Iaras

Iara is a mermaid from Brazilian folklore, also known as Mãe d'Água (Water Mother). She is a well-known figure in northern Brazil. Described as half-woman, half-fish, with great beauty, a charming voice, and wealth, she is one of Brazil's most beloved myths. With the arrival of colonizers, she gradually transformed, and Iara ended up portrayed as the mermaid of the rivers. Over time, she became a creature more generally like mermaids. In legends, Iara is portrayed as a beautiful woman who attracted men with her beauty and voice. It is said that those who heard her song were bewitched. In many stories, she appears to young, brave, and strong warriors, enchanting them and taking them to the bottom of the river. Some versions say they live there forever as her companions; others, they eventually disappear, never to return. Developed by the indigenous and riverside peoples of the northern region of the country, especially the Amazon. Her name, Iara: Means "lady of the waters," "water mother," "the beauty of the waters," or "dominator." Her name has an indigenous origin, whose Tupi-Guarani root, y-îara, means "lady of the waters," "water mother," "the beauty of the waters," or "dominator." Her appearance has mixed-race caboclo features, connecting the ethnic blending of Europeans and indigenous peoples of the North region of the country. In Brazil, the choice of indigenous names is very common and reflects the importance of cultural preservation in our country, whose Tupi represent the main tribe of Brazilian indigenous people. Iara is, therefore, a beautiful, predominantly feminine name that, in addition to being a symbol of national identity, carries the symbolism of water, emphasizing the origin of life, strength, and purification. According to Câmara

Cascudo [1], mothers-d'água (popular form), iaras (conventional and literary form, from yara, "lady", in Tupi) Yiaras, y-iaras or uiaras (another literary form, from yg, "water" and yara) are names given in Brazil. The fidelity of the name comes from the European world, half-fish, which often, like their European counterpart, are white and blonde and sing to attract their boyfriends and other men, who drown wanting to accompany them to the bottom of the waters. She is one of the most popular creatures in Brazilian folklore, along with Curupira and Saci. The legend of Iara says that the Indian woman was saved by the fishes and, as it was a full moon night, she was transformed into a mermaid. Today, the legend of Iara is represented by a beautiful mermaid who lures men with her irresistible song to the bottom of rivers, a place from which they never return. Legend has it that men who manage to return to the surface become completely insane, from which only a shaman can undo the spell. Before luring men into her "ambush," the mermaid Iara spends most of her time sitting on rocks, admiring her own beauty reflected in the water, combing her hair, and playing with the fish. Although originating in the Amazon region, the legend of Iara is known throughout Brazil, and depending on the region, her physical features, such as her eyes and hair, can take on new shapes and colors. The legend of Iara claims that an Indian woman was saved by fish, and because it was a full moon, she was transformed into a mermaid. Today, the legend of Iara is represented by a beautiful mermaid who lures men with her irresistible song to the bottom of rivers, a place from which they never return. Legend has it that men who manage to return to the surface are left in

In the region, their physical aspects, such as eyes and hair, can acquire new shapes and colors. The legend of Iara tells of an indigenous woman saved by fish, and because it was a full moon, she was transformed into a mermaid. Today, the legend of Iara is represented by a beautiful mermaid who lures men with her irresistible song to the bottom of the river, a place from which they never return. Legend has it that the men who manage to return to the surface fall into a state of complete madness, in which only a shaman can undo the spell. Before luring the men into her "ambush," the mermaid Iara spends most of her time sitting on the rocks, admiring her own beauty reflected in the water, combing her hair, and playing with the fish. Although she originated in the Amazon region, the legend of Iara is known throughout Brazil, and depending on the region, her physical appearance, such as her eyes and hair, can take on new shapes and colors. Iara is a figure from Brazilian folklore, described as a mermaid who inhabits the rivers of the Amazon. According to legend, after a dispute with her brothers, she was thrown into the river by her father, but was saved by fish that transformed her into a mermaid. Iara enchants men with her melodious voice, luring them to the depths, where many drown. Those who resist her song are driven mad and can only be cured by a shaman. This legend continues to inspire contemporary works, such as the Netflix series Invisible City, highlighting the power of Brazilian mythology.

