Discover the MythCloud

In Lithuanian mythology, Žemyna stands as one of the most fundamental deities, embodying the earth itself and all living things that depend upon it. Her name derives from the Lithuanian word Žemy (earth), emphasising her direct connection to the land that sustained Baltic agricultural communities. As the goddess of Earth and fertility, Žemyna represents the generative and nurturing aspects of nature that enable human survival and prosperity.

Revered as a maternal figure who blesses the land with abundance, Žemyna played a crucial role in agricultural rituals and practices. Farmers would invoke her protection for their fields and crops, seeking her blessing for a bountiful harvest and fertility for their livestock. This relationship between the deity and agricultural success reflected the fundamental importance of sustainable land management in pre-industrial Lithuanian society.

However, Žemyna's benevolence was conditional upon proper respect and stewardship. Farmers who neglected their duties or acted lazily were believed to incur her wrath, resulting in crop failure and misfortune. This aspect of her mythology reinforced cultural values of diligence and respect for the land, embedding ecological ethics within religious practice.

Rituals honouring Žemyna were integrated into daily life and seasonal celebrations. These included pouring beer on the ground as a libation to nourish her, and offering bread and meat at funerals to request her protection for the deceased's soul in the afterlife. People would also kiss the ground as a sign of respect when beginning important tasks, rising in the morning, retiring at night, or bidding farewell to their homes—gestures that acknowledged human dependence on the earth's generosity.

Žemyna's central position in Lithuanian mythology highlights the reverence for nature and cyclical processes of life and death that characterised traditional Baltic worldviews, offering a direct link between human actions and the health of the land that supported them.

This Baltic leather waistband adorned with brass decorations represents a sophisticated fusion of practical function and mythological expression. Archaeological findings of such items throughout the Baltic region reveal how everyday objects served as carriers of cultural identity and cosmic understanding in traditional societies.

The intricate brass fittings, featuring geometric patterns and solar symbols, transform a utilitarian item into a statement of both social status and spiritual alignment. The sun motif, recurring throughout Baltic decorative arts, connects the wearer to cycles of life, fertility, and temporal order—fundamental concepts in agricultural societies whose prosperity depended on cosmic regularity.

Beyond indicating social standing, such elaborately decorated belts likely served protective functions, with specific motifs believed to safeguard the wearer from various harms. This integration of practical, social, and apotropaic functions illustrates how pre-modern societies operated with more unified conceptual frameworks than modern compartmentalised thinking allows, seeing no contradiction between practical purpose and symbolic meaning.

The combination of leather and brass demonstrates not only technical skill but conceptual sophistication, bringing together animal-derived and earth-derived materials to create an object that mediates between different realms. This material hybridity mirrors the belt's function as a boundary marker on the human body, encircling the waist at the juncture of upper and lower body. Such items provide tangible evidence of how mythological thinking permeated everyday life in traditional Baltic societies, embedding cosmic understanding in the most practical aspects of material culture.

The Zupełnie Nowa Mitologia (Completely New Mythology) exhibition at the Contemporary Art Gallery "MS44" in Świnoujście, Poland, represents a significant artistic exploration of how mythological frameworks continue to shape contemporary understanding while adapting to address modern concerns. This exhibition brings together diverse artists who engage with the concept of mythology not as ancient history but as a living, evolving system of meaning-making.

The exhibition challenges conventional understandings of mythology by blending historical narratives with contemporary issues, creating dialogue between traditional symbolic systems and present-day social, political, and environmental concerns. Through this approach, it demonstrates how mythological thinking remains relevant in the 21st century, providing frameworks for interpreting complex realities and articulating collective experiences.

Participating artists employ diverse media and aesthetic strategies to question traditional views of mythology, offering fresh perspectives on how myths influence our understanding of the world and our place within it. Their works suggest that mythological thinking is not merely a relic of pre-scientific thought but a fundamental aspect of human cognition that continues to shape perception and meaning-making in the current socio-political landscape.

By challenging the conventional boundaries of mythological storytelling, the exhibition encourages visitors to reflect on the ways in which contemporary societies continue to construct collective narratives that function as myths—providing explanatory frameworks, establishing cultural values, and creating shared points of reference that bind communities together despite increasing fragmentation and individualisation.

This exhibition offers a compelling exploration of the intersection between art, myth, and society, urging viewers to reconsider how collective memories and identities are formed and communicated in an age of rapid technological and social change. It suggests that mythology is not a static artifact but a dynamic process of cultural production that continues to evolve in response to changing circumstances and needs.

