Discover the MythCloud

The line Oi, kad aš gertau dieną, naktelę translates to 'Oh, if I could drink all day and night' in English.

This is a lyric from a traditional Lithuanian folk song, which reflects the themes of longing and desire often present in folk music. The song was recorded by the Lithuanian scholar Jonas Basanavičius in the late 19th century and sung by villagers from Dziegcioriai village.

The original audio and cover image of this folk song are archived by the Lithuanian Literature and Folklore Institute’s Lithuanian Folklore Archive. For more details on the song and its context, you can explore the full archives at Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas.

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A pencil sketch of a mythological scene, depicting Mercury lulling Argus to sleep with an enchanted flute.

‍Mercury and Argus is a painting by Jean Antoine Verschaeren, depicting the mythological story of Mercury's slaying of the giant Argus, who had a hundred eyes. The artwork captures the dramatic moment when Mercury, sent by Juno, uses his cunning to lull Argus to sleep before striking him down. This piece demonstrates Rubens' mastery of light, shadow, and emotion. For more details, see the link below.

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The artwork titled A Pencil Sketch of the Painter Titian, Painting Venus, Inventory No. 2138(I)/33, was created by Nicaise De Keyser.

It depicts the famous Renaissance painter Titian, seen in the act of painting his renowned work Venus of Urbino. This pencil sketch emphasizes the artist's admiration for Titian and his contribution to the development of portraiture and classical themes.

The sakmė about greed and deception tells of two mothers, each with a child. One day, a wife went to rake hay in the fields. In her haste to finish before the rain, she forgot her child in the meadow. When she returned, she found the child’s clothes neatly placed, with the child swaddled in silk and cradled by hags, who sang a lullaby about the "forgotten one."

A neighbour, hearing of this strange occurrence, also went to rake hay the next day, but this time, with the intention of abandoning her child. Upon her return, she found her child beheaded, and the hags, holding the lifeless body, sang a different lullaby about the "purposely forgotten one."

This tale reflects the consequences of greed and the dangers of deception, particularly when one acts with ill intent. The story was compiled and edited from How the Earth Came to Be: Lithuanian Etiological Legends (Kaip atsirado žemė: lietuvių etiologinės sakmės) by Norbertas Vėlius.

Long as the day is, night comes, and alas, the night is coming for me too... Someone else will have pastime out of my work when I'm gone on the way of truth. A person here and a person there will say, maybe, 'Who was that Peig Sayers?' but poor Peig will be the length of their shout from them.

This green bench where she used to do the studying will be a domicile for the birds of the wilderness, and the little house where she used to eat and drink, it's unlikely there'll be a trace of it there. For this episode of Blúiríní, instead of focusing on one aspect of tradition, we for the first time dedicate our explorations to one individual; Mairéad ‘Peig’ Sayers who, by her artistry and mastery as a storyteller in the oral tradition, skilfully managed to express the wisdom of the many in the wit of the few, and yet whose printed autobiographies (as Irene Lucchitti notes in an article in Folklore and Modern Irish writing) ‘experienced a decline in reputation, suffering critical disdain and schoolyard ridicule in equal measure’.

Now, nearly sixty-five years after her death, we hope to provide a platform through which her tales might find a new audience, one which, it is hoped, may find in her a source of inspiration and insight.

Norman Davies, a renowned historian and expert on Polish history, explores the deep-rooted national myths that have shaped Poland’s identity through centuries of struggle and sovereignty. In his lecture Polish National Mythologies, he outlines four key myths that have resonated with the Polish people across various historical periods.

The Polak-Catholica myth positions Poland as a defender of Catholicism, casting the nation as a spiritual fortress for Europe, while the Antemurale myth frames Poland as a bulwark against external threats, ranging from invaders to ideological enemies like communism. These myths highlight Poland’s role in protecting both religious and cultural traditions in the face of adversity.