Folklore Mermaid

She is a mermaid from Brazilian folklore, known for her great beauty, enchanting voice, and wealth. She is part woman and part fish and is known for seducing men on riverbanks, taking them underwater. The legend of Iara was created by the Tupi-Guarani people, blending it with what was brought by the Portuguese. They tell the story of a powerful Indian woman who, before becoming a mermaid, lived in a tribe with her family, exuding beauty wherever she went. Iara was so beautiful that she aroused envy in many people, including her brothers, who, dissatisfied with her, wanted to kill the Indian woman and disappear with her body.

One night, they called their sister to carry out the plan, but upon arriving at the scene, they were surprised by the strength of the Indian warrior, who managed to escape the trap and reverse the situation by committing the crime against them.

Fearing that her father, the tribe's shaman (religious leader), would find out and punish her, she fled, but was discovered. Her father then threw her into the Rio Negro and Rio Solimões as punishment for killing her brothers.

Commonly described as a young woman with brown eyes and long black hair, Iara was the daughter of her village's shaman, according to folklore. Heir to great power, the young woman was also an exceptional warrior.

Possessing such strength, Iara lived under the constant envy of her brothers, who wanted to be like her. One day, they united against the girl, intent on destroying her. In her defense, the young woman killed each of her brothers during the tragic battle.

Even though she was victorious, Iara feared her father's wrath and tried to escape, but was captured and thrown into a river by the shaman himself. Once in the Amazonian waters, she was welcomed by the fish and, on a full moon night, transformed into a mermaid.

Structured

Iara is a mythical figure from Brazilian folklore, also known as "Mãe d'Água." She is a character in Brazilian folklore legend that tells of a mermaid possessing great beauty, a beautiful voice, and great wealth. Iara resides at the bottom of rivers, using her attributes to seduce men who pass near her domain. This legend was brought to Brazil by the influence of Portuguese culture. She is described as an enchanting mermaid who inhabits the rivers of the Amazon, with the torso of a woman of rare beauty, long black hair, and a lower body resembling a fish. Her legend, widely spread throughout Brazil, was influenced by Indigenous, Afro-Brazilian, and European cultures.

According to the story, Iara uses her hypnotic song to attract fishermen and men who venture near the rivers. Enchanted by her beauty and voice, they are seduced and taken to the bottom of the water, where they disappear forever. Some myths say that those who survive the encounter become mentally disturbed.

Iara's origins vary depending on the version told, but one story claims she was an indigenous warrior, highly skilled and admired, which provoked the envy of her brothers. They tried to kill her, but Iara managed to defend herself and killed them in self-defense. Fleeing, she was captured and thrown into the river as punishment, where she was transformed into a mermaid by the water spirits.

The legend of Iara reflects themes of seduction, danger, and the power of nature, explaining the disappearance of people in rivers. She also symbolizes the relationship between indigenous peoples and natural resources, representing both the beauty and dangers of the environment.

Iara usually sits on a rock by the river, combing her hair or dozing in the sun. When she senses a man nearby, she begins to sing softly to attract him. Once under Iara's spell, a man leaves everything to live with her underwater, only to drown and be dragged to the bottom of the river. In some versions of the myth, the man is not killed by Iara, but rather led to her underwater palaces, where she uses her magical powers to enable him to survive underwater. Others still claim that several Indians had a romantic relationship with the mermaid and returned alive. One of Brazil's leading folklorists claims that, although the legend of Iara has characteristics reminiscent of indigenous folklore, the main elements of this legend are European and were introduced into Brazilian popular culture by the Portuguese. The consolidation of the legend in its current form occurred in the 19th century.

Origin of Iara

Luís Câmara Cascudo, a leading scholar of Brazilian folklore, asserts that the legend of Iara is not of Indigenous origin, but rather European. It is believed that in Brazil, the legend, which originated in Europe, was adapted to Indigenous cultural elements, blending the Ipupiara character with Greek mermaids, thus creating a mermaid with Indigenous characteristics. According to the folklorist, the origins are believed to have been Greek, as the Greeks, in their mythology, used mermaids as characters in their stories, and they had both human and birdlike aspects. The Portuguese adapted the character with fish-like characteristics in the 15th century, when they began colonization and crossed the Atlantic. The Portuguese's tale claims that she dove into the waters and never returned to her tribe. No one knows for sure what happened. Some say she became a beautiful mermaid who, hating to be alone, uses her song and beauty to lure fishermen and other men who approach the rivers, taking them to the bottom of the waters. According to one story told by the inhabitants of that tribe, one day, late in the afternoon, a young Indian was returning to his village after another day of fishing when he dropped the paddle of his canoe into the river. Bravely, the young man dove into the water, grabbed the paddle, and as he was climbing into the canoe, Iara appeared and began to sing. Mesmerized by the beautiful mermaid's song, the Indian couldn't move away. He swam toward her and, astonished, saw that the birds, fish, and all the animals around him were also transfixed by Iara's song. For a moment, the young man tried to resist, clinging to the trunk of a tree on the bank, but to no avail: he soon found himself in the arms of the beautiful mermaid. And he sank with her, disappearing forever into the river. An old chief who was passing by saw everything, but was unable to help. They say he is the storyteller and even invented a ritual to help.

