Man in the Moon expresses that the nursery rhyme story is spurious in any case.) In “The Lumber Room,” he has no issue visiting earth more than once for long intervals, inasmuch as he returns daily since lighting up the moon is his duty, something that evidently would not happen were he not there. He additionally makes an off the cuff visit to earth just to help Piggy break from jail in “Tito’s Home‐made Picture‐Book,” and he is later ready to go to the wedding service in The Marriage of Jack and Jill.

The presence of the Man in the Moon fluctuates incredibly in public‐domain works, depending to some degree on whether it is the impression of his face or of his figure in the moon that fills in as inspiration. He is some of the time portrayed simply as a full or sickle moon with a face but on the other hand is here and there delineated as an ordinary man; in between those two boundaries is a scope of more‐or‐less humanoid interpretations with varying degrees of moonlike face. He is regularly delineated carrying either a mixed drink, apparently claret, or carrying the thistle shrub or heap of sticks that originally prompted his expulsion, alongside a lamp that speaks to the moonlight. He is once in a while joined by his pooch, which can likewise be found in the moon’s surface highlights in certain interpretations.

A couple of sources allude to him just as the Moon, blurring the distinction between the moon itself and the man therein, and in The Marriage of Jack and Jill, he has the name Mr. Maninmoon.

In Egyptian folklore, the god Iah, whose name signifies ‘Moon’, is the idolized moon, yet the more prominent divine beings Thoth and Khonsu were lunarized and along these lines moved toward becoming moon divine beings. Other Near Eastern moon divine beings include Kaskuh or Kusuh (Anatolian), Nanna or Sin (Mesopotamian) and Yarikh (Levantine), and the Turkic moon god is Ay Ata. There is likewise a Talmudic convention that the picture of Jacob is engraved on the moon, albeit no such notice shows up in the Torah.

The Indian moon god is Chandra.

In Chinese folklore, the goddess Chang’e is stranded upon the moon after stupidly consuming a twofold portion of an everlasting status elixir. She is joined by a little gathering of moon hares. The Chinese likewise have Wu Gang, a man interminably rebuffed on the moon, just as the god Yue Lao, the “elderly person under the moon,” and the Japanese have a moon god named Tsukuyomi.

In certain customs, the characters who are noticeable on the moon are not equivalent to the moon god, but instead have been set there by him. In Norse folklore, Máni is the male representation of the moon who crosses the sky in a pony and carriage. He is continually sought after by the Great Wolf Hati who gets him at Ragnarok. The name Máni essentially means Moon. Máni is a male god in almost every source, except in “Jack and Jill: A Scandinavian Myth,” is depicted as a motherly female and is classified “ruler of the moon.” In the Prose Edda, Máni takes the youngsters Hiuki and Bil (the Norse Jack and Jill) to be endlessly on the moon, thus it is they who are unmistakable from earth rather than Máni.

In Haida folklore, the figure speaks to a kid gathering wood, who was taken up from the earth by the Moon as a discipline for irreverence.

There are various stories in Maori folklore about Rona, who is in some cases depicted as a lunar divinity and now and then as the human brought to the moon by such a god (and is portrayed as male in certain accounts and female in others). The Cook Islanders have a moon god named Marama.

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