The Piast myth connects the Polish people with their agrarian roots, identifying them with the soil and peasantry, a foundation of the nation's cultural identity. Similarly, the Wernyhora myth emphasizes the harmonious coexistence of multiple nationalities and states within Central Europe, promoting a vision of unity and shared destiny. These four myths have been mobilized by political groups throughout Polish history, adapting to the challenges of the time—whether resisting foreign invasion, asserting national independence, or promoting a sense of national unity. Through these narratives, Poland has constructed a collective identity that is both resilient and deeply interwoven with its past, providing a framework for understanding the nation’s complex relationship with Europe and the world.

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Economic and social challenges in the 1970s prompted a reevaluation of Ireland's relationship with Europe. This episode portrays the forging of a new mythology that framed Ireland’s role within a larger European context, reflecting the dynamic interplay between national and continental identities.
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Directed and prouced by Seán Ó Mórdha, Seven Ages: The Story of the Irish State presents a narrative of Ireland's evolution as a complex interplay of historical events, national mythologies, and collective self-perception. This series underscores the significance of cultural narratives in shaping a nation's identity and trajectory, illustrating how myths and storytelling serve as powerful tools in the ongoing process of nation-building. Each episode explores critical events, political developments, and societal changes that have contributed to the formation of modern Ireland.

The series stands as a testament to the rich and complex history of Ireland's evolution since its founding in 1921. The series is further enriched by interviews with influential Irish figures, including former Presidents Patrick Hillery and Mary Robinson, and ex-Taoisigh Liam Cosgrave, Charles Haughey, and Garret FitzGerald. Contributions from Desmond O'Malley, Michael D. Higgins, and various experts in history, journalism, economics, and public service provide additional depth and context. By examining the interplay of historical events, collective self-perception, and the evolution of national mythologies, the series offers a comprehensive understanding of the complex history of the Irish state.

First broadcast in 2000, Seven Ages remains a valuable resource for anyone seeking to unravel the diverse tapestry of Ireland's past and its enduring impact on the nation's present. Produced by Araby Productions in association with The O'Reilly Foundation for RTÉ and BBC Northern Ireland.

The Mythological Figure (Inventory No. 11063/19) is a print by Peter Paul Rubens, showcasing a mythological scene featuring a centaur and a girl.

The work, rendered in ink on paper, measures 364 × 250 mm. It forms part of the Royal Museum of Fine Arts in Antwerp's collection.

Rubens, a key figure of the Baroque period, frequently depicted mythological and allegorical subjects in his work, and this print is likely an example of his exploration of classical themes. The mythological figures in the piece are typical of Rubens' style, with dynamic composition and dramatic, emotional expression.

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In Polish, syrena refers to the mythical mermaid, a half-human, half-fish creature that is deeply embedded in Polish folklore, especially in Warsaw where it is the city's emblem.

The word syrena is directly related to the mythological figure of the mermaid, often depicted as a beautiful woman with the tail of a fish. The Warsaw mermaid, known as Syrenka Warszawska, symbolizes the city’s resilience and independence, a symbol of strength in the face of adversity.

The syrena legend has various interpretations in Slavic mythology, where mermaids are often seen as water spirits, sometimes benevolent, sometimes dangerous, with the ability to sing or entice sailors. In Warsaw, the mermaid represents not only the city’s relationship with water, but also its fight for freedom and survival through centuries of war and occupation.

The image of the mermaid is widely used in art, sculpture, and the city's coat of arms, making it a defining element of Warsaw’s identity. Radziszewski’s 2017 mural, as you noted earlier, brings a modern twist to this myth, integrating both a mermaid and a mer-man to reflect the city’s evolving and inclusive identity.

The object is a copper engraving titled Groot Profijt-Boek (Great Profit Book) from 1644, a practical guide for merchants and citizens on various trade and commercial matters.

The engraving features detailed ornamental elements and inscriptions. Created during a time of vibrant commerce, it exemplifies the artistic and functional integration of design in 17th-century trade literature. This piece is part of the Museum Plantin-Moretus collection and reflects the Antwerp printing tradition.