Within the context of mythology and operatic representation, Gioachino Rossini's Semiramide (1823) offers a fascinating exploration of legendary themes transformed through musical narrative. Based on Voltaire's tragedy Sémiramis, itself inspired by the semi-legendary Assyrian queen Semiramis, the opera exemplifies how historical figures become mythologised through artistic interpretation.

The historical Semiramis (or Shammuramat) ruled Assyria as regent from 811-806 BCE, but her story has been embellished over centuries with legendary exploits and supernatural elements. By the time her narrative reached Metastasio, whose libretto inspired Rossini's composition, Semiramide's character had evolved into a complex blend of power, tragedy, and mythic dimension.

Rossini's operatic treatment draws parallels between Semiramide and figures from classical mythology, particularly in themes of forbidden love, betrayal, and fate—echoing narratives such as the Greek myths of Oedipus and Phaedra. The queen's tragic downfall follows recognisable mythological patterns, where characters cannot escape prophecy despite their attempts to circumvent destiny.

In the opera, Rossini introduces Semiramide's complex emotional landscape through sophisticated musical characterisation, reflecting these mythological undercurrents. The work delves into the consequences of family transgressions and inescapable prophecies, central motifs in classical mythology where characters' lives are governed by forces beyond their control.

The 2010-2011 season performance by Kunsthuis Opera Vlaanderen, now available on DVD, showcases this operatic retelling of a mythologised historical figure. For those interested in the intersection of history, myth, and artistic expression, this production offers insight into how ancient narratives continue to resonate through musical interpretation, transforming historical figures into vehicles for exploring enduring themes of human vulnerability in the face of fate.

Naginės are traditional Baltic leather shoes that represent more than mere footwear—they embody cultural identity, practical knowledge, and the relationship between Baltic peoples and their environment. These handcrafted shoes originated in the rural communities of Lithuania, Latvia, and Estonia, serving as everyday wear for villagers across the region.

Crafted from soft, locally sourced leather, these shoes exemplify the resourcefulness of Baltic rural communities and their ability to create functional items from available materials. Their design prioritises simplicity, durability, and comfort for walking long distances across varied terrain, reflecting the predominantly agricultural lifestyle of historical Baltic societies.

The cultural significance of Naginės extends beyond their practical function. They represent a tangible link to traditional ways of life that have been largely displaced by industrialisation and modernisation. The knowledge of their construction and use constitutes an important element of intangible cultural heritage, preserving techniques and cultural practices that might otherwise be lost.

In contemporary Baltic societies, Naginės have experienced a revival as part of a broader movement to reclaim traditional crafts and cultural practices. Artisans in the region continue to produce these shoes, often adapting traditional designs for modern wearers, demonstrating how cultural artifacts can evolve while maintaining connections to their historical origins.

This resurgence of interest in traditional footwear reflects a wider pattern in which globalised societies seek to preserve distinctive cultural elements as counterpoints to homogenisation, using material culture as a means of maintaining and expressing cultural identity.

Talking History offers a distinctive exploration of pivotal political, social and cultural events that have shaped our world, examining the complex figures central to these historical moments. Hosted by Dr Patrick Geoghegan of Trinity College Dublin, this programme interrogates the multifaceted, often contested dimensions of our collective past, illuminating what these historical narratives reveal about contemporary society.

WB Yeats & The Occult
A century after W.B. Yeats was awarded the Nobel Prize for Literature in 1923, this episode of RTÉ's Talking History hosted by Dr. Patrick Geoghegan brings together distinguished scholars to examine the complex interplay between Yeats's literary achievements, his political engagements, and his lifelong fascination with the occult. This multifaceted exploration illuminates how these seemingly disparate elements combined to produce one of the 20th century's most significant literary voices.

The panel features remarkable scholarly expertise, including Dr. Adrian Paterson from the University of Galway, Dr. Lucy Collins from University College Dublin, and Professor Roy Foster from the University of Oxford, who authored the definitive two-volume biography of Yeats. They are joined by Professor Margaret Harper, Glucksman Professor in Contemporary Writing at the University of Limerick and former Director of the Yeats International Summer School, and Susan O'Keeffe, Director of the Yeats Society Sligo.

Their discussion reveals how Yeats's involvement with esoteric traditions—from the Hermetic Order of the Golden Dawn to spiritualism and automatic writing—was not peripheral to his literary work but central to his understanding of symbolism, imagination, and cultural renewal. The Tattwa Cards mentioned in the caption, which Yeats created during his membership in the Golden Dawn, represent physical evidence of how seriously he engaged with occult practices as tools for accessing deeper realities beyond ordinary perception.