fish characteristics in the 15th century, when they began colonization and crossed the Atlantic. The common tale claims that she dove into the waters and never returned to her tribe. No one knows for sure what happened. Some say she became a beautiful mermaid who, hating to be alone, uses her song and beauty to lure fishermen and other men who approach the rivers, taking them to the bottom of the water. According to one story told by the inhabitants of that tribe, one day, late in the afternoon, a young Indian was returning to his village after another day of fishing when he dropped the paddle of his canoe into the river. Very brave, the young man dove into the waters, grabbed the paddle, and as he was climbing into the canoe, Iara appeared and began to sing. Mesmerized by the beautiful mermaid's song, the Indian couldn't move away. He swam toward her and, astonished, saw that the birds, fish, and all the animals around him were also transfixed by Iara's song. For a moment, the young man tried to resist, clinging to the trunk of a tree on the bank, but to no avail: he soon found himself in the arms of the beautiful mermaid. And he sank with her, disappearing forever into the river. An old chief who was passing by saw everything but was unable to help. They say he is the storyteller and even invented a ritual to free himself from Iara's spell. But the few he managed to rescue from the depths of the waters were left hallucinating by the mermaid's charms.

Iara is a figure from Brazilian folklore who presents herself as a mermaid, half woman and half fish, who lives in rivers and seduces men with her beauty and voice.

In this variation, she was the daughter of a shaman and possessed great warrior skills. It turns out these skills were the envy of her brothers, who decided to get together to kill her on one occasion, but she resisted, fought, and killed them all.

Fearful of her father's reaction, she fled, but was found, and her father decided to throw her between the Negro and Solimões rivers. She was reportedly saved by fish and transformed into Iara during a full moon. The term "Iara" originates from the Tupi language, being a blend of two words: ig, meaning "water," and iara, meaning "lord." Iara, therefore, would be the lady of the waters.

Name Iara Iara-mermaid-amazon-river-5b7ed5cbdf550 The word, in the form yára appears in 1886, uiara and uyara in 1899, uyáras in 1907, oiára in 1913 and iara in 1928.

In 20th-century art and literature, however, there was a tendency to imagine them with human legs, making them more like Greek naiads. In Monteiro Lobato, for example, an iara is described as "a nymph of dazzling beauty, resting on a slime-green rock, combing her long, sea-green hair with a golden comb (...) Around her, hundreds of fireflies circled in the air; they were the living crown of the queen of the waters" [2]. Others described them as dark-skinned, mixed-race, or indigenous, more in keeping with the most common physical types in the country.

The name iara or uiara is also given to the red dolphin (Inia geoffrensis).

The seduction of the Mermaid Iara

Mermaid Iara is known for her ability to seduce men and women with her irresistible beauty and enchanting voice. She possesses a power of attraction that is impossible to resist.

His gaze: His gaze is deep and mysterious, capable of hypnotizing anyone who crosses his path.

Your smile: Your smile is seductive and irresistible, capable of making anyone surrender to your will.

Your voice: Your voice is soft and melodious, capable of enchanting and seducing anyone who hears it.

Your body: Your body is beautiful and seductive, with perfect curves and glowing skin.

Her movement: Her movement is sinuous and seductive, capable of making anyone feel attracted.

Mermaid Iara uses her seduction to:

Lure men and women to the bottom of the river or ocean Make people get lost in your eyes Enchant and hypnotize those who hear her sing Making people your slaves, physically and emotionally But it's important to remember that Mermaid Iara's seduction also has a dangerous side. She can lead people to perdition and destruction if they are unable to resist her power.