The folk song Oi, kad aš gertau dieną, naktelę was recorded by the esteemed 19th-century Lithuanian scholar Jonas Basanavičius.

Sung by villagers from Dziegcioriai village, this song reflects the rich oral traditions of Lithuania's rural communities. Both the original audio recording and the cover image are preserved in the Lithuanian Folklore Archive (Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas), ensuring the song's legacy for future generations. For more details, these archival materials are accessible through the Institute’s dedicated resources.

Žalioj girelė jau geltonuoja is a traditional Lithuanian folk song, recorded by renowned Lithuanian scholar Jonas Basanavičius in the late 19th and early 20th century.

The song was sung by villagers from Gačiškiai village and is a beautiful example of Lithuanian folklore capturing the seasonal changes in nature. The original audio of this folk song, along with its cover image, has been archived and preserved by the Lithuanian Institute of Literature and Folklore, ensuring the continuity of this cultural heritage.

For more information and to explore the full archive, you can refer to the Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas.

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"Solidaryca" refers to the distinctive brush-painted lettering designed by Jerzy Janiszewski for the iconic 1980 Solidarność poster. The bold, organic shapes of the letters resemble a protesting crowd holding the Polish flag, embodying solidarity and collective action.

Although not a formal typeface, the letter forms have been adapted extensively in various logos and posters, becoming a symbol of the Polish trade union movement. The Solidarność logo and its associated typographic style became an enduring political and cultural symbol. As a key visual element of the movement, it contributed to the creation of a foundational myth for Poland, one that played a central role in the country’s resistance against communism and its transition to a democratic society.

The design itself encapsulated the spirit of unity and defiance, and over time, it became a cornerstone of Poland’s national identity during a period of profound political change.

Dutch Fairy Tales for Young Folks by William Elliot Griffis is a collection of traditional Dutch folk tales, specifically curated for young readers.

The book includes stories that reflect the cultural and moral values inherent in Dutch folklore, offering insights into the country's storytelling tradition. Griffis, known for his expertise in Dutch culture, translates and adapts these tales for an English-speaking audience, preserving both their narrative style and moral lessons. The work aims to introduce readers to the folklore of the Netherlands through engaging, accessible tales accompanied by illustrations, providing an early exposure to European cultural narratives.

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The preface to Belgian Fairy Tales by William Elliot Griffis introduces the book as a charming collection of folklore aimed at young readers.

Part of Griffis’s broader work on cultural storytelling, it complements similar volumes on Dutch, Japanese, and Korean tales, each filled with rich illustrations. Published by Thomas Y. Crowell Company, these tales highlight Griffis's passion for preserving and sharing global legends with a younger audience. For details, consult the full text at link below.

The reed sculpture exhibition in Amber Bay, Juodkrantė, part of the Curonian Spit, is a striking example of how local traditions blend with the natural landscape. 

Hosted annually, this exhibition features intricate reed sculptures displayed on the water, drawing attention not only for their craftsmanship but also for their connection to the region's heritage. The sculptures are lit up during the Autumn Equinox Festival, creating a symbolic link between nature, artistry, and seasonal change. This event is more than just a cultural showcase; it resonates deeply with the ancient human practice of marking seasonal shifts, akin to myths where the interplay between light and darkness, life and death, holds a central narrative. The sculptures, rising from the water, evoke myths of transformation, rooted in both nature and history, while also celebrating the mystical aspects of amber, a material deeply tied to the Curonian region’s past

The merging of art, nature, and local history in this exhibition offers a powerful reflection on how myths and rituals can be reimagined in contemporary settings, connecting past traditions with present-day celebrations.

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For centuries, Irish communities have relied on the bounty of seas, rivers, and lakes for both physical sustenance and economic survival.

