Mer Nasty

Mer Nasty
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From Wikipedia, the free encyclopedia
Legendary aquatic creature with an upper body in human female form
This article is about fish-bodied female merfolk. For the males, see merman . For the people, see merfolk . For other uses, see Mermaid (disambiguation) .
―Johannes Jonston Historia naturalis in Latin, 1657 [199]
―Louis Renard Poissons, ecrevisses et crabes.. autour des isles Moluques et sur les côtes des terres Australes , 2nd edition, 1754 [221]
This section needs expansion . You can help by adding to it . ( July 2022 )

^ The Megarian bowl, 3rd century BC, with a scene from the Odyssey , with sirens depicted as fish-tailed "tritonesses", to use art jargon. [7] Harrison names a clay lamp, possibly from the Roman period. [8] [9] A terracotta "mourning siren", 250 BC, is the oldest representation of siren as mermaid familiar to Waugh. [10]

^ The Bern Physiologus . fol.13v. Rubric: "De natura serena et honocentauri".

^ And that is generally accepted to be the intended symbolism in ecclesiastical art, such as church carvings of mermaids, [10] [23] but the church view has been derided as misogynistic from a modern perspective, [24] and it has been noted that the mirror and comb were originally the accoutrements of the love goddess Venus in Classical Times. [25] [26]

^ In The Odyssey , after Odysseus ' encounter with the sirens, he headed for the place where Scylla and Charybdis dwelled. [31]

^ And documented some of these fables, as the mermaid purportedly foretelling the birth of Christian IV .

^ Or even the eccentric "Sea-Quoyas Morrov", after apparently the native Angolan name for some ape, because a mermaid capture in Angola was also documented.

^ Recté margýgr and hafstrambr , as described below

^ margýgur, hafgygur ('mer-troll'), haffrú ('sea-maid'); mey-fiskr ('maiden-fish').

^ In Sweden also and sjö-kona ( sjö-kuna in the dialect of Ruhnu , Estonia). [91]

^ And also Bassett (1892) , p. 172

^ The original text gives knäckt (i.e. cracked), rather than kneckt [97] or knackt . [104]

^ The Swedish ballad "Hafsmannen" is based on the abuduction theme, and recounts the same myth as Danish ballad " Rosmer Havmand ". [107]

^ Facsimiles of the miniature painting are found in Fridtjof Nansen 's book [94] and Dubois's paper. [110]

^ The authority in question, Cascudo sees the influence of Gonçalves Dias 's "romantic indigenization".

^ Cascudo's Dicionario do folclore brasileiro (1954) explores numerous other contributing European lore and indiginous water-myth.

^ Pero de Magalhães Gandavo. História da Província de Santa Cruz (1576)

^ Do clima e terra do Brasil , 1584

^ Pliny follows with an account of a "sea-man" witnessed on the Gulf of Gades ( Gulf of Cádiz ). [175]

^ i.e., not qualifying they do so at the hour of death.

^ Bartholin subsequently provides a textual description of a neckless siren with lactating breasts, [189] however, that is the description from an entirely different specimen caught in the River Cuama off the Cape of Good Hope , quoted from Bernardinus Ginnarus. [193]

^ Bartholin describes in detail that it was caught off of Brazil by merchants of the (Dutch) West India Company , the GWC, and the dissection conducted in Leiden by Petrus Pavius ( Pieter Pauw ), attended by Johannes de Laet (who was director of th GWC); Bartholin was given a hand and few ribs from de Laet, as a token of friendship. [193]

^ Bartholin writes Phocae , [193] which is the genus, but more aptly pinnipeds [189] more broadly.

^ A "sea-horse" in reality was either walrus or sea-unicorns/ narwhals , both sources for marine ivory. For water-horse as sea-unicorn, see Francisci (1668) , opposite p. 1406, Plate XLVII .

^ cf. §Iara and Ipupiara , supra.

^ Kircher's Latin text actually resorts to writing out "piscis ανθρωπόμορφος" partly in Greek ( Greek ligature is used for the final omicron-sigma). [202] Jonston's Latin version uses "anthropomorphos"; the Dutch translator changed this to "-morphus" in the text, though the caption remained "-phos" in the engraving. [200]

^ In the primary sources, variously spelt in
Middle Spanish as peche muger , [202] pez muller, pexe muller , [206] etc.

^ The word is "duyong" in the Ilongo ( Hiligaynon ) or Palawano language of the Bisayans. [212]

^ According to Navarrete, an indigenous man had confessed to having nightly sexual intercourse with a piscis mulier or pexemulier "said to resemble a woman from the breasts down" . [208] [213]

^ color illustrations engraved copper plates, hand-painted in color .