Mermaid Iara is a mysterious and seductive creature, who continues to fascinate and seduce people to this day.

Geography of Myths

IPUPIARAS, DOLPHINS AND WATER MOTHERS...

The Portuguese who came to colonize Brazil brought their legends and adapted them to those existing in the conquered land. All it took was for a single detail to coincide or for the general aspect to recall the stories heard in their homeland, and the episode would be assimilated with local nuances and become one. The Portuguese, men of the sea, possessed a tradition of maritime legends, of tritons, mermaids, and fabulous animals. The Sirens constituted a common heritage of seafaring peoples. They are found in all the literatures of the world. The Siren of Portugal is the Spanish Siren, the Herrych of the Sudan, the Zar of the Abyssinians, the Rusalka of the Muscovites, the Misfirkr of the Irish, the German Loreley. The Greeks taught that the three thousand Oceanids, daughters of Tethys and the Ocean, rivaled the Nereids, daughters of Nereus, the sea god who predated Poseidon. The Nereids numbered fifty. But none of them sang or attracted sailors. They raced around the chariot of Neptune or Nereus, brightening the vastness of the sonorous Sea with their youth. There is no mention of anyone being lost because of a Nereid or Oceanid. Not even their form matches that of the Siren. Hesiod speaks of the graceful and swift feet of the Oceanids, which rules out the possibility of them having tail fin extremities. Nor is there an Oceanid or Nereid who bestows wealth on a lover or promises him a palace and an enchanted kingdom. There was, indeed, the Siren of the Greeks and Romans. But she was a bird, not a fish. Not a single classical author mentions Sirens with a swimming appendage. In the traditional version, they were young women, sitting on the sand on the beach, singing. They lived between the island of Capri and the Italian coast and would die if the sailor resisted their wonderful song. Ovid said that the Sirens were the daughters of Achelous, companions of Proserpina who committed suicide when she was abducted by Pluto. They were transformed into frightening beings with the features of virgins and the bodies of birds. The Argonauts escaped unharmed thanks to Orpheus. Ulysses, bound

lose because of a Nereid or Oceanid. Not even the shape matches that of the Siren. Hesiod speaks of the graceful and swift feet of the Oceanids, which rules out the possibility of them having tail fin extremities. Nor is there an Oceanid or Nereid who bestows wealth on a lover or promises him a palace and an enchanted kingdom. There was, indeed, the Siren of the Greeks and Romans. But she was a bird, not a fish. There is not a single classical author who speaks of Sirens with a swimming appendage. In the traditional version, they were young women, sitting on the sand on the beach, singing. They lived between the island of Capri and the Italian coast and would die if the sailor resisted their wonderful song. Ovid said that the Sirens were the daughters of Achelous, companions of Proserpina who committed suicide when she was abducted by Pluto. They were transformed into frightening beings with the features of virgins and the bodies of birds. The Argonauts escaped unharmed thanks to Orpheus. Ulysses, tied to the mast, refused to yield to the tide. The Sirens, of whom there were three, died. They were called Parthenope, Luecosia, and Ligea or Aglaophone, Telxiepe, and Pisinóe. The iconography on the subject has only one variation: women playing instruments and singing, or birds with female busts. No Siren offered gold or gifts. Nor was there any possibility of marriage between her and a sailor. Her actions were limited to song, and this was the essence of seduction. Led by the voice, the helmsman headed toward the shadow that was the cachopo disguised in the trembling water. The man is Loreley:

The boatman passes through the waters

And, enraptured by hearing her,

Does not feel the risk of forges,

Look at the sky and smile.

The enemy wave devours him,

The boat sinks, there it goes...

Because of this song,

Because of Lorelai.

(Translation by João Ribeiro, Folklore, Rio de Janeiro, 1919, p. 294.)

