Lust in the context of "Dangerous (Michael Jackson album)"

A scandal can be broadly defined as the strong social reactions of outrage, anger, or surprise, when accusations or rumours circulate or appear for some reason, regarding a person or persons who are perceived to have transgressed, in some way, a social norm. These reactions are usually noisy and may be conflicting, and they often have negative effects on the status and credibility of the persons or organizations involved.

Society is scandalized when it becomes aware of breaches of moral norms or legal requirements, often when these have remained undiscovered or been concealed for some time. Such breaches have typically erupted from greed, lust, or the abuse of power. Scandals may be regarded as political, sexual, moral, literary, or artistic, but often spread from one realm into another. The basis of a scandal may be factual or false, or a combination of both. In contemporary times, exposure of a scandalous situation is often made by mass media.

Passion (Greek πάσχω "to suffer, to be acted on" and Late Latin (chiefly Christian) passio "passion; suffering") denotes strong and intractable or barely controllable emotion or inclination with respect to a particular person or thing. Passion can range from eager interest in, or admiration for, an idea, proposal, or cause; to enthusiastic enjoyment of an interest or activity; to strong attraction, excitement, or emotion towards a person. It is particularly used in the context of romance or sexual desire, though it generally implies a deeper or more encompassing emotion than that implied by the term lust, often incorporating ideas of ecstasy and/or suffering.

Denis Diderot (1713–1784) describes passions as

The seven deadly sins (also known as the capital vices or cardinal sins) function as a grouping of major vices within the teachings of Christianity. In the standard list, the seven deadly sins according to the Catholic Church are pride, greed, wrath, envy, lust, gluttony, and sloth.

In Catholicism, the classification of deadly sins into a group of seven originated with Tertullian and continued with Evagrius Ponticus. The concepts were partly based on Greco-Roman and Biblical antecedents. Later, the concept of seven deadly sins evolved further, as shown by historical context based on the Latin language of the Roman Catholic Church, though with significant influence from the Greek language and associated religious traditions. Knowledge of this concept is evident in various treatises; in paintings and sculpture (for example, architectural decorations on churches in some Catholic parishes); and in some older textbooks. Further knowledge has been derived from patterns of confession.

Fallen angels are angels who were expelled from Heaven. The literal term "fallen angel" does not appear in any Abrahamic religious texts, but is used to describe angels cast out of heaven. Such angels are often described as corrupting humanity by teaching forbidden knowledge or by tempting them into sin. Common motifs for their expulsion are lust, pride, envy, or an attempt to usurp divinity.

The earliest appearance of the concept of fallen angels may be found in Canaanite beliefs about the bənē hāʾĔlōhīm ('sons of God'), expelled from the divine court. Hêlêl ben Šāḥar is thrown down from heaven for claiming equality with ʻElyōn. Such stories were later collected in the Hebrew Bible (Christian Old Testament) and appear in pseudepigraphic Jewish apocalyptic literature. The concept of fallen angels derives from the assumption that the "sons of God" (בני האלוהים‎) mentioned in Genesis 6:1–4 or the Book of Enoch are angels. In the period immediately preceding the composition of the New Testament, some groups of Second Temple Judaism identified these "sons of God" as fallen angels.

A love deity or lust deity is a deity in mythology associated with romance, sex, love, lust, or sexuality. Love deities are common in mythology and are found in many polytheistic religions. Female sex goddesses are often associated with beauty and other traditionally feminine attributes.

In classical mythology, Cupid /ˈkjuːpɪd/ (Latin: Cupīdō [kʊˈpiːdoː], meaning "passionate desire") is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the god of war Mars. He is also known as Amor /ˈɑːmɔːr/ (Latin: Amor, "love"). His Greek counterpart is Eros.Although Eros is generally portrayed as a slender winged youth in Classical Greek art, during the Hellenistic period, he was increasingly portrayed as a chubby boy. During this time, his iconography acquired the bow and arrow that represent his source of power: a person, or even a deity, who is shot by Cupid's arrow is filled with uncontrollable desire. In myths, Cupid is a minor character who serves mostly to set the plot in motion. He is a main character only in the tale of Cupid and Psyche, in which he is wounded by his own weapons and experiences the ordeal of love. Although other extended stories are not told about him, his tradition is rich in poetic themes and visual scenarios, such as "Love conquers all" and the retaliatory punishment or torture of Cupid.