^ Valentijn was also a minister of the church, mostly in the employ of the VOC; he was minister in Ambon at age 19 from 1685 for a decade, and was stationed again in Java 1705–1714. [234] but was minister in Dorchrecht, Netherlands by 1916 when Renard corresponded with him seeking help for his book, [235] and he compiled his own book while in the Netherlands. [234]

^ And editor of the English edition of Renard's work.

^ This specimen had been on display inside a jar at the Turf Coffee-house, St. James's Street as illustrated in an etching of it was made by artist George Cruikshank .

^ Although the exhibitors called it "mermaid", the gender (as to the monkey port or fish part used) is probably unclear, and one newspaper renames it "Barnum's merman". [246] [247] [248]

^ Marine biologist Hondo comments that the Japanese souvenirs tended to use a group of fish shaped like the suzuki ( Japanese sea bass ), and asserts that in Canton, China, the type of fish used were Cyprinids (carp family), Nibea mitsukurii , and the giant mottled eel . [253] The mermaid drawn by Cruikshank (i.e., the Fiji mermaid) is speculated to be "concocted from a blue-faced monkey and a salmon". [254]

^ The prince remains unacquainted with her, despite being saved by her from a shipwreck. The mermaid had brought him ashore unconscious and then hid behind rocks and covered herself in foam to hide.

^ The prince is betrothed to a princess, who turns out to be the girl he mistakenly believed to be his rescuer (due to the mermaid's concealment).

^ And the comb and mirror were originally associated with Aphrodite/Venus, as Fraser points out here.

17th century pamphlet telling the story of an alleged sighting of a mermaid near Pendine, Wales, in 1603 , UK: LLGC
Bacchilega, Cristina; Brown, Marie Alohalani, eds. (2019), The Penguin Book of Mermaids , vol. 1, Penguin, pp. i–xxiv, ISBN 9780525505570
Bassett, Fletcher S. (1892) [1885]. "Chapter IV. Water-Sprites and Mermaids" . Sea Phantoms: Or, Legends and Superstitions of the Sea and of Sailors in All Lands and at All Times (Rev. ed.). Chicago: Rinehart & Company, Inc. pp. 148–201.
The Classic of Mountains and Seas . Translated by Birrell, Anne. Penguin Books. 2000. ISBN 9780140447194 .
Briggs, K. M. (1976). An Encyclopedia of Fairies, Hobgoblins, Brownies, Boogies, and Other Supernatural Creatures . Random House. ISBN 0-394-73467-X .
Older archived version , with brief synopsis and commentary
Carrington, Richard (1957). Mermaids and Mastodons . New York: Rinehart & Company, Inc.
Cascudo, Luís da Câmara (1962) [1954]. Dicionário do folclore brasileiro (in Portuguese). Vol. 1 (A–I) (2 ed.). Brasília: Instituto Nacional do Livro. : Vol. 2 (J–Z)
Castiglioni, Andrea (2021). "The Human-Fish" . Japanese Journal of Religious Studies . 48 (1): 1–44. JSTOR 27039930 .
Cowper, B. Harris (April 1865), "Directo, the Goddess of Ascalon" , The Journal of Sacred Literature and Biblical Record , 7 (8): 1–20
Faye, Andreas (1833). "Havmænd og Havfruer" . Norske Sagn (in Danish). Arendal: N. C. Halds Bogtrykkerie. pp. 58–62.
Fraser, Lucy (2017). The Pleasures of Metamorphosis: Japanese and English Fairy Tale Transformations of "The Little Mermaid" . Wayne State University Press. ISBN 9780814342459 .
—— (1883). "XVII. Wights and Elves" . Teutonic mythology . Vol. 2. Translated by Stallybrass, James Steven. W. Swan Sonnenschein & Allen. pp. 439–517.
Hayward, Philip (2017), Making a Splash: Mermaids (and Mermen) in 20th and 21st Century Audiovisual Media , Bloomington: Indiana University Press, ISBN 9780861969258
Holford-Strevens, Leofranc (2006), "1. Sirens in Antiquity and the Middle Ages" , in Austern, Linda Phyllis; Naroditskaya, Inna (eds.), Music of the Siren , Bloomington: Indiana University Press, pp. 16–50, ISBN 9780253112071
Jøn, A. Asbjørn, Dugongs and Mermaids, Selkies and Seals
Jón Árnason (1862). "1. Flokkur: Goðfræðissögur. 2. Grein: Saebúar og vatna" . Íslenzkar Þjóðsögur og Æfintýri . Vol. I. Leipzig: J. C. Hinrichs. pp. 131–141. {{ cite book }} : CS1 maint: ref duplicates default ( link ) ( baekur.is ) (in Icelandic)
Kestner, Joseph A. (1989). Mythology and Misogyny: The Social Discourse of Nineteenth-century British Classical-subject Painting . University of Wisconsin Press. pp. 130–132. ISBN 9780299115302 .
Milliken, Roberta (2014). Ambiguous Locks: An Iconology of Hair in Medieval Art and Literature . McFarland. ISBN 9780786487929 .
Benwell, Gwen; Waugh, Arthur (1965), Sea Enchantress: The Tale of the Mermaid and Her Kin , Bloomington: Citadel Press, ISBN 9787800555169
Mustard, Wilfred P. (1908). "Mermaid—Siren" . Modern Language Notes . 23 : 21–22. doi : 10.2307/2916861 . JSTOR 2916861 .
Naroditskaya, Inna; Austern, Linda Phyllis (2006), "Introduction: Singing Each to Each" , in Austern, Linda Phyllis; Naroditskaya, Inna (eds.), Music of the Siren , Bloomington: Indiana University Press, pp. 1–15, ISBN 9780253112071
Pietsch, Theodore W. (1991). "Samuel Fallours and his 'Sirenne' from the Province of Ambon" . Archives of Natural History . 18 (1): 1–25.
Scribner, Vaughn (2020). Merpeople: A Human History . Reaktion Books. ISBN 9781789143133 .
Smith, W. Robertson (1887), "Notes and Documents: Ctesisas and the Semiramis Legend" , The English Historical Review , 2 : 303–317
Teixeira, Francisca Izabel (1992). The Ritual of Iemanjá in Brazil: A Psychoanalytic Approach . University of California, Berkeley.
Viscardi, Paolo; Hollinshead, Anita; MacFarlane, Ross; Moffat, James (2014). "Mermaids Uncovered". Journal of Museum Ethnography (27 Brave New Worlds: Transforming Museum Ethnography through Technology: Papers from the Annual Conference of the Museum Ethnographers Group Held at Brighton Museum & Art Gallery, in Association with the University of Brighton, 15–16 April 2013): 98–116. JSTOR 43915865 .
Waugh, Arthur (1960). "The Folklore of the Merfolk". Folklore . 71 (2): 73–84. doi : 10.1080/0015587x.1960.9717221 . JSTOR 1258382 .
Wood, Juliette (2018). "Ch. 2: Lingering in sea caves: The world of the mermaid" . Fantastic Creatures in Mythology and Folklore: From Medieval Times to the Present Day . Bloomsbury Publishing. pp. 49–92. ISBN 978-1-441-13060-0 .
Yamaguchi, Naoki (2010). "Chapter 2: Ningyo" 第2章：人魚 . Ketteiban yōkai mīra kanzen FILE 決定版妖怪ミイラ完全FILE . Gakken Publishing. pp. 46–103. ISBN 9784054044517 .