This occult dimension of Yeats's work was intimately connected to his vision of Irish cultural nationalism. The mythological and supernatural elements he incorporated into his poetry and plays were part of a conscious effort to construct a distinctively Irish literary tradition that could stand apart from English influences while connecting to broader European cultural movements.

The centenary of Yeats's Nobel Prize provides an opportunity to reconsider how his integration of occult symbolism, mythological narratives, and political engagement produced a body of work that continues to resonate globally while remaining deeply rooted in Irish cultural experience.

Bluiríní Béaloidis is a podcast from the National Folklore Collection at University College Dublin. It explores the rich landscape of Irish and European folk traditions. Each episode journeys through diverse cultural narratives, revealing how understanding our traditional heritage can illuminate our present and guide our future. By uncovering the stories, beliefs, and practices embedded in folklore, the podcast invites listeners to discover the depth and complexity of our shared cultural inheritance.

Salmon
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 explore 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 other aquatic creatures, the salmon's ability to traverse both freshwater rivers and saltwater seas places it in a unique position in Irish tradition. Dillon and Doohan examine tales of daring poachers, dangerous plants, superstitious fishermen, and naming taboos, uncovering fascinating 15th-century riddles that persisted into 20th-century oral tradition.

From the mythic Salmon of Life (Bradán na Beatha) to the renowned Salmon of Knowledge, the episode explores how these tales intersect with 10th-century Irish-Norse relations and broader Indo-European narrative traditions, revealing how mythological creatures often serve as vessels for cultural wisdom and knowledge transmission across generations.

Grzegorz Piątek 's analysis of Gdynia's rapid transformation from seaside resort to major industrial port in interwar Poland exemplifies how urban development projects often function as physical manifestations of national mythology. The city's evolution from small village to bustling port represented not merely infrastructure development but a tangible embodiment of Poland's aspirations for economic advancement and national self-determination following independence.

The speed and scale of Gdynia's development created a powerful national symbol that transcended its practical economic functions. As an emblem of modernity and progress, the city served as concrete evidence of Poland's capacity for self-directed development after extended periods of foreign domination. This symbolic dimension helps explain the intensity of debates surrounding the city's planning and construction, which concerned not just practical considerations but competing visions of Polish national identity and future direction.

Particularly significant were the ideological narratives surrounding the city's development, which positioned it as a triumph of national will and organisation. These narratives exemplify how modernisation projects often generate mythological frameworks that interpret material developments through nationalist lenses, creating compelling stories of collective achievement that reinforce national solidarity while potentially obscuring more complex historical realities.

The continued resonance of Gdynia as a potent symbol in Polish culture demonstrates how built environments acquire mythological significance that persists beyond their original historical contexts. The city's rapid rise and the ideological currents surrounding its growth have made it an enduring reference point in Polish discourse about national development and identity, demonstrating how physical spaces become repositories of collective meaning that evolve through changing historical circumstances while maintaining connection to foundational national narratives.

In Polish culture, syrena refers to the mythical mermaid figure that has become the defining emblem of Warsaw, appearing on the city's coat of arms and in numerous sculptures and visual representations throughout the capital. Far more than a decorative symbol, the Warsaw Mermaid (Syrenka Warszawska) represents a powerful embodiment of the city's identity, resilience, and historical experience.

According to various legends dating back to medieval times, the mermaid was either a creature who decided to remain in Warsaw after swimming up the Vistula River, or the sister of Copenhagen's Little Mermaid who swam to Warsaw through connecting waters. Most versions of the tale describe how she was initially captured by a merchant but freed by local fishermen, after which she promised to defend the city and its people—explaining her traditional depiction armed with a sword and shield.

The mermaid's image has evolved with Warsaw's history; during the city's post-WWII reconstruction following near-total destruction by Nazi forces, the Syrenka became a potent symbol of Warsaw's indomitable spirit and ability to rise from ruins. Today, the most famous physical representation stands in Warsaw's Old Town Square, created by sculptor Konstanty Hegel in 1855.

In contemporary artistic interpretations, such as Aleksandra Waliszewska's mural based on Pablo Picasso's 1948 drawing, the mermaid continues to evolve while maintaining her essential symbolic function. Picasso created his version during the 1948 World Congress of Intellectuals for Peace in Wrocław, Poland, connecting Warsaw's local mythology to international artistic dialogue.

The enduring presence of the Syrenka in Warsaw's urban landscape demonstrates how mythological figures can become central to civic identity, evolving while maintaining continuity with historical tradition.

This Lithuanian folk tale about the origin of hag children belongs to the category of sakmė, narratives that explain mysterious occurrences through supernatural frameworks. The tale addresses the anxiety surrounding unexplained developmental differences in children by attributing them to mystical exchanges between humans and supernatural beings.