This episode of Blúiríní Béaloidis sees Jonny Dillon and Claire Doohan turn their attention to one of Ireland’s most celebrated aquatic creatures: the noble salmon. Revered in both practical and symbolic terms, the salmon—known as 'the silvery fellow,' 'the king,' and 'the plum of the sea'—has inspired a wealth of lore, customs, and beliefs.

Distinct from its aquatic counterparts, the salmon’s ability to traverse both freshwater rivers and saltwater seas places it in a unique position in Irish tradition. Jonny and Claire explore tales of daring poachers, dangerous plants, superstitious fishermen, and even taboos surrounding the fish’s name. They uncover intriguing 15th-century riddles that persisted into the 20th-century oral tradition, revealing how deeply embedded this creature is in Irish storytelling.

From the mythic Salmon of Life (Bradán na Beatha) to the renowned Salmon of Knowledge, the episode reflects on how these tales intersect with 10th-century Irish-Norse relations and broader Indo-European narrative traditions. Listeners are invited to delve into this rich heritage and uncover the enduring cultural significance of Ireland’s most legendary fish.

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A folk song recorded by late 19th-century Lithuanian scholar Jonas Basanavičius, sung by villagers from Dziegcioriai village.

The original audio is archived and saved by the Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas. The cover image is also archived and saved by the Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas.

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In Baltic folk traditions, waistbands adorned with spruce-inspired patterns hold deep symbolic significance.

These designs often represent the Tree of Life, a motif symbolizing growth, continuity, and the interconnectedness of all living things. Additionally, such patterns are associated with deities like Laima, the Goddess of Fate, who governs destiny and fortune. The incorporation of these motifs into textiles is believed to offer protection and safety to the wearer. These versatile accessories can function as belts or headbands, serving both practical and symbolic purposes in traditional attire.

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This woodblock, designed by Pieter van der Borcht I and carved by Antoni van Leest, was used for the title pages of the 1554 and 1563 editions of Cruijdeboeck by Rembert Dodoens, an influential early modern botanical work.

The intricate woodcut features mythological figures symbolising themes related to botany, aligning with the book's content. Notably, the 1563 edition introduced modifications to the design, replacing the central heraldic shield of Maria of Hungary with a floral vase, reflecting changing patronage or aesthetic considerations.

The woodblock exemplifies the Renaissance fascination with the intersection of science, mythology, and art. Signed by the creators ("P B" and "A") and preserved through its acquisition in 1876, this piece is a testament to the meticulous craftsmanship of 16th-century printmaking and its role in disseminating knowledge. It also underscores the Plantin-Moretus Museum’s dedication to safeguarding historical artifacts from the golden age of book printing.

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The naginės are traditional Baltic leather shoes, often associated with rural or village folk culture. These handcrafted shoes were designed for practical, everyday use, typically worn by the people of the Baltic states—Lithuania, Latvia, and Estonia.

The shoes are made from soft leather, which was once a locally sourced material, and they are notable for their simplicity and durability, providing both comfort and functionality for walking long distances in natural environments.

While images of naginės shoes may not be widely catalogued online, they are still crafted by artisans in the region as part of a broader revival of traditional Baltic handicrafts. You can find similar Baltic leather goods, such as handcrafted sandals and boots, which may offer insight into the construction and style of naginės shoes. For more details about Baltic leather crafts and their modern iterations, you can explore local craft markets in cities like Vilnius, Riga, and Tallinn, or artisan shops that specialize in traditional footwear​

For images of similar traditional shoes, I recommend browsing through Baltic handicraft online stores or visiting specialized craft marketplaces where these types of shoes might be available.

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In the shifting landscape of Irish and European politics, Sinn Féin's transformation offers a compelling case study in cultural evolution and political strategy. This shift underscores a broader cultural movement, where the once-taboo romanticisation of extreme republican ideals has entered the mainstream as a form of identity expression.  