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In folklore , a mermaid is an aquatic creature with the head and upper body of a female human and the tail of a fish. [1] Mermaids appear in the folklore of many cultures worldwide, including Europe, Asia, and Africa.

Mermaids are sometimes associated with perilous events such as floods, storms, shipwrecks , and drownings. In other folk traditions (or sometimes within the same traditions), they can be benevolent or beneficent, bestowing boons or falling in love with humans.

The male equivalent of the mermaid is the merman , also a familiar figure in folklore and heraldry . Although traditions about and sightings of mermen are less common than those of mermaids, they are generally assumed to co-exist with their female counterparts. The male and the female collectively are sometimes referred to as merfolk or merpeople.

The Western concept of mermaids as beautiful, seductive singers may have been influenced by the Sirens of Greek mythology , which were originally half-birdlike, but came to be pictured as half-fishlike in the Christian era. Historical accounts of mermaids, such as those reported by Christopher Columbus during his exploration of the Caribbean , may have been sightings of manatees or similar aquatic mammals. While there is no evidence that mermaids exist outside folklore, reports of mermaid sightings continue to the present day.

Mermaids have been a popular subject of art and literature in recent centuries, such as in Hans Christian Andersen 's literary fairy tale " The Little Mermaid " (1836). They have subsequently been depicted in operas, paintings, books, comics, animation, and live-action films.