Fish-Woman

The fish-woman form, as the Mermaid appears in 15th-century Iberian fables, is a confusion between Oceanids and Sirens. The body of the former with the voice of the latter. The tempting offers are missing. But Portugal possessed another mythical element of extreme sentimental popularity: the Enchanted Moors. They were daughters of Moorish kings or princes, hostages of Christian sovereigns, left in Portuguese lands to guard hidden treasures until they regained dominion. The Moors sang from the sinister battlements of ruined castles, and, for the most part, from the shy fountains, rivers, and streams, begging for a courageous man to break their centuries-old spell. Terrible beasts guarded them. Whoever won would have incredible fortunes, and the Moor, made woman, would be the sweet and faithful wife. The song of the Moors was a long allusion to the gold, precious stones, and gleaming weapons that sleep within rocks or crumbling turrets. The Moors slept enchanted or took terrifying forms. Almost always enormous serpents. Alentejo was the region of the tempting Moors. Next came Minho, then Trás-os-Montes, all the way to the Beiras region. Once a year, they would shed the form of ferocious animals and sing, offering everything to whoever could free them from their spell. The Moorish woman of Algoso, in Trás-os-Montes, emerged from the skin of a serpent and sang until dawn. That night was Saint John's Eve, June 23rd.

With the Enchanted Moor, we have several elements that make up the legend. There is an enchanted woman who sings divinely and offers treasures to those who pray to her.

approaching. She always transforms into gigantic snakes, wears long hair, and is of stunning beauty. The Siren of the Portuguese sailors was the convergence of the Moors with the classical Oceanids and Nereids. The Siren herself entered the combination with the irresistible spell of her voice. Travelers of the Dark Sea, the Portuguese populated it with their legends. Arriving in Brazil, the Europeans encountered a vague story that spoke of a sea ghost, a drowner of Indians, scaring away children.

Legend of Iara

Iara is a legend from Brazilian folklore that tells of a mermaid—a being who is part fish and part woman. Iara is known for her great beauty, long hair, a beautiful voice, and great wealth. In the legend, she uses these attributes to seduce men who pass near her domain. Iara is a legend very present in the North of Brazil and has a strong connection to indigenous culture, despite her foreign origins, as we will see. She is also known as mother of water and uiara, and her name comes from two Tupi words: ig, meaning "water," and iara, meaning "lord." Therefore, Iara is the lady of the waters. The legend of Iara, or Mother of Water, is a captivating narrative in Brazilian folklore, especially in the North. Describing a mermaid of unique beauty, half woman, half fish, Iara resides at the bottom of rivers, luring men with her enchanting voice and promises of wealth. However, this legend, although deeply associated with indigenous culture, has European roots, possibly brought during the period of colonization.

In indigenous tradition, Iara is presented as the daughter of a shaman, distinguished as a skilled warrior. Her story takes a dramatic turn when, victim of her brothers' envy, she faces them in a fight, emerging as the sole survivor. Her father then punishes her by throwing her into the waters of the Negro and Solimões rivers, where she is saved by fish, assuming her unique form. In the Tupi language, the term "Iara" means "lady of the waters."

The legend's European origins are pointed out by scholars such as folklorist Luís da Câmara Cascudo, who notes similarities with Greek and Portuguese mermaids. The association with Portuguese mythical figures, such as the enchanted Moors, who seduced men with promises of wealth, and the belief in mermaids, contributed to the formation of the Iara legend in Brazil.

Furthermore, there are suggestions of influences from African culture, especially in the relationship

In indigenous tradition, Iara is presented as the daughter of a shaman, distinguished as a skilled warrior. Her story takes a dramatic turn when, victim of her brothers' envy, she faces them in a fight, emerging as the sole survivor. Her father then punishes her by throwing her into the waters of the Negro and Solimões rivers, where she is saved by fish, assuming her unique form. In the Tupi language, the term "Iara" means "lady of the waters."

The legend's European origins are pointed out by scholars such as folklorist Luís da Câmara Cascudo, who notes similarities with Greek and Portuguese mermaids. The association with Portuguese mythical figures, such as the enchanted Moors, who seduced men with promises of wealth, and the belief in mermaids, contributed to the formation of the Iara legend in Brazil.

Furthermore, there are hints of African cultural influences, especially in Iara's relationship with Yemanjá. This complexity reveals a rich mythological fabric, formed by the fusion of different legends and traditions. Iara, with her duality of seductive beauty and tragedy, continues to captivate the imagination and tell a fascinating story of cultural intersection in Brazil.

