Discover the MythCloud

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The rise of Fianna Fáil, under Éamon de Valera, marked a significant shift in Ireland's political landscape. This episode examines how the party promoted traditional Irish values and culture as vital elements of nation-building, reinforcing a sense of identity that connected the populace to their heritage and the notion of a cohesive national narrative.

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 studio shot of a white coffee set with mythological reliefs, taken by Frank Philippi in Hoboken, 1953, showcases a coffee set designed with detailed mythological imagery.

The use of mythological reliefs reflects the mid-20th century's fascination with classical motifs, as well as an aesthetic trend that blended modern design with classical influences. Philippi, known for his photographic work, captured this design in a studio setting, emphasising the texture and craftsmanship of the set.

Throughout centuries of human civilisation, few figures have been as misunderstood and brutally marginalised as the witch.

More than mere characters of folklore, the witch embodies a powerful intersection of fear, power, and societal control—a dark narrative that transcends cultures and continents. From the smoke-filled trials of Salem to the remote villages of Europe, the persecution of those labelled as "witches" stands as a chilling testament to humanity’s capacity for collective hysteria and systemic oppression.

These accused individuals—predominantly women—were not supernatural beings but real people caught in the crosshairs of religious dogma, patriarchal structures, and deep-seated cultural anxieties. Their persecution reveals how societies have historically weaponised otherness, transforming personal uniqueness or nonconformity into a perceived threat requiring elimination.

Far from being a relic of the past, the legacy of the "witch" accusation echoes in contemporary forms of marginalisation and scapegoating. By examining the stories of those accused, we gain insights into the mechanisms of societal control and the ways fear is manipulated to suppress dissent or difference.

The links below delve into the complex mythology surrounding witches, tracing their origins and exploring the brutal mechanisms of persecution that have shaped their historical and cultural significance. These resources invite reflection on how the weaponisation of othering persists today and what it reveals about the darker impulses of human societies.

The Sága project, created by the Belgian band Dez Mona, is a captivating musical exploration that weaves together history, mythology, and emotional storytelling. Drawing from Nordic mythology, where Sága is the goddess of history and storytelling, the project blends ballads with a theatrical form, often described as a “concertante opera.” It is a reflection on themes of homecoming, belonging, and the search for light in a flawed world.

Dez Mona, known for their fusion of jazz, classical, gospel, and French art songs, collaborated with the ensemble B.O.X (Baroque Orchestration X), creating a soundscape that bridges genres and eras. The ballads of Sága explore the soul’s journey, the search for a home, and a deeper connection to the land. The performance reflects on past narratives to better understand the present, all while crafting a poetic and musical journey. The project was showcased at events like the PROTOTYPE Festival, with raving reviews for its innovative musical arrangements and artistic execution​

For more insights into Sága, its creation, and performances, you can explore the links in the read below

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The Syrenka, or Mermaid of Warsaw, is one of Poland's most enduring mythological symbols, serving as the emblem of the city of Warsaw. Depicted on the city's coat of arms and celebrated in statues, murals, and other artworks, the mermaid represents strength, resilience, and protection.

Legends of the Syrenka tell of a mermaid who swam from the Baltic Sea into the Vistula River, where she chose to stay, enchanted by the beauty of the landscape. When threatened by fishermen, she is said to have promised to guard the city and its people, a vow reflected in her armed depiction with a sword and shield.

The Syrenka has become much more than a mythological figure; she embodies Warsaw's identity, symbolising the city's ability to endure and rebuild through periods of upheaval, including the devastation of World War II. The iconic mermaid can be seen across Warsaw, from statues like the famous one in the Old Town Square to modern reinterpretations in public art. Each representation offers a connection to the city's storied past and its dynamic present, illustrating how myth continues to shape civic and cultural identity.

The year 1893 marked a pivotal moment in Irish cultural history with the founding of the Gaelic League (Conradh na Gaeilge), an organisation dedicated to reviving and preserving the Irish language. Under the leadership of Douglas Hyde, the League played a key role in shaping a renewed sense of Irish identity.

Its mission extended beyond linguistics, weaving a mythology of cultural revival deeply rooted in the nation’s past. Hyde’s vision and his call for a "de-Anglicised Ireland," articulated in his seminal speech The Necessity for De-Anglicising Ireland, framed Irish heritage as a wellspring of national strength and distinctiveness.Mythologies, both ancient and modern, have long served as foundations for national identity. In Ireland, this meant drawing upon a rich tapestry of Celtic myths, traditional music, and oral storytelling to inspire cultural pride and counter the homogenising forces of colonialism.