According to the story, a woman has her child taken by a hag, who leaves her own child in return. This substitution goes undetected because the hag's child appears human but cannot speak, growing into adulthood in silence. The narrative reaches its climax when the mother, frustrated by her child's muteness, follows a beggar's advice to perform a specific ritual involving oak logs, a bonfire, and eggs—elements that combine sympathetic and contagious magic principles.

When exposed to this ritual, the child finally speaks, revealing his true nature by referencing the oak as a century-old entity, demonstrating knowledge impossible for someone of his apparent age. Having exposed his identity, the hag's child vanishes, returning to the supernatural realm from which he came.

This tale reflects common themes in Lithuanian mythology, where the boundary between natural and supernatural worlds remains permeable, allowing for uncanny exchanges and intrusions. The narrative addresses the profound anxiety surrounding children who do not develop as expected, providing a cultural framework for understanding difference through supernatural rather than medical explanations.

Like many folk narratives across cultures, this sakmė draws on concepts of age, transformation, and the mysterious forces that control life's cycles. It demonstrates how traditional societies developed narrative explanations for developmental differences, creating cultural spaces for understanding the unexpected while reinforcing the importance of correct ritual action when confronting the supernatural.

This Lithuanian folk song, recorded by the eminent 19th-century scholar Jonas Basanavičius from villagers in Laukagaliai, represents a crucial moment in the preservation of Baltic oral traditions. The documentation of such cultural expressions occurred at a time when traditional rural practices faced increasing challenges from modernisation and political suppression, making this collection not merely academic documentation but an act of cultural preservation with nationalist implications.

The rooster—a common motif in folk songs across cultures—typically symbolises vigilance, dawn, and new beginnings. In Baltic contexts, this symbolism often carried additional associations with solar mythology and seasonal renewal, reflecting agricultural communities' profound connection to natural cycles. The preservation of songs featuring such symbolism provides valuable insight into how traditional societies encoded environmental understanding and cultural values within aesthetic expressions integrated into daily life.

The archival preservation of both audio recording and visual documentation transforms what was originally a living, performed tradition into a documented cultural artifact. This transition from communal performance to institutional preservation represents a fundamental shift in how cultural expressions function and are transmitted, while simultaneously ensuring their survival beyond the communities that originally created them.

The accessibility of these materials through the Lithuanian Literature and Folklore Institute reflects evolving attitudes toward folkloric heritage, which has acquired renewed significance in post-Soviet contexts as crucial evidence of national cultural distinctiveness. The preservation of such materials thus serves not just scholarly purposes but contributes to ongoing processes of national identity formation, demonstrating how historical cultural practices continue to inform contemporary understanding of Lithuanian distinctiveness within broader Baltic and European contexts.

The Royal Museum of Fine Arts Antwerp (KMSKA) displays Pomona, Inventory No. 2232, a copper sculpture by Ossip Zadkine (1890-1967), a significant figure in 20th-century modernist sculpture. This piece offers a compelling modern interpretation of Pomona, the Roman goddess of fruit trees, gardens, and orchards.

In Roman mythology, Pomona was unique among the pantheon for her exclusive association with cultivation rather than wild nature. She was portrayed as a skilled gardener who preferred the cultivated countryside to the untamed forests, symbolising humanity's relationship with domesticated landscapes. Her myth most famously includes the story of her courtship by Vertumnus, god of seasons and change, who won her affection by disguising himself in various forms.

Zadkine, born in Russia but primarily active in France, was known for his dynamic and expressive sculptures that blended cubist influences with more traditional forms. His interpretation of Pomona likely incorporates his signature style, which often featured elongated, angular forms and textured surfaces that create a sense of movement and emotional intensity.

The sculpture reflects Zadkine's deep engagement with mythology and nature, exploring themes of growth, fertility, and the relationship between humanity and the natural world. His modern treatment of this classical subject demonstrates how ancient mythological figures continue to provide rich material for artistic exploration across changing aesthetic movements.

The inclusion of this work in KMSKA's collection highlights Zadkine's significance in 20th-century art history and demonstrates the museum's commitment to representing the evolution of mythological subjects through modern artistic interpretation.

Bluiríní Béaloidis is a podcast from the National Folklore Collection at University College Dublin. It explores the rich landscape of Irish and European folk traditions.

The podcast represents a significant modern adaptation of traditional folklore transmission, translating oral traditions into digital media while maintaining their essential function as repositories of cultural wisdom, whilst exploring how mythological thinking continues to evolve through new forms of dissemination while remaining connected to its traditional roots.