The word mermaid is a compound of the Old English mere (sea), and maid (a girl or young woman). [1] The equivalent term in Old English was merewif . [2] They are conventionally depicted as beautiful with long flowing hair. [1]

The siren of Ancient Greek mythology has influenced and overlapped with popular notions of mermaids since medieval times. Some European languages have assimilated the two concepts entirely; for example, the French word for mermaid is sirène , and both the Spanish and Italian use sirena . [3]

In the early Greek period, the sirens were conceived of as human-headed birds, [4] [5] but by the classical period, the Greeks sporadically depicted the siren as part fish in art. [6] [a] This part-fish appearance became increasingly popular during the Middle Ages. [8] The "siren" appeared as part-bird in the 6th-century Latin version of the Physiologus and some subsequent versions, [11] [12] but later editions increasingly depicted it as mermaid-like. [13] In many medieval bestiaries , the siren was pictorialized as a mermaid and textual descriptions later shifted to match. [14] This confusion can be seen in a 9th century Physiologus [b] which described the siren in text as bird-like, but supplied an illustration that was mermaid-like. [15] [16] These changes were thought by some to be the influence of Teutonic myth, later expounded in literary legends of Lorelei and Undine ; [8] though a dissenting comment is that parallels are not limited to Teutonic culture. [17] Alternately, the siren was sometimes drawn as a hybrid with a human torso, a fish-like lower body, and bird-like wings and feet. [18] [19] The explanation that the siren's "other part" may be "like fish or like bird" is found in Guillaume le clerc 's verse bestiary (1210 or 1211). [21]

These siren-mermaids, depicted in the so-called "second-family" bestiaries (late 12th cent. and after) typically held an eel in hand, though sometimes also a musical instrument as in Classical art, or the mirror and comb as the symbol of vanity. [22] The comb and mirror, which are now emblematic of mermaids across Europe, derive from the bestiaries (Christian allegorical works) that describe the siren as a vain creature requiring those accoutrements. [10] [23] [c]

Sirens can be compared to mermaids of various mythologies, such as the Slavic rusalka , in that they often seduce sailors to their doom. [27] The classical sirens of Homer used their beautiful song as a lure, and this aspect has often been transferred to mermaids. [28] The mermaids of Hans Christian Andersen, for instance, are beautiful singers, although sailors hear their song as the howling of storm winds. [29]

The sea-monsters Scylla and Charybdis , who lived near the sirens, were also female and had some fishlike attributes. Though Scylla's violence is contrasted with the sirens' seductive ways by certain classical writers, [30] Scylla and Charybdis lived near the sirens' domain. [14] [d] In Etruscan civilization before the 6th century BC, Scylla was portrayed as a mermaid-like creature with two tails. [14] Some have argued that the two-tailed Melusine of later European art is traceable to this Etruscan Scylla. [33] A sporadic example of sirens as mermaids (tritonesses) in Early Greek art (3rd century BC), can be explained as the contamination of the siren myth with Scylla and Charybdis. [34]

The female oceanids , nereids and naiads are mythical water nymphs or deities, although not depicted with fish tails. "Nereid" and "nymph" have also been applied to actual mermaid-like marine creatures purported to exist, from Pliny (cf. §Roman Lusitania and Gaul ) and onwards. Jane Ellen Harrison (1882) has speculated that the mermaids or tritonesses of Greek and Roman mythology may have been brought from the Middle East , possibly transmitted by Phoenician mariners. [8]

The Greek god Triton had two fish tails instead of legs, and later became pluralized as a group. The prophetic sea deity Glaucus was also depicted with a fish tail and sometimes with fins for arms.

Depictions of entities with the upper bodies of humans and the tails of fish appear in Mesopotamian artwork from the Old Babylonian Period onwards, on cylinder seals . These figures are usually mermen ( kulullû ), [35] but mermaids do occasionally appear. The name for the mermaid figure may have been *kuliltu , meaning "fish-woman". [36] Such figures were used in Neo-Assyrian art as protective figures [36] and were shown in both monumental sculpture and in small, protective figurines. [36]

A mermaid-like goddess, identified by Greek and Roman writers as Derceto or Atargatis, was worshipped at Ashkelon . [37] [38] In a myth recounted by Diodorus in the 1st century BCE, Derceto gave birth to a child from an affair. Ashamed, she abandoned the child in the desert and drowned herself in a lake, only to be transformed into a human-headed fish. The child, Semiramis , was fed by doves and survived to become a queen. [39]

In the 2nd century AD, Lucian described seeing a Phoenician statue of Derceto with the upper body of a woman and the tail of a fish. He noted the contrast with the grand statue located at her Holy City ( Hierapolis Bambyce ), which appeared entirely human. [41] [42]

In the myth, Semiramis's first husband is named Onnes. Some scholars have compared this to the earlier Mesopotamian myth of Oannes , [43] one of the apkallu or seven sages described as fish-men in cuneiform texts. [44] [47] While Oannes was a servant of the water deity Ea , having gained wisd
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