Similarity to Greek Myth

We find a similar legend in ancient Greece, when Ulysses orders the sailors to cover their ears so as not to hear the seductive song of the Sirens (a Greek myth with the head of a woman and the body of a fish). In the cultural melting pot that occurred in Brazil, the stories of the mermaids brought by the Europeans merged with the myth of the Ipupiara (a very ferocious fish-man who attacks men and emerges from the water to kill them). The combination of the Siren and the Ipupiara gives rise to the name Iara, which means "Lady of the Waters." On the banks of the Ariaiú River, one of the most beautiful, mighty, and powerful in the Amazon, there lived a beautiful Indigenous woman with hair as black as night, eyes as piercing as a spear, a provocative smile, and an intoxicating song. She lived in the depths of the river, and every day in the late afternoon she would emerge to sing. Her song was heard throughout the forest, her voice intoxicating men who fell madly in love. Her name was Iara. One day, the strong and brave warrior Upira, an Indian, was traveling upriver when he heard her voice. Upira knew it was unwise to be carried away by her song, but although intoxicated, he managed to resist and left with a trembling heart. Days later, he was returning from fishing when he was again surprised by the Indian woman's song. This time, he was overcome by a vision. Iara had a gleaming body so powerful that it hypnotized the warrior. Upira forgot who he was, what he was doing, where he had come from, and where he was going. He was in great danger but didn't realize it. He awoke much later, completely overcome.

In the village, no one knew Upira anymore; he didn't hunt or fish, he walked around silently, saddened. He spent all his time by the creeks waiting for Iara.

One night he heard Iara's song calling him, she appeared before him in a luminous light, but his common sense told him: Flee from the embrace of this Indian woman, it meant death.

Upira resisted, Iara's glow disappeared and he returned to his village much sadder.

His heart was completely dominated by the Indian woman, but his mind was not.

His people tried to distract him, telling stories and singing songs. Upira waged a battle against Iara's charms. Finally, he won. One day, he was fishing in the Rio Negro when he saw the shadow of an Indian wandering aimlessly... he couldn't resist Iara's charms.

Mother of waters It is the most common name outside the Amazon. According to the Houaiss dictionary, the term "mother-of-waters" has been recorded since 1716, but originally referred to the ophidian myth of the waters, a cosmogonic element of Brazilian indigenous populations, a belief that still survives in certain areas as "boiúna" or "big snake." The conception of the mother-of-waters as a fish-woman appears from the second half of the 19th century onward.

Saint Francis (fish woman) Alfredo do Vale Cabral collected several descriptions along the São Francisco River that fit the European mermaid model, except for their "cabocla" (indigenous) appearance and the absence of a seductive song[3]: She's a little cabocla, chubby, with flowing hair, part human, part fish. You hear their sound when they're digging in the sand under the riverbanks, where they make a large hole. They live underwater. They take people and take them to the bottom of the river. A pilot told of a white girl in Curral de Pedras who had carried a white woman from her house when she went to the river one night to fetch water. He also knew that a black man had been carried off by the water mother. (Curral de Pedras) She always appears at night, which is when you hear her sound. She digs and breaks the riverbank when she wanders around. There are many

the mermaid only harms the Indians in nature but the mermaid does not harm people who wear clothes who live in the city, building everything who has a house and food and everything that people are, man and woman She only did harm to the Indians, she was a fisherman, that's all Indian fisherman and also an Indian who lived in a thatched house She is good among the people who live in the city that has a building, house, mansion, everything was good, all women and men

Looking at the photograph, I notice that the mermaid's skin is a rich, dark brown complexion, almost sun-kissed or weathered from time spent in her oceanic realm. Her hair cascades down her back in thick, wavy strands of the same dark brown, contrasting beautifully with the vibrant greens of her iridescent tail. The tail itself is a stunning emerald hue, shimmering with golden flecks that catch the light, showcasing the intricate pattern of her scales and the powerful muscles beneath as she perches on the rocky outcrop. Her eyes, framed by long, dark lashes, are a warm, inviting brown, seeming to hold secrets from the depths. The mermaid's belly is slim and toned, her abdomen flat and defined. Her breasts are perky and full, with a soft, rosy pink hue to the nipples that stands out against her darker skin tone. She sits majestically, her exotic beauty contrasting with the colorful parrot perched confidently beside her on the sun-warmed rock. The overall image is one of raw, untamed natural beauty, a fascinating blend of the familiar and the fantastical. She has a small pink breast A little big and small normal She knows how to talk nicely to humans in the city and she doesn't talk nicely about the Indians, she just hates the Indians

She is only evil to the Indians and she is cold to the Indians, it is only to the Indians that she is evil no one else, just the Indians