The Gaelic League embraced this approach, fostering a cultural renaissance by offering Irish language classes, traditional music sessions, and Irish dance workshops through branches across the country. These efforts connected communities with the mythology of their heritage, transforming cultural symbols into powerful expressions of identity and resistance.In this sense, Conradh na Gaeilge was more than a cultural organisation—it was a re-mythologising movement, reimagining Ireland as a land defined by its own ancient and enduring stories. By positioning Irish language and culture at the heart of the nation, the League provided a narrative of resilience and authenticity, resonating deeply in the political and social upheavals that followed.

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.

Christoffel Jegher, a renowned woodcut artist, created the woodcut of the mythical creature "Su," which was published in Historia naturae, maxime peregrinae, libris XVI. distincta by Juan Eusebio Nieremberg in 1635.

This work is an example of the intersection of natural history and mythology during the early modern period. The woodcut was produced using the technique of woodcut printing, a method that allowed artists to create intricate and detailed illustrations in printed works. The woodcut of "Su" (a mythical or fabled creature) was acquired by the Plantin-Moretus Museum in Antwerp in 1876, further adding to its historical and cultural significance.

The Historia naturae, maxime peregrinae was a notable work in its time, blending elements of natural history with the fantastical, reflecting the era's fascination with exotic and mythological creatures. The inclusion of Jegher’s woodcut exemplifies the broader tradition of depicting creatures that straddled the line between the real and the imagined in early scientific literature

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The folk song Ant tėvelio dvaro sakalai krypavo (translated as The Hawks Cried at Father's Estate) was recorded by the prominent Lithuanian scholar Jonas Basanavičius in the late 19th century.

Sung by villagers from Dziegcioriai village, this piece is part of Lithuania's rich folklore tradition. The song has been preserved and archived by the Lithuanian Literature and Folklore Institute, offering a glimpse into the cultural practices of rural Lithuania during that period.

For further exploration of this song and its historical context, the original audio and cover image are available in the Lithuanian Folklore Archive, managed by the Institute. For more detailed access to these materials, visit Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas.

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Skellig Michael, a jagged island off the southwest coast of Ireland, is a testament to human resilience and devotion. Rising dramatically from the Atlantic, this UNESCO World Heritage Site is best known for its early medieval monastery, precariously perched on its slopes.

Established by monks sometime between the 6th and 8th centuries, the monastery's austere beehive-shaped huts and stone steps reflect the extreme asceticism of early Irish Christianity. For these monks, Skellig Michael was more than a remote retreat; it was a liminal space where the earthly and divine intersected. The island's isolation mirrored their spiritual quest for closeness to God, echoing broader trends in early medieval Europe that saw the rise of monasticism in wild and marginal landscapes.  Beyond its religious origins, the island's cultural significance has evolved. For centuries, it remained a symbol of Irish endurance and spiritual heritage.

More recently, Skellig Michael captured global imagination as a filming location for *Star Wars*, blending ancient mythology with modern storytelling and introducing this cultural treasure to a new audience. This post explores Skellig Michael’s layered history, from its origins as a sacred refuge to its role in shaping Ireland’s cultural identity. What makes this island so enduringly fascinating is its ability to stand as both a relic of the past and a muse for contemporary narratives.

In the contemporary landscape of cultural reclamation, Kneecap represents a paradigmatic intervention into the performative dimensions of Irish national identity.

Operating at the intersections of linguistic revitalisation, post-conflict cultural production, and subcultural expression, the Belfast-based rap trio embodies a provocative reimagining of Irish vernacular practice.Their linguistic strategy—deploying Irish as a dynamic, living language of urban experience—simultaneously challenges historical modes of cultural preservation and instantiates new modalities of collective identity formation. By transmuting traditional nationalist narratives through hip-hop's transgressive idiom, Kneecap enacts a form of cultural translation that destabilises normative frameworks of political and linguistic belonging.

Their recent film and album further elaborate this critical project: a multimedia exploration of identity that refuses calcified representations, instead performing a nimble, irreverent negotiation of contemporary Irish subjectivity.

Olga Tokarczuk's Nobel Prize acceptance speech, "The Tender Narrator", delivered in January 2019, addresses the pressing concerns of the modern world, especially in relation to information overload and the fragmentation of narratives.

Tokarczuk contemplates the dark consequences of universal access to information and how it has overwhelmed people’s ability to process knowledge meaningfully. She criticizes the loss of deep, reflective thinking in the age of instant access to facts, where superficiality prevails, and highlights the absence of new metaphors, fables, and shared myths.