Host Jonny Dillon's invitation to journey through the "folklore furrow" employs an agricultural metaphor to frame the exploration of cultural inheritance—a fitting approach for traditions deeply connected to land, seasons, and community. This framing positions folklore not as antiquarian curiosity but as civic cultivation—stories and practices that, like crops, require proper tending to maintain their vitality and relevance across generations.

By examining both Irish and broader European folk traditions, the podcast contextualises local narratives within larger patterns of human meaning-making. This comparative approach reveals how specific cultural expressions often reflect universal human concerns, demonstrating folklore's dual function of reinforcing cultural particularity while addressing shared human experiences. The podcast's exploration of diverse subjects and themes illustrates how traditional narratives provided comprehensive frameworks for understanding every aspect of human experience.

Most significantly, the podcast articulates how understanding traditional wisdom can inform contemporary life and guide future development. This forward-looking perspective challenges simplistic notions of folklore as merely preserving the past, instead positioning traditional knowledge as a valuable resource for navigating present challenges. By making these traditions accessible through modern digital platforms, Blúiríní Béaloidis exemplifies how mythological thinking adapts to new contexts while maintaining its essential function of creating meaning and connection.

The Eurovision Song Contest, established in 1956, has cultivated a unique cultural position over its six-decade history. Celebrated for its vibrant display of musical talent, cultural exchange and kitsch reworkings of national mythologies, the contest serves as a platform for creative expression that transcends national boundaries while paradoxically reinforcing them.

Johnny Logan, affectionately dubbed "Mr. Eurovision," stands as a pivotal figure within this narrative. His unprecedented achievements—winning twice as a performer (1980 with "What's Another Year" and 1987 with "Hold Me Now") and once as a songwriter (1992's "Why Me?" performed by Linda Martin)—have secured his iconic status in Eurovision history. His victories highlight his cross-national continental appeal, particularly in countries with strong Eurovision traditions like Sweden and Germany.

Despite Logan's international acclaim, the contrast between his reception abroad and at home in Ireland is striking. While celebrated across Europe for his contributions to the contest, his success has often received more muted recognition in Ireland. This discrepancy reflects broader cultural tensions regarding Eurovision itself, which has sometimes been viewed through a lens of kitsch in Ireland, especially as the national music scene evolved it's own rock and folk genres in the 1980s and 1990s.

Logan's legacy demonstrates how cultural figures can become emblematic of transnational shared experiences while simultaneously occupying complex positions within their national contexts. His story illustrates the intricate interplay between national identity, musical expression, and the mythologies that shape our understanding of cultural phenomena in an increasingly connected Europe.

The pencil sketch Various Mythological and Religious Scenes, Inventory No. 2138(II)/124, by Nicaise De Keyser (1813-1887), forms part of the prestigious collection at the Royal Museum of Fine Arts in Antwerp, Belgium's leading art institution established in the early 19th century.

De Keyser, who served as director of the Antwerp Academy of Fine Arts from 1855 to 1879, was known for his historical paintings and portraits in the Romantic style. This particular sketch illustrates his practice of combining mythological and religious themes, demonstrating the fluid boundaries between these narrative traditions in 19th-century European art.

The work offers insight into De Keyser's creative process, showcasing his narrative-driven approach and detailed draftsmanship. Through such sketches, we can observe how artists of this period drew parallels between classical and Christian traditions, using both as repositories of moral and philosophical meaning.

This combination of mythological and religious imagery reflects the 19th-century European tendency to view both traditions as complementary sources of cultural authority and symbolic meaning. De Keyser's work exemplifies the scholarly approach to narrative art during this period, when artists were expected to demonstrate familiarity with both classical mythology and biblical stories.

The preservation of preliminary sketches like this one in major museums provides valuable insights into artistic methodology and the intellectual frameworks that guided narrative art during this period, revealing how mythology continued to serve as a vital source of artistic inspiration alongside religious themes.

Peter Paul Rubens' Mythological Figure depicting a centaur and girl exemplifies how classical mythology provided Renaissance and Baroque artists with a sophisticated visual language for exploring fundamental human concerns. This ink drawing, part of the Royal Museum of Fine Arts in Antwerp's collection, demonstrates the enduring cultural power of hybrid mythological figures in European artistic tradition.

The centaur—half human, half horse—represents one of mythology's most enduring hybrid creatures, embodying the tension between rational thought and animal instinct that defines the human condition. By depicting this boundary-crossing figure interacting with a human girl, Rubens creates a visual meditation on the relationship between civilisation and nature, reason and passion, that continues to resonate with contemporary viewers despite our distance from classical belief systems.