In art, Cupid often appears in multiples as the Amores /əˈmɔːriːz/ (in the later terminology of art history, Italian amorini), the equivalent of the Greek Erotes. Cupids are a frequent motif of both Roman art and later Western art of the classical tradition. In the 15th century, the iconography of Cupid starts to become indistinguishable from the putto.

Nekkhamma (𑀦𑁂𑀓𑁆𑀔𑀫𑁆𑀫; Sanskrit: नैष्क्राम्य, romanized: naiṣkrāmya) is a Pāli word generally translated as "renunciation" or "the pleasure of renunciation" while also conveying more specifically "giving up the world and leading a holy life" or "freedom from lust, craving and desires." In Buddhism's Noble Eightfold Path, nekkhamma is the first practice associated with "Right Intention." In the Theravada list of ten perfections, nekkhamma is the third practice of "perfection." It involves non-attachment (detachment).

The seven deadly sins (also known as the capital vices or cardinal sins) function as a grouping of major vices within the teachings of Christianity. They are not explicitly listed in the Bible but developed within early Christian theological tradition, drawing on various biblical passages. In the standard list, the seven deadly sins according to the Catholic Church are pride, greed, wrath, envy, lust, gluttony, and sloth.

In Catholicism, the classification of deadly sins into a group of seven originated with Tertullian and continued with Evagrius Ponticus. The concepts were partly based on Greco-Roman and Biblical antecedents. Later, the concept of seven deadly sins evolved further, as shown by historical context based on the Latin language of the Roman Catholic Church, though with significant influence from the Greek language and associated religious traditions. Knowledge of this concept is evident in various treatises; in paintings and sculpture (for example, architectural decorations on churches in some Catholic parishes); and in some older textbooks. Further knowledge has been derived from patterns of confession.

The Seven Deadly Sins and the Four Last Things is a painting attributed to the Early Netherlandish artist Hieronymus Bosch or to a follower of his, completed around 1500 or later. Since 1898 its authenticity has been questioned several times. In 2015 the Bosch Research Conservation Project claimed it to be by a follower, but scholars at the Prado, where the painting is on display in a sealed case, dismissed this argument. The painting is oil on wooden panels and is presented in a series of circular images.

Four small circles, detailing the four last things—Death, Judgment, Heaven, and Hell—surround a larger circle in which the seven deadly sins are depicted: wrath at the bottom, then (proceeding clockwise) envy, greed, gluttony, sloth, extravagance (later replaced with lust), and pride, using scenes from life rather than allegorical representations of the sins.

In Welsh mythology, Gilfaethwy (Welsh pronunciation: [ɡɪlˈvɑːɨ̯θ.ʊ̯ɨ]) was a son of the goddess Dôn and brother of Gwydion and Arianrhod in the Fourth Branch of the Mabinogi.

His uncle Math fab Mathonwy, king of Gwynedd, must keep his feet in the lap of a young virgin at all times unless he is going to war. Gilfaethwy lusts after Math's current foot holder, Goewin, so to get her alone he and Gwydion steal pigs from Pryderi, king of Dyfed, sparking a conflict between the neighboring kingdoms. While his uncle is off fighting, Gilfaethwy sneaks back to Gwynedd and rapes Goewin. Math is furious when he discovers this, and punishes his nephews by transforming them into a series of paired animals using his great skill in magic, thus impressing vividly upon them the brutish (and brutal) nature of their transgressions. For a year Gilfaethwy becomes a hind deer and Gwydion a stag; they mate and produce an offspring, Hyddwn, which is delivered to Math. Next Math makes Gilfaethwy a boar and Gwydion a sow, and together they birth Hychddwn; when they return a year later with the sons, he makes them wolves, and finally they give birth to Bleiddwn. After the third year he relieves them of their punishment and makes them human again.