She also explores the role of literature, emphasizing its capacity to offer alternative perspectives and to delve into the complexity of human experience. Literature, she argues, can provide crucial insight into the interconnectedness of all things and offer a "tender" approach to understanding and empathy in an increasingly fragmented world. The lack of language to describe modern complexities, she says, creates a void that literature must strive to fill.

Her speech speaks directly to the condition of modern discourse, where points of view and meaningful narratives are often obscured by the noise of media, politics, and unchecked information flows. Tokarczuk advocates for a reimagining of literature’s role, one that restores depth, metaphor, and the potential for new fables to help understand the changing world.

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In the spring of 2023, an image captured the Irish zeitgeist with the force of a lightning bolt.

Created by the anonymous artist Spicebag, the artwork depicted Gardaí in riot gear conducting an eviction—an image that would become emblematic of Ireland’s housing crisis and a powerful addition to the nation’s modern mythology of resistance. The piece resonated deeply with the collective consciousness, mirroring the raw emotion and frustration surrounding the growing issue of housing inequality.

Just as the paintings of the 1840s Great Famine crystallized the collective trauma of a nation, Spicebag's artwork has become a totem for contemporary Irish dissent. Drawing inspiration from a 19th-century painting by Cork artist Daniel MacDonald that depicted a Famine-era eviction, the image taps into a deep well of historical memory. Where once British landlords’ agents oversaw evictions, today black-clad gardaí enforce the will of corporate landlords and international investment funds, creating a stark continuity between past and present injustices.

The parallel between historical British colonial power and modern neoliberal forces is striking. In the past, the British Empire extracted wealth through land ownership and tenant farming; today, international investment funds and corporate landlords employ more sophisticated, yet equally effective, methods of wealth extraction. The gardaí, once symbols of independent Ireland’s sovereignty, are now depicted as enforcers of global capital—a new form of colonial power. Spicebag's work is particularly potent in its fusion of traditional Irish protest imagery with contemporary social media aesthetics, creating a viral visual statement that echoes the political cartoons of 19th-century Irish nationalism. In this way, the artwork transcends its immediate context, becoming part of Ireland's evolving mythology of resistance against the commodification of housing and the human cost of treating homes as financial assets rather than fundamental rights.

Karol Szymanowski's *Mythes* Op. 30, composed in 1915, stands as one of his most renowned works and a hallmark of his unique take on impressionism.

This three-part suite for violin and piano blends evocative melodies with atmospheric textures, capturing the mystical and otherworldly essence of mythological themes. *Mythes* reflects Szymanowski's deep engagement with the symbolic and poetic qualities of music, drawing inspiration from both European classical traditions and Eastern influences, which he was increasingly fascinated with during this period.

The work's connection to mythology is not just thematic, but also sonic, with each piece evoking a different mythological or fantastical scene. The composer’s exploration of texture and tone creates an evocative soundscape, where the violin and piano intertwine to convey emotion and story, rather than relying on a traditional narrative. *Mythes* serves as a profound example of how music, much like myth, can transcend language, offering a powerful exploration of the human experience through its expressive, abstract forms.

Talos is an artistic research initiative led by Israeli choreographer Arkadi Zaides, inspired by a European project to develop a mobile robot designed to secure Europe’s borders.

The project is named after Talos, the mythological titan from Greek mythology who protected Europa from invaders. This research spans two years and uses the mythological narrative as a foundation for exploring contemporary themes in performance, theatre, and dance, specifically the concepts of pre-enactment and speculation.

Through this initiative, Zaides and his collaborators delve into the implications of security and borders in a modern context. The project also raises questions about how the physical and ideological protection of territories can be represented and reimagined through the art of performance. This artistic exploration of Talos provides a nuanced platform to question the intersections of myth, technology, and the cultural and political ramifications of border security.

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The object is an engraving titled Praalwagen van Neptunus en Amphitrite (Neptune and Amphitrite's Triumphal Chariot), created for the joyous entry of Archdukes Albert and Isabella into Antwerp in 1599.

It was designed by Joos de Momper and engraved by Pieter van der Borcht in 1602. The copper engraving reflects the intricate ceremonial art of the era and is connected to Joannes Bochius' historical narrative of the event. The Museum Plantin-Moretus holds this piece as part of its collection.

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Bram Stoker, the author of Dracula, had a unique connection to Marsh’s Library in Dublin, which served as a quiet sanctuary for his writing during his youth.

Between 1866 and 1867, Stoker frequented the library, immersing himself in its shelves filled with books on history, folklore, and the supernatural. While there is no direct evidence that his time at Marsh’s Library inspired the writing of Dracula, several of the texts he consulted touch on Transylvania and historical figures that would later influence his iconic vampire novel.