Rubens' skill in capturing dynamic, emotionally expressive figures is particularly well-suited to mythological subjects, which frequently explore intense emotional states and dramatic transformations. His characteristic style, with its emphasis on movement and sensuality, brings mythological narratives to life through visual storytelling that engages viewers on both intellectual and emotional levels.

This drawing exemplifies how mythological subjects allowed artists to explore themes that might otherwise be difficult to address directly—particularly those concerning the body, desire, and the boundaries of the human. By framing such explorations within established mythological contexts, artists could engage with potentially controversial subjects while maintaining the protective distance of allegory. The persistence of such mythological representations throughout European art history demonstrates their effectiveness as vehicles for exploring complex psychological and philosophical questions across changing cultural contexts.

Močiute mano, senoji mano, kam mane mažą valioj auginaii is a traditional Lithuanian folk song recorded by the influential 19th-century scholar Jonas Basanavičius, often regarded as the patriarch of the Lithuanian National Revival.

Sung by villagers from Dziegcioriai village in what is now Lithuania, this song reflects deeply embedded cultural themes of intergenerational relationships, familial bonds, and the passage from childhood to adulthood. The narrative voice questions the grandmother about the purpose of nurturing and raising a child with such care, expressing a poignant reflection on the cycle of life and responsibility.

The song belongs to Lithuania's rich tradition of folk music, which has served as a crucial repository of cultural memory and identity, particularly during periods when Lithuanian national identity was suppressed under various occupations. Folk songs like this one preserved linguistic traditions, cultural values, and historical memory when formal institutions could not.

The archiving of such cultural expressions by the Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas, (Lithuanian Folklore Archives of the Institute of Lithuanian Literature and Folklore) represents a vital effort to preserve intangible cultural heritage. This preservation allows contemporary audiences to engage with traditional expressions of community values and shared experiences that might otherwise be lost.

Through such folk songs, we can observe how oral traditions serve as vehicles for cultural transmission, conveying wisdom, values, and emotional experiences across generations, maintaining continuity while allowing for adaptation to changing social contexts.

The Royal Museum of Fine Arts Antwerp (KMSKA), one of Belgium's most significant cultural institutions, houses a remarkable pencil sketch titled Mercury and Argus by Jean Antoine Verschaeren, depicting a pivotal scene from classical mythology.

This artwork captures the dramatic moment from Ovid's Metamorphoses when Mercury (Hermes in Greek mythology), sent by Jupiter (Zeus), uses his cunning to lull the hundred-eyed giant Argus to sleep with an enchanted flute before slaying him. In the original myth, Argus had been assigned by Juno (Hera) to guard the nymph Io, whom Jupiter had transformed into a heifer to conceal his infidelity.

Verschaeren's rendering demonstrates how mythological narratives have continually inspired visual artists across centuries, providing a rich vocabulary of symbolic scenes that carry complex meanings about power, deception, and divine intervention. The sketch exemplifies the artist's mastery of light, shadow, and emotional expression within the constraints of the medium.

This piece belongs to the museum's extensive collection of works that interpret classical mythology, revealing how these ancient narratives remained culturally relevant long after the decline of the civilisations that created them. Through such artistic interpretations, mythological stories continue to evolve, acquiring new layers of meaning while preserving their essential narrative structure.

Ludovik Vermeersch's article on artistic alter egos explores how creative personas function as mythological constructs that simultaneously extend and constrain artistic identity. By examining the motives behind alter ego creation, the article illuminates how these artificial personas represent modern manifestations of ancient mythological patterns where identity is understood as fluid and potentially multiple rather than fixed and singular.

The connection to the myth of Narcissus is particularly revealing, suggesting that artistic alter egos often embody the paradoxical quest for self-knowledge through self-transformation. Just as Narcissus becomes transfixed by his own image—recognising yet not recognising himself—artists who create alter egos engage in complex dialogues with externalised aspects of themselves, seeking both escape from and deeper understanding of their artistic identity through this mythological doubling.

The concept of the "mythically enhanced personality" suggests how alter egos function as more than mere pseudonyms or disguises, instead serving as transformative vehicles that allow artists to transcend ordinary limitations. This enhancement parallels traditional mythological narratives where humans acquire extraordinary capabilities through divine intervention or transformation, adapting ancient patterns of transcendence to address contemporary artistic concerns about authenticity, identity, and creative potential.