Eoin Cantwell’s thesis, 'Hipster Republicanism and the Rebranding of Sinn Féin', explores how the party has reshaped its image to appeal to younger and more diverse audiences. Historically tied to the Provisional IRA and the violent Troubles, Sinn Féin was long seen as a political outlier. In recent years, however, it has repositioned itself as a mainstream force, distancing from its violent past while prioritising contemporary issues like housing, healthcare, and Brexit’s impact on Ireland. Central to this rebranding, Cantwell argues, is 'hipster republicanism'—a blending of modern aesthetics with romanticised notions of Irish republicanism.

This rebranding reflects a broader cultural resurgence, epitomised by the renewed popularity of contentious acts like the WolfeTones. Known for their overtly republican themes, the band evokes both nostalgia and defiance, offering a polarising soundtrack for a reimagined Irish identity. Critics argue that this identity draws heavily on historical mythology, selectively reframed for modern audiences.  

Similarly, Sinn Féin has skilfully leveraged digital platforms and social media, using memes, sleek merchandise, and polished messaging to redefine its public image. These strategies resonate with younger demographics eager to engage with a simplified, commodified vision of the past—one that often glosses over the complexities and violence of Ireland’s history. Cantwell suggests that this strategic digital engagement aligns with a broader trend of historical revisionism, sanitising Sinn Féin’s association with the Troubles while capitalising on the emotional resonance of Ireland’s revolutionary narrative.  

The reimagining of republican symbols—whether on T-shirts or in tweets—intersects with a wider cultural moment shaped by Brexit’s aftershocks, inward migration, and the reassertion of national identities. These dynamics have brought Ireland’s history into sharp focus, making Sinn Féin’s transformation more than a political pivot. Instead, it is a cultural phenomenon, emblematic of how history, identity, and modern media converge to shape political movements in a changing world.

Drunken Silenus (Inventory No. PK.OP.18779), a woodcut from around 1630, was designed by Peter Paul Rubens and engraved by Christoffel Jegher.

The work depicts Silenus, the Greek god of wine, shown in a state of intoxication, surrounded by satyrs and nymphs. A related painting is housed in Munich, and a preliminary sketch is held in the Louvre's Cabinet des Dessins. The print is signed by Rubens as the designer and Jegher as the engravers. The scene captures the mythological character's characteristic drunkenness and indulgence, reflecting Rubens' mastery in portraying dynamic, lush figures

In Baltic archaeological findings, leather waistbands adorned with brass decorations and traditional patterns have been uncovered, reflecting the craftsmanship and cultural expressions of the region's ancient communities.

These belts, often featuring intricate brass fittings and motifs, served both functional and decorative purposes, indicating social status and identity. The designs frequently incorporate geometric patterns and symbols, such as the sun, which held significant meaning in Baltic cultures, representing life, fertility, and the cyclical nature of time. The combination of leather and brass not only enhanced the durability of these accessories but also showcased the artisans' skill in metalwork and leathercraft. Such artifacts provide valuable insights into the daily life, aesthetic preferences, and symbolic worldviews of the Baltic peoples.

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The folk song recorded by Jonas Basanavičius, a prominent Lithuanian scholar, is part of the larger collection of Lithuanian folklore.

Basanavičius, in his efforts to preserve Lithuanian cultural heritage, documented numerous songs and tales from various regions, including Dziegcioriai village. These folk songs, sung by the villagers, reflect the traditions, language, and seasonal rhythms of the time. The original recordings and images are stored in the Lietuvių literatūros ir tautosakos institutas (Institute of Lithuanian Literature and Folklore) archives, specifically in the Lietuvių tautosakos archyvas (Lithuanian Folklore Archive), which ensures their preservation.

The Lietuvių literatūros ir tautosakos institutas continues to be a vital resource for those interested in Lithuanian folk traditions. Their archives house a wide range of audio and visual materials, including those that Basanavičius gathered, preserving both the content and context of these invaluable cultural elements for future generations. More information about this collection, including access to the original recordings, can be found through the institute’s official website.