Interestingly, the library holds clues to some of the more subtle elements in Dracula. For example, Stoker’s fascination with the 5th of November—a date of historical significance in Britain—can be traced back to books he read at Marsh’s. This date, which commemorates the foiling of the Gunpowder Plot in 1605 and the Williamite victory over King James II in 1688, is central to the plot of Dracula, where it marks the vampire’s vulnerability.

As we explore the universality of mythology—past, present, and future—Stoker’s time at Marsh’s Library serves as a fascinating lens through which we can understand how the blending of history, myth, and personal experience can shape a legacy that transcends time.

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The woodcut of a dragon, created by Geoffroy Ballain (designer) and Jean de Gourmont (woodcut artist), was published in Deux livres des venins by Jacques Grévin in 1568 and later in De venenis libri duo in 1571.

This work represents a dragon, a mythical creature often depicted in early modern texts related to both natural history and mythology. The woodcut was executed using the woodcut printing technique, allowing for intricate visual representation in printed materials.

The image was acquired by the Plantin-Moretus Museum in Antwerp in 1876. These publications, particularly Jacques Grévin’s works, combined discussions of poisons and venomous creatures with mythological and natural history elements, reflecting the period's fascination with both the real and the fantastic. The dragon, as depicted here, represents the symbolic power and mystery that these creatures held in early scientific and mythological thinking.

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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.

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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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.

The folk song "Tai gražiai paukšteliai čilba" (translated as "So Beautifully the Little Birds Chirp") was recorded by the renowned Lithuanian scholar Jonas Basanavičius in the late 19th century. Sung by villagers from Dziegcioriai village, this piece reflects the deep connection between Lithuanian folk traditions and nature.

The song’s audio and related materials are preserved in the Lithuanian Folklore Archive at the Institute of Lithuanian Literature and Folklore (Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas), ensuring its enduring accessibility and cultural significance.

Click below for access to the original recording and associated imagery, visit the archive managed by the institute.

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Fontaines D.C. represent a critical intersection of Irish literary and musical traditions, exploring the mythology of urban experience through a lens of contemporary post-punk poetry.

Emerging from Dublin's literary culture, the band channels the linguistic investigations of Joyce, the social critiques of Kavanagh, and the existential interrogations of Irish literature into a musical form.Their work traces a genealogy of Irish artistic expression—transforming the nation's literary mythologies into sonic narratives that interrogate identity, place, and cultural memory. By rendering Dublin's psychological landscape through rhythmic language and introspective lyrics, Fontaines D.C. continue a generational dialogue about what it means to articulate Irish experience.The band's music becomes a form of cultural archaeology: decoding the complex mythological narratives embedded in Irish urban consciousness. Check out links below to find out more.

In Mitologia współczesna (Contemporary Mythology), Marcin Napiórkowski argues that myths are not relics of the past but living narratives that continue to shape modern Polish society.

He examines how myths influence cultural values and collective identity by exploring everyday phenomena, from the popularity of kebabs to the iconic status of ski jumper Adam Małysz. Napiórkowski also delves into national practices such as charitable events and urban legends, demonstrating how contemporary myths reflect societal concerns and provide a framework for understanding reality. Using a structuralist approach, he invites readers to critically engage with these pervasive myths and their role in shaping perceptions.

For a deeper exploration of Napiórkowski's insights, you can read the full article on Mitologia współczesna below.

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Praamžius holds a central role in Lithuanian mythology, especially within the creation myths and the structure of the ancient pantheon. His name, translating to "Eternal" or "Primordial", underscores his foundational status in the cosmos and existence. Unlike anthropomorphic depictions common to many mythologies, Praamžius is conceptual, representing universal principles rather than a defined form.

He is often portrayed as the originator of all life, determining destinies while allowing beings to shape their external attributes through their will. In mythological narratives, Praamžius is depicted contending with dark forces like devils (Velnias), nymphs (Laumės), witches, and the selfish, reflecting his role as a guardian of order against chaos.

The mythology situates him as the head of a divine hierarchy, influencing stories about the Sun, his son Perkūnas (the thunder god), the Moon, winds, giants, and other figures. These tales extend into folk traditions such as legends, fairy tales, and songs, revealing Praamžius as the axis of Lithuanian mythological cycles.

Original narratives about Praamžius often incorporate Christian influences, showcasing the syncretism between indigenous beliefs and later religious traditions. He remains a profound symbol of cosmic order and creation in Lithuanian cultural memory.

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