The article's title—The Vain Escape From The Self—encapsulates the fundamental paradox at the heart of artistic alter egos: the impossibility of truly escaping one's identity even through elaborate mythological constructions. This tension between transformation and inevitable return to self reflects broader patterns in mythological thinking, where transcendence is always temporary and partial, constrained by fundamental conditions of human existence. The contemporary artistic exploration of alter egos thus represents a sophisticated adaptation of traditional mythological concepts to address modern concerns about identity, authenticity, and the boundaries of the self.

The transformation of Gdynia from small seaside village to bustling port city during Poland's interwar period represents a compelling case study in how urban development projects acquire mythological significance beyond their material dimensions. As a symbol of progress and national pride within the Second Polish Republic, Gdynia's rapid growth became a powerful embodiment of Poland's aspirations for independence and prosperity following extended periods of foreign domination.

The city's development encapsulated not merely infrastructure construction but the creation of tangible proof that Poland could direct its own modernisation after centuries of partition. This symbolic dimension explains why Gdynia acquired such exceptional significance in Polish national consciousness—it provided concrete evidence of national capability and autonomy at a time when these qualities remained psychologically crucial but practically uncertain.

The political and economic tensions that marked Gdynia's transformation reveal the complex reality behind national mythologies of progress. The challenges inherent in rapid urban development—competing interests, resource limitations, ideological conflicts—created significant gaps between idealised narratives of national triumph and lived experiences of urban growth. This tension between mythological representation and complex reality characterises many national development projects, which typically generate simplified narratives that obscure underlying conflicts and contradictions.

Gdynia's enduring status as powerful symbol in Polish cultural memory demonstrates how built environments acquire mythological significance that persists beyond their original historical contexts. The city continues to function as reference point in Polish discourse about national development and identity, demonstrating how physical spaces become repositories of collective meaning that evolve through changing historical circumstances while maintaining connection to foundational national narratives. This persistent symbolic resonance exemplifies how modern societies continue to create mythological frameworks around material developments, transforming concrete structures into carriers of abstract cultural values.

Legends of the Rhine by Wilhelm Ruland is a collection of folk tales inspired by the Rhine River and the surrounding Low Countries, a region rich in mythological tradition.

The book presents stories that have become deeply intertwined with the cultural fabric of the region, including the well-known Lorelei legend and other local myths. These narratives, often blending history and legend, reflect the people's connection to the river landscape and demonstrate how geographical features become repositories for cultural meaning and identity.

Accompanied by illustrations from celebrated artists, the text visually enhances these narratives, bringing mythological figures and settings to life. The tales capture not only the natural beauty of the Rhine but also the powerful stories that have emerged over centuries, contributing to the river's status as a symbol of romance and legend in European folklore.

The work stands as a literary exploration of the Rhine's mythical significance, offering insight into how landscapes shape narrative traditions and how these stories, in turn, influence how people understand and relate to their environments.

Project 2025, a comprehensive political roadmap developed by The Heritage Foundation to guide conservative policy in the United States, draws heavily on enduring American myths that resonate deeply within the national psyche. These narratives function not merely as political strategies but as cultural frameworks that shape values, define collective identity, and establish ideological parameters for governance.

Designed as a blueprint for a potential Republican administration in 2025, the roadmap represents the collaborative efforts of over 400 contributors from conservative think tanks and organisations. It outlines an ambitious agenda to reshape the U.S. federal government, prioritising government size reduction, environmental and social regulation curtailment, states' rights reinforcement, and traditional conservative value promotion. Central to its implementation strategy is a proposed strengthening of executive power, including the replacement of career civil servants with politically aligned appointees.

Project 2025 exemplifies the creation of a shared narrative—a cornerstone of modern mythology—that frames governance as a heroic battle to "restore America." Like ancient myths that defined collective identity and purpose, it employs recurring themes of decline, redemption, and renewal. The initiative positions its vision as a national rescue mission, with bureaucratic elites and progressive policies cast as antagonists in a larger narrative of revival, employing archetypal patterns of heroism, villainy, and promised utopia to create a powerful ideological rallying point for those disenchanted by rapid social and political change.

However, like all modern myths, this framing risks oversimplifying complex realities. By reducing governance to a binary struggle between good and evil, it can deepen societal divisions and hinder constructive dialogue about policy trade-offs and compromises. Understanding how initiatives like Project 2025 leverage mythological structures reveals them as more than political strategies—they are attempts to define a comprehensive vision for society's future through narrative frameworks that resonate with deeply held cultural beliefs.

William Elliot Griffis's Dutch Fairy Tales for Young Folks represents a significant contribution to the preservation and transmission of Dutch folkloric traditions at a crucial historical juncture when rapid modernisation threatened traditional oral cultures. By collecting and adapting these narratives for young English-speaking readers, Griffis participated in the broader 19th and early 20th century movement to document folkloric traditions while simultaneously transforming them through new media and contexts.

The collection's focus on moral values inherent in Dutch folklore reflects how traditional narratives functioned as vehicles for cultural transmission across generations. Unlike modern entertainment that often separates amusement from instruction, these tales integrated both functions, providing engaging narratives that simultaneously reinforced community values and practical wisdom. Griffis's adaptation preserves this dual functionality while making it accessible to audiences outside its original cultural context.

Griffis's expertise in Dutch culture positioned him to serve as cultural translator, making these narratives accessible to English-speaking audiences while preserving distinctive elements that reflect particular Dutch historical experiences and values. This cross-cultural adaptation represents an important aspect of how folkloric traditions evolved in the modern era, maintaining relevance through translation while inevitably transforming through contact with new cultural contexts.

The illustrated format of the collection recognises how visual elements enhance folkloric transmission, particularly for younger audiences. This integration of text and image creates a multisensory experience that, while different from traditional oral storytelling, offers its own form of immersive engagement with cultural mythology. By introducing young readers to European cultural narratives through accessible adaptations, collections like this helped maintain continuity with traditional wisdom while adapting it to modern literary forms, preserving folklore not as static artifact but as living, evolving tradition.

The remarkable cultural resonance of Fairytale of New York by The Pogues and Kirsty MacColl exemplifies how popular music can generate contemporary mythologies that address fundamental human concerns while responding to specific historical circumstances. Released in 1987, this unconventional Christmas song has transcended its origins to become a seasonal touchstone that offers a complex meditation on disillusionment, loss, and enduring human connection despite its ostensibly bleak narrative.

The song's unusual power derives partly from its engagement with the immigrant experience, particularly the Irish diaspora in America. By narrativising the tension between aspiration and reality in the immigrant journey, it connects personal disappointment to broader historical patterns of migration and adaptation. The mythological resonance of New York City itself—as both "city upon a hill" and site of potential disillusionment—provides a setting where personal struggles acquire broader symbolic significance.

The song's dialogue structure, alternating between male and female perspectives, creates a dynamic narrative that resists simplistic resolution. This formal approach exemplifies how contemporary mythology often embraces complexity and contradiction rather than offering straightforward moral lessons, reflecting modern understanding of human experience as inherently multifaceted and ambiguous. The juxtaposition of Christmas imagery with themes of addiction, conflict, and failed dreams creates productive tension that challenges the sanitised sentimentality of conventional holiday narratives.

The enduring popularity of this song—despite controversy over some of its lyrics—demonstrates how contemporary cultural forms continue to generate mythological frameworks that provide meaningful ways of understanding complex human experiences. Like traditional seasonal rituals that acknowledge darkness within celebration, Fairytale of New York offers a framework for recognising both joy and sorrow as essential components of human experience. Its cultural significance transcends mere entertainment, functioning as a modern seasonal myth that addresses universal themes through specific cultural references and individual narratives.

Brian Ferneyhough's Cassandra's Dream Song (1970) and its subsequent interpretations offer a fascinating case study in how classical mythological figures continue to function as potent vehicles for exploring contemporary concerns. By invoking Cassandra—the Trojan princess whose true prophecies were doomed to be disbelieved—the composition creates a multilayered reflection on communication, truth, and the limitations of human understanding.

The controversy surrounding gendered interpretations of the piece demonstrates how mythological references serve as cultural battlegrounds where competing values and perspectives contend for interpretive authority. Traditional readings that emphasised stereotypical female suffering collided with contemporary psychological approaches that sought to explore the complexity of Cassandra's inner conflict and prophetic burden. This interpretive evolution reflects broader societal shifts in understanding gender and psychological experience.

Particularly significant is flutist Ine Vanoeveren's "restyling" of the work, which reimagines it through a contemporary psychological lens. This approach exemplifies how mythological figures maintain relevance through continuous reinterpretation—each generation finds new meaning in ancient archetypes by applying current frameworks of understanding. Vanoeveren's approach demonstrates how performers themselves participate in mythological evolution, bringing new perspectives to established narratives.

The intersection of complexity music and psychological themes in this composition reveals how contemporary artistic practices often serve functions similar to traditional mythology—creating frameworks for exploring aspects of experience that resist simple articulation. By evoking Cassandra's tragic position, Ferneyhough's work addresses fundamental human concerns about knowledge, belief, and communication that transcend specific historical contexts. The ongoing reinterpretation of this piece demonstrates how mythological references continue to provide flexible frameworks for examining evolving cultural concerns.